The Dancer Who Helped Start the Black Panthers’ Free Breakfast Program
‘Kooza’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco
‘Mere Mortals’ Launches a Bold New Era at SF Ballet
From Buskin’ on BART to Teaching Turfin’
‘Artists Against Genocide’ Aims to Educate, Heal and Mobilize in SF
How Oakland-Born Dancer Konkrete Ended Up on Tour with Beyoncé
In an AI-Driven Future, Turf Dancers Share the Meaning of Their Movements
Wives Angelica Medina and Jahaira Fajardo Share Culture Through Dance
Hyphy Kids Got Trauma Pt. 2, ‘We Dance Different’
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A dancing pro since the age of eight, Beckford had a habit of taking a close personal interest in her students. She taught the youngest ones a combination of life skills and etiquette to set them up for bright futures. She encouraged teens and young women to love themselves and pursue their dreams. And when one of her students told Beckford about her involvement with the Black Panther Party, Beckford was keen to be of assistance with that, too.\u003c/p>\n\u003cp>The student in question was LaVerne Anderson, who happened to be the girlfriend of Huey P. Newton. Beckford began by accompanying Anderson to some of Newton’s 1968 trial dates. In September of that year, when the idea for the Panthers’ Free Breakfast for School Children Program first came up, it was Beckford who sprang into action and made it happen.\u003c/p>\n\u003cp>[aside postid='arts_13874853']Beckford had long been a parishioner at Oakland’s \u003ca href=\"https://staugepiscopal.org/\">St. Augustine’s Episcopal Church\u003c/a>, then situated at West and 27th Streets. Beckford approached her priest there, Father Earl A. Neil, to find out if St. Augustine’s was willing to host a daily program there to feed neighborhood kids. Father Neil agreed, and he and Beckford went about building a health code-safe kitchen and dining space, as well as a nutritionally balanced menu.\u003c/p>\n\u003cp>On the first day — a Monday in January 1969 — 11 children came to eat. By Friday, that number had swelled to 135. Beckford and Father Neil made such a success of the free breakfasts, the program was soon mandatory in all Black Panther chapters nationwide. It was also a shining example of Beckford’s ability to turn ideas into action, and to plant seeds that would one day create mighty forests. That’s something she had already been doing in her dance classes for 22 years before she got involved with the Panthers.\u003c/p>\n\u003cfigure id=\"attachment_13952106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952106\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-939585344-scaled-e1707777665615.jpg\" alt=\"Several young Black boys, one of whom is wearing a suit, raise their hands to speak as they sit around a table, paper plates of food in front of them.\" width=\"1920\" height=\"1298\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther Party’s Free Breakfast for Children program — like this one in New York City in 1969 — combined education and good nutrition. \u003ccite>(Bev Grant/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]B[/dropcap]eckford was born on Dec. 7, 1925 in Oakland’s \u003ca href=\"https://localwiki.org/oakland/Providence_Hospital\">Providence Hospital\u003c/a> to a Jamaican father and a mother from Los Angeles. Beckford was the youngest of four — she had a big sister and a pair of twin brothers — and was raised on 38th Avenue and MacArthur Boulevard. She grew up in a household so supportive that, when they saw her kicking along to music in her crib as a baby, her parents pledged to get her into dance class as soon as she was old enough.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At three years old, Beckford began training in “every kind of dance,” her dedicated mom sewing all her costumes. It was clear from the beginning that the young girl was naturally gifted, and that dance was indeed her calling. By eight, she was a vaudeville dancer. By 14, she was teaching other children. At 17, she toured with the prestigious Katherine Dunham Company, where she fully embraced African and Caribbean dance for the first time. Beckford loved the work but declined a seven-year contract from Dunham so she could attend UC Berkeley instead. (Dunham remained a mentor and friend for life, and Beckford taught in her New York dance school in 1953.)\u003c/p>\n\u003cp>[aside postID='arts_13926548,pop_102326,arts_13916612']During her studies, Beckford was the only Black dancer in UC Berkeley’s dance club, Orchesis. The experience prepared her for working in majority-white companies later on. In her 20s, as the only Black dancer with the \u003ca href=\"https://calisphere.org/item/8c65bcebbbc335b04faa0cd457e3ebd7/\">Anna Halprin and Welland Lathrop\u003c/a> modern dance company, Beckford said she could sometimes hear the audience gasp as she arrived on San Francisco’s Herbst Theatre stage.\u003c/p>\n\u003cp>Once Beckford had graduated with a modern dance degree, she was keen to serve her community while doing what she loved most. First, she started an annual modern dance showcase that ran for over a decade. Then in 1947, aged just 21, Beckford started the Oakland Recreation Modern Dance Department — the first city-funded dance classes in the United States — and remained project director there for 20 years. Beckford insisted the classes be free so that anyone, no matter their means, would be able to attend. By the time she left in 1967, the department was running 34 modern dance classes for 700 students of all ages and abilities.\u003c/p>\n\u003cp>Of the importance of this program, Beckford later stated: “My philosophy for the young girls was, I would get them in through dance, but my whole goal was to make them be strong, free spirits. The girls got a lot of doses of self-empowerment training, self-esteem training,” she said. “Out of the thousands of girls that I taught, I knew a few would be dancers, but they all had to become women. I wanted them all to be strong young ladies — and it worked.”\u003c/p>\n\u003cp>These relationships were so important to Beckford, she prioritized them over having children of her own. “I feel if I had had children,” she said in 2000, “I would not have been the mentor to the hundreds and hundreds of girls I mentored. I would give them all the attention. I would tell them they were special.”\u003c/p>\n\u003cp>From 1954 on, Beckford was also running her own company, the Ruth Beckford African Haitian Dance Company. Her understanding of traditional styles was so exhaustive, she was invited to choreograph a folk festival in Haiti in 1958. At home, her company’s performances — comprised of six dancers accompanied by three drummers — were unlike anything most dance fans had seen in the Bay Area before. For a start, the company was comprised entirely of Black dancers — a refreshing contrast to the companies Beckford had grown up in.\u003c/p>\n\u003cfigure id=\"attachment_13951198\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13951198 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-576842076-scaled-e1706578196329.jpg\" alt=\"A Black male dancer does the splits in mid-air, while two Black women dance either side of him.\" width=\"1920\" height=\"1516\">\u003cfigcaption class=\"wp-caption-text\">Students and members of Ruth Beckford’s dance group rehearse a number in Oakland. \u003ccite>(Ted Streshinsky/ CORBIS/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]A[/dropcap]fter Beckford retired from teaching in 1975, there was still no stopping her. She became an author, writing an autobiography, two cookbooks and a \u003ca href=\"https://www.jstor.org/stable/2784188\">Katherine Dunham biography\u003c/a>. She also co-authored \u003cem>\u003ca href=\"https://www.everand.com/book/502678421/The-Picture-Man-From-the-Collection-of-Bay-Area-Photographer-E-F-Joseph-1927-1979\">The Picture Man\u003c/a>,\u003c/em> about Black Bay Area photographer E.F. Joseph. Her final work, \u003ca href=\"https://www.amazon.com/Still-Groovin-Affirmations-Women-Second/dp/0829813373\">\u003cem>Still Groovin’\u003c/em>\u003c/a>, was a book of spiritual advice and affirmations aimed squarely at mature women. “Women are sort of out there by themselves,” she said, “and women have to mentor each other. My book is a tool to help them become stronger.”\u003c/p>\n\u003cp>\u003cem>Still Groovin’\u003c/em> wasn’t her only means of trying to empower her peers. Between 1984 and 1988, Beckford wrote a trilogy of plays titled \u003cspan style=\"font-weight: 400\">’\u003c/span>\u003cem>Tis the Morning of My Life\u003c/em>, about a woman named Roxie Youngblood who finds herself in a relationship with a much younger man. Beckford admitted the story was inspired by her own life.\u003c/p>\n\u003cp>[aside postid='pop_102855']“I have a different energy, I think, to most men my age,” she once explained. “As long as I have this energy, I’m going to use it and have fun with younger people. Younger men have the energy I have, and I feel mine is worthy of that.” On another occasion, she noted: “Older women are marrying younger men nowadays because they find they have much more in common.”\u003c/p>\n\u003cp>When a New York theater asked permission to stage her first play, Beckford agreed only if the original Bay Area cast could perform it. “It’s time for New York to see what the West Coast can do,” she insisted.\u003c/p>\n\u003cp>For a lot of people, co-founding the Black Panthers’ Free Breakfast program would have been the pinnacle achievement of a lifetime. That Beckford then went on to mentor generations of young Black women was a huge deal. And the sheer number of ways Beckford sought to be of service throughout her life is ultimately breathtaking.\u003c/p>\n\u003cp>She served on the Board of Oakland\u003cspan style=\"font-weight: 400\">’s\u003c/span> African American Museum and Library, where she also founded an oral history program. She counseled homeless people in Berkeley, and women in shelters and prisons around the state. She served on a dance panel at the National Endowment for the Arts and campaigned for better theater facilities in Oakland. She founded a women’s golf club. She even spent Thursday afternoons in the late 1990s volunteering in Jack London Square’s information booth so that she might pass on her passion for all things Oakland.\u003c/p>\n\u003cp>Ruth Beckford remained indefatigable (despite surviving five back surgeries and a hip replacement) until her death at age 93. Shortly before her passing on May 8, 2019, Beckford reflected on a life thoroughly well lived.\u003c/p>\n\u003cp>“I have a joyous life, I have a good time,” she said. “I choreographed my life. Step-by-step, year-by-year.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Ruth Beckford used dance as a means to mentor thousands of young women in Oakland. She never stopped serving her community.","status":"publish","parent":0,"modified":1710265590,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1542},"headData":{"title":"The Dancer Who Helped Start the Black Panthers’ Free Breakfast Program | KQED","description":"Ruth Beckford used dance as a means to mentor thousands of young women in Oakland. She never stopped serving her community.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/6767ea25-cddc-42bd-baac-b12c0136bde8/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13950520/ruth-beckford-dance-black-panthers-free-breakfast-program","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n the late 1960s, an uncommonly energetic 43-year-old named Ruth Beckford was teaching an Afro-Haitian dance class in Oakland. A dancing pro since the age of eight, Beckford had a habit of taking a close personal interest in her students. She taught the youngest ones a combination of life skills and etiquette to set them up for bright futures. She encouraged teens and young women to love themselves and pursue their dreams. And when one of her students told Beckford about her involvement with the Black Panther Party, Beckford was keen to be of assistance with that, too.\u003c/p>\n\u003cp>The student in question was LaVerne Anderson, who happened to be the girlfriend of Huey P. Newton. Beckford began by accompanying Anderson to some of Newton’s 1968 trial dates. In September of that year, when the idea for the Panthers’ Free Breakfast for School Children Program first came up, it was Beckford who sprang into action and made it happen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13874853","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Beckford had long been a parishioner at Oakland’s \u003ca href=\"https://staugepiscopal.org/\">St. Augustine’s Episcopal Church\u003c/a>, then situated at West and 27th Streets. Beckford approached her priest there, Father Earl A. Neil, to find out if St. Augustine’s was willing to host a daily program there to feed neighborhood kids. Father Neil agreed, and he and Beckford went about building a health code-safe kitchen and dining space, as well as a nutritionally balanced menu.\u003c/p>\n\u003cp>On the first day — a Monday in January 1969 — 11 children came to eat. By Friday, that number had swelled to 135. Beckford and Father Neil made such a success of the free breakfasts, the program was soon mandatory in all Black Panther chapters nationwide. It was also a shining example of Beckford’s ability to turn ideas into action, and to plant seeds that would one day create mighty forests. That’s something she had already been doing in her dance classes for 22 years before she got involved with the Panthers.\u003c/p>\n\u003cfigure id=\"attachment_13952106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952106\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-939585344-scaled-e1707777665615.jpg\" alt=\"Several young Black boys, one of whom is wearing a suit, raise their hands to speak as they sit around a table, paper plates of food in front of them.\" width=\"1920\" height=\"1298\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther Party’s Free Breakfast for Children program — like this one in New York City in 1969 — combined education and good nutrition. \u003ccite>(Bev Grant/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>eckford was born on Dec. 7, 1925 in Oakland’s \u003ca href=\"https://localwiki.org/oakland/Providence_Hospital\">Providence Hospital\u003c/a> to a Jamaican father and a mother from Los Angeles. Beckford was the youngest of four — she had a big sister and a pair of twin brothers — and was raised on 38th Avenue and MacArthur Boulevard. She grew up in a household so supportive that, when they saw her kicking along to music in her crib as a baby, her parents pledged to get her into dance class as soon as she was old enough.\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>At three years old, Beckford began training in “every kind of dance,” her dedicated mom sewing all her costumes. It was clear from the beginning that the young girl was naturally gifted, and that dance was indeed her calling. By eight, she was a vaudeville dancer. By 14, she was teaching other children. At 17, she toured with the prestigious Katherine Dunham Company, where she fully embraced African and Caribbean dance for the first time. Beckford loved the work but declined a seven-year contract from Dunham so she could attend UC Berkeley instead. (Dunham remained a mentor and friend for life, and Beckford taught in her New York dance school in 1953.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13926548,pop_102326,arts_13916612","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>During her studies, Beckford was the only Black dancer in UC Berkeley’s dance club, Orchesis. The experience prepared her for working in majority-white companies later on. In her 20s, as the only Black dancer with the \u003ca href=\"https://calisphere.org/item/8c65bcebbbc335b04faa0cd457e3ebd7/\">Anna Halprin and Welland Lathrop\u003c/a> modern dance company, Beckford said she could sometimes hear the audience gasp as she arrived on San Francisco’s Herbst Theatre stage.\u003c/p>\n\u003cp>Once Beckford had graduated with a modern dance degree, she was keen to serve her community while doing what she loved most. First, she started an annual modern dance showcase that ran for over a decade. Then in 1947, aged just 21, Beckford started the Oakland Recreation Modern Dance Department — the first city-funded dance classes in the United States — and remained project director there for 20 years. Beckford insisted the classes be free so that anyone, no matter their means, would be able to attend. By the time she left in 1967, the department was running 34 modern dance classes for 700 students of all ages and abilities.\u003c/p>\n\u003cp>Of the importance of this program, Beckford later stated: “My philosophy for the young girls was, I would get them in through dance, but my whole goal was to make them be strong, free spirits. The girls got a lot of doses of self-empowerment training, self-esteem training,” she said. “Out of the thousands of girls that I taught, I knew a few would be dancers, but they all had to become women. I wanted them all to be strong young ladies — and it worked.”\u003c/p>\n\u003cp>These relationships were so important to Beckford, she prioritized them over having children of her own. “I feel if I had had children,” she said in 2000, “I would not have been the mentor to the hundreds and hundreds of girls I mentored. I would give them all the attention. I would tell them they were special.”\u003c/p>\n\u003cp>From 1954 on, Beckford was also running her own company, the Ruth Beckford African Haitian Dance Company. Her understanding of traditional styles was so exhaustive, she was invited to choreograph a folk festival in Haiti in 1958. At home, her company’s performances — comprised of six dancers accompanied by three drummers — were unlike anything most dance fans had seen in the Bay Area before. For a start, the company was comprised entirely of Black dancers — a refreshing contrast to the companies Beckford had grown up in.\u003c/p>\n\u003cfigure id=\"attachment_13951198\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13951198 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-576842076-scaled-e1706578196329.jpg\" alt=\"A Black male dancer does the splits in mid-air, while two Black women dance either side of him.\" width=\"1920\" height=\"1516\">\u003cfigcaption class=\"wp-caption-text\">Students and members of Ruth Beckford’s dance group rehearse a number in Oakland. \u003ccite>(Ted Streshinsky/ CORBIS/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>fter Beckford retired from teaching in 1975, there was still no stopping her. She became an author, writing an autobiography, two cookbooks and a \u003ca href=\"https://www.jstor.org/stable/2784188\">Katherine Dunham biography\u003c/a>. She also co-authored \u003cem>\u003ca href=\"https://www.everand.com/book/502678421/The-Picture-Man-From-the-Collection-of-Bay-Area-Photographer-E-F-Joseph-1927-1979\">The Picture Man\u003c/a>,\u003c/em> about Black Bay Area photographer E.F. Joseph. Her final work, \u003ca href=\"https://www.amazon.com/Still-Groovin-Affirmations-Women-Second/dp/0829813373\">\u003cem>Still Groovin’\u003c/em>\u003c/a>, was a book of spiritual advice and affirmations aimed squarely at mature women. “Women are sort of out there by themselves,” she said, “and women have to mentor each other. My book is a tool to help them become stronger.”\u003c/p>\n\u003cp>\u003cem>Still Groovin’\u003c/em> wasn’t her only means of trying to empower her peers. Between 1984 and 1988, Beckford wrote a trilogy of plays titled \u003cspan style=\"font-weight: 400\">’\u003c/span>\u003cem>Tis the Morning of My Life\u003c/em>, about a woman named Roxie Youngblood who finds herself in a relationship with a much younger man. Beckford admitted the story was inspired by her own life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_102855","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I have a different energy, I think, to most men my age,” she once explained. “As long as I have this energy, I’m going to use it and have fun with younger people. Younger men have the energy I have, and I feel mine is worthy of that.” On another occasion, she noted: “Older women are marrying younger men nowadays because they find they have much more in common.”\u003c/p>\n\u003cp>When a New York theater asked permission to stage her first play, Beckford agreed only if the original Bay Area cast could perform it. “It’s time for New York to see what the West Coast can do,” she insisted.\u003c/p>\n\u003cp>For a lot of people, co-founding the Black Panthers’ Free Breakfast program would have been the pinnacle achievement of a lifetime. That Beckford then went on to mentor generations of young Black women was a huge deal. And the sheer number of ways Beckford sought to be of service throughout her life is ultimately breathtaking.\u003c/p>\n\u003cp>She served on the Board of Oakland\u003cspan style=\"font-weight: 400\">’s\u003c/span> African American Museum and Library, where she also founded an oral history program. She counseled homeless people in Berkeley, and women in shelters and prisons around the state. She served on a dance panel at the National Endowment for the Arts and campaigned for better theater facilities in Oakland. She founded a women’s golf club. She even spent Thursday afternoons in the late 1990s volunteering in Jack London Square’s information booth so that she might pass on her passion for all things Oakland.\u003c/p>\n\u003cp>Ruth Beckford remained indefatigable (despite surviving five back surgeries and a hip replacement) until her death at age 93. Shortly before her passing on May 8, 2019, Beckford reflected on a life thoroughly well lived.\u003c/p>\n\u003cp>“I have a joyous life, I have a good time,” she said. “I choreographed my life. Step-by-step, year-by-year.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\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>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950520/ruth-beckford-dance-black-panthers-free-breakfast-program","authors":["11242"],"programs":["arts_8978"],"categories":["arts_1","arts_835","arts_966","arts_7862","arts_11615"],"tags":["arts_6775","arts_1346","arts_10278","arts_7408","arts_1143","arts_21841"],"featImg":"arts_13951421","label":"arts_8978"},"arts_13950961":{"type":"posts","id":"arts_13950961","meta":{"index":"posts_1591205157","site":"arts","id":"13950961","score":null,"sort":[1706213249000]},"guestAuthors":[],"slug":"review-cirque-du-soliel-kooza-san-francisco","title":"‘Kooza’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco","publishDate":1706213249,"format":"standard","headTitle":"‘Kooza’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>First of all: \u003cem>the core strength\u003c/em>.\u003c/p>\n\u003cp>My goodness. It’s consistently jaw-dropping what Cirque du Soleil acrobats can do with their bodies and balance and flexibility. Just had to get that out of the way.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i>, \u003ca href=\"https://www.cirquedusoleil.com/usa/san-francisco/kooza/buy-tickets?sc_campname=&gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RgRDRdHkHZ1sPGGQeKxsj0YBnxEFuxY1Ka3orRdi8bU13ApORBAbXEaAo_0EALw_wcB\">now playing\u003c/a> in San Francisco through March 17 before heading to San Jose in April, is a classic Cirque du Soleil show in all the good ways: dazzling tricks and feats of strength, accompanied by a live band performing world music mashups, and interwoven with some old-fashioned clowning.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i> was the first Cirque du Soleil show I ever attended. It was 2009, and I used my grad student discount (speaking of discounts, if you’re not picky about seat selection, you can almost always find \u003ca href=\"https://www.travelzoo.com/entertainment/san-francisco-northern-california/Save-25-Starting-this-week-Cirque-du-Soleil-in-Bay-Area-3071704/\">discounted tickets\u003c/a> on Travelzoo for select Cirque du Soleil dates). I remember the excitement, even before the show started, of being in a big-top tent.\u003c/p>\n\u003cfigure id=\"attachment_13950966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg\" alt=\"Three clowns in colorful clothes make funny faces.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Clowns of Cirque du Soleil’s ‘Kooza.’ \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cirque du Soleil and I go way back, to before that first live show. I first saw their acts on TV, when they aired as HBO specials in the late ’80s and early ’90s, before they became the massive, world-touring extravaganza of today. Today, they give me all the nostalgic feels; my sister and I collect show experiences like my nephew collects Pokémon cards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So I was happy to revisit \u003ci>Kooza\u003c/i> 15 years later, and brought my 8-year old nephew along for his first Cirque experience. His favorite segment — mine too — was “The Wheel of Death,” which opened the second half of the show under red lighting, accompanied by ominous music. It was just the right amount of eerie-creepy.\u003c/p>\n\u003cfigure id=\"attachment_13950965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950965\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg\" alt=\"A costumed man leaps in the air above a cylinder contraption.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers Jimmy Ibarra Zapata and Angelo Lyezkysky Rodriguez of Colombia in ‘The Wheel of Death’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The clowns of \u003ci>Kooza\u003c/i> are another standout, a Three Stooges-style trio that kept my nephew laughing. There’s a moment where they pull an audience member on stage, and next thing you know, you’re cheerleading a miming improv session. (Thankfully, the person selected on the night I went was a great sport, with a good sense of humor.)\u003c/p>\n\u003cp>And if you’re wondering if Cirque is truly a place where any and all creativity can run free, just look at \u003ci>Kooza\u003c/i>’s costumes, designed by Marie Chantale Vaillancourt. A costume that’s part devil, jester and merman all at once? Why not? How about Día de los Muertos-meets-Beetlejuice-meets carnaval? Sure! It’s wacky, it’s the circus, it’s the vibe.\u003c/p>\n\u003cfigure id=\"attachment_13950968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950968\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg\" alt=\"Performers in skeleton costumes with feather headdresses stand on stage.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the ‘Skeleton Dance’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not exactly notable in \u003ci>Kooza\u003c/i> are \u003ca href=\"https://open.spotify.com/album/7v5jSXpqcRMSTbospRZX8q\">the soundtrack\u003c/a> and the story, which centers on a sweet, naive clown looking for his place in the world. I’ve seen better, more cohesive storylines (the dreamy \u003ca href=\"https://www.cirquedusoleil.com/corteo\">\u003ci>Corteo\u003c/i>\u003c/a>, which ran last year at Oakland Arena, comes to mind). But do you go to a Cirque du Soleil show for the plot? Of course not.\u003c/p>\n\u003cp>So where does \u003ci>Kooza\u003c/i> rank among the handful of Cirque productions I’ve seen? It’s in the middle of the pack, but still worth a visit. Cirque du Soleil remains a solid brand that consistently produces moments where you think to yourself, “Oh, I know they’re not about to do\u003cem> that\u003c/em>…” Yet, indeed, they proceed to do \u003cem>that\u003c/em>. And it’s stunning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kooza’ plays now through March 17 under the big top next to Oracle Park in San Francisco, and in San Jose from April 18–May 26. \u003ca href=\"https://www.cirquedusoleil.com//kooza?gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RjzhemjVv_xzevc6GNpdLkbn-EdKl8-K7U6--Dka68mWNxR8h3L8PwaAvylEALw_wcB&gclsrc=aw.ds\">Details and ticket info here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Revisiting 'Kooza' at San Francisco's Oracle Park, with its dazzling tricks and feats of strength.","status":"publish","parent":0,"modified":1706549311,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":658},"headData":{"title":"Review: Cirque du Soleil's ‘Kooza’ in San Francisco Offers Classic Thrills | KQED","description":"Revisiting 'Kooza' at San Francisco's Oracle Park, with its dazzling tricks and feats of strength.","ogTitle":"‘Kooza,’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco","ogDescription":"","ogImgId":"","twTitle":"‘Kooza,’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco","twDescription":"","twImgId":"","socialTitle":"Review: Cirque du Soleil's ‘Kooza’ in San Francisco Offers Classic Thrills %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13950961/review-cirque-du-soliel-kooza-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>First of all: \u003cem>the core strength\u003c/em>.\u003c/p>\n\u003cp>My goodness. It’s consistently jaw-dropping what Cirque du Soleil acrobats can do with their bodies and balance and flexibility. Just had to get that out of the way.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i>, \u003ca href=\"https://www.cirquedusoleil.com/usa/san-francisco/kooza/buy-tickets?sc_campname=&gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RgRDRdHkHZ1sPGGQeKxsj0YBnxEFuxY1Ka3orRdi8bU13ApORBAbXEaAo_0EALw_wcB\">now playing\u003c/a> in San Francisco through March 17 before heading to San Jose in April, is a classic Cirque du Soleil show in all the good ways: dazzling tricks and feats of strength, accompanied by a live band performing world music mashups, and interwoven with some old-fashioned clowning.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i> was the first Cirque du Soleil show I ever attended. It was 2009, and I used my grad student discount (speaking of discounts, if you’re not picky about seat selection, you can almost always find \u003ca href=\"https://www.travelzoo.com/entertainment/san-francisco-northern-california/Save-25-Starting-this-week-Cirque-du-Soleil-in-Bay-Area-3071704/\">discounted tickets\u003c/a> on Travelzoo for select Cirque du Soleil dates). I remember the excitement, even before the show started, of being in a big-top tent.\u003c/p>\n\u003cfigure id=\"attachment_13950966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg\" alt=\"Three clowns in colorful clothes make funny faces.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Clowns of Cirque du Soleil’s ‘Kooza.’ \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cirque du Soleil and I go way back, to before that first live show. I first saw their acts on TV, when they aired as HBO specials in the late ’80s and early ’90s, before they became the massive, world-touring extravaganza of today. Today, they give me all the nostalgic feels; my sister and I collect show experiences like my nephew collects Pokémon cards.\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>So I was happy to revisit \u003ci>Kooza\u003c/i> 15 years later, and brought my 8-year old nephew along for his first Cirque experience. His favorite segment — mine too — was “The Wheel of Death,” which opened the second half of the show under red lighting, accompanied by ominous music. It was just the right amount of eerie-creepy.\u003c/p>\n\u003cfigure id=\"attachment_13950965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950965\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg\" alt=\"A costumed man leaps in the air above a cylinder contraption.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers Jimmy Ibarra Zapata and Angelo Lyezkysky Rodriguez of Colombia in ‘The Wheel of Death’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The clowns of \u003ci>Kooza\u003c/i> are another standout, a Three Stooges-style trio that kept my nephew laughing. There’s a moment where they pull an audience member on stage, and next thing you know, you’re cheerleading a miming improv session. (Thankfully, the person selected on the night I went was a great sport, with a good sense of humor.)\u003c/p>\n\u003cp>And if you’re wondering if Cirque is truly a place where any and all creativity can run free, just look at \u003ci>Kooza\u003c/i>’s costumes, designed by Marie Chantale Vaillancourt. A costume that’s part devil, jester and merman all at once? Why not? How about Día de los Muertos-meets-Beetlejuice-meets carnaval? Sure! It’s wacky, it’s the circus, it’s the vibe.\u003c/p>\n\u003cfigure id=\"attachment_13950968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950968\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg\" alt=\"Performers in skeleton costumes with feather headdresses stand on stage.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the ‘Skeleton Dance’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not exactly notable in \u003ci>Kooza\u003c/i> are \u003ca href=\"https://open.spotify.com/album/7v5jSXpqcRMSTbospRZX8q\">the soundtrack\u003c/a> and the story, which centers on a sweet, naive clown looking for his place in the world. I’ve seen better, more cohesive storylines (the dreamy \u003ca href=\"https://www.cirquedusoleil.com/corteo\">\u003ci>Corteo\u003c/i>\u003c/a>, which ran last year at Oakland Arena, comes to mind). But do you go to a Cirque du Soleil show for the plot? Of course not.\u003c/p>\n\u003cp>So where does \u003ci>Kooza\u003c/i> rank among the handful of Cirque productions I’ve seen? It’s in the middle of the pack, but still worth a visit. Cirque du Soleil remains a solid brand that consistently produces moments where you think to yourself, “Oh, I know they’re not about to do\u003cem> that\u003c/em>…” Yet, indeed, they proceed to do \u003cem>that\u003c/em>. And it’s stunning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kooza’ plays now through March 17 under the big top next to Oracle Park in San Francisco, and in San Jose from April 18–May 26. \u003ca href=\"https://www.cirquedusoleil.com//kooza?gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RjzhemjVv_xzevc6GNpdLkbn-EdKl8-K7U6--Dka68mWNxR8h3L8PwaAvylEALw_wcB&gclsrc=aw.ds\">Details and ticket info here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950961/review-cirque-du-soliel-kooza-san-francisco","authors":["11296"],"programs":["arts_140"],"categories":["arts_1","arts_966","arts_76","arts_967"],"tags":["arts_1707","arts_21894","arts_769","arts_1146","arts_585"],"featImg":"arts_13950969","label":"arts_140"},"arts_13950883":{"type":"posts","id":"arts_13950883","meta":{"index":"posts_1591205157","site":"arts","id":"13950883","score":null,"sort":[1706137113000]},"guestAuthors":[],"slug":"mere-mortals-sf-ballet-tamara-rojo-floating-points-aszure-barton","title":"‘Mere Mortals’ Launches a Bold New Era at SF Ballet","publishDate":1706137113,"format":"standard","headTitle":"‘Mere Mortals’ Launches a Bold New Era at SF Ballet | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When San Francisco Ballet’s new Artistic Director Tamara Rojo first approached Aszure Barton about revisiting the myths of Prometheus and Pandora, the choreographer wasn’t exactly sold.\u003c/p>\n\u003cp>“I had to really sit with the idea for a while, because I did not like how Pandora had been represented in the past,” Barton remembers.\u003c/p>\n\u003cp>Then she listened to \u003ca href=\"https://www.bbc.co.uk/programmes/m000w9tj\">a podcast from Natalie Haynes\u003c/a>, in which the writer, classicist and comedian uncovers a story corrupted by “shaky translations and biased etymologies.” As her view shifted, Barton got excited to work with composer Sam Shepherd (Floating Points) on Rojo’s first commission as the artistic director of San Francisco Ballet.\u003c/p>\n\u003cp>The resulting production, \u003ci>\u003ca href=\"https://www.sfballet.org/productions/mere-mortals/\">Mere Mortals\u003c/a>\u003c/i>, is a bold departure — stylistically, musically and visually — from the era of previous artistic director Helgi Tómasson, who occupied the role for 37 years. SF Ballet’s first full-length commission from a female choreographer, it makes its world premiere on Jan. 26, with Shepherd performing live on the Buchla (a synthesizer created in the Bay Area in 1963) alongside the San Francisco Ballet Orchestra. \u003c/p>\n\u003cfigure id=\"attachment_13950919\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000.jpg\" alt=\"Two men lean over synthesizer with many colored cables\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13950919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sam Shepherd collaborating with San Francisco Ballet Orchestra. \u003ccite>(© Paige Green Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was Shepherd who brought the Greek myth to the table. “I was looking for a story,” he says, specifically a narrative structure that could support an hour’s worth of music. This one has plenty of arcs for sonic exploration: After Prometheus defied the gods and brought fire to man, they created Pandora, the first human woman, in retaliation. Sent to disrupt the world of men, she brought with her a jar — a gift from Zeus — that he warned her never to open. Curiosity won out, and she (or possibly Epithemeus, Prometheus’ brother) opened the jar, releasing evil into the world. All that remained trapped inside was hope, which Shepherd highlights in his composition as “a bit of birdsong” in the form of a violin solo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pandora, Haynes argues in her podcast, is neither good nor bad, but an agent of change, a morally neutral harbinger of new, complex ways of living. For Rojo, the myth tells a powerful story about the danger and allure of new technologies, and is especially important to revisit in a region actively advancing AI — and grappling with its implications. \u003c/p>\n\u003cp>“I felt that the moral questions that humanity goes through every time there is a technological leap are the same, whether that is the stealing of the fire, the opening of the box, the biting of the apple, the nuclear bomb,” she says. “Inevitably humanity moves forward without the answers, and then has to live with the consequences.”