Culture Cue is a weekly KQED Arts feature exploring the intersection of identity, culture and creativity.
An Interactive Dance Show Imagines a More Liberated San Francisco
First Queer Tattoo Fest Raises Questions Within Community
An Academic and a Drag Performer Dialogue Through Dance
Over 160 Black Men, One Giant Conversation at Oakland Museum
Janine Barrera-Castillo Paints Nature's Abstract Truth
A Reclamation of Power for Black Women in Oakland
Honey Mahogany's Queer Black Variety Show for Everyone
Making Iran and Oakland Feel Like the Same Place
For Arumi, A Feeling More Important Than Sound
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Without knowing where they’re going or why, participants are asked to choose a new name and prepare for a journey to a “new city” before walking almost a mile through San Francisco’s Mission district — all as part of the show.\u003c/p>\n\u003cp>With its rare format, the interactive, traveling performance piece — which runs through Dec. 10 — focuses on the oft-discussed topics of development and cultural loss amid San Francisco’s rapid influx of tech-industry wealth. The project takes inspiration from the real-life stories of local residents affected by gentrification. But rather than translating their stories for a static audience, Detour Dance directors Kat Cole and Eric Garcia want audience members to explore the Mission — a space of active turnover — while experiencing a dynamic performance that includes movement and dialogue.\u003c/p>\n\u003cp>“[\u003cem>Fugue\u003c/em>] started initially with us just doing research on the \u003ca href=\"http://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">GLBT Historical Society\u003c/a>, trying to see what narratives existed before us in terms of queer communities,” says Cole. “We knew it was going to be site-specific and were also looking at the Mission district in particular. So we just started our research there out of this personal quest to know what history was, wanting to answer questions for ourselves about queer elders and communities.”\u003c/p>\n\u003cfigure id=\"attachment_13816928\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816928\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-800x530.jpg\" alt=\"From left, Jana Griffin, Sienna Williams, and Scott Marlowe in 'Fugue.' \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left, Jana Griffin, Sienna Williams, and Scott Marlowe in ‘Fugue.’ \u003ccite>(Melissa Lewis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cole and Garcia’s research culminated in a portrayal of a “new city” that’s simultaneously utopian and nostalgic — a vibrant place filled with queer artists and culture-makers of color that no longer feels like the San Francisco of today. Both directors have backgrounds in social justice-focused dance, and \u003cem>Fugue\u003c/em> became their opportunity to preserve the stories of those being priced out of San Francisco.\u003c/p>\n\u003cp>“What we’ve constructed [in \u003cem>Fugue\u003c/em>] is built upon the narratives of these queer folks of color, trans women, and sex workers. It’s a city that’s made by the people that are getting pushed out of the city,” Garcia explains. “That feels like a really key point to what the [‘new city’] is — it’s not that those communities or anyone not in those communities can’t come. It’s just that it’s a space we’re going to because San Francisco doesn’t want us anymore.”\u003c/p>\n\u003cfigure id=\"attachment_13816929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-800x530.jpg\" alt=\"From left, Scott Marlowe, Sienna Williams, and Jana Griffin in 'Fugue.' \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left, Scott Marlowe, Sienna Williams, and Jana Griffin in ‘Fugue.’ \u003ccite>(Melissa Lewis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though \u003cem>Fugue\u003c/em> centers on the Mission as an active site of gentrification, it also aims to inspire participants to see potential for new experiences and creative possibilities in a familiar space. Ultimately, Cole and Garcia hope the piece’s novel format will encourage audience members to be open to encounters they otherwise might not have — and to walk away with the knowledge that, maybe, they can create the community missing from their San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unlike \u003cem>Fugue\u003c/em>, gentrification-themed performance art in the Bay Area is usually explicit and straightforward — a tactic that forces audience members to confront their preconceived notions of displacement. Like in \u003ca href=\"https://ww2.kqed.org/arts/2017/10/09/echoes-kronos-quartet-youth-speaks-impacts-of-gentrification/\" target=\"_blank\" rel=\"noopener\">Youth Speaks’ recent collaboration with Kronos Quartet\u003c/a> or in previous works at \u003ca href=\"http://ww2.kqed.org/arts/2015/07/17/somarts-drills-to-vibrant-core-of-bay-area-alternative-scene/\" target=\"_blank\" rel=\"noopener\">SOMArts\u003c/a>, the art can be radical, unforgiving, and in-your-face towards white liberals in particular. In \u003cem>Fugue\u003c/em>, however, the feeling of nostalgia softens the harsh realities of its content, leaving room for residents from all walks of life to dream of the city San Francisco could be and challenging the audience in a different way entirely.\u003c/p>\n\u003cfigure id=\"attachment_13816931\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-800x530.jpg\" alt=\"Scott Marlowe, Sienna Williams, and Jana Griffin in 'Fugue.'