\u003c/p>\n\u003cfigure id=\"attachment_13950922\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000.jpg\" alt=\"Person in yellow shirt and person in black hoodie stand over synthesizer covered in many colored cables\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13950922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer Sam Shepherd and choreographer Aszure Barton during the ‘Mere Mortals’ artistic team residency. \u003ccite>(© Grady Brannan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite addressing a very non-human subject, \u003ci>Mere Mortals\u003c/i> is the product of some very in-person collaboration. It’s the first piece to come out of the new \u003ca href=\"https://www.sfballet.org/discover/artist-development/creation-house/\">Creation House\u003c/a> initiative, which brought Barton, Shepherd, costume designer Michelle Jank, production designers Hamill Industries and the dancers together for an artistic residency.\u003c/p>\n\u003cp>For Shepherd, some of the most exciting moments in his year-long process of composing have come in these final days before opening night. “I made some changes this morning,” he says, noting that’s only possible because of the crew’s technical skill, which has allowed so many moving parts to come together into a cohesive whole. \u003c/p>\n\u003cp>There are even elements of choreography to his orchestral arrangement. At certain points during the performance, musicians leave the pit to record in a sealed, separate room, which Shepherd then siphons through his Buchla synthesizer. “It’s quite complicated,” he says. “People are moving around all over the place!”\u003c/p>\n\u003cp>It’s aspects like this that signal just how much of a departure \u003ci>Mere Mortals\u003c/i> is from the status quo. There is risk involved, certainly, but “the bravery of our artists, I think, is unmatched anywhere else,” Rojo says. “I want them to collaborate with the very best, so that bravery is rewarded.”\u003c/p>\n\u003cfigure id=\"attachment_13950926\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-scaled.jpg\" alt=\"A pair of dancers lit by purple and pink light\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13950926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Ellen Rose Hummel and Cavan Conley during the ‘Mere Mortals’ artistic team residency. \u003ccite>(© Grady Brannan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its \u003ca href=\"https://www.sfballet.org/discover/backstage/a-brief-qa-on-ai-and-mere-mortals/\">promotional materials\u003c/a>, SF Ballet is very clear about how AI was used in the making of \u003ci>Mere Mortals\u003c/i>. It did not, for instance, contribute to any of the choreography, music composition or dramaturgy of the piece. It will appear, however, in some of the on-stage visuals created by Hamill Industries, and in the \u003ca href=\"https://www.sfballet.org/productions/mere-mortals/\">telltale many-fingered images\u003c/a> advertising the production. \u003c/p>\n\u003cp>In this way, SF Ballet hopes to show how AI can be used, ethically, as an artistic tool. “We have tried to lead by example in how you can engage living artists that are wanting and willing to work with this new tool, and are properly rewarded and properly paid,” Rojo says. \u003c/p>\n\u003cp>“We’re not here to lecture anybody,” she adds. “We just hope to inspire people to look at this new technology with the understanding of what’s at stake, but with the excitement of the possibilities that it can bring too — just like fire.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>San Francisco Ballet’s ‘Mere Mortals’ runs Jan. 26–Feb. 1 at the War Memorial Opera House. On Jan. 31, Natalie Haynes will be present for a pre-performance talk and book signing. \u003ca href=\"https://www.sfballet.org/productions/mere-mortals/\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Tamara Rojo’s first season as artistic director opens by revisiting the myth of Pandora in an age of AI.","status":"publish","parent":0,"modified":1706638007,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":937},"headData":{"title":"‘Mere Mortals’ Launches a Bold New Era at SF Ballet | KQED","description":"Tamara Rojo’s first season as artistic director opens by revisiting the myth of Pandora in an age of AI.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13950883/mere-mortals-sf-ballet-tamara-rojo-floating-points-aszure-barton","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When San Francisco Ballet’s new Artistic Director Tamara Rojo first approached Aszure Barton about revisiting the myths of Prometheus and Pandora, the choreographer wasn’t exactly sold.\u003c/p>\n\u003cp>“I had to really sit with the idea for a while, because I did not like how Pandora had been represented in the past,” Barton remembers.\u003c/p>\n\u003cp>Then she listened to \u003ca href=\"https://www.bbc.co.uk/programmes/m000w9tj\">a podcast from Natalie Haynes\u003c/a>, in which the writer, classicist and comedian uncovers a story corrupted by “shaky translations and biased etymologies.” As her view shifted, Barton got excited to work with composer Sam Shepherd (Floating Points) on Rojo’s first commission as the artistic director of San Francisco Ballet.\u003c/p>\n\u003cp>The resulting production, \u003ci>\u003ca href=\"https://www.sfballet.org/productions/mere-mortals/\">Mere Mortals\u003c/a>\u003c/i>, is a bold departure — stylistically, musically and visually — from the era of previous artistic director Helgi Tómasson, who occupied the role for 37 years. SF Ballet’s first full-length commission from a female choreographer, it makes its world premiere on Jan. 26, with Shepherd performing live on the Buchla (a synthesizer created in the Bay Area in 1963) alongside the San Francisco Ballet Orchestra. \u003c/p>\n\u003cfigure id=\"attachment_13950919\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000.jpg\" alt=\"Two men lean over synthesizer with many colored cables\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13950919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sam Shepherd collaborating with San Francisco Ballet Orchestra. \u003ccite>(© Paige Green Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was Shepherd who brought the Greek myth to the table. “I was looking for a story,” he says, specifically a narrative structure that could support an hour’s worth of music. This one has plenty of arcs for sonic exploration: After Prometheus defied the gods and brought fire to man, they created Pandora, the first human woman, in retaliation. Sent to disrupt the world of men, she brought with her a jar — a gift from Zeus — that he warned her never to open. Curiosity won out, and she (or possibly Epithemeus, Prometheus’ brother) opened the jar, releasing evil into the world. All that remained trapped inside was hope, which Shepherd highlights in his composition as “a bit of birdsong” in the form of a violin solo.\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>Pandora, Haynes argues in her podcast, is neither good nor bad, but an agent of change, a morally neutral harbinger of new, complex ways of living. For Rojo, the myth tells a powerful story about the danger and allure of new technologies, and is especially important to revisit in a region actively advancing AI — and grappling with its implications. \u003c/p>\n\u003cp>“I felt that the moral questions that humanity goes through every time there is a technological leap are the same, whether that is the stealing of the fire, the opening of the box, the biting of the apple, the nuclear bomb,” she says. “Inevitably humanity moves forward without the answers, and then has to live with the consequences.”\u003c/p>\n\u003cfigure id=\"attachment_13950922\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000.jpg\" alt=\"Person in yellow shirt and person in black hoodie stand over synthesizer covered in many colored cables\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13950922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer Sam Shepherd and choreographer Aszure Barton during the ‘Mere Mortals’ artistic team residency. \u003ccite>(© Grady Brannan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite addressing a very non-human subject, \u003ci>Mere Mortals\u003c/i> is the product of some very in-person collaboration. It’s the first piece to come out of the new \u003ca href=\"https://www.sfballet.org/discover/artist-development/creation-house/\">Creation House\u003c/a> initiative, which brought Barton, Shepherd, costume designer Michelle Jank, production designers Hamill Industries and the dancers together for an artistic residency.\u003c/p>\n\u003cp>For Shepherd, some of the most exciting moments in his year-long process of composing have come in these final days before opening night. “I made some changes this morning,” he says, noting that’s only possible because of the crew’s technical skill, which has allowed so many moving parts to come together into a cohesive whole. \u003c/p>\n\u003cp>There are even elements of choreography to his orchestral arrangement. At certain points during the performance, musicians leave the pit to record in a sealed, separate room, which Shepherd then siphons through his Buchla synthesizer. “It’s quite complicated,” he says. “People are moving around all over the place!”\u003c/p>\n\u003cp>It’s aspects like this that signal just how much of a departure \u003ci>Mere Mortals\u003c/i> is from the status quo. There is risk involved, certainly, but “the bravery of our artists, I think, is unmatched anywhere else,” Rojo says. “I want them to collaborate with the very best, so that bravery is rewarded.”\u003c/p>\n\u003cfigure id=\"attachment_13950926\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-scaled.jpg\" alt=\"A pair of dancers lit by purple and pink light\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13950926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Ellen Rose Hummel and Cavan Conley during the ‘Mere Mortals’ artistic team residency. \u003ccite>(© Grady Brannan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its \u003ca href=\"https://www.sfballet.org/discover/backstage/a-brief-qa-on-ai-and-mere-mortals/\">promotional materials\u003c/a>, SF Ballet is very clear about how AI was used in the making of \u003ci>Mere Mortals\u003c/i>. It did not, for instance, contribute to any of the choreography, music composition or dramaturgy of the piece. It will appear, however, in some of the on-stage visuals created by Hamill Industries, and in the \u003ca href=\"https://www.sfballet.org/productions/mere-mortals/\">telltale many-fingered images\u003c/a> advertising the production. \u003c/p>\n\u003cp>In this way, SF Ballet hopes to show how AI can be used, ethically, as an artistic tool. “We have tried to lead by example in how you can engage living artists that are wanting and willing to work with this new tool, and are properly rewarded and properly paid,” Rojo says. \u003c/p>\n\u003cp>“We’re not here to lecture anybody,” she adds. “We just hope to inspire people to look at this new technology with the understanding of what’s at stake, but with the excitement of the possibilities that it can bring too — just like fire.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>San Francisco Ballet’s ‘Mere Mortals’ runs Jan. 26–Feb. 1 at the War Memorial Opera House. On Jan. 31, Natalie Haynes will be present for a pre-performance talk and book signing. \u003ca href=\"https://www.sfballet.org/productions/mere-mortals/\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950883/mere-mortals-sf-ballet-tamara-rojo-floating-points-aszure-barton","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_966"],"tags":["arts_21891","arts_10342","arts_10278","arts_21890","arts_585"],"featImg":"arts_13950920","label":"arts_140"},"arts_13940111":{"type":"posts","id":"arts_13940111","meta":{"index":"posts_1591205157","site":"arts","id":"13940111","score":null,"sort":[1704970807000]},"guestAuthors":[],"slug":"from-buskin-on-bart-to-teaching-turfin","title":"From Buskin’ on BART to Teaching Turfin’","publishDate":1704970807,"format":"audio","headTitle":"From Buskin’ on BART to Teaching Turfin’ | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>“T\u003cspan style=\"font-weight: 400\">urfin’ is a way of life for me,” says \u003c/span>Telice Summerfield, a dancer who has the ability turn a BART platform into a stage where she can glide, tut, bend and bone break on beat. She exchanges energy with onlookers; they get entertained and she gets empowered. The dance is an art. It’s also a political act, as she takes up space at will.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\" target=\"_blank\" rel=\"noopener\">Turf, \u003c/a>an acronym that stands for “taking up room on the floor,” is a style of dance that’s native to Oakland. During the hyphy movement of the early 2000s, the moves people were doing at house parties and in music videos left an indelible impression on Telice, as a youngster growing up in South Sacramento. When she was a teenager, her mother would drive her to functions in the Bay Area so she could be a part of the action. And as a young adult attending UC Berkeley, Telice found a home in Oakland’s turf dancing community.\u003c/p>\n\u003cfigure id=\"attachment_13940115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13940115 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-800x533.jpg\" alt=\"Telice Summerfield's hair swings as she gigs in the center of a crowd during a recent battle.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Telice Summerfield’s hair swings as she gigs in the center of a crowd during a recent battle. \u003ccite>(Amy Marie Elmer / Artful Eye Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through this community, Telice has built a career in dance. Last year alone she hosted the 2023 Red Bull Dance Your Style Competition, taught turf dancing to young folks at an elementary school in West Oakland, and led lessons on dance at the Oakland Museum of California.\u003c/p>\n\u003cp>Today we discuss how the hyphy movement opened her eyes to the arts as a child, how her experience at UC Berkeley exposed her to inequalities on campus as a young adult, and what dancing on BART has taught her about sociology. Now that Telice is a known name in the dancing world, she also gives us some insight on her plans to take the culture even further.\u003c/p>\n\u003cp>https://www.instagram.com/reel/ClfT3U6Dw3_/\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7950103605&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw, host:\u003c/strong> Hey, what’s up family, welcome to Rightnowish. I’m your host, Pendarvis Harshaw, sliding in the studio to bring you a story that’s for sure going to get you moving.\u003c/p>\n\u003cp>If you’re an avid BART rider, chances are you’ve seen folks dancing on the train to make a lil change. The style of dance most people do on BART is T.U.R.F. Dancing, a type of dance that emerged from Oakland in the late 90s and early 2000s. It was popularized during the hyphy movement, and in many ways it carried the culture.\u003c/p>\n\u003cp>More than just going dumb, T.U.R.F. Dancing is about the smooth footwork, pantomiming and making facial expressions. It’s about the bone-breaking, tutting, and pop-locking. It’s storytelling on beat, and being player about it.\u003c/p>\n\u003cp>This week we’re talking to Telice Summerfield, a T.U.R.F. dancer who takes the meaning behind the acronym T.U.R.F.– taking up room on the floor– seriously.\u003c/p>\n\u003cp>Originally from South Sacramento, Telice was a kid when the hyphy movement kicked off. But she took note of it all: the good, the bad, and the dance moves.\u003c/p>\n\u003cp>And since then she’s gone on to teach dance classes in schools, host events at the Oakland Museum of California, and shine on stage at Red Bull’s Dance Your Style competition.\u003c/p>\n\u003cp>If you’re lucky enough to get on the right BART train, you’ll find Telice going from station to station, giggin’, doing bone-breaking contortions, and acrobatic moves as she performs on public transit. It’s because of this work ethic and talent that Telice’s name now rings bells in the Bay and beyond.\u003c/p>\n\u003cp>Today on Rightnowish, Telice shares a bit about her upbringing in Sacramento, her affection for the Town and how she’s T.U.R.F. danced all over Northern California– carrying the hyphy flag with her, and keeping the culture lit for the next generation.\u003c/p>\n\u003cp>All of that and more, right after this.\u003c/p>\n\u003cp>What’s your earliest memory of turf dancing, when was the first time you saw it?\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> So when I was 11, my.. I want to call her my cousin, but she really like my little brother’s auntie. She were not, like, blood re-. Anyways, she threw a party. I want to say she was like a junior or senior in high school, and she threw a big ass party right there in Meadowview and it was so lit. It was like my first function. And in there they was fuckin wit’ it they was turfin’. And Iike it just was… it so lit. It was like one of the most hyphiest young moments of my life.\u003c/p>\n\u003cp>By, like, my junior year of high school, I was like ditching school to go to the battles or I would like, leave whatever school event. I was into extracurriculars, very studious, very smart. But I would be leaving the school shit to go dance because that’s really where my heart was.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> During that time period, we have this thing called the hyphy movement. And through that, it furthered the cultural identity of Northern California hip hop. And it spoke to you in Sacramento. You latched on to it. What was it about the hyphy movement that spoke to you?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Oh, my goodness. I felt a sense of like, ‘ooh, that’s me.’ Like, it was just like a sense of resonance, you know? Um, it allowed me to be free.\u003c/p>\n\u003cp>With the hyphy movement and with hyphy culture and like just the energy behind it, there’s a sense of like, relief and freedom and like, “Oh, you don’t actually got to sit like this and eat like this and do this.” And there’s no supposed to. You know, you could just like fuck with it, you feel me. And like it was very electric for me. Like I will always turn up. The Federation was my favorite. And whenever I felt constrained by rules or by circumstance or by um, obstacles, I could always turn on some hyphy slaps and it would just be lit like, I just would feel better, you know?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> Something that I really wanted to touch on, is the fact that your mother would drive you and sometimes even your siblings to functions in Oakland so that you could dance. What did her belief in you do for you as a burgeoning dancer?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> She would do all of that sacrificing, and mind you she was like… the battles back in the day was like 25 dollars, maybe 20, 25 dollars. And she couldn’t afford to get us all if she would drive all the way from Sac, maybe with my siblings in a car, if they was around, if not, they was at home or whatever. But they would all wait outside for me and she would pay for me to get into battles and wait hours, hours for me to just be exposed, like maybe, maybe not cypher, maybe, maybe not meet a few people. You know what I mean?\u003c/p>\n\u003cp>Like, I was a lot more reserved and a lot less confident at the time, and so she would go the extra mile just for me to have the exposure to what I love most. And for me, like, especially in hindsight, I can never pay her back for that. You know, it’s like an investment that, like, she really believes in me and it’s paid off. You know, I’m able to pay my bills now off of dance, just off of me being who I am. And like, that’s a blessing. That is… that’s irreplaceable. You know, you can’t put a price tag on that. So, her investment in me way back when just showed me that she believed in whatever I decide to do, she gon’ stand ten toes behind me.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> That’s beautiful. As a parent I know that that’s something that, yeah, you kind of live through your child in a lot of ways. And… and so seeing you pursue your dreams and be successful, I’m sure she’s proud of you.\u003c/p>\n\u003cp>Something I got to get here because this is an important part of your story. You get into UC Berkeley, you move to the Bay Area. You study social welfare as well as Spanish, and at the same time you weren’t all the way feeling what UC Berkeley was in terms of the social life on campus. So you ended up in Oakland. What did Oakland provide for you as an outlet during that time period?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Oakland provided a sense of like home. Like it didn’t feel like there were as many social expectations or regulations. Racism wasn’t as heavy as it was in Berkeley. My craft held more weight in Oakland, you know, like I feel like my… I could take my craft to Oakland anywhere, you know, especially on the trains. Well, like, anywhere really and be recognized for what I do and, like, really be affirmed in what I do. Whereas like in Berkeley, it just was like, “Oh, that’s cool,” you know?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> Very much so. I went to Berkeley for grad school. Similar situation where on Fridays I would drop my backpack off and just be in the town and I… It was a release, I could breathe again.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> And that’s a lot of the reason why I would either if I was in Berkeley, I was either at home, in class, or on my way to the BART.\u003cem> [chuckles]\u003c/em> Like, I was never really kickin’ it in Berkeley. I never really was fucking with the parties like that, like none of that, because I didn’t feel a sense of belonging. I didn’t feel like there was room for, like, real black girls, like.\u003c/p>\n\u003cp>Berkeley is well known for its political activism, its progressive activism, but there also still exists a lot of hegemony and hierarchy in that arena just to even have access to it, you know. So I felt that a lot and just Oakland gave me an escape. It gave me access to myself.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> That makes perfect sense then. And that investment in yourself paid dividends. You furthered your community. You met folks who were into dance just like you were. You met my best friend in the world, Jesus.. Zeus El, who’s a legendary turf dancer. And so I’ve known Zeus since seventh grade, and I’ve seen him develop this turf dance family kind of from the outside. You know, I know a lot of the people, but I’m not a dancer, so I’m not in it. And so I’m wondering, what is it like being inside of that turf dancing family?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> First of all, shout out to Zeus. I love him so much. That’s big bro.\u003c/p>\n\u003cp>He’s incredible. He takes everybody in with open arms. And that’s not the case for all the turfers. And that’s not… that’s not our general standard of embracing people. You know, a lot of times people have to earn it. But he just like, welcomed me and I just- I’m so grateful.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Being inside of that family is like it’s very nuanced. Like there’s very, very high highs and the lows really kick you in your ass and there’s a lot of politics too, that are not easily, uh, legible to an onlooker, right or somebody who just whose perspective is from the outside in.\u003c/p>\n\u003cp>It’s very critical that we stay connected, even if we don’t see eye to eye or even if we don’t agree on a topic. Being in that family is not easy, but Zeus made it a lot easier. Like I met, he was one of the first people I met in my first, like, day of being in Berkeley by myself without my family, you know. Like I went to the gym and I went to go flip with him. And that also gave me a sense of myself because I’ve been an athlete for a long time. And it just reminded me like, there’s not… you don’t have to separate your identity into categories, like they can all blend and serve your purpose for who you are.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> You came out and you stole the show at a KQED event. We were honoring dancers from… basically 100 years worth of dancing told through this show. And toward the end, we invited folks to come up on stage and start hittin it, and you came out there, giggin, you knew a little bit of everybody and folks knew you.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Being integral to what I love most has earned me the opportunity of getting to be who I am authentically, everywhere I go.\u003c/p>\n\u003cp>When you see me interacting with people and you see me like…. Like you said, I knew a little bit of everybody. Someone that I met from years ago in school could be at a KQED event and remember me or recognize me. Right. Or someone that I met through a village auntie can be at another event and remember me. You know what I mean? And so I think just like, developing authentic relationships and being authentic to who I am has allowed me to earn my name and earn like the…honor behind it.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> You mentioned dancing in different places and people knowing you from the different hats that you wear. Do you have a different approach when you’re dancing on big stages or community events or even on BART?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Dancing on big stages is really fun. It’s really fun because the support is for the most part, it’s overwhelming.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> It allows me to expose the culture to a larger amount of people and the way that I do it, is unique because I wasn’t here, you know, I wasn’t in the Town in 2006, 2007, 2008, right? So the way that I do it has to be genuine to who I am.\u003c/p>\n\u003cp>It feels empowering to dance on BART because I know that I can always feed myself off my craft, you know? But there’s… there’s, like, nuances, right? Like, there’s the good with the bad. Like, BART is not the cleanest place to be hustling. It’s not the cleanest place to be dancing, you know? So I don’t sit down when I’m dancing on BART. Like I don’t sit down on BART, period.\u003c/p>\n\u003cp>Most people who see dancers on BART, they rarely see girls. They rarely see girls who are raw. I don’t know, I don’t even really see girls like that and I be out there! So, like…\u003c/p>\n\u003cp>Turfing in itself is taken up from on a floor, right? And it’s like radical, it’s political. It’s not- it’s not just dance moves Like you can feel it, it pierces you, you know, And whether I’m dancing on BART, whether I’m dancing in a battle, whether I’m dancing at first Friday, whether I’m dancing at a music festival, like people can feel that.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> That’s dope, Okay.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> And, in terms of that validity in developing community and reaching folks during the pandemic, BART ridership took a dive. You pivoted and started doing work online. You developed a dance club called “Pussy Power Dance” and it became popular. Why do you think folks latched onto it?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Well, I created Pussy Power out of a deficit of platform, right. Each month I would host a IG live session and it would last for about an hour and I would invite girls to come and perform on Pussy Power and, um, they would take 3 to 5 minutes to dance and they would just showcase. And I made it a showcase on purpose so that it was more open to all level styles, backgrounds, like I didn’t want it to feel like a competition or like a battle or like you’re going against all these girls in the live, right?\u003c/p>\n\u003cp>And I think that people latched on to it because they probably felt the same way and also because they saw how unifying it was from like, the barriers of time, space, language, level of dance, and any other constraints that could keep us away from each other, they- those obstacles didn’t limit us when we were on pussy power. So like, every episode was so inspiring, and all the girls were like, ‘oh my goodness!’ It was just so cool.\u003c/p>\n\u003cp>To me, giving back is a part of why I do everything that I do. Like I want everyone to walk away with something, even if it’s inspiration or hopefully it’s tangible. And so through Pussy Power, even though there was all these dimensions that kept us apart, I still was able to give back in tangible ways and that made it more popular.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> It’s something, you seem like you’ve etched out a career path. Now you’re working in education as well, teaching young folks dance in West Oakland. Tell me more about your day job.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> My day job is teaching dance at an elementary school in West Oakland. And I teach from preschool up until fourth grade. Basically, there’s two classes of each grade and each class like, circulates through my class,\u003c/p>\n\u003cp>In my class we do, like it’s not elite dancing at all, you know, it’s not like it’s not “traditional” what traditional dance classes would look like, where like they’re learning a choreography and then they’re doing the choreography, right?\u003c/p>\n\u003cp>It’s more of like embracing movement as a creative expression of empowerment. You know, it’s like confidence building. It’s like them embracing that dance culture is really fun.\u003c/p>\n\u003cp>What I do, like, my role is to, like, uplift them and empower them and like, show them like, even if you don’t feel like the best dancer in the world, you can still come touch the stage and show some poses. And, you know, you can walk down a Soul Train line like the queen that you are. And so that allows them to share information of movement with each other, um, back and forth and just like embrace each other, you know, really see each other.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> And then beyond that, you also do workshops with folks of all ages through the Oakland Museum of California. What’s that experience been like?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> The Oakland Museum, shout out to them. I love them so much. The workshop that I taught recently, it did have a diverse age group and I’m grateful for that because the movement and the information that I have to offer. I do want it to be accessible to everyone. And so I hosted a dance workshop on the front steps in the front patio of the Oakland Museum. And at first it was like only a few people. And like, there was some people who were feeling shy so they just wanted to watch. And then there are some people who are like, “Yeah, I’ll do it..I come fuck with y’all.” But by the end of the class it was like a good 15, 20 people and they all like, “Yeah!” You know, they’re all really excited.\u003c/p>\n\u003cp>And I like to end with uh, activities, games, you know, dance circles, things like that, because it… it’s not so like… accomplished-based. It’s actually about how you feel because it’s not just a dance move. It’s not just a dance style. It’s like a… It’s a feeling, you know what I mean? It’s like a… it’s like a radical act, it’s a radical practice. So people feel that when they’re in my classes, in my space, learning from me, they always leave with smiles. And that just makes me feel like, oh my goodness.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> You’re doing the work. You’re doing the work. And it’s, I mean, the smiles and also like having income based on it, being able to make a living off of dance, that’s a sign that you’re on the right path. With that said, why do you personally think it’s important to pass down these lessons to the next generation?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Several reasons, I really in my heart, I know that if we don’t pay it forward, the culture will die, like, just period.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> You know, and so, I really, as someone who’s really passionate about it and who cares about this a lot and like who makes a living and defines my path with this turfin’ shit, like turfing is a way of life for me. And as someone who uses this practice as a way of life, it’s critical to pass it down. It’s critical to pay it forward. So that way I’m not always… the burden isn’t always on me to keep this alive. Like, you know, it’s not just on any of us. Like we have a whole ‘nother generation of people who are emerging and maybe they can do a little bit more with this practice, with this community than we were able to do. You know, maybe they can reach farther than we were able to reach, you know?\u003c/p>\n\u003cp>Like there’s a lot of people around the world who want to learn turfing, you know, and we have it. It’s not like we’re not capable. There’s just some disconnects that I want to, like, connect so that not only I can get paid boucou money to travel the world, to teach and learn turfing. But my peers and my… my youngins can also do the same and see tangible opportunity from this, you know?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> Everybody eats, B.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Everybody eats. Everybody walks away with something.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> I want to give a huge shoutout to Telice Summerfield. You’ve found your path, and you’ve simultaneously carried the culture with you! Thank you. Thank you for taking it even further!\u003c/p>\n\u003cp>You all can follow her on Instagram at tuuhleacee spelled T-U-U-H-L-E-A-C-E-E. And that’s the best way to stay updated on Telice’s upcoming performances, classes and more.\u003c/p>\n\u003cp>This episode was hosted by me, Pendarvis Harshaw.\u003c/p>\n\u003cp>It was produced by Marisol Medina-Cadena and Sheree Bishop.\u003c/p>\n\u003cp>Chris Hambrick is our editor.\u003c/p>\n\u003cp>Christopher Beale is our engineer.\u003c/p>\n\u003cp>Additional support provided by Jen Chien, Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/p>\n\u003cp>If you liked this episode, please share it with a friend, or write a review on your favorite podcast platform. It helps more people find us. Thanks y’all.\u003c/p>\n\u003cp>Rightnowish is a KQED Production.\u003c/p>\n\u003cp>Peace.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Telice Summerfield discusses the hyphy movement and her plans to take turf dancing culture even further.","status":"publish","parent":0,"modified":1705081380,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":84,"wordCount":4155},"headData":{"title":"From Buskin’ on BART to Teaching Turfin’ | KQED","description":""Turfin' is a way of life for me," says Telice Summerfield, a dancer who has the ability turn a BART platform into a stage where she can glide, tut, bend and bone break on beat. She exchanges energy with onlookers; they get entertained and she gets empowered. The dance is an art. It's also a political act, as she takes up space at will.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":""Turfin' is a way of life for me," says Telice Summerfield, a dancer who has the ability turn a BART platform into a stage where she can glide, tut, bend and bone break on beat. She exchanges energy with onlookers; they get entertained and she gets empowered. The dance is an art. It's also a political act, as she takes up space at will."},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC7950103605.mp3?updated=1704930857","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13940111/from-buskin-on-bart-to-teaching-turfin","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>“T\u003cspan style=\"font-weight: 400\">urfin’ is a way of life for me,” says \u003c/span>Telice Summerfield, a dancer who has the ability turn a BART platform into a stage where she can glide, tut, bend and bone break on beat. She exchanges energy with onlookers; they get entertained and she gets empowered. The dance is an art. It’s also a political act, as she takes up space at will.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\" target=\"_blank\" rel=\"noopener\">Turf, \u003c/a>an acronym that stands for “taking up room on the floor,” is a style of dance that’s native to Oakland. During the hyphy movement of the early 2000s, the moves people were doing at house parties and in music videos left an indelible impression on Telice, as a youngster growing up in South Sacramento. When she was a teenager, her mother would drive her to functions in the Bay Area so she could be a part of the action. And as a young adult attending UC Berkeley, Telice found a home in Oakland’s turf dancing community.\u003c/p>\n\u003cfigure id=\"attachment_13940115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13940115 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-800x533.jpg\" alt=\"Telice Summerfield's hair swings as she gigs in the center of a crowd during a recent battle.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/1-3.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Telice Summerfield’s hair swings as she gigs in the center of a crowd during a recent battle. \u003ccite>(Amy Marie Elmer / Artful Eye Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through this community, Telice has built a career in dance. Last year alone she hosted the 2023 Red Bull Dance Your Style Competition, taught turf dancing to young folks at an elementary school in West Oakland, and led lessons on dance at the Oakland Museum of California.\u003c/p>\n\u003cp>Today we discuss how the hyphy movement opened her eyes to the arts as a child, how her experience at UC Berkeley exposed her to inequalities on campus as a young adult, and what dancing on BART has taught her about sociology. Now that Telice is a known name in the dancing world, she also gives us some insight on her plans to take the culture even further.\u003c/p>\n\u003cp>https://www.instagram.com/reel/ClfT3U6Dw3_/\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7950103605&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw, host:\u003c/strong> Hey, what’s up family, welcome to Rightnowish. I’m your host, Pendarvis Harshaw, sliding in the studio to bring you a story that’s for sure going to get you moving.\u003c/p>\n\u003cp>If you’re an avid BART rider, chances are you’ve seen folks dancing on the train to make a lil change. The style of dance most people do on BART is T.U.R.F. Dancing, a type of dance that emerged from Oakland in the late 90s and early 2000s. It was popularized during the hyphy movement, and in many ways it carried the culture.\u003c/p>\n\u003cp>More than just going dumb, T.U.R.F. Dancing is about the smooth footwork, pantomiming and making facial expressions. It’s about the bone-breaking, tutting, and pop-locking. It’s storytelling on beat, and being player about it.\u003c/p>\n\u003cp>This week we’re talking to Telice Summerfield, a T.U.R.F. dancer who takes the meaning behind the acronym T.U.R.F.– taking up room on the floor– seriously.\u003c/p>\n\u003cp>Originally from South Sacramento, Telice was a kid when the hyphy movement kicked off. But she took note of it all: the good, the bad, and the dance moves.\u003c/p>\n\u003cp>And since then she’s gone on to teach dance classes in schools, host events at the Oakland Museum of California, and shine on stage at Red Bull’s Dance Your Style competition.\u003c/p>\n\u003cp>If you’re lucky enough to get on the right BART train, you’ll find Telice going from station to station, giggin’, doing bone-breaking contortions, and acrobatic moves as she performs on public transit. It’s because of this work ethic and talent that Telice’s name now rings bells in the Bay and beyond.\u003c/p>\n\u003cp>Today on Rightnowish, Telice shares a bit about her upbringing in Sacramento, her affection for the Town and how she’s T.U.R.F. danced all over Northern California– carrying the hyphy flag with her, and keeping the culture lit for the next generation.\u003c/p>\n\u003cp>All of that and more, right after this.\u003c/p>\n\u003cp>What’s your earliest memory of turf dancing, when was the first time you saw it?\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> So when I was 11, my.. I want to call her my cousin, but she really like my little brother’s auntie. She were not, like, blood re-. Anyways, she threw a party. I want to say she was like a junior or senior in high school, and she threw a big ass party right there in Meadowview and it was so lit. It was like my first function. And in there they was fuckin wit’ it they was turfin’. And Iike it just was… it so lit. It was like one of the most hyphiest young moments of my life.\u003c/p>\n\u003cp>By, like, my junior year of high school, I was like ditching school to go to the battles or I would like, leave whatever school event. I was into extracurriculars, very studious, very smart. But I would be leaving the school shit to go dance because that’s really where my heart was.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> During that time period, we have this thing called the hyphy movement. And through that, it furthered the cultural identity of Northern California hip hop. And it spoke to you in Sacramento. You latched on to it. What was it about the hyphy movement that spoke to you?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Oh, my goodness. I felt a sense of like, ‘ooh, that’s me.’ Like, it was just like a sense of resonance, you know? Um, it allowed me to be free.\u003c/p>\n\u003cp>With the hyphy movement and with hyphy culture and like just the energy behind it, there’s a sense of like, relief and freedom and like, “Oh, you don’t actually got to sit like this and eat like this and do this.” And there’s no supposed to. You know, you could just like fuck with it, you feel me. And like it was very electric for me. Like I will always turn up. The Federation was my favorite. And whenever I felt constrained by rules or by circumstance or by um, obstacles, I could always turn on some hyphy slaps and it would just be lit like, I just would feel better, you know?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> Something that I really wanted to touch on, is the fact that your mother would drive you and sometimes even your siblings to functions in Oakland so that you could dance. What did her belief in you do for you as a burgeoning dancer?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> She would do all of that sacrificing, and mind you she was like… the battles back in the day was like 25 dollars, maybe 20, 25 dollars. And she couldn’t afford to get us all if she would drive all the way from Sac, maybe with my siblings in a car, if they was around, if not, they was at home or whatever. But they would all wait outside for me and she would pay for me to get into battles and wait hours, hours for me to just be exposed, like maybe, maybe not cypher, maybe, maybe not meet a few people. You know what I mean?\u003c/p>\n\u003cp>Like, I was a lot more reserved and a lot less confident at the time, and so she would go the extra mile just for me to have the exposure to what I love most. And for me, like, especially in hindsight, I can never pay her back for that. You know, it’s like an investment that, like, she really believes in me and it’s paid off. You know, I’m able to pay my bills now off of dance, just off of me being who I am. And like, that’s a blessing. That is… that’s irreplaceable. You know, you can’t put a price tag on that. So, her investment in me way back when just showed me that she believed in whatever I decide to do, she gon’ stand ten toes behind me.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> That’s beautiful. As a parent I know that that’s something that, yeah, you kind of live through your child in a lot of ways. And… and so seeing you pursue your dreams and be successful, I’m sure she’s proud of you.\u003c/p>\n\u003cp>Something I got to get here because this is an important part of your story. You get into UC Berkeley, you move to the Bay Area. You study social welfare as well as Spanish, and at the same time you weren’t all the way feeling what UC Berkeley was in terms of the social life on campus. So you ended up in Oakland. What did Oakland provide for you as an outlet during that time period?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Oakland provided a sense of like home. Like it didn’t feel like there were as many social expectations or regulations. Racism wasn’t as heavy as it was in Berkeley. My craft held more weight in Oakland, you know, like I feel like my… I could take my craft to Oakland anywhere, you know, especially on the trains. Well, like, anywhere really and be recognized for what I do and, like, really be affirmed in what I do. Whereas like in Berkeley, it just was like, “Oh, that’s cool,” you know?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> Very much so. I went to Berkeley for grad school. Similar situation where on Fridays I would drop my backpack off and just be in the town and I… It was a release, I could breathe again.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> And that’s a lot of the reason why I would either if I was in Berkeley, I was either at home, in class, or on my way to the BART.\u003cem> [chuckles]\u003c/em> Like, I was never really kickin’ it in Berkeley. I never really was fucking with the parties like that, like none of that, because I didn’t feel a sense of belonging. I didn’t feel like there was room for, like, real black girls, like.\u003c/p>\n\u003cp>Berkeley is well known for its political activism, its progressive activism, but there also still exists a lot of hegemony and hierarchy in that arena just to even have access to it, you know. So I felt that a lot and just Oakland gave me an escape. It gave me access to myself.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> That makes perfect sense then. And that investment in yourself paid dividends. You furthered your community. You met folks who were into dance just like you were. You met my best friend in the world, Jesus.. Zeus El, who’s a legendary turf dancer. And so I’ve known Zeus since seventh grade, and I’ve seen him develop this turf dance family kind of from the outside. You know, I know a lot of the people, but I’m not a dancer, so I’m not in it. And so I’m wondering, what is it like being inside of that turf dancing family?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> First of all, shout out to Zeus. I love him so much. That’s big bro.\u003c/p>\n\u003cp>He’s incredible. He takes everybody in with open arms. And that’s not the case for all the turfers. And that’s not… that’s not our general standard of embracing people. You know, a lot of times people have to earn it. But he just like, welcomed me and I just- I’m so grateful.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Being inside of that family is like it’s very nuanced. Like there’s very, very high highs and the lows really kick you in your ass and there’s a lot of politics too, that are not easily, uh, legible to an onlooker, right or somebody who just whose perspective is from the outside in.\u003c/p>\n\u003cp>It’s very critical that we stay connected, even if we don’t see eye to eye or even if we don’t agree on a topic. Being in that family is not easy, but Zeus made it a lot easier. Like I met, he was one of the first people I met in my first, like, day of being in Berkeley by myself without my family, you know. Like I went to the gym and I went to go flip with him. And that also gave me a sense of myself because I’ve been an athlete for a long time. And it just reminded me like, there’s not… you don’t have to separate your identity into categories, like they can all blend and serve your purpose for who you are.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> You came out and you stole the show at a KQED event. We were honoring dancers from… basically 100 years worth of dancing told through this show. And toward the end, we invited folks to come up on stage and start hittin it, and you came out there, giggin, you knew a little bit of everybody and folks knew you.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Being integral to what I love most has earned me the opportunity of getting to be who I am authentically, everywhere I go.\u003c/p>\n\u003cp>When you see me interacting with people and you see me like…. Like you said, I knew a little bit of everybody. Someone that I met from years ago in school could be at a KQED event and remember me or recognize me. Right. Or someone that I met through a village auntie can be at another event and remember me. You know what I mean? And so I think just like, developing authentic relationships and being authentic to who I am has allowed me to earn my name and earn like the…honor behind it.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> You mentioned dancing in different places and people knowing you from the different hats that you wear. Do you have a different approach when you’re dancing on big stages or community events or even on BART?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Dancing on big stages is really fun. It’s really fun because the support is for the most part, it’s overwhelming.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> It allows me to expose the culture to a larger amount of people and the way that I do it, is unique because I wasn’t here, you know, I wasn’t in the Town in 2006, 2007, 2008, right? So the way that I do it has to be genuine to who I am.\u003c/p>\n\u003cp>It feels empowering to dance on BART because I know that I can always feed myself off my craft, you know? But there’s… there’s, like, nuances, right? Like, there’s the good with the bad. Like, BART is not the cleanest place to be hustling. It’s not the cleanest place to be dancing, you know? So I don’t sit down when I’m dancing on BART. Like I don’t sit down on BART, period.\u003c/p>\n\u003cp>Most people who see dancers on BART, they rarely see girls. They rarely see girls who are raw. I don’t know, I don’t even really see girls like that and I be out there! So, like…\u003c/p>\n\u003cp>Turfing in itself is taken up from on a floor, right? And it’s like radical, it’s political. It’s not- it’s not just dance moves Like you can feel it, it pierces you, you know, And whether I’m dancing on BART, whether I’m dancing in a battle, whether I’m dancing at first Friday, whether I’m dancing at a music festival, like people can feel that.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> That’s dope, Okay.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> And, in terms of that validity in developing community and reaching folks during the pandemic, BART ridership took a dive. You pivoted and started doing work online. You developed a dance club called “Pussy Power Dance” and it became popular. Why do you think folks latched onto it?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Well, I created Pussy Power out of a deficit of platform, right. Each month I would host a IG live session and it would last for about an hour and I would invite girls to come and perform on Pussy Power and, um, they would take 3 to 5 minutes to dance and they would just showcase. And I made it a showcase on purpose so that it was more open to all level styles, backgrounds, like I didn’t want it to feel like a competition or like a battle or like you’re going against all these girls in the live, right?\u003c/p>\n\u003cp>And I think that people latched on to it because they probably felt the same way and also because they saw how unifying it was from like, the barriers of time, space, language, level of dance, and any other constraints that could keep us away from each other, they- those obstacles didn’t limit us when we were on pussy power. So like, every episode was so inspiring, and all the girls were like, ‘oh my goodness!’ It was just so cool.\u003c/p>\n\u003cp>To me, giving back is a part of why I do everything that I do. Like I want everyone to walk away with something, even if it’s inspiration or hopefully it’s tangible. And so through Pussy Power, even though there was all these dimensions that kept us apart, I still was able to give back in tangible ways and that made it more popular.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> It’s something, you seem like you’ve etched out a career path. Now you’re working in education as well, teaching young folks dance in West Oakland. Tell me more about your day job.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> My day job is teaching dance at an elementary school in West Oakland. And I teach from preschool up until fourth grade. Basically, there’s two classes of each grade and each class like, circulates through my class,\u003c/p>\n\u003cp>In my class we do, like it’s not elite dancing at all, you know, it’s not like it’s not “traditional” what traditional dance classes would look like, where like they’re learning a choreography and then they’re doing the choreography, right?\u003c/p>\n\u003cp>It’s more of like embracing movement as a creative expression of empowerment. You know, it’s like confidence building. It’s like them embracing that dance culture is really fun.\u003c/p>\n\u003cp>What I do, like, my role is to, like, uplift them and empower them and like, show them like, even if you don’t feel like the best dancer in the world, you can still come touch the stage and show some poses. And, you know, you can walk down a Soul Train line like the queen that you are. And so that allows them to share information of movement with each other, um, back and forth and just like embrace each other, you know, really see each other.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> And then beyond that, you also do workshops with folks of all ages through the Oakland Museum of California. What’s that experience been like?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> The Oakland Museum, shout out to them. I love them so much. The workshop that I taught recently, it did have a diverse age group and I’m grateful for that because the movement and the information that I have to offer. I do want it to be accessible to everyone. And so I hosted a dance workshop on the front steps in the front patio of the Oakland Museum. And at first it was like only a few people. And like, there was some people who were feeling shy so they just wanted to watch. And then there are some people who are like, “Yeah, I’ll do it..I come fuck with y’all.” But by the end of the class it was like a good 15, 20 people and they all like, “Yeah!” You know, they’re all really excited.\u003c/p>\n\u003cp>And I like to end with uh, activities, games, you know, dance circles, things like that, because it… it’s not so like… accomplished-based. It’s actually about how you feel because it’s not just a dance move. It’s not just a dance style. It’s like a… It’s a feeling, you know what I mean? It’s like a… it’s like a radical act, it’s a radical practice. So people feel that when they’re in my classes, in my space, learning from me, they always leave with smiles. And that just makes me feel like, oh my goodness.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> You’re doing the work. You’re doing the work. And it’s, I mean, the smiles and also like having income based on it, being able to make a living off of dance, that’s a sign that you’re on the right path. With that said, why do you personally think it’s important to pass down these lessons to the next generation?\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Several reasons, I really in my heart, I know that if we don’t pay it forward, the culture will die, like, just period.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> You know, and so, I really, as someone who’s really passionate about it and who cares about this a lot and like who makes a living and defines my path with this turfin’ shit, like turfing is a way of life for me. And as someone who uses this practice as a way of life, it’s critical to pass it down. It’s critical to pay it forward. So that way I’m not always… the burden isn’t always on me to keep this alive. Like, you know, it’s not just on any of us. Like we have a whole ‘nother generation of people who are emerging and maybe they can do a little bit more with this practice, with this community than we were able to do. You know, maybe they can reach farther than we were able to reach, you know?\u003c/p>\n\u003cp>Like there’s a lot of people around the world who want to learn turfing, you know, and we have it. It’s not like we’re not capable. There’s just some disconnects that I want to, like, connect so that not only I can get paid boucou money to travel the world, to teach and learn turfing. But my peers and my… my youngins can also do the same and see tangible opportunity from this, you know?\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> Everybody eats, B.\u003c/p>\n\u003cp>\u003cstrong>Telice Summerfield:\u003c/strong> Everybody eats. Everybody walks away with something.\u003c/p>\n\u003cp>\u003cem>[Music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis Harshaw:\u003c/strong> I want to give a huge shoutout to Telice Summerfield. You’ve found your path, and you’ve simultaneously carried the culture with you! Thank you. Thank you for taking it even further!\u003c/p>\n\u003cp>You all can follow her on Instagram at tuuhleacee spelled T-U-U-H-L-E-A-C-E-E. And that’s the best way to stay updated on Telice’s upcoming performances, classes and more.\u003c/p>\n\u003cp>This episode was hosted by me, Pendarvis Harshaw.\u003c/p>\n\u003cp>It was produced by Marisol Medina-Cadena and Sheree Bishop.\u003c/p>\n\u003cp>Chris Hambrick is our editor.\u003c/p>\n\u003cp>Christopher Beale is our engineer.\u003c/p>\n\u003cp>Additional support provided by Jen Chien, Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/p>\n\u003cp>If you liked this episode, please share it with a friend, or write a review on your favorite podcast platform. It helps more people find us. Thanks y’all.\u003c/p>\n\u003cp>Rightnowish is a KQED Production.\u003c/p>\n\u003cp>Peace.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13940111/from-buskin-on-bart-to-teaching-turfin","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1","arts_966"],"tags":["arts_5814","arts_879","arts_6975","arts_1143","arts_21830","arts_5779","arts_19347","arts_21840","arts_21829"],"featImg":"arts_13940113","label":"arts_8720"},"arts_13940282":{"type":"posts","id":"arts_13940282","meta":{"index":"posts_1591205157","site":"arts","id":"13940282","score":null,"sort":[1704916893000]},"guestAuthors":[],"slug":"artists-against-genocide-counterpulse","title":"‘Artists Against Genocide’ Aims to Educate, Heal and Mobilize in SF","publishDate":1704916893,"format":"standard","headTitle":"‘Artists Against Genocide’ Aims to Educate, Heal and Mobilize in SF | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Black feminist writer Toni Cade Bambara once declared that the role of the artist is to “make the revolution irresistible.” That mantra has guided the organizers of \u003ca href=\"https://www.instagram.com/p/C0zUMCeR4XE/?img_index=1\">Artists Against Genocide\u003c/a>, a 14-hour event that invites the public to learn, grieve and organize around the human rights crises in \u003ca href=\"https://www.kqed.org/news/tag/gaza\">Gaza\u003c/a>, the \u003ca href=\"https://www.nytimes.com/2023/12/17/world/africa/democratic-republic-of-congo-elections.html\">Democratic Republic of Congo\u003c/a>, \u003ca href=\"https://www.aljazeera.com/features/2024/1/9/sudans-army-is-retaliating-against-activists-amid-the-war-for-their-role-in-bringing-down-their-former-boss-and-president-omar-al-bashir-in-april-2019\">Sudan\u003c/a> and \u003ca href=\"https://www.un.org/en/information-center-washington/haiti%E2%80%99s-harrowing-humanitarian-crisis-remains-top-united-nations%E2%80%99\">Haiti\u003c/a> on Jan. 14 at San Francisco art space \u003ca href=\"https://counterpulse.org/\">CounterPulse\u003c/a>.\u003c/p>\n\u003cp>“We’re making it something that is exciting and also communal,” says Chibueze Crouch, who put together the event with fellow theater, dance and performing artists Styles Alexander, Clarissa Dyas, Kim Ip and Ainsley Tharp.\u003c/p>\n\u003cfigure id=\"attachment_13940290\" class=\"wp-caption alignright\" style=\"max-width: 1074px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940290\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers.png\" alt=\"A Zoom screenshot of five smiling artists and organizers. \" width=\"1074\" height=\"1606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers.png 1074w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-800x1196.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-1020x1525.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-768x1148.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-1027x1536.png 1027w\" sizes=\"(max-width: 1074px) 100vw, 1074px\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left: Styles Alexander, Ainsley Tharp, Kim Ip, Chibueze Crouch and Clarissa Dyas. \u003ccite>(Courtesy of Chibueze Crouch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The all-day event offers panels and teach-ins, with speakers that include \u003ca href=\"https://www.palestineinamerica.com/blog/A%20Palestinian%20you%20should%20know:%20Sharif%20Zakout\">Sharif Zakout\u003c/a> of \u003ca href=\"https://www.araborganizing.org/\">Arab Resource and Organizing Center\u003c/a> and \u003ca href=\"https://www.kqed.org/news/tag/cat-brooks\">Cat Brooks\u003c/a> of \u003ca href=\"https://www.antipoliceterrorproject.org/\">Anti Police-Terror Project\u003c/a>, with support from local record label \u003ca href=\"https://7000coils.com/\">7000COILS\u003c/a>. Dancer, choreographer and Yoruba priest \u003ca href=\"https://www.kqed.org/news/11953660/the-kitchen-sisters-present-house-full-of-black-women\">Amara Tabor-Smith\u003c/a> will lead a movement workshop aimed at helping attendees process and release emotions. And a protest poster-making station and phone booths for calling legislators will offer space for participants to channel their sorrow, rage and solidarity into action.\u003c/p>\n\u003cp>“We’re also having a potluck,” says Alexander. “That’s so crucial in these moments — just breaking bread together.”\u003c/p>\n\u003cp>Alexander, who is a member of the queer performance collective Rupture, one of the first arts groups in the Bay Area to put out a \u003ca href=\"https://www.instagram.com/p/Cz2sl4NLwh3/?img_index=1\">formal statement of solidarity with Gaza\u003c/a>, began dreaming up Artists Against Genocide in October. They and their co-organizers anticipated that, by January, there could be some fatigue among the public after months of protesting and calling Congress to demand a ceasefire.\u003c/p>\n\u003cp>“It’s the day before Martin Luther King Day, so it all feels very potent for rejuvenation of a moment that — we don’t know how long until it’s over,” Alexander says.\u003c/p>\n\u003cp>Fellow organizer Ip hopes the event will help creatives realize their power for mobilizing change. “We do have an amazing toolkit, as artists and producers and creators, where we are able to see on a big-picture scale and think critically about society,” she says.\u003c/p>\n\u003cp>[aside postid='news_11972100']But the organizers are careful to underscore that although they’re drawing from the Bay Area’s rich legacy of performance protest, one doesn’t need to be a professional artist to attend or participate. “There is an artist in everyone,” Alexander says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/counterpulse/\">Artists Against Genocide\u003c/a> is free to attend and begins at 12 p.m. on Jan. 14 at CounterPulse in San Francisco. Panels start at 3 p.m., and performances begin at 5 p.m. and go until 2 a.m. ASL interpretation will be available, and the teach-in will be recorded and shared after the event.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The 14-hour event at CounterPulse on Jan. 14 includes a teach-in, somatic workshop and call to action. ","status":"publish","parent":0,"modified":1705002909,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":498},"headData":{"title":"‘Artists Against Genocide’ Aims to Educate, Heal and Mobilize in SF | KQED","description":"The 14-hour event at CounterPulse on Jan. 14 includes a teach-in, somatic workshop and call to action. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13940282/artists-against-genocide-counterpulse","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Black feminist writer Toni Cade Bambara once declared that the role of the artist is to “make the revolution irresistible.” That mantra has guided the organizers of \u003ca href=\"https://www.instagram.com/p/C0zUMCeR4XE/?img_index=1\">Artists Against Genocide\u003c/a>, a 14-hour event that invites the public to learn, grieve and organize around the human rights crises in \u003ca href=\"https://www.kqed.org/news/tag/gaza\">Gaza\u003c/a>, the \u003ca href=\"https://www.nytimes.com/2023/12/17/world/africa/democratic-republic-of-congo-elections.html\">Democratic Republic of Congo\u003c/a>, \u003ca href=\"https://www.aljazeera.com/features/2024/1/9/sudans-army-is-retaliating-against-activists-amid-the-war-for-their-role-in-bringing-down-their-former-boss-and-president-omar-al-bashir-in-april-2019\">Sudan\u003c/a> and \u003ca href=\"https://www.un.org/en/information-center-washington/haiti%E2%80%99s-harrowing-humanitarian-crisis-remains-top-united-nations%E2%80%99\">Haiti\u003c/a> on Jan. 14 at San Francisco art space \u003ca href=\"https://counterpulse.org/\">CounterPulse\u003c/a>.\u003c/p>\n\u003cp>“We’re making it something that is exciting and also communal,” says Chibueze Crouch, who put together the event with fellow theater, dance and performing artists Styles Alexander, Clarissa Dyas, Kim Ip and Ainsley Tharp.\u003c/p>\n\u003cfigure id=\"attachment_13940290\" class=\"wp-caption alignright\" style=\"max-width: 1074px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940290\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers.png\" alt=\"A Zoom screenshot of five smiling artists and organizers. \" width=\"1074\" height=\"1606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers.png 1074w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-800x1196.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-1020x1525.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-768x1148.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-1027x1536.png 1027w\" sizes=\"(max-width: 1074px) 100vw, 1074px\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left: Styles Alexander, Ainsley Tharp, Kim Ip, Chibueze Crouch and Clarissa Dyas. \u003ccite>(Courtesy of Chibueze Crouch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The all-day event offers panels and teach-ins, with speakers that include \u003ca href=\"https://www.palestineinamerica.com/blog/A%20Palestinian%20you%20should%20know:%20Sharif%20Zakout\">Sharif Zakout\u003c/a> of \u003ca href=\"https://www.araborganizing.org/\">Arab Resource and Organizing Center\u003c/a> and \u003ca href=\"https://www.kqed.org/news/tag/cat-brooks\">Cat Brooks\u003c/a> of \u003ca href=\"https://www.antipoliceterrorproject.org/\">Anti Police-Terror Project\u003c/a>, with support from local record label \u003ca href=\"https://7000coils.com/\">7000COILS\u003c/a>. Dancer, choreographer and Yoruba priest \u003ca href=\"https://www.kqed.org/news/11953660/the-kitchen-sisters-present-house-full-of-black-women\">Amara Tabor-Smith\u003c/a> will lead a movement workshop aimed at helping attendees process and release emotions. And a protest poster-making station and phone booths for calling legislators will offer space for participants to channel their sorrow, rage and solidarity into action.\u003c/p>\n\u003cp>“We’re also having a potluck,” says Alexander. “That’s so crucial in these moments — just breaking bread together.”\u003c/p>\n\u003cp>Alexander, who is a member of the queer performance collective Rupture, one of the first arts groups in the Bay Area to put out a \u003ca href=\"https://www.instagram.com/p/Cz2sl4NLwh3/?img_index=1\">formal statement of solidarity with Gaza\u003c/a>, began dreaming up Artists Against Genocide in October. They and their co-organizers anticipated that, by January, there could be some fatigue among the public after months of protesting and calling Congress to demand a ceasefire.\u003c/p>\n\u003cp>“It’s the day before Martin Luther King Day, so it all feels very potent for rejuvenation of a moment that — we don’t know how long until it’s over,” Alexander says.\u003c/p>\n\u003cp>Fellow organizer Ip hopes the event will help creatives realize their power for mobilizing change. “We do have an amazing toolkit, as artists and producers and creators, where we are able to see on a big-picture scale and think critically about society,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11972100","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But the organizers are careful to underscore that although they’re drawing from the Bay Area’s rich legacy of performance protest, one doesn’t need to be a professional artist to attend or participate. “There is an artist in everyone,” Alexander says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/counterpulse/\">Artists Against Genocide\u003c/a> is free to attend and begins at 12 p.m. on Jan. 14 at CounterPulse in San Francisco. Panels start at 3 p.m., and performances begin at 5 p.m. and go until 2 a.m. ASL interpretation will be available, and the teach-in will be recorded and shared after the event.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13940282/artists-against-genocide-counterpulse","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_966","arts_1003","arts_967"],"tags":["arts_10278","arts_8838","arts_585"],"featImg":"arts_13940289","label":"arts_140"},"arts_13940030":{"type":"posts","id":"arts_13940030","meta":{"index":"posts_1591205157","site":"arts","id":"13940030","score":null,"sort":[1704398263000]},"guestAuthors":[],"slug":"konkrete-dancer-krumper-beyonce-renaissance-tour-film","title":"How Oakland-Born Dancer Konkrete Ended Up on Tour with Beyoncé","publishDate":1704398263,"format":"aside","headTitle":"How Oakland-Born Dancer Konkrete Ended Up on Tour with Beyoncé | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13940046\" class=\"wp-caption aligncenter\" style=\"max-width: 1951px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940046\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped.jpeg\" alt=\"A dancer with bleached hair stands on one knee while Beyoncé walks down a catwalk behind him.\" width=\"1951\" height=\"2001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped.jpeg 1951w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-800x821.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1020x1046.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-160x164.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-768x788.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1498x1536.jpeg 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1920x1969.jpeg 1920w\" sizes=\"(max-width: 1951px) 100vw, 1951px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in New York City in July 2023. \u003ccite>(Courtesy of Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no doubt 2023 was the year of \u003ci>Renaissance\u003c/i>. \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a> took her critically acclaimed seventh studio album on the road and broke records, bringing in over $500 million in ticket sales and doing her part to revitalize the U.S. economy. She was declared an honorary mayor of Santa Clara when she played a \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">sold-out show at Levi’s Stadium in August\u003c/a>. Then, similarly to Taylor Swift, she cut a deal with AMC to directly \u003ca href=\"https://www.npr.org/2023/12/06/1197958699/renaissance-a-film-by-beyonce-is-maximalist-excellence\">release her tour movie\u003c/a> in theaters across the globe last month, bypassing major studios.\u003c/p>\n\u003cp>It is in that movie that many \u003ca href=\"https://www.kqed.org/arts/13934081/beyonce-renaissance-levis-stadium-photos-fashion\">fans\u003c/a> noticed a familiar face — or perhaps neck — from the Bay Area. One of the dancers on the tour, \u003ca href=\"https://knkrtworld.com/\">Kevin “Konkrete” Davis Jr.\u003c/a>, appeared onscreen with a tattoo of an oak tree with roots, a variation on the City of Oakland’s official logo.\u003c/p>\n\u003cp>Davis spoke to KQED about his Oakland and Sacramento upbringing, how he landed a spot on Beyoncé’s Renaissance World Tour and his favorite spots to hit up when he’s back in the Bay.