\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scott Marlowe, Sienna Williams, and Jana Griffin in ‘Fugue.’ \u003ccite>(Melissa Lewis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[People] might have their own feelings about gentrification and displacement, you know, it’s very real and true,” says Garcia. “But [I hope that people can] re-fall in love with the place they already exist in, and to create new memories — even if they’re fabricated, and with strangers. It’s a way to re-perk your interest in this place instead of having that sour taste in your mouth, like crap, this is not affordable, or my friends are gone.”\u003c/p>\n\u003cp>Cole adds, “It would be awesome if a person who experiences this performance comes away and asks, ‘What if we could have a city like this?’ Because that can hopefully lead to them creating whatever that is they want from that place they live.”\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>\n\u003cp>\u003cem>‘Fugue’ runs for five more performances from Dec. 8–10. More information \u003ca href=\"http://www.detourdance.com/fugue\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. If sold out, wait list for tickets is \u003ca href=\"mailto:detourdance@gmail.com\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The directors of Detour Dance's 'Fugue' discuss how San Francisco's LGBT history influenced their new production. ","status":"publish","parent":0,"modified":1705028943,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":798},"headData":{"title":"An Interactive Dance Show Imagines a More Liberated San Francisco | KQED","description":"The directors of Detour Dance's 'Fugue' discuss how San Francisco's LGBT history influenced their new production. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"An Interactive Dance Show Imagines a More Liberated San Francisco","datePublished":"2017-12-07T20:00:26.000Z","dateModified":"2024-01-12T03:09:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13816884/an-interactive-dance-show-imagines-a-more-liberated-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Fugue\u003c/em>, the latest offering from \u003ca href=\"http://www.detourdance.com/fugue\" target=\"_blank\" rel=\"noopener\">Detour Dance\u003c/a>, asks a lot of its audience. Without knowing where they’re going or why, participants are asked to choose a new name and prepare for a journey to a “new city” before walking almost a mile through San Francisco’s Mission district — all as part of the show.\u003c/p>\n\u003cp>With its rare format, the interactive, traveling performance piece — which runs through Dec. 10 — focuses on the oft-discussed topics of development and cultural loss amid San Francisco’s rapid influx of tech-industry wealth. The project takes inspiration from the real-life stories of local residents affected by gentrification. But rather than translating their stories for a static audience, Detour Dance directors Kat Cole and Eric Garcia want audience members to explore the Mission — a space of active turnover — while experiencing a dynamic performance that includes movement and dialogue.\u003c/p>\n\u003cp>“[\u003cem>Fugue\u003c/em>] started initially with us just doing research on the \u003ca href=\"http://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">GLBT Historical Society\u003c/a>, trying to see what narratives existed before us in terms of queer communities,” says Cole. “We knew it was going to be site-specific and were also looking at the Mission district in particular. So we just started our research there out of this personal quest to know what history was, wanting to answer questions for ourselves about queer elders and communities.”\u003c/p>\n\u003cfigure id=\"attachment_13816928\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816928\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-800x530.jpg\" alt=\"From left, Jana Griffin, Sienna Williams, and Scott Marlowe in 'Fugue.' \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Jana-Griffin-Sienna-Williams-and-Scott-Marlowe-in-Fugue.-Photo-by-Melissa-Lewis-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left, Jana Griffin, Sienna Williams, and Scott Marlowe in ‘Fugue.’ \u003ccite>(Melissa Lewis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cole and Garcia’s research culminated in a portrayal of a “new city” that’s simultaneously utopian and nostalgic — a vibrant place filled with queer artists and culture-makers of color that no longer feels like the San Francisco of today. Both directors have backgrounds in social justice-focused dance, and \u003cem>Fugue\u003c/em> became their opportunity to preserve the stories of those being priced out of San Francisco.\u003c/p>\n\u003cp>“What we’ve constructed [in \u003cem>Fugue\u003c/em>] is built upon the narratives of these queer folks of color, trans women, and sex workers. It’s a city that’s made by the people that are getting pushed out of the city,” Garcia explains. “That feels like a really key point to what the [‘new city’] is — it’s not that those communities or anyone not in those communities can’t come. It’s just that it’s a space we’re going to because San Francisco doesn’t want us anymore.”\u003c/p>\n\u003cfigure id=\"attachment_13816929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-800x530.jpg\" alt=\"From left, Scott Marlowe, Sienna Williams, and Jana Griffin in 'Fugue.' \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-2-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left, Scott Marlowe, Sienna Williams, and Jana Griffin in ‘Fugue.’ \u003ccite>(Melissa Lewis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though \u003cem>Fugue\u003c/em> centers on the Mission as an active site of gentrification, it also aims to inspire participants to see potential for new experiences and creative possibilities in a familiar space. Ultimately, Cole and Garcia hope the piece’s novel format will encourage audience members to be open to encounters they otherwise might not have — and to walk away with the knowledge that, maybe, they can create the community missing from their San Francisco.\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>Unlike \u003cem>Fugue\u003c/em>, gentrification-themed performance art in the Bay Area is usually explicit and straightforward — a tactic that forces audience members to confront their preconceived notions of displacement. Like in \u003ca href=\"https://ww2.kqed.org/arts/2017/10/09/echoes-kronos-quartet-youth-speaks-impacts-of-gentrification/\" target=\"_blank\" rel=\"noopener\">Youth Speaks’ recent collaboration with Kronos Quartet\u003c/a> or in previous works at \u003ca href=\"http://ww2.kqed.org/arts/2015/07/17/somarts-drills-to-vibrant-core-of-bay-area-alternative-scene/\" target=\"_blank\" rel=\"noopener\">SOMArts\u003c/a>, the art can be radical, unforgiving, and in-your-face towards white liberals in particular. In \u003cem>Fugue\u003c/em>, however, the feeling of nostalgia softens the harsh realities of its content, leaving room for residents from all walks of life to dream of the city San Francisco could be and challenging the audience in a different way entirely.\u003c/p>\n\u003cfigure id=\"attachment_13816931\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-800x530.jpg\" alt=\"Scott Marlowe, Sienna Williams, and Jana Griffin in 'Fugue.'\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Detour-Dance.-From-left-Scott-Marlowe-Sienna-Williams-and-Jana-Griffin-in-Fugue.-Photo-by-Melissa-Lewis-1-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scott Marlowe, Sienna Williams, and Jana Griffin in ‘Fugue.’ \u003ccite>(Melissa Lewis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[People] might have their own feelings about gentrification and displacement, you know, it’s very real and true,” says Garcia. “But [I hope that people can] re-fall in love with the place they already exist in, and to create new memories — even if they’re fabricated, and with strangers. It’s a way to re-perk your interest in this place instead of having that sour taste in your mouth, like crap, this is not affordable, or my friends are gone.”\u003c/p>\n\u003cp>Cole adds, “It would be awesome if a person who experiences this performance comes away and asks, ‘What if we could have a city like this?’ Because that can hopefully lead to them creating whatever that is they want from that place they live.”\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>\n\u003cp>\u003cem>‘Fugue’ runs for five more performances from Dec. 8–10. More information \u003ca href=\"http://www.detourdance.com/fugue\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. If sold out, wait list for tickets is \u003ca href=\"mailto:detourdance@gmail.com\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13816884/an-interactive-dance-show-imagines-a-more-liberated-san-francisco","authors":["11391"],"programs":["arts_1364"],"categories":["arts_966"],"tags":["arts_879","arts_1118","arts_596","arts_3371"],"featImg":"arts_13816918","label":"arts_1364"},"arts_13815344":{"type":"posts","id":"arts_13815344","meta":{"index":"posts_1591205157","site":"arts","id":"13815344","score":null,"sort":[1511539217000]},"guestAuthors":[],"slug":"first-queer-tattoo-fest-raises-questions-within-community","title":"First Queer Tattoo Fest Raises Questions Within Community","publishDate":1511539217,"format":"image","headTitle":"First Queer Tattoo Fest Raises Questions Within Community | KQED","labelTerm":{"term":1364,"site":"arts"},"content":"\u003cp>The soft hum of a tattoo needle vibrates under speakers blasting Black Sabbath in Nick Bergin’s \u003ca href=\"http://godspeedtattoo.com\">San Mateo shop\u003c/a> on a recent afternoon. He etches a male pin-up lounging inside a martini glass into the calf of his client, who is here for his second tattoo in two weeks.\u003c/p>\n\u003cp>When I stopped by his shop, Bergin had plans to showcase his work at the \u003ca href=\"https://www.facebook.com/events/155854278344234/\">First Annual Queer Tattoo Fest\u003c/a> alongside other local queer artists on Nov. 26 at The Stud.\u003c/p>\n\u003cp>But in the days leading up to the event, several artists have dropped out of the fest as disagreements arose between them and the organizers. Bergin and four other tattooers issued a \u003ca href=\"https://www.instagram.com/p/BbxZ5c1nvKX/?taken-by=queertattooalliance\">joint statement\u003c/a> on Nov. 21 explaining their withdrawal and announcing the formation of the \u003ca href=\"http://www.queertattooalliance.org\">Queer Tattoo Alliance\u003c/a>, or QTA.\u003c/p>\n\u003cp>“The organizers weren’t from the tattoo shop culture,” Bergin says. “They didn’t know what would work for us, and they wouldn’t listen to us.”\u003c/p>\n\u003cp>Five tattoo artists remain on the line-up for the fest, according to a \u003ca href=\"https://www.facebook.com/events/155854278344234/permalink/164953367434325/\">statement\u003c/a> the organizers issued on Nov. 23.