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>https://www.instagram.com/p/C0UIzqEAo1I/\u003c/p>\n\u003cp>\u003cstrong>When I was in my seat on the opening night of the film in Emeryville, your neck tattoo got a loud reaction from the crowd, pleasantly surprised to see the Town represented in this way. What’s the story behind it?\u003c/strong>\u003c/p>\n\u003cp>I was born in Oakland, I’m strictly from the Town, but I was raised in Sacramento. I moved to Sacramento in third grade, then moved back to Oakland — did a lot of back and forth, the whole Northern California trip, if you know what I mean. But I got this tattoo because Oakland is my roots. And it’s like a code, because there are people from the Bay everywhere, especially in the entertainment industry. When they see \u003ca href=\"https://www.instagram.com/p/Cv7mSFsOgOa/?utm_source=ig_web_copy_link&igsh=ZTcxMWMzOWQ1OA%3D%3D\">my tattoo\u003c/a>, they go, “You’re from Oakland, huh?”\u003c/p>\n\u003cfigure id=\"attachment_13940054\" class=\"wp-caption aligncenter\" style=\"max-width: 660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940054\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy.jpeg\" alt=\"Konkrete looks into the distance while wearing a grey suit and sunglasses. His oak tree neck tattoo, symbolizing Oakland, is visible.\" width=\"660\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy.jpeg 660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy-160x193.jpeg 160w\" sizes=\"(max-width: 660px) 100vw, 660px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-born dancer, choreographer and musician Konkrete has worked with Beyoncé, Busta Rhymes and Eddie Murphy. \u003ccite>(Courtesy of Konkrete)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Was there a local crew or dance studio that you came up in?\u003c/strong>\u003c/p>\n\u003cp>To be honest, a lot of my dance upbringing was more freelance. I used to just gig in the clubs and, you know, battle in the streets. The only studio that I was involved with was in Sacramento, called Step I, and I was with my brother Phil [Tayag] from \u003ca href=\"https://www.jbwkz.com/\">The Jabbawockeez\u003c/a>. He had this crew called \u003ca href=\"https://www.instagram.com/p/BExEbVGhkNQ/\">Boogie Monstarz\u003c/a>. I used to go in there and watch people.\u003c/p>\n\u003cp>\u003cstrong>Tell me about getting the call for Beyoncé’s Renaissance World Tour. Was she on the line? How did you react?\u003c/strong>\u003c/p>\n\u003cp>I was actually just shooting some content with some of my homies when I got the call from the choreographer. And they said, basically, “Bey wants you.” So I was immediately like, “Excuse me, what do I need to do?” That was an exciting call, man. It lets me know that what I’m doing is working. [aside postid='arts_13932887']\u003c/p>\n\u003cp>Beyoncé saw my stuff through one of the choreographers of the tour, \u003ca href=\"https://www.instagram.com/iamtiarivera/?hl=en\">Tia Rivera\u003c/a>, who I’ve known since moving to Los Angeles. Bey saw my work and she said, “Him.” It’s crazy. I was just krumping in little videos, and posting them on social media, you know? That was like a real blessing right there.\u003c/p>\n\u003cp>\u003cstrong>I’m curious — was training and rehearsing for this tour different from your other jobs?\u003c/strong>\u003c/p>\n\u003cp>It was forever training. I mean, we trained the whole time to make the show better. We rehearsed for it nonstop for a few months before the tour, and it was a challenge for us. It was a challenge for Beyoncé, as well, because she wanted to do something that’s never been done before. We did it, though. Of course, it was difficult. I’m not a person that does choreography like that — I know how to tap into it, and I’ve done choreography over the years, but this was the most choreography I’ve ever learned. And it just paid off.\u003c/p>\n\u003cp>\u003cstrong>It sure did. That was clear when I attended the show in Santa Clara over the summer. What was your favorite part of the show? Did you have a favorite song to perform?\u003c/strong>\u003c/p>\n\u003cp>It was “ENERGY.” One of my favorite artists, BEAM, is featured on that song, and Bey put me right in the front with her with my brothers \u003ca href=\"https://www.instagram.com/rob_bynes/?hl=en\">Rob Bynes\u003c/a>, \u003ca href=\"https://www.instagram.com/zavionxbrown/?hl=en\">Zavion Brown\u003c/a> and \u003ca href=\"https://www.instagram.com/justcreativelab/?hl=en\">Justin “Jus’t” Chase\u003c/a>. That was the one where I feel like we all just connected and had that crazy energy. I’m a krumper, so I’m a theme for “ENERGY,” you know? That was by far my favorite part.\u003c/p>\n\u003cfigure id=\"attachment_13940048\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940048\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186.jpg\" alt=\"Konkrete strikes a pose wearing a pink mesh top with crystals. \" width=\"2400\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1920x1280.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in Amsterdam, Netherlands in June 2023. \u003ccite>(Andrew White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is that your favorite Beyoncé song?\u003c/strong>\u003c/p>\n\u003cp>Every time I pick one song, another song pops up. Like her new song right now, the one that she just dropped. It’s called “\u003ca href=\"https://www.youtube.com/watch?v=hAsDiZn61Wo\">MY HOUSE\u003c/a>,” and it’s my current favorite. I was like, “Oh, she’s still dropping music.” She’s always setting the tone. And I’m blessed to be a part of her era.\u003c/p>\n\u003cp>\u003cstrong>What’s the reaction been since the film was released? Have people that recognized you or your tattoo been reaching out to you?\u003c/strong>\u003c/p>\n\u003cp>Oh, for sure. The City of Sacramento has been posting me on social media, and a lot of folks from Oakland noticed the tree. I get a lot of hits from family back home in Oakland. They’re just letting me know how proud they are and how inspired they are because I’m from the same soil. I just want to let my people know out there that the Bay Area kids shine in the industry. Two of the people that shine to me are \u003ca href=\"https://www.richandtoneproductions.com/\">Rich and Tone Talauega\u003c/a>; they came out of the Bay and they’ve danced with Michael Jackson for years. There’s something special about us — it’s no tea, no shade. [aside postid='arts_13939484']\u003c/p>\n\u003cp>\u003cstrong>How would you describe this tour and what it meant to you on a personal level?\u003c/strong>\u003c/p>\n\u003cp>I think the dopest thing that I pulled from this tour was the family aspect of Beyoncé. She got her family in there — it’s a family business. It makes me want to get together with my family and collaborate. We’re already close. This tour gave me the vision, it cleared everything up for me.\u003c/p>\n\u003cp>\u003cstrong>What’s next for Konkrete?\u003c/strong>\u003c/p>\n\u003cp>I actually want to take my career and put it in another country, just to see what it will do. Right now, people from other countries that may not be African American are inspired by the culture. That’s what I believe. I want to go down to these places, like South Korea, and actually inspire them to continue to do what they’re doing, because \u003ca href=\"https://www.kqed.org/bayareahiphop\">hip-hop\u003c/a> was never meant to be gatekept. I want to collaborate with different cultures and learn about them, and share my gift with them.\u003c/p>\n\u003cp>And, of course, I want to push more music out. That’s just a gimme, man, I push music out with or without money. It’s just a love for it.\u003c/p>\n\u003cfigure id=\"attachment_13940044\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940044\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-scaled.jpeg\" alt=\"A dancer with bleached hair folds his arms o0n stage while wearing a silver top and red pants.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-scaled.jpeg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1366x2048.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1920x2879.jpeg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in Las Vegas in August 2023. \u003ccite>(Courtesy of Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Last but certainly not least, what are your favorite spots in Oakland that you must visit when you’re here?\u003c/strong>\u003c/p>\n\u003cp>When I’m in the Bay, I think I always go to the spots where I went as a kid, places where I made good memories. I know Lucky Three Seven in Fruitvale, that’s where I have to go first. Jack London Square of course, because I’m a hipster. My grandmother used to live in Emeryville, so I’d go there. I go to Lake Merritt and Mosswood Park — I used to play ball with my dad at Mosswood when I was little. Orbit Coffee downtown goes crazy. Oakland is just home for me. I want to retire in Oakland, to be honest. I want to be in the Town when I’m old.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Renaissance: A Film by Beyoncé’ screens at select AMC locations in the Bay Area. In San Francisco, \u003ca href=\"https://apeconcerts.com/events/renaissance-beyonce-240126/\">The Castro Theatre\u003c/a> will host a screening Saturday, Jan. 6, at 8 p.m.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The krumper makes an appearance on the big screen in the superstar’s ‘Renaissance’ film.","status":"publish","parent":0,"modified":1705002927,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":1490},"headData":{"title":"How Oakland-Born Dancer Konkrete Ended Up on Tour with Beyoncé | KQED","description":"The krumper makes an appearance on the big screen in the superstar’s ‘Renaissance’ film.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13940030/konkrete-dancer-krumper-beyonce-renaissance-tour-film","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13940046\" class=\"wp-caption aligncenter\" style=\"max-width: 1951px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940046\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped.jpeg\" alt=\"A dancer with bleached hair stands on one knee while Beyoncé walks down a catwalk behind him.\" width=\"1951\" height=\"2001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped.jpeg 1951w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-800x821.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1020x1046.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-160x164.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-768x788.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1498x1536.jpeg 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1920x1969.jpeg 1920w\" sizes=\"(max-width: 1951px) 100vw, 1951px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in New York City in July 2023. \u003ccite>(Courtesy of Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no doubt 2023 was the year of \u003ci>Renaissance\u003c/i>. \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a> took her critically acclaimed seventh studio album on the road and broke records, bringing in over $500 million in ticket sales and doing her part to revitalize the U.S. economy. She was declared an honorary mayor of Santa Clara when she played a \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">sold-out show at Levi’s Stadium in August\u003c/a>. Then, similarly to Taylor Swift, she cut a deal with AMC to directly \u003ca href=\"https://www.npr.org/2023/12/06/1197958699/renaissance-a-film-by-beyonce-is-maximalist-excellence\">release her tour movie\u003c/a> in theaters across the globe last month, bypassing major studios.\u003c/p>\n\u003cp>It is in that movie that many \u003ca href=\"https://www.kqed.org/arts/13934081/beyonce-renaissance-levis-stadium-photos-fashion\">fans\u003c/a> noticed a familiar face — or perhaps neck — from the Bay Area. One of the dancers on the tour, \u003ca href=\"https://knkrtworld.com/\">Kevin “Konkrete” Davis Jr.\u003c/a>, appeared onscreen with a tattoo of an oak tree with roots, a variation on the City of Oakland’s official logo.\u003c/p>\n\u003cp>Davis spoke to KQED about his Oakland and Sacramento upbringing, how he landed a spot on Beyoncé’s Renaissance World Tour and his favorite spots to hit up when he’s back in the Bay.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"C0UIzqEAo1I"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>When I was in my seat on the opening night of the film in Emeryville, your neck tattoo got a loud reaction from the crowd, pleasantly surprised to see the Town represented in this way. What’s the story behind it?\u003c/strong>\u003c/p>\n\u003cp>I was born in Oakland, I’m strictly from the Town, but I was raised in Sacramento. I moved to Sacramento in third grade, then moved back to Oakland — did a lot of back and forth, the whole Northern California trip, if you know what I mean. But I got this tattoo because Oakland is my roots. And it’s like a code, because there are people from the Bay everywhere, especially in the entertainment industry. When they see \u003ca href=\"https://www.instagram.com/p/Cv7mSFsOgOa/?utm_source=ig_web_copy_link&igsh=ZTcxMWMzOWQ1OA%3D%3D\">my tattoo\u003c/a>, they go, “You’re from Oakland, huh?”\u003c/p>\n\u003cfigure id=\"attachment_13940054\" class=\"wp-caption aligncenter\" style=\"max-width: 660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940054\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy.jpeg\" alt=\"Konkrete looks into the distance while wearing a grey suit and sunglasses. His oak tree neck tattoo, symbolizing Oakland, is visible.\" width=\"660\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy.jpeg 660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy-160x193.jpeg 160w\" sizes=\"(max-width: 660px) 100vw, 660px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-born dancer, choreographer and musician Konkrete has worked with Beyoncé, Busta Rhymes and Eddie Murphy. \u003ccite>(Courtesy of Konkrete)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Was there a local crew or dance studio that you came up in?\u003c/strong>\u003c/p>\n\u003cp>To be honest, a lot of my dance upbringing was more freelance. I used to just gig in the clubs and, you know, battle in the streets. The only studio that I was involved with was in Sacramento, called Step I, and I was with my brother Phil [Tayag] from \u003ca href=\"https://www.jbwkz.com/\">The Jabbawockeez\u003c/a>. He had this crew called \u003ca href=\"https://www.instagram.com/p/BExEbVGhkNQ/\">Boogie Monstarz\u003c/a>. I used to go in there and watch people.\u003c/p>\n\u003cp>\u003cstrong>Tell me about getting the call for Beyoncé’s Renaissance World Tour. Was she on the line? How did you react?\u003c/strong>\u003c/p>\n\u003cp>I was actually just shooting some content with some of my homies when I got the call from the choreographer. And they said, basically, “Bey wants you.” So I was immediately like, “Excuse me, what do I need to do?” That was an exciting call, man. It lets me know that what I’m doing is working. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932887","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Beyoncé saw my stuff through one of the choreographers of the tour, \u003ca href=\"https://www.instagram.com/iamtiarivera/?hl=en\">Tia Rivera\u003c/a>, who I’ve known since moving to Los Angeles. Bey saw my work and she said, “Him.” It’s crazy. I was just krumping in little videos, and posting them on social media, you know? That was like a real blessing right there.\u003c/p>\n\u003cp>\u003cstrong>I’m curious — was training and rehearsing for this tour different from your other jobs?\u003c/strong>\u003c/p>\n\u003cp>It was forever training. I mean, we trained the whole time to make the show better. We rehearsed for it nonstop for a few months before the tour, and it was a challenge for us. It was a challenge for Beyoncé, as well, because she wanted to do something that’s never been done before. We did it, though. Of course, it was difficult. I’m not a person that does choreography like that — I know how to tap into it, and I’ve done choreography over the years, but this was the most choreography I’ve ever learned. And it just paid off.\u003c/p>\n\u003cp>\u003cstrong>It sure did. That was clear when I attended the show in Santa Clara over the summer. What was your favorite part of the show? Did you have a favorite song to perform?\u003c/strong>\u003c/p>\n\u003cp>It was “ENERGY.” One of my favorite artists, BEAM, is featured on that song, and Bey put me right in the front with her with my brothers \u003ca href=\"https://www.instagram.com/rob_bynes/?hl=en\">Rob Bynes\u003c/a>, \u003ca href=\"https://www.instagram.com/zavionxbrown/?hl=en\">Zavion Brown\u003c/a> and \u003ca href=\"https://www.instagram.com/justcreativelab/?hl=en\">Justin “Jus’t” Chase\u003c/a>. That was the one where I feel like we all just connected and had that crazy energy. I’m a krumper, so I’m a theme for “ENERGY,” you know? That was by far my favorite part.\u003c/p>\n\u003cfigure id=\"attachment_13940048\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940048\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186.jpg\" alt=\"Konkrete strikes a pose wearing a pink mesh top with crystals. \" width=\"2400\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1920x1280.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in Amsterdam, Netherlands in June 2023. \u003ccite>(Andrew White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is that your favorite Beyoncé song?\u003c/strong>\u003c/p>\n\u003cp>Every time I pick one song, another song pops up. Like her new song right now, the one that she just dropped. It’s called “\u003ca href=\"https://www.youtube.com/watch?v=hAsDiZn61Wo\">MY HOUSE\u003c/a>,” and it’s my current favorite. I was like, “Oh, she’s still dropping music.” She’s always setting the tone. And I’m blessed to be a part of her era.\u003c/p>\n\u003cp>\u003cstrong>What’s the reaction been since the film was released? Have people that recognized you or your tattoo been reaching out to you?\u003c/strong>\u003c/p>\n\u003cp>Oh, for sure. The City of Sacramento has been posting me on social media, and a lot of folks from Oakland noticed the tree. I get a lot of hits from family back home in Oakland. They’re just letting me know how proud they are and how inspired they are because I’m from the same soil. I just want to let my people know out there that the Bay Area kids shine in the industry. Two of the people that shine to me are \u003ca href=\"https://www.richandtoneproductions.com/\">Rich and Tone Talauega\u003c/a>; they came out of the Bay and they’ve danced with Michael Jackson for years. There’s something special about us — it’s no tea, no shade. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939484","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How would you describe this tour and what it meant to you on a personal level?\u003c/strong>\u003c/p>\n\u003cp>I think the dopest thing that I pulled from this tour was the family aspect of Beyoncé. She got her family in there — it’s a family business. It makes me want to get together with my family and collaborate. We’re already close. This tour gave me the vision, it cleared everything up for me.\u003c/p>\n\u003cp>\u003cstrong>What’s next for Konkrete?\u003c/strong>\u003c/p>\n\u003cp>I actually want to take my career and put it in another country, just to see what it will do. Right now, people from other countries that may not be African American are inspired by the culture. That’s what I believe. I want to go down to these places, like South Korea, and actually inspire them to continue to do what they’re doing, because \u003ca href=\"https://www.kqed.org/bayareahiphop\">hip-hop\u003c/a> was never meant to be gatekept. I want to collaborate with different cultures and learn about them, and share my gift with them.\u003c/p>\n\u003cp>And, of course, I want to push more music out. That’s just a gimme, man, I push music out with or without money. It’s just a love for it.\u003c/p>\n\u003cfigure id=\"attachment_13940044\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940044\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-scaled.jpeg\" alt=\"A dancer with bleached hair folds his arms o0n stage while wearing a silver top and red pants.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-scaled.jpeg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1366x2048.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1920x2879.jpeg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in Las Vegas in August 2023. \u003ccite>(Courtesy of Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Last but certainly not least, what are your favorite spots in Oakland that you must visit when you’re here?\u003c/strong>\u003c/p>\n\u003cp>When I’m in the Bay, I think I always go to the spots where I went as a kid, places where I made good memories. I know Lucky Three Seven in Fruitvale, that’s where I have to go first. Jack London Square of course, because I’m a hipster. My grandmother used to live in Emeryville, so I’d go there. I go to Lake Merritt and Mosswood Park — I used to play ball with my dad at Mosswood when I was little. Orbit Coffee downtown goes crazy. Oakland is just home for me. I want to retire in Oakland, to be honest. I want to be in the Town when I’m old.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Renaissance: A Film by Beyoncé’ screens at select AMC locations in the Bay Area. In San Francisco, \u003ca href=\"https://apeconcerts.com/events/renaissance-beyonce-240126/\">The Castro Theatre\u003c/a> will host a screening Saturday, Jan. 6, at 8 p.m.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13940030/konkrete-dancer-krumper-beyonce-renaissance-tour-film","authors":["11883"],"categories":["arts_1","arts_835","arts_966"],"tags":["arts_1686","arts_879","arts_10342","arts_10278","arts_18214"],"featImg":"arts_13940047","label":"arts"},"arts_13938001":{"type":"posts","id":"arts_13938001","meta":{"index":"posts_1591205157","site":"arts","id":"13938001","score":null,"sort":[1699992952000]},"guestAuthors":[],"slug":"my-linh-le-turf-dance-mud-water-iv-mission-dance-theater","title":"In an AI-Driven Future, Turf Dancers Share the Meaning of Their Movements","publishDate":1699992952,"format":"standard","headTitle":"In an AI-Driven Future, Turf Dancers Share the Meaning of Their Movements | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In a 2016 music video for Kaytranada’s “\u003ca href=\"https://www.youtube.com/watch?v=KZnou4zthz4\">Lite Spots\u003c/a>” a robot follows its creator around Los Angeles, watching and mimicking dance moves. But there’s one dance style (which looks a lot like the Oakland-born turfing) that the robot is unable to fully capture, resulting in an error message, an inability for the AI to compute. In her new dance theater performance \u003cem>Mud Water IV\u003c/em>, Nov. 18 and 19 at \u003ca href=\"https://dancemissiontheater.org/2023/09/05/nov-17-19-mude-water-iv/\">Dance Mission Theater\u003c/a>, Bay Area artist and choreographer \u003ca href=\"https://www.kqed.org/arts/11514189/women-to-watch-my-linh-le\">My-Linh Le\u003c/a> proposes a futuristic scenario not so dissimilar from that music video: what might it look like to teach an AI about the cultural roots and importance of turfing? \u003c/p>\n\u003cp>[aside postID='arts_13932887']Le, the founder and director of \u003ca href=\"https://www.mudwatertheatre.com/\">Mud Water Theatre\u003c/a>, is best known for bringing turfing to the stage, collaboratively creating productions with groups of dancers — including a combination of \u003ca href=\"https://www.kqed.org/arts/11230644/turf-dancing-and-ballet-struggle-to-meet-half-way\">turfing and ballet\u003c/a>. She pivoted to film at the height of the pandemic, creating \u003ca href=\"https://sffilm.org/event/mud-water/\">\u003cem>Mud Water\u003c/em>\u003c/a>, a half-hour short that premiered at the 2022 San Francisco International Film Festival as a hybrid narrative and dance film. \u003c/p>\n\u003cp>While preparing for this latest iteration of the project, her cast struggled to define turfing, so Le provided ChatGPT’s take on the dance form (\u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\">originally known as fuckin’ with it\u003c/a>). In addition to a description of fluid, graceful, abrupt and robotic movements, the chatbot offered that turfing “means to engage with or manipulate something in a casual or experimental manner, often with a sense of nonchalance or indifference. It can also imply a willingness to take risks or be daring.” The dancers agreed.\u003c/p>\n\u003cfigure id=\"attachment_13937645\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED.jpg\" alt=\"A person with glasses smiles in a large indoor room.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13937645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">My-Linh Le smiles as she watches her dancers rehearse at the Bayview Opera House. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From ‘going hyphy to going viral’\u003c/h2>\n\u003cp>Le thinks of \u003cem>Mud Water IV\u003c/em> as an exercise in autoethnography, a method of reflecting on the dancers’ observations of their own culture or subculture. Since the \u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\">emergence of turfing\u003c/a> in the early 2000s, shifts in musical styles have inevitably changed the way people dance to that music. Le is especially interested in the role virality plays within the attention economy; she’s trying to understand the trajectory of Bay Area dance culture from “going hyphy to going viral.” Fittingly, part of the premise of \u003cem>Mud Water IV\u003c/em>, set in the year 2032, is the existence of an AI called DanceGPT that has gorged itself on social media dance trends.\u003c/p>\n\u003cp>[aside postID='arts_13856335']“You basically have to change the integrity of the thing you love or the stance that you want to represent, if you want it to spread,” Le says of dance in today’s social media landscape. “But in the end, what are you spreading? Many of the turfers in our cast have been discussing the changes and shifts they’re seeing.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cast is made up of some of the most extraordinary dancers in the Bay Area turfing community, including Alante “\u003ca href=\"https://www.instagram.com/ogtaehaze/\">Tae-Ninja\u003c/a>” Hall, Arthur “\u003ca href=\"https://www.instagram.com/_dopeyfresh_/\">Dopeyfresh\u003c/a>” Gardner, Gary “\u003ca href=\"https://www.instagram.com/icecold3000/\">Icecold3000\u003c/a>” Morgan, Jarell “\u003ca href=\"https://www.instagram.com/lf_skeeter/\">Skeeter\u003c/a>” Boyd, \u003ca href=\"https://www.instagram.com/2112charlie/\">Charlie\u003c/a>, Michael “\u003ca href=\"https://www.instagram.com/nonamevision/\">Noname\u003c/a>” Chicago II, \u003ca href=\"https://www.instagram.com/shakathecreator/\">Shaka Perdue\u003c/a> and \u003ca href=\"https://www.instagram.com/tuuhleacee/\">Telice Summerfield\u003c/a>. Le asked her cast questions about their experiences in the turfing community, becoming an intermediary for their reflections as they prepared for the show over the past year. She considered how their perceptions, their participation in the movement, might possibly feed into DanceGPT — and how algorithms, in turn, could change or transform the culture. \u003c/p>\n\u003cfigure id=\"attachment_13938015\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000.jpg\" alt=\"A woman holds left hand pointing down in dance movement, mouth open and tongue out\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alante ‘Tae-Ninja’ Hall during rehearsals for ‘Mud Water IV.’ \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Dance Mission Theater, the final production includes turfing, storytelling and motion graphics projected behind the dancers on stage. The entire structure of the show is documentary-esque, a purposeful response to the rapid speed of data and image-consumption by both social media and machine-learning platforms. Audiences watch as the dancers attempt to provide — ultimately — a definition of turfing. \u003c/p>\n\u003cp>As I sat through a rehearsal, every movement changed slightly with every repetition, which was refreshing and slightly unnerving — a particular glide or articulation was specific to each moment. Similarly, the sheer beauty of turfing comes from the inability to contain it. Could an AI capture and document, with precision, the history and cultural impact of turfing? The short answer is: never.\u003c/p>\n\u003ch2>‘It takes the whole community’\u003c/h2>\n\u003cp>If technology cannot hold a dance movement, maybe a dancer’s body can serve as a type of archive? The body remembers — but it also forgets. It inevitably evolves and ages, which might not make it the most reliable entity for storing memories and movements. As dancers and dance forms evolve, movements become second nature or are omitted, especially if a gesture doesn’t feel like it has a soul to it. \u003c/p>\n\u003cfigure id=\"attachment_13938016\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000.jpg\" alt=\"Person in glasses is in focus watching two dancers in foreground, out of focus\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Telice Summerfield (left) and Alante ‘Tae-Ninja’ Hall (right) rehearse for as My-Linh Le (center) watches. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Le came up in \u003ca href=\"https://www.kqed.org/arts/13833179/playboyz-inc-dancers-keep-strutting-and-popping-alive-in-san-jose\">the popping scene of San José\u003c/a>, but it was a creative environment, she says, of a specific time, place and people. “You can put on the clothing and the attire. You can play the music of the ’80s or ’90s, but essentially you can’t recreate it,” she says. “You can’t reenact it because it takes the whole community for a culture to exist. When we talk about the archive being the body, yes, it is the body. But it is also the bodies — the many, within the community.” \u003c/p>\n\u003cp>[aside postID='arts_13833179']Turfing is full of intricate finger, hand and arm gesticulations. Its dancers seem to float across concrete, creating a genre of movement in a class of its own. The culture makes space for celebration alongside \u003ca href=\"https://www.kqed.org/arts/13935408/hyphy-kids-got-trauma-pt-2-we-dance-different\">expressions of mourning, trauma and loss\u003c/a>, all while dancers battle to take up room on the floor. What started at house parties and in the streets now also exists in competitions and theatrical performances, and yet it is a movement that resists label or definition. \u003cem>Mud Water IV\u003c/em> attempts to grasp its meaning: the dance form’s irresistibility lies in its insistence to play as much as to rouse. \u003c/p>\n\u003cp>What appeals to Le, and what the upcoming performance captures, is turfing’s profoundly rooted, endlessly iterative style. “You’re going to get every texture,” she says. “You’re going to get smooth, fluid, liquid. You’re going to get the frenetic. You’re going to get the deeply thoughtful movement as well as happy. You enter and go in any direction. \u003c/p>\n\u003cp>“There are no rules when it comes to turfing or fuck with it,” Le adds. “It comes down to whether or not you share the same values, same kind of history, and similar experiences that you end up speaking in the same language.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Mud Water IV’ takes place Nov. 18 and 19 at Dance Mission Theater (3316 24th St.). \u003ca href=\"https://www.eventbrite.com/e/mud-water-iv-tickets-715650468817\">Click here for tickets and more information\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"My-Linh Le’s new dance theater performance ‘Mud Water IV’ imagines turfing in 2032.\r\n","status":"publish","parent":0,"modified":1705003099,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1195},"headData":{"title":"‘Mud Water IV’ Imagines Turfing in an AI-Driven Future | KQED","description":"My-Linh Le’s new dance theater performance ‘Mud Water IV’ imagines turfing in 2032.\r\n","ogTitle":"In an AI-Driven Future, Turf Dancers Share the Meaning of Their Movements","ogDescription":"","ogImgId":"","twTitle":"In an AI-Driven Future, Turf Dancers Share the Meaning of Their Movements","twDescription":"","twImgId":"","socialTitle":"‘Mud Water IV’ Imagines Turfing in an AI-Driven Future %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Dorothy R. Santos","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13938001/my-linh-le-turf-dance-mud-water-iv-mission-dance-theater","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a 2016 music video for Kaytranada’s “\u003ca href=\"https://www.youtube.com/watch?v=KZnou4zthz4\">Lite Spots\u003c/a>” a robot follows its creator around Los Angeles, watching and mimicking dance moves. But there’s one dance style (which looks a lot like the Oakland-born turfing) that the robot is unable to fully capture, resulting in an error message, an inability for the AI to compute. In her new dance theater performance \u003cem>Mud Water IV\u003c/em>, Nov. 18 and 19 at \u003ca href=\"https://dancemissiontheater.org/2023/09/05/nov-17-19-mude-water-iv/\">Dance Mission Theater\u003c/a>, Bay Area artist and choreographer \u003ca href=\"https://www.kqed.org/arts/11514189/women-to-watch-my-linh-le\">My-Linh Le\u003c/a> proposes a futuristic scenario not so dissimilar from that music video: what might it look like to teach an AI about the cultural roots and importance of turfing? \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932887","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Le, the founder and director of \u003ca href=\"https://www.mudwatertheatre.com/\">Mud Water Theatre\u003c/a>, is best known for bringing turfing to the stage, collaboratively creating productions with groups of dancers — including a combination of \u003ca href=\"https://www.kqed.org/arts/11230644/turf-dancing-and-ballet-struggle-to-meet-half-way\">turfing and ballet\u003c/a>. She pivoted to film at the height of the pandemic, creating \u003ca href=\"https://sffilm.org/event/mud-water/\">\u003cem>Mud Water\u003c/em>\u003c/a>, a half-hour short that premiered at the 2022 San Francisco International Film Festival as a hybrid narrative and dance film. \u003c/p>\n\u003cp>While preparing for this latest iteration of the project, her cast struggled to define turfing, so Le provided ChatGPT’s take on the dance form (\u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\">originally known as fuckin’ with it\u003c/a>). In addition to a description of fluid, graceful, abrupt and robotic movements, the chatbot offered that turfing “means to engage with or manipulate something in a casual or experimental manner, often with a sense of nonchalance or indifference. It can also imply a willingness to take risks or be daring.” The dancers agreed.\u003c/p>\n\u003cfigure id=\"attachment_13937645\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED.jpg\" alt=\"A person with glasses smiles in a large indoor room.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13937645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">My-Linh Le smiles as she watches her dancers rehearse at the Bayview Opera House. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From ‘going hyphy to going viral’\u003c/h2>\n\u003cp>Le thinks of \u003cem>Mud Water IV\u003c/em> as an exercise in autoethnography, a method of reflecting on the dancers’ observations of their own culture or subculture. Since the \u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\">emergence of turfing\u003c/a> in the early 2000s, shifts in musical styles have inevitably changed the way people dance to that music. Le is especially interested in the role virality plays within the attention economy; she’s trying to understand the trajectory of Bay Area dance culture from “going hyphy to going viral.” Fittingly, part of the premise of \u003cem>Mud Water IV\u003c/em>, set in the year 2032, is the existence of an AI called DanceGPT that has gorged itself on social media dance trends.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13856335","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“You basically have to change the integrity of the thing you love or the stance that you want to represent, if you want it to spread,” Le says of dance in today’s social media landscape. “But in the end, what are you spreading? Many of the turfers in our cast have been discussing the changes and shifts they’re seeing.” \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>The cast is made up of some of the most extraordinary dancers in the Bay Area turfing community, including Alante “\u003ca href=\"https://www.instagram.com/ogtaehaze/\">Tae-Ninja\u003c/a>” Hall, Arthur “\u003ca href=\"https://www.instagram.com/_dopeyfresh_/\">Dopeyfresh\u003c/a>” Gardner, Gary “\u003ca href=\"https://www.instagram.com/icecold3000/\">Icecold3000\u003c/a>” Morgan, Jarell “\u003ca href=\"https://www.instagram.com/lf_skeeter/\">Skeeter\u003c/a>” Boyd, \u003ca href=\"https://www.instagram.com/2112charlie/\">Charlie\u003c/a>, Michael “\u003ca href=\"https://www.instagram.com/nonamevision/\">Noname\u003c/a>” Chicago II, \u003ca href=\"https://www.instagram.com/shakathecreator/\">Shaka Perdue\u003c/a> and \u003ca href=\"https://www.instagram.com/tuuhleacee/\">Telice Summerfield\u003c/a>. Le asked her cast questions about their experiences in the turfing community, becoming an intermediary for their reflections as they prepared for the show over the past year. She considered how their perceptions, their participation in the movement, might possibly feed into DanceGPT — and how algorithms, in turn, could change or transform the culture. \u003c/p>\n\u003cfigure id=\"attachment_13938015\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000.jpg\" alt=\"A woman holds left hand pointing down in dance movement, mouth open and tongue out\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alante ‘Tae-Ninja’ Hall during rehearsals for ‘Mud Water IV.’ \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Dance Mission Theater, the final production includes turfing, storytelling and motion graphics projected behind the dancers on stage. The entire structure of the show is documentary-esque, a purposeful response to the rapid speed of data and image-consumption by both social media and machine-learning platforms. Audiences watch as the dancers attempt to provide — ultimately — a definition of turfing. \u003c/p>\n\u003cp>As I sat through a rehearsal, every movement changed slightly with every repetition, which was refreshing and slightly unnerving — a particular glide or articulation was specific to each moment. Similarly, the sheer beauty of turfing comes from the inability to contain it. Could an AI capture and document, with precision, the history and cultural impact of turfing? The short answer is: never.\u003c/p>\n\u003ch2>‘It takes the whole community’\u003c/h2>\n\u003cp>If technology cannot hold a dance movement, maybe a dancer’s body can serve as a type of archive? The body remembers — but it also forgets. It inevitably evolves and ages, which might not make it the most reliable entity for storing memories and movements. As dancers and dance forms evolve, movements become second nature or are omitted, especially if a gesture doesn’t feel like it has a soul to it. \u003c/p>\n\u003cfigure id=\"attachment_13938016\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000.jpg\" alt=\"Person in glasses is in focus watching two dancers in foreground, out of focus\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Telice Summerfield (left) and Alante ‘Tae-Ninja’ Hall (right) rehearse for as My-Linh Le (center) watches. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Le came up in \u003ca href=\"https://www.kqed.org/arts/13833179/playboyz-inc-dancers-keep-strutting-and-popping-alive-in-san-jose\">the popping scene of San José\u003c/a>, but it was a creative environment, she says, of a specific time, place and people. “You can put on the clothing and the attire. You can play the music of the ’80s or ’90s, but essentially you can’t recreate it,” she says. “You can’t reenact it because it takes the whole community for a culture to exist. When we talk about the archive being the body, yes, it is the body. But it is also the bodies — the many, within the community.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13833179","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Turfing is full of intricate finger, hand and arm gesticulations. Its dancers seem to float across concrete, creating a genre of movement in a class of its own. The culture makes space for celebration alongside \u003ca href=\"https://www.kqed.org/arts/13935408/hyphy-kids-got-trauma-pt-2-we-dance-different\">expressions of mourning, trauma and loss\u003c/a>, all while dancers battle to take up room on the floor. What started at house parties and in the streets now also exists in competitions and theatrical performances, and yet it is a movement that resists label or definition. \u003cem>Mud Water IV\u003c/em> attempts to grasp its meaning: the dance form’s irresistibility lies in its insistence to play as much as to rouse. \u003c/p>\n\u003cp>What appeals to Le, and what the upcoming performance captures, is turfing’s profoundly rooted, endlessly iterative style. “You’re going to get every texture,” she says. “You’re going to get smooth, fluid, liquid. You’re going to get the frenetic. You’re going to get the deeply thoughtful movement as well as happy. You enter and go in any direction. \u003c/p>\n\u003cp>“There are no rules when it comes to turfing or fuck with it,” Le adds. “It comes down to whether or not you share the same values, same kind of history, and similar experiences that you end up speaking in the same language.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\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>\u003ci>‘Mud Water IV’ takes place Nov. 18 and 19 at Dance Mission Theater (3316 24th St.). \u003ca href=\"https://www.eventbrite.com/e/mud-water-iv-tickets-715650468817\">Click here for tickets and more information\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13938001/my-linh-le-turf-dance-mud-water-iv-mission-dance-theater","authors":["byline_arts_13938001"],"programs":["arts_140"],"categories":["arts_1","arts_966","arts_1003"],"tags":["arts_879","arts_10278","arts_1146","arts_21737"],"featImg":"arts_13938014","label":"arts_140"},"arts_13937416":{"type":"posts","id":"arts_13937416","meta":{"index":"posts_1591205157","site":"arts","id":"13937416","score":null,"sort":[1698919231000]},"guestAuthors":[],"slug":"wives-angelica-medina-and-jahaira-fajardo-share-culture-through-dance","title":"Wives Angelica Medina and Jahaira Fajardo Share Culture Through Dance","publishDate":1698919231,"format":"aside","headTitle":"Wives Angelica Medina and Jahaira Fajardo Share Culture Through Dance | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cfigure id=\"attachment_13937418\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Angelica-and-Jahaira-4.jpg\" alt=\"A woman in multi-colored leggings faces away from the camera, while dancing and holding the hand of a woman facing the camera in a black top and black jeans.\" width=\"1365\" height=\"1213\" class=\"size-full wp-image-13937418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Angelica-and-Jahaira-4.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Angelica-and-Jahaira-4-800x711.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Angelica-and-Jahaira-4-1020x906.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Angelica-and-Jahaira-4-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Angelica-and-Jahaira-4-768x682.jpg 768w\" sizes=\"(max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Angelica Medina (L) dances with Jahaira Fajardo (R) \u003ccite>(Courtesy of In Lak'ech)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Angelica Medina’s first memories of dance are from when she was five years old doing steps to a Selena performance on TV. Her wife, Jahaira Fajardo, remembers being a New York club kid in her late teens, when she thinks of her earliest dance experiences. That’s because dancing felt very heteronormative and exclusionary, and as a lesbian growing up in a Dominican household, dancing seemed just not okay for her. Now as adults, Angelica and Jahaira are co-founders of \u003c/span>\u003ca href=\"https://inlakechdance.com/\">\u003cspan style=\"font-weight: 400\">In Lak’ech\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003cspan style=\"font-weight: 400\">the first queer salsa and bachata dance academy in the U.S. and they are \u003c/span>\u003cspan style=\"font-weight: 400\">out to create dance spaces that build inclusivity. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The two met while dancing in 2014, and noticed that something was missing from their experience in Latin dance. “I always felt like I could only bring a certain percentage of myself into those communities and a part of me had to be left at the door,” Jahaira says. She wanted to lead during partner dancing but found that people weren’t very open to female leads. She found acceptance for leading in the Queer community, but it felt worlds away from the Afro-Latin dance community. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">During a break while training for a competition, Angelica and Jahaira went for a walk. Angelica asked, “Why don’t we start our own community? Why don’t we start our own dance company?” and the idea for In Lak’ech was born with the goal of bringing both communities together to provide a space where everyone is welcome. “Leading and following have nothing to do with gender, you know, and so essentially we normalize a space where you can show up as your authentic self,” Angelica says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Encouraged by their students at the academy, the duo went on to create the \u003c/span>\u003ca href=\"https://queerafrolatindancefestival.com/\">\u003cspan style=\"font-weight: 400\">Queer Afro-Latin Dance Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. It’s now in its 6th year and is a space where queer and trans dancers can just exist and be themselves. The festival’s offerings have now expanded to include panel discussions on issues like anti-blackness and body positivity and how that affects dancers. Musing about dancing in the community they’ve created, Jahaira says, “Just being up there on stage is a powerful statement in itself, right? – of like taking up space, like a tribe kind of feeling, of like we’re showing up or we’re here to stay. It’s a really empowering and powerful experience. “\u003c/span>\u003c/p>\n\u003cp>The next Queer Afro-Latin Dance Festival takes place in San Jose, June 14-17, 2024. Visit \u003ca href=\"https://queerafrolatindancefestival.com/\">queerafrolatindancefestival.com\u003c/a> for more information.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC6804506669&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Jahaira Fajardo, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> Did you want to tell folks what In lak’ech means? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> In Lak’ech is a Mayan phrase and it means you are my other me, ‘Tu eres mi otro yo. We are a reflection of each other.’ And so it’s a beautiful message we love to share with the community and that message is very much embodied in our dance classes and all of our events. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop, host: \u003c/b>\u003cspan style=\"font-weight: 400\">Hey listeners, my name’s Sheree, and I’m a production intern on Rightnowish. I’ll be your host for this episode! Today, I spoke to Jahaira Fajardo and Angelica Medina. They’re the co-directors and founders of In Lak’ech Dance, the first queer\u003c/span> \u003cspan style=\"font-weight: 400\">Salsa and Bachata academy.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nothing brings people together like some food, some music, and some good dancing. When I’m in a place where I feel like I belong, I know I can count on a friendly smile and an introduction to help me feel included. \u003c/span>\u003cspan style=\"font-weight: 400\">When I went to a class at In Lak’ech Dance, that’s exactly what it felt like, warm, inviting, and filled with kind people.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes, it’s nice to dance alone at home and, you know, be in your element but I think there is power. There’s like another element of like community collective healing that happens when you are surrounded with people who can share that same feeling of joy.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s hard to find community when your options are limited, and even harder to build it yourself. That’s the thing, you might know what you’re looking for, but you don’t have a community unless other people are looking for it too. Jahaira told me that when In Lak’ech started, both of them underestimated how many people would be interested. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh my God. That was so incredible, because we had our first audition August 2nd, 2017, and we thought, oh, you know, maybe we’ll have like 4 couples (8 to 10 people). 58 people showed up to our auditions! And we were blown away by the reception. We were like, ‘Okay, our people want this, you know, queer and trans people want to dance.’\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop:\u003c/b>\u003cspan style=\"font-weight: 400\"> In Lak’ech has only grown since then, thanks to the dedication of the couple at its center. Angelica, who keeps her hair dyed a deep, vibrant purple and her wife, Jahaira, who wears gauges and often sports large cornrows. \u003c/span>\u003cspan style=\"font-weight: 400\">Like any passion, turned hobby, turned profession, Angelica and Jahaira started as dancers, and as a couple, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">before\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> In Lak’ech Dance was established. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cb>Sheree Bishop: \u003c/b>How did you both meet?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina:\u003c/b>\u003cspan style=\"font-weight: 400\"> Bailando… dancing, of course.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">We met dancing. Yes. Um, yeah, we, we met in San Francisco at a bar called The Neck of the Woods. It was like a dancing… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina:\u003c/b>\u003cspan style=\"font-weight: 400\"> …social night. And, yeah, I had seen Jahaira dancing, and I went up to her towards the last kind of part of the night, and I was like, “Do you want to dance?” And she almost said no. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo:\u003c/b>\u003cspan style=\"font-weight: 400\"> It was late and I was tired. And it’s interesting because in these spaces, the last thing I ever think is that anyone’s going to see me or these are very heteronormative spaces that we’re in. So I never go with the mindset of that. I’m going to meet someone or that I’m going to, you know, anything like that. So I was very surprised when she approached me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">And so we had a nice dance.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes! It was very lovely. And then at the end of the night, she asked me not for my number but for my name. [la\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">ughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> And I’m glad she got my name and she remembered.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">She said Angelica. So the next day I went searching on Facebook. I had a nice dance, so why not connect? And she was very surprised that I found her and… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina:\u003c/b>\u003cspan style=\"font-weight: 400\"> I mean, I was trying to make it clear that I was into her \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. So I hope I made that clear. But yeah, she did message me the next day and it was. Yeah, beautiful connection. From there we started dating and the rest is history. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. That was nine- nine years ago, my goodness. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">Sometimes couples can’t work together. So, how did you two discover that you could?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">Um, I guess. Competing together, performing together, learning the choreography together, to then choreograph together. I think that process made it so, for me, so that I know that we could… Okay, we can hear each other’s perspectives and thoughts and ideas, and it’s definitely not easy. I mean, I don’t think any coupleship or marriage or any type of partnership is easy. And I still feel like we do really well together. I think one thing that helps is like, enjoying each other’s presence. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, it’s nice that we like each other. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">We were just saying that, walking here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">I know, we were just saying that. We do spend a lot of time together and we work out together, we eat together, you know, we run a business together and, I was just telling her I’m so happy that we like each other because, you know, it could just be the work thing. But yeah, we and like she said, it’s definitely not easy. And sometimes we have to, you know, have support in order to keep the balance between our… our marriage and our partnership.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">I wanted to switch it up a little bit. What is your earliest memory of dancing?\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, I would say me being five years old and dancing to Selena in front of the TV. Yeah, it’s pretty simple. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, for me it wasn’t until I can say that I was about 18 that I, that I became kind of like a “club kid” in New York City where I grew up. And so I used to listen to, like, and dance to a lot of house music, techno music. And I sort of, you know, I was 18, 19, so I was going to all the clubs. I never really thought about it, but that 18 is probably… 19 is probably my earliest memory of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">me\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> dancing so. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">What about your videos from home being 15, 16? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">That too, that’s true. We always had, you know, growing up in a Dominican household, we always had parties. I think I always kind of like attributed dance to my sister because she was such a dancer and I was, “oh, that’s not from me.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I also felt because I think because I was a lesbian \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, that it is just not okay for me, you know? And I just was like, yes, we had parties, but, you know, I didn’t identify as like, oh, this is my chance to dance. I was always very shy and didn’t want to dance and wanted to hide my body. Um, but yeah, it wasn’t until I got a little older.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">What did you notice was missing from the Latin dance community that led you to founding In Lak’ech?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh my gosh. I was very blessed because when I asked… when I met my dance directors, they didn’t even blink an eye when I told them that I wanted to lead. And in 2013, ten years ago when that happened, um, there were, I want to say, maybe including myself, 3 female leaders in the whole latin dance scene that we knew of, at least in the United States. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">The heteronormativity of.. of the Latin dance world did feel very limiting to me. Um, uh, and I always felt like I could only bring a certain percentage of myself into those communities and a part of me had to be left at the door. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s not very open also for female leads, right? Doesn’t give like that opportunity or even a choice. I feel like a lot of classes are so rigid and they assume gender and then they place the dance role up on that. There’s a lot of assumptions made. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">I remember one day we were walking the lake and we were in the middle of training for a competition. Our very first one. And Angelica was like, “Why don’t we start our own community? You know, why don’t we start our own dance company?” \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, we wanted to start In Lak’ech so that there could be that integration of the Afro-Latin dance community with the queer community because it was very separate, you know. And so we wanted to, yeah, really bring both communities together and really provide a space where we can lead by example, where we can, you know, be inclusive and everyone is welcome. Um, and it was something that was so special and hadn’t been done before, you know. And to create that in Oakland was also really special. And so… and we’re still doing it. Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">It really grew also out of the desire that we just… we knew the joy, the benefits that we get from Afro-Latin dance. It’s our culture, it’s who we are. We love it. And I also understood why there weren’t very many, you know, queer and trans people going. The water was cold, it was frigid. And so In Lak’ech was born to kind of make the- the water a little bit warmer and say, let’s try it, you know, invite the queer and trans community to… to partake in this… in this art and this activity. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Chatter and conversation]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">In Lak’ech hosts their classes at The Orange Room in West Oakland. When I went there, it felt like being invited into someone’s home. String lights lined the ceiling, long maroon curtains were draped over comfy, velvet couches. Everything about it was warm! Yellow lighting, cozy heat, and the sound of old and new friends greeting each other.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Once everyone arrived, class got started. The dancers sat on the floor and, when it was their turn to show everyone what they’d learned, everyone paired up based on how they preferred to dance: either by leading or by following. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Clip of Jahaira giving advice in a dance class]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo (in clip):\u003c/b>\u003cspan style=\"font-weight: 400\"> Also, sabor ya la música un poquito it just.. Sometimes it just feels like the next thing, the next thing, the poor follow is like, you know ‘what’s next? What’s next?’ So there’s just times that… am I wrong, follows? Don’t you like just a moment to just like, breathe a little bit, and you know what I mean? Like it’s nice, you know?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">Even though I’d just met everyone, people introduced themselves to me, we danced together, and we ate together. I knew that I’d found a pocket of community that wouldn’t pass judgment about how I carry myself, how I dress, or in this case, how I like to dance. We’ll talk about inclusivity, how the Queer Afro Latin Dance Festival was founded, and more, right after this.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Bachata music plays in the background while Jahaira shouts ‘Ah! Ah!’ in time with the beat]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">Okay, let me be honest, when I got to the studio, the first thing I noticed was the food. A white folding table was set up in the back, stuffed with cookies, crackers, cheese, soda, you know, party snacks. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">During the class, everyone took turns dancing in pairs. They moved their hips to music, pulled off tight footwork and even tighter turns, and then Angelica and Jahaira gave them advice and tips. \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cem>\u003cspan style=\"font-weight: 400\">[Clip of Angelica giving corrections]\u003c/span>\u003cb> \u003c/b>\u003c/em>\u003c/p>\n\u003cp>\u003cb>Angelica Medina (in clip): \u003c/b>\u003cspan style=\"font-weight: 400\">…Y’all understand the timing, understand the body movement, the isolation. And then y’all can also, like, let go and have fun! Like, yes! All those elements so, beautiful job. \u003cem>[students applaud]\u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop:\u003c/b>\u003cspan style=\"font-weight: 400\"> At the end of the class, the room broke up into social dancing. The playlist was ready, the snacks were laid out, and everyone had the opportunity to mingle, chill, and dance as they pleased. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As it turns out, I’d showed up on a day when they were culminating an 8 week beginner series.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">We always like to end the series with a celebration, let’s all eat together. Let’s all dance. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">We do however have like, a social dance component at the end of each class where we do rotate in social dance with each other. It’s a social dancing series. So we want to practice that feeling of improvising with another human being, right, and connecting with them.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">I mean, it feels so good. You were there, you felt it. It’s like, oh, now we get to, like, intermingle and get to know each other and and we don’t know what’s going on in people’s lives. You don’t… we don’t know if people are alone, if they don’t have a community or what kind of situation they’re in. So this really is an opportunity for people to tap in, and connect, and be seen, and appreciated. We always like to end our class reminding people that they are loved, you know.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina:\u003c/b>\u003cspan style=\"font-weight: 400\"> Beyond measure.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo:\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Yes, You’re loved beyond measure. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Angelica Medina:\u003c/b>\u003cspan style=\"font-weight: 400\"> Like a little prayer. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop:\u003c/b>\u003cspan style=\"font-weight: 400\"> You know, everyone’s used to Latin dance, having this very strict boy-girl type of model. And so I was wondering what steps do you take to make Latin dance an inclusive experience? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">We have community agreements that we kind of go over at the beginning of each series, um, with our students. Um, and that really, like, helps us ground in there. Like we talk about consent, we talk about sexual harassment, we talk about not making assumptions. Leading and following have nothing to do with gender, you know. And so essentially we normalize a space where you can show up as your authentic self. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo:\u003c/b>\u003cspan style=\"font-weight: 400\"> We never want to say that it’s like this difficult thing. We actually would love it if other dance companies kind of followed suit in that even if there are not, a queer and trans dance company but to just, like, allow people to show up however they want, they can lead or follow. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Being who we are as human beings, Angelica and I, we could never reject someone based on something that they can’t control. We would never be able to do that. So we made it open. We are an inclusive space um, and yes, we are queer and trans, but we are inclusive. Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. We center queer and trans folks, you know, and we welcome allies and we always let them know, you know, ally is a verb. It’s an action, right? You- we call you our allies. You don’t identify as an ally. Right? And so just making that clear because it can- it can the dynamics do shift, right, where when it’s exclusive versus inclusive.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop:\u003c/b>\u003cspan style=\"font-weight: 400\"> How does it feel to separate the leader-follower aspect from masculine and feminine? ‘Cause even outside of dancing, I feel like especially leaders, people are like, ‘Oh yeah, it’s a masculine thing.’ And so like, yeah, I was wondering how it feels to have an environment where that doesn’t necessarily… those things don’t have to be linked. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">Hmm. Yeah, it. feels liberating to me. It feels like as human beings, like we are so… there’s such a spectrum that we encompass. And so I feel that to allow folks to show up. However, if you want to come on Wen- the first Wednesday of the month and you want to lead, that’s great. You want to try to follow the next week. That’s also amazing. You know, we are there to support that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">We love folks who switch. We encourage switching in our classes. We do teach one role at a time because it is more beginner level. But yeah, we… we do want to create that.. that culture because it can be… because it is binary, right? There’s the lead and follow. It’s easy to still get caught up in those dynamics and those roles. Right? Of the leader is more masculine presenting and the follower is more of a femme presenting…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo:\u003c/b>\u003cspan style=\"font-weight: 400\"> Which we kind of fall into right with me presenting more masculine. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina:\u003c/b>\u003cspan style=\"font-weight: 400\"> Exactly. Are you someone who tends to take on leadership roles and you’re always like, you know, leading a team or leading that. So maybe in dance you want to kind of step back and you want to just allow yourself to follow and relax and see what the benefits are for that and then vice versa, right? If you feel like you don’t, you know, take up as much space, then you can do that here and try taking that leadership role and try being a leader regardless of your, you know, gender expression. So we do… we do kind of frame it in that way. And I think I always say dance is life. Life is dance, right? \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Angelica Medina:\u003c/b>\u003cspan style=\"font-weight: 400\"> …They’re not separate. They’re together. Like how we show up in dance is, how we show up in life. And so I try to make those connections for our students.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">You know the saying, art imitates life? Well, not everyone gets to have that representation, or to see themselves in the art they love the most. It’s one thing to make art, to sing, or to dance. After that, though, we need spaces to share art with each other. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In Lak’ech brings a queer-inclusive space to learn Salsa and Bachata with the community, but the \u003c/span>\u003ca href=\"https://queerafrolatindancefestival.com/\">\u003cspan style=\"font-weight: 400\">Queer Afro Latin Dance Festival\u003c/span> \u003c/a>\u003cspan style=\"font-weight: 400\">offers its participants a chance to perform for a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">much\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> larger audience. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">Speaking of the Queer Afro-Latin Dance Festival, tell me about that. Your students helped create it, right? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\"> It gets very tricky for our community, you know, um, because we’ve experienced… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">And it has happened several times. Sorry to interrupt but it happened several times where our students were harmed and harm was caused at these festivals.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">It really came from them to want to create a space where they didn’t have to experience the transphobia and homophobia in these festivals. And so they were like, Let’s create a festival, let’s do it. And it was so incredibly… I’m like, I don’t even know how we did that because we started In Lak’ech in 2017 and then we had a festival in June.So less than a year we had created a festival, you know.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And it was so special, like even it was started really small, started at\u003c/span> \u003cspan style=\"font-weight: 400\">Trilliant Dance Studios\u003c/span>\u003cspan style=\"font-weight: 400\">. And then we went to the \u003c/span>\u003cspan style=\"font-weight: 400\">Asian Cultural Center in Oakland\u003c/span>\u003cspan style=\"font-weight: 400\"> and it was just, like, so intimate and so wonderful. And then from there it just started growing, um, we had a lot of energy from our students and our community to support us. And so now we’re going to do our 6th annual! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, in 2022, we, we moved into a hotel, so we definitely grew in size and… Wow, what an opportunity for us to create an event where queer Black and brown people can come and participate in something that comes from \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">them\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, and heal from it and get all the great stuff from it that we didn’t feel like we could before. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Um, and so that is in a nutshell what the Queer Afro Latin Dance Festival is. We reach out to different queer and trans artists from different parts of the globe. We’ve brought people from Europe, Mexico, Canada.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For 3 days, there’s all kinds of workshops. During the day, there’s like three pool party- a pool party every day of the weekend! Extravagant, beautiful showcases celebrating queer and trans Afro-Latin dancers. And then we dance till five in the morning, and we do that for three days.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">As teachers and dancers, what specific moment had the most impact on you?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">One moment that to me stands out forever is at the 2nd annual Queer Afro Latin Dance Festival. The workshops are happening at the moment and Angelica and I are walking down the lobbies just kind of making sure that everything’s okay. And there’s this little… adorable little gay boy like on the floor, um, changing his shoes or something, changing their shoes, and um. And they, like, grabbed my arm and they were like, “I have to ask you, is this how straight people feel every day of their lives? The way we feel here in this weekend?” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And that to me, like I have never been able to forget that. And, you know, I didn’t even know how to answer that. Like, immediately I choked up because it was like, my gosh, like, we live with this every day of our lives. Like Angelica said, dealing with microaggressions, dealing with like, is it okay? The way I look, Is it okay? Can I… can I ride that line? How \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">much\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> of myself can I really be? You know? And he brought that all to the forefront with just that simple question: Is this how straight people feel every day? And I said, “I imagine so.” \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">You know \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. You know, but it was just very powerful for me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">How would you describe Queer Joy? \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">Um, I think, Queer Joy is an act of resistance.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">I think our community has, you know, really any community who’s gone through oppression and deep layers of, you know, microaggressions on a daily basis, right, Like, Like there is, I believe that oppression does get stored in the body. Any type of trauma gets stored in the body. And so the fact that we can experience it is us like resisting that oppression. It is like that. It is an essentially fighting back, right. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like, and I think queer joy is also amplified when it is also done in a way that is ceremonial and it’s in celebration of our resistance. Right. Um, and our sacrifices and just existing and being ourselves. Like I feel like queer joy makes life better, like makes this world a better place, you know, like Black and brown joy, queer joy, trans joy, like all of that is so essential to our healing, not only as a community, but in the world. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">I’d like to give many, many thanks to Angelica Medina and Jahaira Fajardo. The haven you’ve created with In Lak’ech and the Queer Afro Latin Dance Festival is one this community needs. I hope that In Lak’ech gives back to you all the joy that it’s given to the queer community in Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Regardless of your experience level, if you’d like to take classes at In Lak’ech, check out their website at \u003c/span>\u003ca href=\"https://inlakechdance.com/\">\u003cspan style=\"font-weight: 400\">inlakechdance.com.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> In Lak’ech is spelled I-N L-A-K, apostrophe, E-C-H. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Queer Afro-Latin Dance Festival takes place every summer. If you’d like to learn more, head to queerafrolatindancefestival.com\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Don’t forget to follow In Lak’ech on instagram at, you guessed it, \u003c/span>\u003ca href=\"https://www.instagram.com/inlakechdance/\">\u003cspan style=\"font-weight: 400\">@inlakechdance.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This Rightnowish episode was hosted by me, Sheree Bishop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Chris Hambrick is our editor.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Christopher Beale is our engineer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team also includes Pendarvis Harshaw, Marisol Medina Cadena, and Xorje Olivares.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Additional support from Jen Chien, Katie Sprenger, Cesar Saldaña, and Holly Kernan.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\u003c/span>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Angelica and Jahaira co-founded In Lak’ech, the first queer salsa and bachata dance academy in the U.S.","status":"publish","parent":0,"modified":1705003148,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":110,"wordCount":4883},"headData":{"title":"Wives Angelica Medina and Jahaira Fajardo Share Culture Through Dance | KQED","description":"Angelica and Jahaira are co-founders of In Lak’ech, the first queer salsa and bachata dance academy in the U.S. and they are out to create dance spaces that build inclusivity. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"Angelica and Jahaira are co-founders of In Lak’ech, the first queer salsa and bachata dance academy in the U.S. and they are out to create dance spaces that build inclusivity. "},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC6804506669.mp3?updated=1698890715","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13937416/wives-angelica-medina-and-jahaira-fajardo-share-culture-through-dance","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13937418\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Angelica-and-Jahaira-4.jpg\" alt=\"A woman in multi-colored leggings faces away from the camera, while dancing and holding the hand of a woman facing the camera in a black top and black jeans.\" width=\"1365\" height=\"1213\" class=\"size-full wp-image-13937418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Angelica-and-Jahaira-4.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Angelica-and-Jahaira-4-800x711.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Angelica-and-Jahaira-4-1020x906.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Angelica-and-Jahaira-4-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Angelica-and-Jahaira-4-768x682.jpg 768w\" sizes=\"(max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Angelica Medina (L) dances with Jahaira Fajardo (R) \u003ccite>(Courtesy of In Lak'ech)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Angelica Medina’s first memories of dance are from when she was five years old doing steps to a Selena performance on TV. Her wife, Jahaira Fajardo, remembers being a New York club kid in her late teens, when she thinks of her earliest dance experiences. That’s because dancing felt very heteronormative and exclusionary, and as a lesbian growing up in a Dominican household, dancing seemed just not okay for her. Now as adults, Angelica and Jahaira are co-founders of \u003c/span>\u003ca href=\"https://inlakechdance.com/\">\u003cspan style=\"font-weight: 400\">In Lak’ech\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003cspan style=\"font-weight: 400\">the first queer salsa and bachata dance academy in the U.S. and they are \u003c/span>\u003cspan style=\"font-weight: 400\">out to create dance spaces that build inclusivity. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The two met while dancing in 2014, and noticed that something was missing from their experience in Latin dance. “I always felt like I could only bring a certain percentage of myself into those communities and a part of me had to be left at the door,” Jahaira says. She wanted to lead during partner dancing but found that people weren’t very open to female leads. She found acceptance for leading in the Queer community, but it felt worlds away from the Afro-Latin dance community. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">During a break while training for a competition, Angelica and Jahaira went for a walk. Angelica asked, “Why don’t we start our own community? Why don’t we start our own dance company?” and the idea for In Lak’ech was born with the goal of bringing both communities together to provide a space where everyone is welcome. “Leading and following have nothing to do with gender, you know, and so essentially we normalize a space where you can show up as your authentic self,” Angelica says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Encouraged by their students at the academy, the duo went on to create the \u003c/span>\u003ca href=\"https://queerafrolatindancefestival.com/\">\u003cspan style=\"font-weight: 400\">Queer Afro-Latin Dance Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. It’s now in its 6th year and is a space where queer and trans dancers can just exist and be themselves. The festival’s offerings have now expanded to include panel discussions on issues like anti-blackness and body positivity and how that affects dancers. Musing about dancing in the community they’ve created, Jahaira says, “Just being up there on stage is a powerful statement in itself, right? – of like taking up space, like a tribe kind of feeling, of like we’re showing up or we’re here to stay. It’s a really empowering and powerful experience. “\u003c/span>\u003c/p>\n\u003cp>The next Queer Afro-Latin Dance Festival takes place in San Jose, June 14-17, 2024. Visit \u003ca href=\"https://queerafrolatindancefestival.com/\">queerafrolatindancefestival.com\u003c/a> for more information.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC6804506669&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Jahaira Fajardo, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> Did you want to tell folks what In lak’ech means? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> In Lak’ech is a Mayan phrase and it means you are my other me, ‘Tu eres mi otro yo. We are a reflection of each other.’ And so it’s a beautiful message we love to share with the community and that message is very much embodied in our dance classes and all of our events. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop, host: \u003c/b>\u003cspan style=\"font-weight: 400\">Hey listeners, my name’s Sheree, and I’m a production intern on Rightnowish. I’ll be your host for this episode! Today, I spoke to Jahaira Fajardo and Angelica Medina. They’re the co-directors and founders of In Lak’ech Dance, the first queer\u003c/span> \u003cspan style=\"font-weight: 400\">Salsa and Bachata academy.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nothing brings people together like some food, some music, and some good dancing. When I’m in a place where I feel like I belong, I know I can count on a friendly smile and an introduction to help me feel included. \u003c/span>\u003cspan style=\"font-weight: 400\">When I went to a class at In Lak’ech Dance, that’s exactly what it felt like, warm, inviting, and filled with kind people.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes, it’s nice to dance alone at home and, you know, be in your element but I think there is power. There’s like another element of like community collective healing that happens when you are surrounded with people who can share that same feeling of joy.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s hard to find community when your options are limited, and even harder to build it yourself. That’s the thing, you might know what you’re looking for, but you don’t have a community unless other people are looking for it too. Jahaira told me that when In Lak’ech started, both of them underestimated how many people would be interested. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh my God. That was so incredible, because we had our first audition August 2nd, 2017, and we thought, oh, you know, maybe we’ll have like 4 couples (8 to 10 people). 58 people showed up to our auditions! And we were blown away by the reception. We were like, ‘Okay, our people want this, you know, queer and trans people want to dance.’\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop:\u003c/b>\u003cspan style=\"font-weight: 400\"> In Lak’ech has only grown since then, thanks to the dedication of the couple at its center. Angelica, who keeps her hair dyed a deep, vibrant purple and her wife, Jahaira, who wears gauges and often sports large cornrows. \u003c/span>\u003cspan style=\"font-weight: 400\">Like any passion, turned hobby, turned profession, Angelica and Jahaira started as dancers, and as a couple, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">before\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> In Lak’ech Dance was established. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cb>Sheree Bishop: \u003c/b>How did you both meet?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina:\u003c/b>\u003cspan style=\"font-weight: 400\"> Bailando… dancing, of course.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">We met dancing. Yes. Um, yeah, we, we met in San Francisco at a bar called The Neck of the Woods. It was like a dancing… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina:\u003c/b>\u003cspan style=\"font-weight: 400\"> …social night. And, yeah, I had seen Jahaira dancing, and I went up to her towards the last kind of part of the night, and I was like, “Do you want to dance?” And she almost said no. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo:\u003c/b>\u003cspan style=\"font-weight: 400\"> It was late and I was tired. And it’s interesting because in these spaces, the last thing I ever think is that anyone’s going to see me or these are very heteronormative spaces that we’re in. So I never go with the mindset of that. I’m going to meet someone or that I’m going to, you know, anything like that. So I was very surprised when she approached me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">And so we had a nice dance.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes! It was very lovely. And then at the end of the night, she asked me not for my number but for my name. [la\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">ughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> And I’m glad she got my name and she remembered.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">She said Angelica. So the next day I went searching on Facebook. I had a nice dance, so why not connect? And she was very surprised that I found her and… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina:\u003c/b>\u003cspan style=\"font-weight: 400\"> I mean, I was trying to make it clear that I was into her \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. So I hope I made that clear. But yeah, she did message me the next day and it was. Yeah, beautiful connection. From there we started dating and the rest is history. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. That was nine- nine years ago, my goodness. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">Sometimes couples can’t work together. So, how did you two discover that you could?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">Um, I guess. Competing together, performing together, learning the choreography together, to then choreograph together. I think that process made it so, for me, so that I know that we could… Okay, we can hear each other’s perspectives and thoughts and ideas, and it’s definitely not easy. I mean, I don’t think any coupleship or marriage or any type of partnership is easy. And I still feel like we do really well together. I think one thing that helps is like, enjoying each other’s presence. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, it’s nice that we like each other. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">We were just saying that, walking here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">I know, we were just saying that. We do spend a lot of time together and we work out together, we eat together, you know, we run a business together and, I was just telling her I’m so happy that we like each other because, you know, it could just be the work thing. But yeah, we and like she said, it’s definitely not easy. And sometimes we have to, you know, have support in order to keep the balance between our… our marriage and our partnership.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">I wanted to switch it up a little bit. What is your earliest memory of dancing?\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, I would say me being five years old and dancing to Selena in front of the TV. Yeah, it’s pretty simple. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, for me it wasn’t until I can say that I was about 18 that I, that I became kind of like a “club kid” in New York City where I grew up. And so I used to listen to, like, and dance to a lot of house music, techno music. And I sort of, you know, I was 18, 19, so I was going to all the clubs. I never really thought about it, but that 18 is probably… 19 is probably my earliest memory of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">me\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> dancing so. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">What about your videos from home being 15, 16? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">That too, that’s true. We always had, you know, growing up in a Dominican household, we always had parties. I think I always kind of like attributed dance to my sister because she was such a dancer and I was, “oh, that’s not from me.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I also felt because I think because I was a lesbian \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, that it is just not okay for me, you know? And I just was like, yes, we had parties, but, you know, I didn’t identify as like, oh, this is my chance to dance. I was always very shy and didn’t want to dance and wanted to hide my body. Um, but yeah, it wasn’t until I got a little older.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">What did you notice was missing from the Latin dance community that led you to founding In Lak’ech?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh my gosh. I was very blessed because when I asked… when I met my dance directors, they didn’t even blink an eye when I told them that I wanted to lead. And in 2013, ten years ago when that happened, um, there were, I want to say, maybe including myself, 3 female leaders in the whole latin dance scene that we knew of, at least in the United States. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">The heteronormativity of.. of the Latin dance world did feel very limiting to me. Um, uh, and I always felt like I could only bring a certain percentage of myself into those communities and a part of me had to be left at the door. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s not very open also for female leads, right? Doesn’t give like that opportunity or even a choice. I feel like a lot of classes are so rigid and they assume gender and then they place the dance role up on that. There’s a lot of assumptions made. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">I remember one day we were walking the lake and we were in the middle of training for a competition. Our very first one. And Angelica was like, “Why don’t we start our own community? You know, why don’t we start our own dance company?” \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, we wanted to start In Lak’ech so that there could be that integration of the Afro-Latin dance community with the queer community because it was very separate, you know. And so we wanted to, yeah, really bring both communities together and really provide a space where we can lead by example, where we can, you know, be inclusive and everyone is welcome. Um, and it was something that was so special and hadn’t been done before, you know. And to create that in Oakland was also really special. And so… and we’re still doing it. Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">It really grew also out of the desire that we just… we knew the joy, the benefits that we get from Afro-Latin dance. It’s our culture, it’s who we are. We love it. And I also understood why there weren’t very many, you know, queer and trans people going. The water was cold, it was frigid. And so In Lak’ech was born to kind of make the- the water a little bit warmer and say, let’s try it, you know, invite the queer and trans community to… to partake in this… in this art and this activity. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Chatter and conversation]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">In Lak’ech hosts their classes at The Orange Room in West Oakland. When I went there, it felt like being invited into someone’s home. String lights lined the ceiling, long maroon curtains were draped over comfy, velvet couches. Everything about it was warm! Yellow lighting, cozy heat, and the sound of old and new friends greeting each other.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Once everyone arrived, class got started. The dancers sat on the floor and, when it was their turn to show everyone what they’d learned, everyone paired up based on how they preferred to dance: either by leading or by following. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Clip of Jahaira giving advice in a dance class]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo (in clip):\u003c/b>\u003cspan style=\"font-weight: 400\"> Also, sabor ya la música un poquito it just.. Sometimes it just feels like the next thing, the next thing, the poor follow is like, you know ‘what’s next? What’s next?’ So there’s just times that… am I wrong, follows? Don’t you like just a moment to just like, breathe a little bit, and you know what I mean? Like it’s nice, you know?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">Even though I’d just met everyone, people introduced themselves to me, we danced together, and we ate together. I knew that I’d found a pocket of community that wouldn’t pass judgment about how I carry myself, how I dress, or in this case, how I like to dance. We’ll talk about inclusivity, how the Queer Afro Latin Dance Festival was founded, and more, right after this.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Bachata music plays in the background while Jahaira shouts ‘Ah! Ah!’ in time with the beat]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">Okay, let me be honest, when I got to the studio, the first thing I noticed was the food. A white folding table was set up in the back, stuffed with cookies, crackers, cheese, soda, you know, party snacks. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">During the class, everyone took turns dancing in pairs. They moved their hips to music, pulled off tight footwork and even tighter turns, and then Angelica and Jahaira gave them advice and tips. \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cem>\u003cspan style=\"font-weight: 400\">[Clip of Angelica giving corrections]\u003c/span>\u003cb> \u003c/b>\u003c/em>\u003c/p>\n\u003cp>\u003cb>Angelica Medina (in clip): \u003c/b>\u003cspan style=\"font-weight: 400\">…Y’all understand the timing, understand the body movement, the isolation. And then y’all can also, like, let go and have fun! Like, yes! All those elements so, beautiful job. \u003cem>[students applaud]\u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop:\u003c/b>\u003cspan style=\"font-weight: 400\"> At the end of the class, the room broke up into social dancing. The playlist was ready, the snacks were laid out, and everyone had the opportunity to mingle, chill, and dance as they pleased. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As it turns out, I’d showed up on a day when they were culminating an 8 week beginner series.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">We always like to end the series with a celebration, let’s all eat together. Let’s all dance. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">We do however have like, a social dance component at the end of each class where we do rotate in social dance with each other. It’s a social dancing series. So we want to practice that feeling of improvising with another human being, right, and connecting with them.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">I mean, it feels so good. You were there, you felt it. It’s like, oh, now we get to, like, intermingle and get to know each other and and we don’t know what’s going on in people’s lives. You don’t… we don’t know if people are alone, if they don’t have a community or what kind of situation they’re in. So this really is an opportunity for people to tap in, and connect, and be seen, and appreciated. We always like to end our class reminding people that they are loved, you know.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina:\u003c/b>\u003cspan style=\"font-weight: 400\"> Beyond measure.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo:\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Yes, You’re loved beyond measure. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Angelica Medina:\u003c/b>\u003cspan style=\"font-weight: 400\"> Like a little prayer. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop:\u003c/b>\u003cspan style=\"font-weight: 400\"> You know, everyone’s used to Latin dance, having this very strict boy-girl type of model. And so I was wondering what steps do you take to make Latin dance an inclusive experience? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">We have community agreements that we kind of go over at the beginning of each series, um, with our students. Um, and that really, like, helps us ground in there. Like we talk about consent, we talk about sexual harassment, we talk about not making assumptions. Leading and following have nothing to do with gender, you know. And so essentially we normalize a space where you can show up as your authentic self. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo:\u003c/b>\u003cspan style=\"font-weight: 400\"> We never want to say that it’s like this difficult thing. We actually would love it if other dance companies kind of followed suit in that even if there are not, a queer and trans dance company but to just, like, allow people to show up however they want, they can lead or follow. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Being who we are as human beings, Angelica and I, we could never reject someone based on something that they can’t control. We would never be able to do that. So we made it open. We are an inclusive space um, and yes, we are queer and trans, but we are inclusive. Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. We center queer and trans folks, you know, and we welcome allies and we always let them know, you know, ally is a verb. It’s an action, right? You- we call you our allies. You don’t identify as an ally. Right? And so just making that clear because it can- it can the dynamics do shift, right, where when it’s exclusive versus inclusive.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop:\u003c/b>\u003cspan style=\"font-weight: 400\"> How does it feel to separate the leader-follower aspect from masculine and feminine? ‘Cause even outside of dancing, I feel like especially leaders, people are like, ‘Oh yeah, it’s a masculine thing.’ And so like, yeah, I was wondering how it feels to have an environment where that doesn’t necessarily… those things don’t have to be linked. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">Hmm. Yeah, it. feels liberating to me. It feels like as human beings, like we are so… there’s such a spectrum that we encompass. And so I feel that to allow folks to show up. However, if you want to come on Wen- the first Wednesday of the month and you want to lead, that’s great. You want to try to follow the next week. That’s also amazing. You know, we are there to support that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">We love folks who switch. We encourage switching in our classes. We do teach one role at a time because it is more beginner level. But yeah, we… we do want to create that.. that culture because it can be… because it is binary, right? There’s the lead and follow. It’s easy to still get caught up in those dynamics and those roles. Right? Of the leader is more masculine presenting and the follower is more of a femme presenting…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo:\u003c/b>\u003cspan style=\"font-weight: 400\"> Which we kind of fall into right with me presenting more masculine. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina:\u003c/b>\u003cspan style=\"font-weight: 400\"> Exactly. Are you someone who tends to take on leadership roles and you’re always like, you know, leading a team or leading that. So maybe in dance you want to kind of step back and you want to just allow yourself to follow and relax and see what the benefits are for that and then vice versa, right? If you feel like you don’t, you know, take up as much space, then you can do that here and try taking that leadership role and try being a leader regardless of your, you know, gender expression. So we do… we do kind of frame it in that way. And I think I always say dance is life. Life is dance, right? \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Angelica Medina:\u003c/b>\u003cspan style=\"font-weight: 400\"> …They’re not separate. They’re together. Like how we show up in dance is, how we show up in life. And so I try to make those connections for our students.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">You know the saying, art imitates life? Well, not everyone gets to have that representation, or to see themselves in the art they love the most. It’s one thing to make art, to sing, or to dance. After that, though, we need spaces to share art with each other. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In Lak’ech brings a queer-inclusive space to learn Salsa and Bachata with the community, but the \u003c/span>\u003ca href=\"https://queerafrolatindancefestival.com/\">\u003cspan style=\"font-weight: 400\">Queer Afro Latin Dance Festival\u003c/span> \u003c/a>\u003cspan style=\"font-weight: 400\">offers its participants a chance to perform for a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">much\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> larger audience. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">Speaking of the Queer Afro-Latin Dance Festival, tell me about that. Your students helped create it, right? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\"> It gets very tricky for our community, you know, um, because we’ve experienced… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">And it has happened several times. Sorry to interrupt but it happened several times where our students were harmed and harm was caused at these festivals.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">It really came from them to want to create a space where they didn’t have to experience the transphobia and homophobia in these festivals. And so they were like, Let’s create a festival, let’s do it. And it was so incredibly… I’m like, I don’t even know how we did that because we started In Lak’ech in 2017 and then we had a festival in June.So less than a year we had created a festival, you know.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And it was so special, like even it was started really small, started at\u003c/span> \u003cspan style=\"font-weight: 400\">Trilliant Dance Studios\u003c/span>\u003cspan style=\"font-weight: 400\">. And then we went to the \u003c/span>\u003cspan style=\"font-weight: 400\">Asian Cultural Center in Oakland\u003c/span>\u003cspan style=\"font-weight: 400\"> and it was just, like, so intimate and so wonderful. And then from there it just started growing, um, we had a lot of energy from our students and our community to support us. And so now we’re going to do our 6th annual! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, in 2022, we, we moved into a hotel, so we definitely grew in size and… Wow, what an opportunity for us to create an event where queer Black and brown people can come and participate in something that comes from \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">them\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, and heal from it and get all the great stuff from it that we didn’t feel like we could before. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Um, and so that is in a nutshell what the Queer Afro Latin Dance Festival is. We reach out to different queer and trans artists from different parts of the globe. We’ve brought people from Europe, Mexico, Canada.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For 3 days, there’s all kinds of workshops. During the day, there’s like three pool party- a pool party every day of the weekend! Extravagant, beautiful showcases celebrating queer and trans Afro-Latin dancers. And then we dance till five in the morning, and we do that for three days.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">As teachers and dancers, what specific moment had the most impact on you?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jahaira Fajardo: \u003c/b>\u003cspan style=\"font-weight: 400\">One moment that to me stands out forever is at the 2nd annual Queer Afro Latin Dance Festival. The workshops are happening at the moment and Angelica and I are walking down the lobbies just kind of making sure that everything’s okay. And there’s this little… adorable little gay boy like on the floor, um, changing his shoes or something, changing their shoes, and um. And they, like, grabbed my arm and they were like, “I have to ask you, is this how straight people feel every day of their lives? The way we feel here in this weekend?” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And that to me, like I have never been able to forget that. And, you know, I didn’t even know how to answer that. Like, immediately I choked up because it was like, my gosh, like, we live with this every day of our lives. Like Angelica said, dealing with microaggressions, dealing with like, is it okay? The way I look, Is it okay? Can I… can I ride that line? How \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">much\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> of myself can I really be? You know? And he brought that all to the forefront with just that simple question: Is this how straight people feel every day? And I said, “I imagine so.” \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">You know \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. You know, but it was just very powerful for me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">How would you describe Queer Joy? \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">Um, I think, Queer Joy is an act of resistance.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Angelica Medina: \u003c/b>\u003cspan style=\"font-weight: 400\">I think our community has, you know, really any community who’s gone through oppression and deep layers of, you know, microaggressions on a daily basis, right, Like, Like there is, I believe that oppression does get stored in the body. Any type of trauma gets stored in the body. And so the fact that we can experience it is us like resisting that oppression. It is like that. It is an essentially fighting back, right. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like, and I think queer joy is also amplified when it is also done in a way that is ceremonial and it’s in celebration of our resistance. Right. Um, and our sacrifices and just existing and being ourselves. Like I feel like queer joy makes life better, like makes this world a better place, you know, like Black and brown joy, queer joy, trans joy, like all of that is so essential to our healing, not only as a community, but in the world. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sheree Bishop: \u003c/b>\u003cspan style=\"font-weight: 400\">I’d like to give many, many thanks to Angelica Medina and Jahaira Fajardo. The haven you’ve created with In Lak’ech and the Queer Afro Latin Dance Festival is one this community needs. I hope that In Lak’ech gives back to you all the joy that it’s given to the queer community in Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Regardless of your experience level, if you’d like to take classes at In Lak’ech, check out their website at \u003c/span>\u003ca href=\"https://inlakechdance.com/\">\u003cspan style=\"font-weight: 400\">inlakechdance.com.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> In Lak’ech is spelled I-N L-A-K, apostrophe, E-C-H. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Queer Afro-Latin Dance Festival takes place every summer. If you’d like to learn more, head to queerafrolatindancefestival.com\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Don’t forget to follow In Lak’ech on instagram at, you guessed it, \u003c/span>\u003ca href=\"https://www.instagram.com/inlakechdance/\">\u003cspan style=\"font-weight: 400\">@inlakechdance.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This Rightnowish episode was hosted by me, Sheree Bishop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Chris Hambrick is our editor.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Christopher Beale is our engineer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team also includes Pendarvis Harshaw, Marisol Medina Cadena, and Xorje Olivares.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Additional support from Jen Chien, Katie Sprenger, Cesar Saldaña, and Holly Kernan.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\u003c/span>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13937416/wives-angelica-medina-and-jahaira-fajardo-share-culture-through-dance","authors":["11832","11888"],"programs":["arts_8720"],"categories":["arts_1","arts_835","arts_966","arts_21759"],"tags":["arts_11115","arts_4640"],"featImg":"arts_13937539","label":"arts_8720"},"arts_13935408":{"type":"posts","id":"arts_13935408","meta":{"index":"posts_1591205157","site":"arts","id":"13935408","score":null,"sort":[1695895252000]},"guestAuthors":[],"slug":"hyphy-kids-got-trauma-pt-2-we-dance-different","title":"Hyphy Kids Got Trauma Pt. 2, ‘We Dance Different’","publishDate":1695895252,"format":"audio","headTitle":"Hyphy Kids Got Trauma Pt. 2, ‘We Dance Different’ | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>\u003ca href=\"#episode-transcript\">\u003cspan style=\"font-weight: 400\">\u003ci>View the full episode transcript.\u003c/i>\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the spring of 2006, I filmed and posted a video to Youth Radio’s YouTube page titled “\u003ca href=\"https://www.youtube.com/watch?v=zdst63FWSCs\">Stomper Go Dumb\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The video shows the Oakland A’s mascot, a big plush elephant in a baseball jersey and hat, dancing to a song titled “Happy To Be Here,” off of E-40’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">My Ghetto Report Card\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> album. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">E-40 delivers lyrics that speak of surviving hard times and losing loved ones along the way. As the music plays, Stomper glides through the parking lot, dancing with the people, one with the letters “RIP” airbrushed on their shirt. A few folks hug each other and smile. This video clip, only a minute in length, is a window into a world where dance and jubilation meet mourning and sadness.\u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='Youth Radio: Stomper \"Go Dumb\"' width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/zdst63FWSCs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Before the “hyphy movement,” and even prior to having its own name, the style of dance now commonly known as turfin’ or\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\"> \u003cspan style=\"font-weight: 400\">turf dancing\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> provided an outlet for young folks in Oakland. They could party to their favorite music, have fun by physically telling stories, and express themselves while\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> taking up room on the floor\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Through appearances in big-time music videos and participation in dance battles at places like Deep East Oakland’s Youth Uprising Center, young folks not only got to show their moves — they were also able to honor their deceased loved ones.