\u003c/p>\n\u003cfigure id=\"attachment_13815346\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_9674.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815346\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_9674-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9674-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9674-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9674-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9674-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9674-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9674-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9674-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9674-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9674-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9674-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nick Bergin’s designs hang on the wall at his tattoo shop in San Mateo, California on Nov. 14, 2017. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fest was slated to feature queer tattoo artists with a variety of styles, live performances, vendors, meet-ups and contests. The producers of the event, Dottie Lux and Kalash KaFae Magenta Fire, say they wanted to make it a safe space for queer tattoo artists and queer people with tattoos to fortify a community together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Our goal for this event is to put a stamp on it and say, you know, tattooing does not belong to cis, straight bros,” says Lux, who co-owns The Stud. “Tattooing is queer, it is a way to identify ourselves. It’s also a way to identify each other.”\u003c/p>\n\u003cfigure id=\"attachment_13815349\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/20883027_10155093198894833_5847958702870216062_n.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815349\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/20883027_10155093198894833_5847958702870216062_n-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/20883027_10155093198894833_5847958702870216062_n-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/20883027_10155093198894833_5847958702870216062_n-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/20883027_10155093198894833_5847958702870216062_n-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/20883027_10155093198894833_5847958702870216062_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/20883027_10155093198894833_5847958702870216062_n-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/20883027_10155093198894833_5847958702870216062_n-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/20883027_10155093198894833_5847958702870216062_n-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dottie Lux is co-producing the first annual queer tattoo fest in San Francisco, California. \u003ccite>(Photo by Daniela Dee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who dropped out say the fest is a great idea in theory, and they’re pushing to organize an event of their own in the future.\u003c/p>\n\u003cp>Micah Riot, one of the first tattoo artists to drop out of the fest, said the first red flag came when they saw the promotional materials. “This is not for an art fest; this is for something else. It never felt aligned to me with art,” they say.\u003c/p>\n\u003cp>The QTA strives for professionalism and a convention that is more centered around the craftsmanship and traditions of tattooing, Bergin says. “Ultimately, our goal is to have a convention, by queer tattooers, for queer tattooers and everybody, that shines a spotlight on our community.”\u003c/p>\n\u003cfigure id=\"attachment_13815684\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815684\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-800x806.jpg\" alt=\"\" width=\"800\" height=\"806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-800x806.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-768x774.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-240x242.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-375x378.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-520x524.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n.jpg 953w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kalash KaFae Magenta Fire is co-producing the first annual queer tattoo fest in San Francisco, California.\u003c/figcaption>\u003c/figure>\n\u003cp>One of the major divides between the organizers and artists who decided not to be involved is the question of including information about home tattooing at the event.\u003c/p>\n\u003cp>“The show’s promoters insisted on including a segment on home tattooing and hosting someone selling DIY, home tattoo kits,” the QTA’s statement reads. “We feel this is terribly irresponsible and in no way want to endorse home tattooing for many reasons.”\u003c/p>\n\u003cp>Lux says the fest never planned to give home tattoo instructions, but would include an hour-long meet-up where home tattooists could present their point of view, which is that their method is autonomous and accessible.\u003c/p>\n\u003cp>“This is something that is kind of an inherent problem with our country,” Lux says, as she explains that there are few black, queer tattoo artists. She adds that it raises questions about elitism, classism and racism for artists to be against home tattooing.\u003c/p>\n\u003cp>“None of these white people are willing to participate in a conversation about how they are not accessible to all communities,” Lux says. “They’re continuing an old boys club hierarchy by keeping it exclusive, when I feel, and many feel, like tattooing and having skin is a right of all humans.”