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In this episode, we talk to \u003ca href=\"https://www.instagram.com/turfinentertainment/?igshid=MzRlODBiNWFlZA%3D%3D\" target=\"_blank\" rel=\"noopener\">Jeriel Bey\u003c/a>, the person credited with coining the term “turfin’,” \u003ca href=\"https://www.instagram.com/jackyj510/\" target=\"_blank\" rel=\"noopener\">Jacky Johnson\u003c/a>, a founding Youth Uprising staff member, and \u003ca href=\"https://www.instagram.com/zeusdadunka/\" target=\"_blank\" rel=\"noopener\">Jesus El, \u003c/a>my longtime friend and a well-known turf dancer. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13935479\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13935479\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/GettyImages-1408863565-scaled-1-800x623.jpg\" alt=\"Jeriel Bey teaches Turf Dancing classes at Berkeley High School in 2007.\" width=\"800\" height=\"623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1408863565-scaled-1-800x623.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1408863565-scaled-1-1020x795.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1408863565-scaled-1-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1408863565-scaled-1-768x599.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1408863565-scaled-1-1536x1197.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1408863565-scaled-1-2048x1596.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1408863565-scaled-1-1920x1496.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeriel Bey teaches turf dancing classes at Berkeley High School in 2007. \u003ccite>(Carlos Avila Gonzalez/San Francisco Chronicle/Getty Images )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4775019711&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Pendarvis Harshaw, Host: \u003c/b>\u003cspan style=\"font-weight: 400\">Heads up, this podcast contains explicit language.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the spring of 2006, there was this video posted on Youtube titled “Stomper Go Dumb.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[chatter, shouting, and cheering from the Stomper Go Dumb video]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The clip is less than a minute long, but it shows something that’s really important. It’s shot in a parking lot. It’s Stomper, the Oakland A’s mascot– a big gray plush elephant in white pants and a forest green and gold baseball jersey. And he’s out there giggin’ to an E-40 song. Ears flapping, feet sliding, arms waving, Stomper is in full party mode, and so are the folks around him. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Behind the camera is me. In the footage, Stomper gets close to the camera, daps me up, then he proceeds to glide across the pavement, pausing momentarily to act as if he’s ghostriding the whip, and then he thizz dances. Another guy in an airbrushed white-t stands next to him, giggin’ as well. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The guy’s shirt has the letters RIP boldly written next to an illegible name. And they’re all dancing to E-40’s “Happy to Be Here.” \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Happy to be Here by E-40 plays]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The track is off of 40’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">My Ghetto Report Card \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">album, one of the few slower tracks off of his landmark project, which is chock full of high energy party anthems. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But in that moment, as we’re posted in front of E-40’s album release party at Tower Records, it’s this song that plays as the A’s mascot is showing off his gigs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">People are dancing and laughing, embracing each other and celebrating, despite having the letters RIP and their friends’ names written across their chest. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Happy to be Here by E-40 fades in]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">“Oooh; it’s gloomy out here, dark days ahead\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">God got my back but the devil he want my head”\u003c/span>\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">After I shot the video, I posted it to the YouTube page for Youth Radio, now known as YR Media. I was a baby reporter working with them at the time.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And with this video racking up half a million views, and hella people using this footage as GIFs on social media platforms, it was clear that I’d documented something significant. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Deeper than a dancing elephant, it was a window into the culture. I’m Pendarvis Harshaw, and this is Hyphy Kids Got Trauma. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">In that video of Stomper dancing to an E-40 song, the mascot does a few more dance moves, and then gives an extended embrace to a brotha with cornrows in a black leather jacket. The person inside the Stomper mascot outfit is saying what’s up to my right hand man, Jesus El, Zeus as we call him.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He’s just a couple inches taller than me, born exactly three weeks before me, and we’re a lot alike. We’re socialites; neither of us can stay away from a party. Oakland proud, we both love the town and constantly get caught up in our own thoughts about how to save it – and the world, for that matter.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While I chose to sit down and write for a living, Zeus chose to fly. A trained gymnast, for over a decade he worked for the NBA, majority of that time was with the Golden State Warriors as an acro-dunker. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[hip-hop music echoes inside of stadium with a cheering crowd]\u003c/span>\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">That means that at halftime of a game he’d come out with his crew – the Warriors’ Team Thunder dunk team – and run across the court, bounce off a trampoline, elevate higher than the rim, catch the ball mid-air, wink at the camera, and then dunk the ball before safely returning to earth. Outside of that, he’s also a well-known dancer from West Oakland. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I got this photo in my text message today. What’s going on here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, man, that’s crazy. That’s a throwback. So this photo is of me dancing at Youth Uprising in a dance battle. Uh, and I look super young and skinny.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">We grew up in different parts of the Town, and met during a 7th grade summer program– cracking jokes on the back of the bus. And after twenty-plus years, we haven’t stopped cracking jokes since. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The jordans – are those the fake Jordans we got? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El: \u003c/b>\u003cspan style=\"font-weight: 400\">I think those was the fake Jordans.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The fake Jordans.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yours was fakers than mine though.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Faker? How they– if they fake, they fake. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El: \u003c/b>\u003cspan style=\"font-weight: 400\">If they fake they fake, but yours… your Jordan had buttcheeks. Remember that?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">He was facing the wrong way.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El: \u003c/b>\u003cspan style=\"font-weight: 400\">He was facing the wrong way and he had the buttcheeks showing. Mine, I could at least, you know, well I was getting away with it.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You just gotta pull the jeans down.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El: \u003c/b>\u003cspan style=\"font-weight: 400\">I had to pull the jeans– yeah, I had to wear the big jeans over him.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003cb>\u003ci> \u003c/i>\u003c/b>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Back in ‘06 we were broke community college students taking classes at Laney in Oakland. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Zeus had dreams of becoming an NBA mascot, and was simultaneously developing his own acro-dunking team. I was focused on doing journalism, and had just got accepted to Howard University. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So while I was spending the year getting ready for college on the east coast and getting my journalism chops up, Zeus was building his own legacy, both in the Town and around the globe. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El: \u003c/b>\u003cspan style=\"font-weight: 400\">I’ve been to China ten times, been to Italy, um, Rome, Japan, Dubai, Abu Dhabi, Mexico…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">He adds England, Budapest, and all of North America. He’s performed for Ripley’s Believe It or Not, holds a couple Guinness World Records, and in 2005 he performed in front of some of the biggest names in the business at the NBA All Star game in Denver, Colorado.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El: \u003c/b>\u003cspan style=\"font-weight: 400\">I met Destiny’s Child. They like, room was right next door to ours. Jay-Z, Chris Tucker, we met so many different people…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Zeus got his start after being mentored by the late Sadiki Fuller, the guy who wore the Thunder mascot costume for the Golden State Warriors. And that’s how Zeus got to know other mascots– like Stomper. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But Zeus’ main inspiration came from superheroes in movies and television shows. In his own way, Zeus was a superhero when he was on the court. And just like any superhero, he’d be treated differently when he took the cape, or um, uniform off. He would leave the old Warriors arena in East Oakland and he’d transition, like Superman to Clark Kent. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El:\u003c/b>\u003cspan style=\"font-weight: 400\"> I had times where I’m having the day of my life. Like, I just did a new dunk, I’m the first person to do it. I do it in front of people. I make it. I’m feeling like on cloud nine…\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jesus El:\u003c/b>\u003cspan style=\"font-weight: 400\"> …and then I get back, you know everybody leaving the BART, and uh people don’t have to notice me—I’m not tripping off of that. But then, you know, people clutching they purse or, you know, like, just trying to, like, stand away from me, you know what I mean. I’m like, bruh, you was just clapping for me.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El:\u003c/b>\u003cspan style=\"font-weight: 400\"> Just like that, you was just clapping for me, and now I’m just another nigga that may bring harm your way and that’s trauma within itself.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s trauma in that duality of physically showing joy, and being celebrated and then getting hit with the weight of reality. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In order to escape it, Zeus would literally leave. He found solace in seeing the world. But despite the freedom he felt traveling back then, Zeus knew he had to keep his stories close to the chest because of how smirkish people can be. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El: \u003c/b>\u003cspan style=\"font-weight: 400\">I remember just traveling like, I mean, soon as, aw man, soon as I touch that airplane: Oakland is in Oakland. I’m going global, I’m out. Right?\u003c/span> \u003cspan style=\"font-weight: 400\">And then when I come home, I have to pretend like I’m not that person.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You gotta dumb it down? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El: \u003c/b>\u003cspan style=\"font-weight: 400\">I gotta dumb it down all the time. Because, one, people… people who speak too highly of themselves are typically the ones who end up shot first, right? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">They typically the ones that people target. It could be jealousy. It could be hate. It could be all kind of stuff. But people who… sometimes you got to just stay under the radar to survive. That’s how we survived this long.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> As confining as that might seem, it was kind of the code, still is. The Town is a place where you gotta stay low even as you come up. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But on the contrary, Zeus was getting his limelight on the hoop courts. And outside of that, he was cutting up on the dancefloor– that’s where he really escaped, specifically, through the art of turf dancing.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El:\u003c/b>\u003cspan style=\"font-weight: 400\"> Turf Dancing is an acronym called Taking Up Room on the Floor that was coined by Jeriel Bey. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So turf dancing, it’s a style of dance that derives from Oakland. And it’s storytelling and it’s certain moves that you do, but it’s storytelling. It’s waving, gliding, all of that but it’s a certain swag that comes with it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But before it was even called turfing, it was called hitting it or touching it or fucking wit it. Like, ‘fuck wit it bruh’, ya know what im saying? \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Jeriel Bey, raised between Oakland and LA, is a marketing minded brother who had turf dancing, lightweight, land on his doorstep.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeriel Bey, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">They know me as the godfather of turf dancing. I coined the phrase, a lot of people are like ‘you didn’t coin the phrase!’ But you know coining is something you use before anybody else use it. So I used it in both, in print and on my fliers, you know, my events, you know, just… I knew long ago just from having a lot of internships that, you know, you brand yourself, you know how to brand myself. So I definitely am known for that.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Jeriel was a party promoter, who was living in West Oakland and that’s where, two young dudes from the neighborhood, Demtrius Zeigler and Cory Johnson AKA Scooby, would hang around his house.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>Jeriel Bey:\u003c/b>\u003cspan style=\"font-weight: 400\"> Those are the two first kids I met and then those two kids brought every other kid around me. You know, these kids, like, 14, 15, with sawed off shotguns in their backpacks. Like, bad but good kids, they just needed some focus. And the only thing they all knew that they all knew how to do was dance. Guns, and money, drugs and all, they all was coming in front of the house, dancing with me. And so my thing was like, okay, I got to give back and give ’em something to do.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The dance sessions brought about dope moves, clean gigs and hyped reactions. The problem was: the dance they were doing didn’t really have a name. There were notable moves: the drop, the airwalk, the old school Brookfield. But the overall dance style was kinda just a part of Oakland culture. That’s how we moved. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, at the same time, the terms folks were using to describe the dance style weren’t exactly marketable to the venues Jeriel was looking to work with. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeriel Bey: \u003c/b>\u003cspan style=\"font-weight: 400\">I was like man, I can’t sell this as ‘fucking with it’ or ‘giggin’. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So Jeriel started brainstorming, and during a conversation with one of his cousins, it all clicked. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeriel Bey: \u003c/b>\u003cspan style=\"font-weight: 400\">Man, I got these youngstas in front of the house, you remember Demetrius and Scooby? They be ‘fuckin wit it’ and shit, you know, they all be dance differently: the East Oakland, the West Oakland, you know? They all dance different. Like I said, like different turfs and they all dance different…Man, how does turf dancing sound? He was like, ‘Oh, yeah, that’s it. That’s, that’s it right there!’ \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so that’s what it was. Everywhere the little homies was going, ‘What ya’ll doing?’ We turf dancing, we turf dancing. And that’s how it stuck. Even when I did community events in the City, I made sure they put it on the fliers, we turf dancing. We’re not “hyphy dancers,” hyphy was kind of like the energy, the spirit, the movement. But, you know, turfing is how we was able to separate ourselves from the energy, you know, we was turf dancing. We wasn’t hyphy dancing. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Turf dancing – a mixture of boogaloo, poplock, pantomime, and being player while moving on beat – was something different than just going 18 dummy like some might imagine when we’re talking “hyphy” dancing. I mean, that was a part of it, but it was deeper than just shaking yo’ dreads. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Echo of E-40 saying “Shake them dreads.”]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It was a world of Bay Area storytelling through dance, complete with signature moves from certain neighborhoods. Hence the name “turf” dancing. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And people would dance everywhere, at the bus stop, the house party, The candy shop – which was this fake-teenager-club-function thing that didn’t serve alcohol but was somehow still full of faded teenagers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We hit it at the sideshow, on a car, in a car. In the school hallway, acting as if you were a car. And, at your local community center, specifically this one called Youth Uprising. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When Youth Uprising opened in 2005, it was this sleek looking youth center located on 87th and MacArthur in East Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">A huge-freshly painted state of the art building with bright colors that stood in contrast to the surrounding apartment buildings and the adjacent school – Castlemont High School– an institution that had been under-resourced for years, and it showed. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Inside of Youth Uprising, the building was well-decorated with artwork and photos. They offered healthy meals to teenagers who came from the surrounding community, as well as employment and educational resources. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’d go up there and kick it in the music studios or attend discussions about the state of the community. And I’d also hit the dance battles they threw– turf dance battles. Here’s founding Youth Uprising staff member Jacky Johnson. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jacky Johnson, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> We stopped publicizing them after a while. We would just like announce the day of we were gonna do it because they would just get so like crazy. Like, our little amphitheater would just be packed. And we would see, like, young people running down the hill across MacArthur from, um, up the hill just run cutting through like, backyards to run over to the center.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Jacky is a longtime community advocate who works at the intersection of social justice and entertainment. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back in the day, she got her start as a young adult on the staff of Youth Uprising. One of her tasks was to organize and promote the turf dance battle events. And through that, she saw how important dancing was to the culture. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jacky Johnson:\u003c/b>\u003cspan style=\"font-weight: 400\"> The crowd fueled the dancers. The dancers fueled the crowd. Like it was just this perfect mixture of just a showing of what, um, Oakland, of what the Bay Area’s energy is about. And I just think of that time, I always reflect on, you can’t, you know, I, I hope that young people or, you know, other generations, they’ll have their own moments like that, but that, to me, that just feels like a moment that couldn’t… couldn’t be duplicated.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The dance battles would be roughly once a month, and they’d garner all kinds of attention. Makes sense, we didn’t have much else to do. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lot of this culture was born out of a void. There weren’t many places in Oakland where folks could congregate for large scale-hip-hop events, and it had been that way. Because of previous conflicts and altercations at shows, hip-hop concerts were constantly under threat of being banned or over-policed in Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lot of artists and promoters would turn to the Bay Area suburbs and central valley to do hip-hop events. But Youth Uprising was one of the venues in Oakland working to connect young fans to the local stars. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jacky Johnson:\u003c/b>\u003cspan style=\"font-weight: 400\"> A lot of artists would stop through and perform, and I think they loved being able to connect with the young people and be a source of inspiration. And then the young people were excited because they never knew who was gonna stop by and what was gonna happen next.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, that was me, one of the young folks juiced to be at the center. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I initially started by catching the bus up there after hearing about it from friends. But when I got my car, this plum colored Chrysler Sebring with a functional sunroof and dysfunctional sound system, I was there. Well, until the transmission died, then I was back on the bus. But either way, I was fasho pulling up. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I’d bounce out with the same camcorder I filmed Stomper going dumb with, show love to the security guards, and then, as a young journalist trying to get on, I’d find my way to interviewing folks like E-40, Mistah FAB, Vidal White, Too $hort, The Husalah, The Jacka and later, Oakland Mayor Ron Dellums. I have a few photos from back then, not much video. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I look back at the few photos I have of myself from back then? Man, I was in it! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Specifically this one photo of me sitting in the audience of a dance battle, wearing an oversized t-shirt, baggy jeans, and those knock off Jordans that Zeus roasted me about, while holding on to that camcorder. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yeah, I was in it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was one of the many young folks who ascribed to a culture that was having its moment in the sun, despite the ever-present dark clouds. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back in the day, Jeriel Bey taught classes at Youth Uprising. In addition to that, he choreographed dances for music videos and performances. He also threw dance events–including battles between cities. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Right before one event in Los Angeles, Demetrius Zigler, who used to hang out in front of Jeriel’s house, was killed. In response, Jeriel and his dance team, the Architeckz, danced in the battle in Demetrius’ honor. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jeriel Bey:\u003c/b>\u003cspan style=\"font-weight: 400\"> I remember us all having this sweater, his picture, like, you know, on the hoodies, which is synonymous with losing someone on the street. So we had him on our hoodies. We drove down to L.A.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Jeriel and his team won the battle, but they did so while mourning their friend. Full of mixed emotions, they made the drive back to Northern California.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeriel Bey:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m tired, everybody is sleep in the van. I get a call, I think, from Jacky Johnson. She’s like, ‘Yeah, you know, E-40 heard about your guy being killed, and um and they want to put you on this video called, Tell Me When to Go.’\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Record scratch]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jeriel Bey: \u003c/b>\u003cspan style=\"font-weight: 400\">I said, the song I’d been hearing on the Radio? She goes ‘Yeah. They’re shooting in West Oakland right now.’ I’m like, damn, I live in West Oakland like we’re all by the train station. What? That’s three blocks away from me.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jeriel Bey:\u003c/b>\u003cspan style=\"font-weight: 400\"> Cool. I wake up everybody, I’m like a man we finna go shoot a video. ‘What video?’ Tell Me When to Go. ‘What?!’ We smash to West Oakland, we pull up to the house, we take a little hoe baths and shit, wash our faces and shit.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">They get to the set, and 40, Lil Jon and the production team are moving through scenes. The iconic opening of the video, with a circle of folks going dumb on the ground shaking their dreads? That’s not them. That’s another dance crew. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After rushing to the set, rehearsing an impromptu routine and getting ready for their light, Jeriel and the Architeckz almost get skipped over. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeriel Bey: \u003c/b>\u003cspan style=\"font-weight: 400\">And they was like ‘We gon’ give you one shot, let me see what y’all got.’ And then the rest is history. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The black and white footage from the video shows the group forming a semicircle, with the opening facing the camera. They dance aggressively, hittin’ signature turf dance moves as well as shaking their dreads. The majority of them are wearing the hoodies dedicated to Demetrius. Dancing in his honor, they left an impression on the filmmakers. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeriel Bey:\u003c/b>\u003cspan style=\"font-weight: 400\"> We shot like three more times after that. And before the video came out, it was, ‘Oh, good job, Architects,’ oh, E-40, people loved us, ‘Oh, ‘Demetrius, rest in peace, Demetrius, aww community community,’ but as soon as that muthafucka hit MTV, it was like, ‘Man them niggas ain’t really from Oakland tho.’ It’s all the hate and then the bullshit came.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">People were congratulating them on the video set, but were critical once the video came out. Jeriel says that other artists, dancers and people from the Bay Area hip-hop community made comments about the fact that Jeriel is originally from LA, or that the Architeckz weren’t that tight. Jeriel was shocked.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeriel Bey: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s when I realized, like, yo, people can love you on the way up, but the envy is a muthafucka. Envy will get you killed out here when people feel like they deserve more than you and I experienced all that shit.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Jeriel says people were envious of the Architeckz success. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, really it was misguided anger – a byproduct of the lack of resources. If there were more limelight, everyone could shine. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">But that video being on MTV, and the media attention that was focused on the hoods of the Bay Area during the Hyphy Movement came on the heels of years of media neglect. So folks were hungry, vying for an opening. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some artists were over-promoting this hyphy thing. A few big media platforms, clothing lines, club promoters, even community centers were selling it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here’s Zeus.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El:\u003c/b>\u003cspan style=\"font-weight: 400\"> Man, to be honest with you, I don’t think Youth Uprising would have been that impactful if it wasn’t for the dance culture, because a lot of people were showing up for the dance culture and staying for the resources, you know what I mean?\u003c/span> \u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Jacky saw it differently, and has the same sentiments as Zeus. After the dance battles, how do you connect folks with counseling, healthcare and other resources? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jacky Johnson:\u003c/b>\u003cspan style=\"font-weight: 400\"> We’re like, okay, well how do we move these young people into our programming? And that would sometimes be a challenge because I think sometimes we felt really- I felt for sure stressed out about like, okay, like are we doing enough if they’re coming here and they’re not going into a, you know, career and education program.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The whole situation made Jacky frustrated. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jacky Johnson: \u003c/b>\u003cspan style=\"font-weight: 400\">You have to hit these deliverables. It’s like, how do you, like, okay, you get this amount of money now go and transform somebody’s life as they’ve, yeah, experienced all this trauma and need all of the- these things, or the fact that we all are going through our own shit.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The Youth Uprising center has gone through its ups and downs, but it still stands today. And back when it first opened, even with all of the elements at play, the center was a beacon for kids like me and Zeus.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[crowd cheering]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jesus El:\u003c/b>\u003cspan style=\"font-weight: 400\"> We on the bus, catching the 57 from West Oakland all the way to 88 and MacArthur, and this is when it was super turfed out. I’m talking about real hood, so we up there battling cats, Like around the stage it was like 300 people, like hanging over, just having hella fun tho. But you would have different people from different sides of the city come out and battle each other. And that’s how you earned your respect. Like with dancing, you earn your respect because you’re \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">way\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> somewhere in somebody else’s hood, and you could be battling they friend. But if you raw, they gon be like you raw bruh. Like I still know people to this day from me meeting them at Youth Uprising.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Those experiences. That community. Those intangibles. They don’t show up in a fiscal report. They show up in people’s memories. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I have mental pictures of audiences going wild after someone hit a backflip during a dance battle, fond memories of meeting a new crush after the conclusion of an event. And I even have one picture from that day that E-40 pulled up for a photo shoot. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jacky Johnson:\u003c/b>\u003cspan style=\"font-weight: 400\"> We really wanted to create a safe space from the violence, safe space from the police, um, where we kind of held it down and it was just this raw energy. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Youth Uprising was one of the many nonprofits that both invested in, and benefited from the culture. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Its location, resources, and connections to big name-artists made it significant. But the youth programs, they were just a Band-Aid in the face of generations of neglected neighborhoods and people living in poverty. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The trauma that we inherited existed long before we did, and still, we found joy in the middle of all that. Some of the moments turned into photos, others are invisible memories that are stories waiting to be told. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And the stories – the way they were told, who told them and what stories were not told – well that’s another layer to the trauma. We’ll get into all of that in the next episode.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Seaside Stretch, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">Just the term “hyphy,” was, it meant something completely different to what it was commercialized as. You know what I mean? It it wasn’t a good thing, you know what I’m saying? Like, they didn’t say like, Oh, them kids is hyphy, and that meant that they were just dancing around having a good time. No, that means that they were destructive and violent, you know? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This is Hyphy kids Got Trauma. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hosted by me, Pendarvis Harshaw\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Produced by Maya Cueva\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Edited by Chris Hambrick\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sound design and original music by\u003c/span>\u003cspan style=\"font-weight: 400\"> Trackademics\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With support from Eric Arnold, Jen Chien, Holly Kernan, Victoria Mauleon, Marisol Medina-Cadena, Gabe Meline, Xorje Olivares, Delency Parham, Cesar Saldaña, Sayre Quevedo, Katie Sprenger, Nastia Voynovskaya, and Ryce Stoughtenborough. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This project was produced with support from PRX and is made possible, in part, by a grant from the John S. and James L. Knight Foundation. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And this is a part of KQED’s That’s My Word project, a year-long exploration of Bay Area Hip-Hop history. Find more at \u003c/span>\u003ca href=\"https://bayareahiphop.com/\">\u003cspan style=\"font-weight: 400\">BayAreaHipHop.Com\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">RIP Demtrius Zigler, and so many more. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until next time, peace. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Host Pendarvis Harshaw takes a look at Turfin' with Jeriel Bey, Jacky Johnson, and Jesus El.","status":"publish","parent":0,"modified":1705003312,"stats":{"hasAudio":true,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":164,"wordCount":5330},"headData":{"title":"Hyphy Kids Got Trauma Pt. 2, ‘We Dance Different’ | KQED","description":"In this episode, we talk to Jeriel Bey, the person credited with coining the term, "Turfin'," Jacky Johnson, a founding Youth Uprising staff member, and Jesus El, my longtime friend and a well-known turf dancer. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"In this episode, we talk to Jeriel Bey, the person credited with coining the term, "Turfin'," Jacky Johnson, a founding Youth Uprising staff member, and Jesus El, my longtime friend and a well-known turf dancer. "},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC4775019711.mp3?updated=1695860136","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13935408/hyphy-kids-got-trauma-pt-2-we-dance-different","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003cspan style=\"font-weight: 400\">\u003ci>View the full episode transcript.\u003c/i>\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the spring of 2006, I filmed and posted a video to Youth Radio’s YouTube page titled “\u003ca href=\"https://www.youtube.com/watch?v=zdst63FWSCs\">Stomper Go Dumb\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The video shows the Oakland A’s mascot, a big plush elephant in a baseball jersey and hat, dancing to a song titled “Happy To Be Here,” off of E-40’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">My Ghetto Report Card\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> album. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">E-40 delivers lyrics that speak of surviving hard times and losing loved ones along the way. As the music plays, Stomper glides through the parking lot, dancing with the people, one with the letters “RIP” airbrushed on their shirt. A few folks hug each other and smile. This video clip, only a minute in length, is a window into a world where dance and jubilation meet mourning and sadness.\u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='Youth Radio: Stomper \"Go Dumb\"' width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/zdst63FWSCs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Before the “hyphy movement,” and even prior to having its own name, the style of dance now commonly known as turfin’ or\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\"> \u003cspan style=\"font-weight: 400\">turf dancing\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> provided an outlet for young folks in Oakland. They could party to their favorite music, have fun by physically telling stories, and express themselves while\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> taking up room on the floor\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Through appearances in big-time music videos and participation in dance battles at places like Deep East Oakland’s Youth Uprising Center, young folks not only got to show their moves — they were also able to honor their deceased loved ones.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In this episode, we talk to \u003ca href=\"https://www.instagram.com/turfinentertainment/?igshid=MzRlODBiNWFlZA%3D%3D\" target=\"_blank\" rel=\"noopener\">Jeriel Bey\u003c/a>, the person credited with coining the term “turfin’,” \u003ca href=\"https://www.instagram.com/jackyj510/\" target=\"_blank\" rel=\"noopener\">Jacky Johnson\u003c/a>, a founding Youth Uprising staff member, and \u003ca href=\"https://www.instagram.com/zeusdadunka/\" target=\"_blank\" rel=\"noopener\">Jesus El, \u003c/a>my longtime friend and a well-known turf dancer. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13935479\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13935479\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/GettyImages-1408863565-scaled-1-800x623.jpg\" alt=\"Jeriel Bey teaches Turf Dancing classes at Berkeley High School in 2007.\" width=\"800\" height=\"623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1408863565-scaled-1-800x623.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1408863565-scaled-1-1020x795.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1408863565-scaled-1-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1408863565-scaled-1-768x599.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1408863565-scaled-1-1536x1197.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1408863565-scaled-1-2048x1596.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/GettyImages-1408863565-scaled-1-1920x1496.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeriel Bey teaches turf dancing classes at Berkeley High School in 2007. \u003ccite>(Carlos Avila Gonzalez/San Francisco Chronicle/Getty Images )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4775019711&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Pendarvis Harshaw, Host: \u003c/b>\u003cspan style=\"font-weight: 400\">Heads up, this podcast contains explicit language.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the spring of 2006, there was this video posted on Youtube titled “Stomper Go Dumb.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[chatter, shouting, and cheering from the Stomper Go Dumb video]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The clip is less than a minute long, but it shows something that’s really important. It’s shot in a parking lot. It’s Stomper, the Oakland A’s mascot– a big gray plush elephant in white pants and a forest green and gold baseball jersey. And he’s out there giggin’ to an E-40 song. Ears flapping, feet sliding, arms waving, Stomper is in full party mode, and so are the folks around him. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Behind the camera is me. In the footage, Stomper gets close to the camera, daps me up, then he proceeds to glide across the pavement, pausing momentarily to act as if he’s ghostriding the whip, and then he thizz dances. Another guy in an airbrushed white-t stands next to him, giggin’ as well. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The guy’s shirt has the letters RIP boldly written next to an illegible name. And they’re all dancing to E-40’s “Happy to Be Here.” \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Happy to be Here by E-40 plays]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The track is off of 40’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">My Ghetto Report Card \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">album, one of the few slower tracks off of his landmark project, which is chock full of high energy party anthems. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But in that moment, as we’re posted in front of E-40’s album release party at Tower Records, it’s this song that plays as the A’s mascot is showing off his gigs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">People are dancing and laughing, embracing each other and celebrating, despite having the letters RIP and their friends’ names written across their chest. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Happy to be Here by E-40 fades in]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">“Oooh; it’s gloomy out here, dark days ahead\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">God got my back but the devil he want my head”\u003c/span>\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">After I shot the video, I posted it to the YouTube page for Youth Radio, now known as YR Media. I was a baby reporter working with them at the time.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And with this video racking up half a million views, and hella people using this footage as GIFs on social media platforms, it was clear that I’d documented something significant. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Deeper than a dancing elephant, it was a window into the culture. I’m Pendarvis Harshaw, and this is Hyphy Kids Got Trauma. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">In that video of Stomper dancing to an E-40 song, the mascot does a few more dance moves, and then gives an extended embrace to a brotha with cornrows in a black leather jacket. The person inside the Stomper mascot outfit is saying what’s up to my right hand man, Jesus El, Zeus as we call him.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He’s just a couple inches taller than me, born exactly three weeks before me, and we’re a lot alike. We’re socialites; neither of us can stay away from a party. Oakland proud, we both love the town and constantly get caught up in our own thoughts about how to save it – and the world, for that matter.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While I chose to sit down and write for a living, Zeus chose to fly. A trained gymnast, for over a decade he worked for the NBA, majority of that time was with the Golden State Warriors as an acro-dunker. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[hip-hop music echoes inside of stadium with a cheering crowd]\u003c/span>\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">That means that at halftime of a game he’d come out with his crew – the Warriors’ Team Thunder dunk team – and run across the court, bounce off a trampoline, elevate higher than the rim, catch the ball mid-air, wink at the camera, and then dunk the ball before safely returning to earth. Outside of that, he’s also a well-known dancer from West Oakland. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I got this photo in my text message today. What’s going on here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, man, that’s crazy. That’s a throwback. So this photo is of me dancing at Youth Uprising in a dance battle. Uh, and I look super young and skinny.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">We grew up in different parts of the Town, and met during a 7th grade summer program– cracking jokes on the back of the bus. And after twenty-plus years, we haven’t stopped cracking jokes since. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The jordans – are those the fake Jordans we got? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El: \u003c/b>\u003cspan style=\"font-weight: 400\">I think those was the fake Jordans.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The fake Jordans.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yours was fakers than mine though.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Faker? How they– if they fake, they fake. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El: \u003c/b>\u003cspan style=\"font-weight: 400\">If they fake they fake, but yours… your Jordan had buttcheeks. Remember that?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">He was facing the wrong way.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El: \u003c/b>\u003cspan style=\"font-weight: 400\">He was facing the wrong way and he had the buttcheeks showing. Mine, I could at least, you know, well I was getting away with it.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You just gotta pull the jeans down.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El: \u003c/b>\u003cspan style=\"font-weight: 400\">I had to pull the jeans– yeah, I had to wear the big jeans over him.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003cb>\u003ci> \u003c/i>\u003c/b>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Back in ‘06 we were broke community college students taking classes at Laney in Oakland. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Zeus had dreams of becoming an NBA mascot, and was simultaneously developing his own acro-dunking team. I was focused on doing journalism, and had just got accepted to Howard University. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So while I was spending the year getting ready for college on the east coast and getting my journalism chops up, Zeus was building his own legacy, both in the Town and around the globe. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El: \u003c/b>\u003cspan style=\"font-weight: 400\">I’ve been to China ten times, been to Italy, um, Rome, Japan, Dubai, Abu Dhabi, Mexico…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">He adds England, Budapest, and all of North America. He’s performed for Ripley’s Believe It or Not, holds a couple Guinness World Records, and in 2005 he performed in front of some of the biggest names in the business at the NBA All Star game in Denver, Colorado.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El: \u003c/b>\u003cspan style=\"font-weight: 400\">I met Destiny’s Child. They like, room was right next door to ours. Jay-Z, Chris Tucker, we met so many different people…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Zeus got his start after being mentored by the late Sadiki Fuller, the guy who wore the Thunder mascot costume for the Golden State Warriors. And that’s how Zeus got to know other mascots– like Stomper. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But Zeus’ main inspiration came from superheroes in movies and television shows. In his own way, Zeus was a superhero when he was on the court. And just like any superhero, he’d be treated differently when he took the cape, or um, uniform off. He would leave the old Warriors arena in East Oakland and he’d transition, like Superman to Clark Kent. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El:\u003c/b>\u003cspan style=\"font-weight: 400\"> I had times where I’m having the day of my life. Like, I just did a new dunk, I’m the first person to do it. I do it in front of people. I make it. I’m feeling like on cloud nine…\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jesus El:\u003c/b>\u003cspan style=\"font-weight: 400\"> …and then I get back, you know everybody leaving the BART, and uh people don’t have to notice me—I’m not tripping off of that. But then, you know, people clutching they purse or, you know, like, just trying to, like, stand away from me, you know what I mean. I’m like, bruh, you was just clapping for me.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El:\u003c/b>\u003cspan style=\"font-weight: 400\"> Just like that, you was just clapping for me, and now I’m just another nigga that may bring harm your way and that’s trauma within itself.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s trauma in that duality of physically showing joy, and being celebrated and then getting hit with the weight of reality. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In order to escape it, Zeus would literally leave. He found solace in seeing the world. But despite the freedom he felt traveling back then, Zeus knew he had to keep his stories close to the chest because of how smirkish people can be. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El: \u003c/b>\u003cspan style=\"font-weight: 400\">I remember just traveling like, I mean, soon as, aw man, soon as I touch that airplane: Oakland is in Oakland. I’m going global, I’m out. Right?\u003c/span> \u003cspan style=\"font-weight: 400\">And then when I come home, I have to pretend like I’m not that person.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You gotta dumb it down? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El: \u003c/b>\u003cspan style=\"font-weight: 400\">I gotta dumb it down all the time. Because, one, people… people who speak too highly of themselves are typically the ones who end up shot first, right? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">They typically the ones that people target. It could be jealousy. It could be hate. It could be all kind of stuff. But people who… sometimes you got to just stay under the radar to survive. That’s how we survived this long.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> As confining as that might seem, it was kind of the code, still is. The Town is a place where you gotta stay low even as you come up. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But on the contrary, Zeus was getting his limelight on the hoop courts. And outside of that, he was cutting up on the dancefloor– that’s where he really escaped, specifically, through the art of turf dancing.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El:\u003c/b>\u003cspan style=\"font-weight: 400\"> Turf Dancing is an acronym called Taking Up Room on the Floor that was coined by Jeriel Bey. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So turf dancing, it’s a style of dance that derives from Oakland. And it’s storytelling and it’s certain moves that you do, but it’s storytelling. It’s waving, gliding, all of that but it’s a certain swag that comes with it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But before it was even called turfing, it was called hitting it or touching it or fucking wit it. Like, ‘fuck wit it bruh’, ya know what im saying? \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Jeriel Bey, raised between Oakland and LA, is a marketing minded brother who had turf dancing, lightweight, land on his doorstep.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeriel Bey, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">They know me as the godfather of turf dancing. I coined the phrase, a lot of people are like ‘you didn’t coin the phrase!’ But you know coining is something you use before anybody else use it. So I used it in both, in print and on my fliers, you know, my events, you know, just… I knew long ago just from having a lot of internships that, you know, you brand yourself, you know how to brand myself. So I definitely am known for that.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Jeriel was a party promoter, who was living in West Oakland and that’s where, two young dudes from the neighborhood, Demtrius Zeigler and Cory Johnson AKA Scooby, would hang around his house.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>Jeriel Bey:\u003c/b>\u003cspan style=\"font-weight: 400\"> Those are the two first kids I met and then those two kids brought every other kid around me. You know, these kids, like, 14, 15, with sawed off shotguns in their backpacks. Like, bad but good kids, they just needed some focus. And the only thing they all knew that they all knew how to do was dance. Guns, and money, drugs and all, they all was coming in front of the house, dancing with me. And so my thing was like, okay, I got to give back and give ’em something to do.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The dance sessions brought about dope moves, clean gigs and hyped reactions. The problem was: the dance they were doing didn’t really have a name. There were notable moves: the drop, the airwalk, the old school Brookfield. But the overall dance style was kinda just a part of Oakland culture. That’s how we moved. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, at the same time, the terms folks were using to describe the dance style weren’t exactly marketable to the venues Jeriel was looking to work with. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeriel Bey: \u003c/b>\u003cspan style=\"font-weight: 400\">I was like man, I can’t sell this as ‘fucking with it’ or ‘giggin’. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So Jeriel started brainstorming, and during a conversation with one of his cousins, it all clicked. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeriel Bey: \u003c/b>\u003cspan style=\"font-weight: 400\">Man, I got these youngstas in front of the house, you remember Demetrius and Scooby? They be ‘fuckin wit it’ and shit, you know, they all be dance differently: the East Oakland, the West Oakland, you know? They all dance different. Like I said, like different turfs and they all dance different…Man, how does turf dancing sound? He was like, ‘Oh, yeah, that’s it. That’s, that’s it right there!’ \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so that’s what it was. Everywhere the little homies was going, ‘What ya’ll doing?’ We turf dancing, we turf dancing. And that’s how it stuck. Even when I did community events in the City, I made sure they put it on the fliers, we turf dancing. We’re not “hyphy dancers,” hyphy was kind of like the energy, the spirit, the movement. But, you know, turfing is how we was able to separate ourselves from the energy, you know, we was turf dancing. We wasn’t hyphy dancing. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Turf dancing – a mixture of boogaloo, poplock, pantomime, and being player while moving on beat – was something different than just going 18 dummy like some might imagine when we’re talking “hyphy” dancing. I mean, that was a part of it, but it was deeper than just shaking yo’ dreads. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Echo of E-40 saying “Shake them dreads.”]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It was a world of Bay Area storytelling through dance, complete with signature moves from certain neighborhoods. Hence the name “turf” dancing. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And people would dance everywhere, at the bus stop, the house party, The candy shop – which was this fake-teenager-club-function thing that didn’t serve alcohol but was somehow still full of faded teenagers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We hit it at the sideshow, on a car, in a car. In the school hallway, acting as if you were a car. And, at your local community center, specifically this one called Youth Uprising. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When Youth Uprising opened in 2005, it was this sleek looking youth center located on 87th and MacArthur in East Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">A huge-freshly painted state of the art building with bright colors that stood in contrast to the surrounding apartment buildings and the adjacent school – Castlemont High School– an institution that had been under-resourced for years, and it showed. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Inside of Youth Uprising, the building was well-decorated with artwork and photos. They offered healthy meals to teenagers who came from the surrounding community, as well as employment and educational resources. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’d go up there and kick it in the music studios or attend discussions about the state of the community. And I’d also hit the dance battles they threw– turf dance battles. Here’s founding Youth Uprising staff member Jacky Johnson. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jacky Johnson, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> We stopped publicizing them after a while. We would just like announce the day of we were gonna do it because they would just get so like crazy. Like, our little amphitheater would just be packed. And we would see, like, young people running down the hill across MacArthur from, um, up the hill just run cutting through like, backyards to run over to the center.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Jacky is a longtime community advocate who works at the intersection of social justice and entertainment. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back in the day, she got her start as a young adult on the staff of Youth Uprising. One of her tasks was to organize and promote the turf dance battle events. And through that, she saw how important dancing was to the culture. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jacky Johnson:\u003c/b>\u003cspan style=\"font-weight: 400\"> The crowd fueled the dancers. The dancers fueled the crowd. Like it was just this perfect mixture of just a showing of what, um, Oakland, of what the Bay Area’s energy is about. And I just think of that time, I always reflect on, you can’t, you know, I, I hope that young people or, you know, other generations, they’ll have their own moments like that, but that, to me, that just feels like a moment that couldn’t… couldn’t be duplicated.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The dance battles would be roughly once a month, and they’d garner all kinds of attention. Makes sense, we didn’t have much else to do. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lot of this culture was born out of a void. There weren’t many places in Oakland where folks could congregate for large scale-hip-hop events, and it had been that way. Because of previous conflicts and altercations at shows, hip-hop concerts were constantly under threat of being banned or over-policed in Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lot of artists and promoters would turn to the Bay Area suburbs and central valley to do hip-hop events. But Youth Uprising was one of the venues in Oakland working to connect young fans to the local stars. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jacky Johnson:\u003c/b>\u003cspan style=\"font-weight: 400\"> A lot of artists would stop through and perform, and I think they loved being able to connect with the young people and be a source of inspiration. And then the young people were excited because they never knew who was gonna stop by and what was gonna happen next.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, that was me, one of the young folks juiced to be at the center. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I initially started by catching the bus up there after hearing about it from friends. But when I got my car, this plum colored Chrysler Sebring with a functional sunroof and dysfunctional sound system, I was there. Well, until the transmission died, then I was back on the bus. But either way, I was fasho pulling up. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I’d bounce out with the same camcorder I filmed Stomper going dumb with, show love to the security guards, and then, as a young journalist trying to get on, I’d find my way to interviewing folks like E-40, Mistah FAB, Vidal White, Too $hort, The Husalah, The Jacka and later, Oakland Mayor Ron Dellums. I have a few photos from back then, not much video. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I look back at the few photos I have of myself from back then? Man, I was in it! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Specifically this one photo of me sitting in the audience of a dance battle, wearing an oversized t-shirt, baggy jeans, and those knock off Jordans that Zeus roasted me about, while holding on to that camcorder. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yeah, I was in it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was one of the many young folks who ascribed to a culture that was having its moment in the sun, despite the ever-present dark clouds. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back in the day, Jeriel Bey taught classes at Youth Uprising. In addition to that, he choreographed dances for music videos and performances. He also threw dance events–including battles between cities. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Right before one event in Los Angeles, Demetrius Zigler, who used to hang out in front of Jeriel’s house, was killed. In response, Jeriel and his dance team, the Architeckz, danced in the battle in Demetrius’ honor. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jeriel Bey:\u003c/b>\u003cspan style=\"font-weight: 400\"> I remember us all having this sweater, his picture, like, you know, on the hoodies, which is synonymous with losing someone on the street. So we had him on our hoodies. We drove down to L.A.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Jeriel and his team won the battle, but they did so while mourning their friend. Full of mixed emotions, they made the drive back to Northern California.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeriel Bey:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m tired, everybody is sleep in the van. I get a call, I think, from Jacky Johnson. She’s like, ‘Yeah, you know, E-40 heard about your guy being killed, and um and they want to put you on this video called, Tell Me When to Go.’\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Record scratch]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jeriel Bey: \u003c/b>\u003cspan style=\"font-weight: 400\">I said, the song I’d been hearing on the Radio? She goes ‘Yeah. They’re shooting in West Oakland right now.’ I’m like, damn, I live in West Oakland like we’re all by the train station. What? That’s three blocks away from me.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jeriel Bey:\u003c/b>\u003cspan style=\"font-weight: 400\"> Cool. I wake up everybody, I’m like a man we finna go shoot a video. ‘What video?’ Tell Me When to Go. ‘What?!’ We smash to West Oakland, we pull up to the house, we take a little hoe baths and shit, wash our faces and shit.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">They get to the set, and 40, Lil Jon and the production team are moving through scenes. The iconic opening of the video, with a circle of folks going dumb on the ground shaking their dreads? That’s not them. That’s another dance crew. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After rushing to the set, rehearsing an impromptu routine and getting ready for their light, Jeriel and the Architeckz almost get skipped over. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeriel Bey: \u003c/b>\u003cspan style=\"font-weight: 400\">And they was like ‘We gon’ give you one shot, let me see what y’all got.’ And then the rest is history. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The black and white footage from the video shows the group forming a semicircle, with the opening facing the camera. They dance aggressively, hittin’ signature turf dance moves as well as shaking their dreads. The majority of them are wearing the hoodies dedicated to Demetrius. Dancing in his honor, they left an impression on the filmmakers. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeriel Bey:\u003c/b>\u003cspan style=\"font-weight: 400\"> We shot like three more times after that. And before the video came out, it was, ‘Oh, good job, Architects,’ oh, E-40, people loved us, ‘Oh, ‘Demetrius, rest in peace, Demetrius, aww community community,’ but as soon as that muthafucka hit MTV, it was like, ‘Man them niggas ain’t really from Oakland tho.’ It’s all the hate and then the bullshit came.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">People were congratulating them on the video set, but were critical once the video came out. Jeriel says that other artists, dancers and people from the Bay Area hip-hop community made comments about the fact that Jeriel is originally from LA, or that the Architeckz weren’t that tight. Jeriel was shocked.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeriel Bey: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s when I realized, like, yo, people can love you on the way up, but the envy is a muthafucka. Envy will get you killed out here when people feel like they deserve more than you and I experienced all that shit.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Jeriel says people were envious of the Architeckz success. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, really it was misguided anger – a byproduct of the lack of resources. If there were more limelight, everyone could shine. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">But that video being on MTV, and the media attention that was focused on the hoods of the Bay Area during the Hyphy Movement came on the heels of years of media neglect. So folks were hungry, vying for an opening. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some artists were over-promoting this hyphy thing. A few big media platforms, clothing lines, club promoters, even community centers were selling it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here’s Zeus.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jesus El:\u003c/b>\u003cspan style=\"font-weight: 400\"> Man, to be honest with you, I don’t think Youth Uprising would have been that impactful if it wasn’t for the dance culture, because a lot of people were showing up for the dance culture and staying for the resources, you know what I mean?\u003c/span> \u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Jacky saw it differently, and has the same sentiments as Zeus. After the dance battles, how do you connect folks with counseling, healthcare and other resources? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jacky Johnson:\u003c/b>\u003cspan style=\"font-weight: 400\"> We’re like, okay, well how do we move these young people into our programming? And that would sometimes be a challenge because I think sometimes we felt really- I felt for sure stressed out about like, okay, like are we doing enough if they’re coming here and they’re not going into a, you know, career and education program.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The whole situation made Jacky frustrated. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jacky Johnson: \u003c/b>\u003cspan style=\"font-weight: 400\">You have to hit these deliverables. It’s like, how do you, like, okay, you get this amount of money now go and transform somebody’s life as they’ve, yeah, experienced all this trauma and need all of the- these things, or the fact that we all are going through our own shit.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The Youth Uprising center has gone through its ups and downs, but it still stands today. And back when it first opened, even with all of the elements at play, the center was a beacon for kids like me and Zeus.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[crowd cheering]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Jesus El:\u003c/b>\u003cspan style=\"font-weight: 400\"> We on the bus, catching the 57 from West Oakland all the way to 88 and MacArthur, and this is when it was super turfed out. I’m talking about real hood, so we up there battling cats, Like around the stage it was like 300 people, like hanging over, just having hella fun tho. But you would have different people from different sides of the city come out and battle each other. And that’s how you earned your respect. Like with dancing, you earn your respect because you’re \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">way\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> somewhere in somebody else’s hood, and you could be battling they friend. But if you raw, they gon be like you raw bruh. Like I still know people to this day from me meeting them at Youth Uprising.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Those experiences. That community. Those intangibles. They don’t show up in a fiscal report. They show up in people’s memories. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I have mental pictures of audiences going wild after someone hit a backflip during a dance battle, fond memories of meeting a new crush after the conclusion of an event. And I even have one picture from that day that E-40 pulled up for a photo shoot. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jacky Johnson:\u003c/b>\u003cspan style=\"font-weight: 400\"> We really wanted to create a safe space from the violence, safe space from the police, um, where we kind of held it down and it was just this raw energy. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Youth Uprising was one of the many nonprofits that both invested in, and benefited from the culture. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Its location, resources, and connections to big name-artists made it significant. But the youth programs, they were just a Band-Aid in the face of generations of neglected neighborhoods and people living in poverty. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The trauma that we inherited existed long before we did, and still, we found joy in the middle of all that. Some of the moments turned into photos, others are invisible memories that are stories waiting to be told. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And the stories – the way they were told, who told them and what stories were not told – well that’s another layer to the trauma. We’ll get into all of that in the next episode.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Seaside Stretch, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">Just the term “hyphy,” was, it meant something completely different to what it was commercialized as. You know what I mean? It it wasn’t a good thing, you know what I’m saying? Like, they didn’t say like, Oh, them kids is hyphy, and that meant that they were just dancing around having a good time. No, that means that they were destructive and violent, you know? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This is Hyphy kids Got Trauma. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hosted by me, Pendarvis Harshaw\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Produced by Maya Cueva\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Edited by Chris Hambrick\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sound design and original music by\u003c/span>\u003cspan style=\"font-weight: 400\"> Trackademics\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With support from Eric Arnold, Jen Chien, Holly Kernan, Victoria Mauleon, Marisol Medina-Cadena, Gabe Meline, Xorje Olivares, Delency Parham, Cesar Saldaña, Sayre Quevedo, Katie Sprenger, Nastia Voynovskaya, and Ryce Stoughtenborough. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This project was produced with support from PRX and is made possible, in part, by a grant from the John S. and James L. Knight Foundation. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And this is a part of KQED’s That’s My Word project, a year-long exploration of Bay Area Hip-Hop history. Find more at \u003c/span>\u003ca href=\"https://bayareahiphop.com/\">\u003cspan style=\"font-weight: 400\">BayAreaHipHop.Com\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">RIP Demtrius Zigler, and so many more. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until next time, peace. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13935408/hyphy-kids-got-trauma-pt-2-we-dance-different","authors":["11491"],"programs":["arts_8720"],"categories":["arts_1","arts_966","arts_21759"],"tags":["arts_879","arts_1601","arts_6975","arts_21568","arts_21424","arts_1143","arts_19347"],"featImg":"arts_13935477","label":"arts_8720"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2023/08/possible-5gxfizEbKOJ-pbF5ASgxrs_.1400x1400.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2022/02/mindshift2021-tile-3000x3000-1-scaled-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.","airtime":"MON-FRI 3am-9am","imageSrc":"https://ww2.kqed.org/app/uploads/2021/10/ME_1400.jpg","officialWebsiteLink":"https://www.npr.org/programs/morning-edition/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","info":"For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/01/OOW_Tile_Final.png","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. 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