\u003c/p>\n\u003cfigure id=\"attachment_13815682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_1970.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_1970-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_1970-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_1970-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_1970-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_1970-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_1970-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_1970-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_1970-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_1970-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_1970-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_1970-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_1970.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A person displays a tattoo done by Micah Riot. \u003ccite>(Courtesy of Micah Riot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response to the notion of being elitist, Riot says, “How dare she call female queer tattoo artists who are trying to make a living and trying to take their art seriously elitists.”\u003c/p>\n\u003cp>The QTA also cites safety and hygienic concerns when it comes to home tattooing, Bergin says, on top of wanting to protect the livelihood of professional artists.\u003c/p>\n\u003cp>“To a tattooer, this is more than a job. It is precious and we give our lives to it,” he says. “It’s something to learn and you have to earn and work hard for it. Anything that cheapens that, the tattoo industry is against.”\u003c/p>\n\u003cp>The QTA’s statement also questions where the proceeds from the event are going. “We found ourselves feeling exploited and unable to trust the event’s organizers and their intentions,” it reads.\u003c/p>\n\u003cp>Lux says the event’s Facebook page states the money will go to pay performers and future endeavours. “My main goal is not actually this event, my main goal is the tenth annual queer tattoo festival,” Lux says.\u003c/p>\n\u003cfigure id=\"attachment_13815348\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_9688.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815348\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_9688-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9688-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9688-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9688-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9688-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9688-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9688-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9688-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9688-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9688-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9688-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nick Bergin tattoos a male pin-up design on Lawrence Stevenson’s calf in San Mateo, California on Nov. 14, 2017. (Audrey Garces/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>On the day of the fest, Bergin, Riot and the other tattooers will convene for an open meeting to start planning an event that focuses on their culture through “research, education, outreach and celebration,” according to the statement.\u003c/p>\n\u003cp>“Let’s make this happen. Let’s make a real, queer tattoo conference,” Riot says. “Let’s honor our elders, let’s talk about our history, let’s talk about where we’re at and how we’re gonna go forward and band together as a community.”\u003c/p>\n\u003cp>The original fest planned for Sunday will go on. The organizers plan to center it on having broader conversations about the industry in and of itself.\u003c/p>\n\u003cp>“I’m happy that they are deciding to continue the conversation, but it seems like the conversation is best served to the community instead of within themselves,” Lux says about the QTA’s planned meeting.\u003c/p>\n\u003cp>A seed has been planted for future discussions within the queer tattoo community about who they are and how to create opportunities to fortify and share their craft. Sitting in the back of his studio, a week before the QTA released their statement, Bergin explained the fest as what it was and still remains: the start of what’s to come.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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\n","blocks":[],"excerpt":"Artists and organizers clash over craftsmanship and tattoo culture values. ","status":"publish","parent":0,"modified":1705029042,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1162},"headData":{"title":"First Queer Tattoo Fest Raises Questions Within Community | KQED","description":"Artists and organizers clash over craftsmanship and tattoo culture values. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"First Queer Tattoo Fest Raises Questions Within Community","datePublished":"2017-11-24T16:00:17.000Z","dateModified":"2024-01-12T03:10:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13815344/first-queer-tattoo-fest-raises-questions-within-community","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The soft hum of a tattoo needle vibrates under speakers blasting Black Sabbath in Nick Bergin’s \u003ca href=\"http://godspeedtattoo.com\">San Mateo shop\u003c/a> on a recent afternoon. He etches a male pin-up lounging inside a martini glass into the calf of his client, who is here for his second tattoo in two weeks.\u003c/p>\n\u003cp>When I stopped by his shop, Bergin had plans to showcase his work at the \u003ca href=\"https://www.facebook.com/events/155854278344234/\">First Annual Queer Tattoo Fest\u003c/a> alongside other local queer artists on Nov. 26 at The Stud.\u003c/p>\n\u003cp>But in the days leading up to the event, several artists have dropped out of the fest as disagreements arose between them and the organizers. Bergin and four other tattooers issued a \u003ca href=\"https://www.instagram.com/p/BbxZ5c1nvKX/?taken-by=queertattooalliance\">joint statement\u003c/a> on Nov. 21 explaining their withdrawal and announcing the formation of the \u003ca href=\"http://www.queertattooalliance.org\">Queer Tattoo Alliance\u003c/a>, or QTA.\u003c/p>\n\u003cp>“The organizers weren’t from the tattoo shop culture,” Bergin says. “They didn’t know what would work for us, and they wouldn’t listen to us.”\u003c/p>\n\u003cp>Five tattoo artists remain on the line-up for the fest, according to a \u003ca href=\"https://www.facebook.com/events/155854278344234/permalink/164953367434325/\">statement\u003c/a> the organizers issued on Nov. 23.\u003c/p>\n\u003cfigure id=\"attachment_13815346\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_9674.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815346\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_9674-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9674-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9674-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9674-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9674-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9674-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9674-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9674-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9674-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9674-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9674-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nick Bergin’s designs hang on the wall at his tattoo shop in San Mateo, California on Nov. 14, 2017. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fest was slated to feature queer tattoo artists with a variety of styles, live performances, vendors, meet-ups and contests. The producers of the event, Dottie Lux and Kalash KaFae Magenta Fire, say they wanted to make it a safe space for queer tattoo artists and queer people with tattoos to fortify a community together.\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>“Our goal for this event is to put a stamp on it and say, you know, tattooing does not belong to cis, straight bros,” says Lux, who co-owns The Stud. “Tattooing is queer, it is a way to identify ourselves. It’s also a way to identify each other.”\u003c/p>\n\u003cfigure id=\"attachment_13815349\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/20883027_10155093198894833_5847958702870216062_n.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815349\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/20883027_10155093198894833_5847958702870216062_n-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/20883027_10155093198894833_5847958702870216062_n-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/20883027_10155093198894833_5847958702870216062_n-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/20883027_10155093198894833_5847958702870216062_n-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/20883027_10155093198894833_5847958702870216062_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/20883027_10155093198894833_5847958702870216062_n-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/20883027_10155093198894833_5847958702870216062_n-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/20883027_10155093198894833_5847958702870216062_n-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dottie Lux is co-producing the first annual queer tattoo fest in San Francisco, California. \u003ccite>(Photo by Daniela Dee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who dropped out say the fest is a great idea in theory, and they’re pushing to organize an event of their own in the future.\u003c/p>\n\u003cp>Micah Riot, one of the first tattoo artists to drop out of the fest, said the first red flag came when they saw the promotional materials. “This is not for an art fest; this is for something else. It never felt aligned to me with art,” they say.\u003c/p>\n\u003cp>The QTA strives for professionalism and a convention that is more centered around the craftsmanship and traditions of tattooing, Bergin says. “Ultimately, our goal is to have a convention, by queer tattooers, for queer tattooers and everybody, that shines a spotlight on our community.”\u003c/p>\n\u003cfigure id=\"attachment_13815684\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815684\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-800x806.jpg\" alt=\"\" width=\"800\" height=\"806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-800x806.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-768x774.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-240x242.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-375x378.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-520x524.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/15965130_10211576853078882_3470778802269365193_n.jpg 953w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kalash KaFae Magenta Fire is co-producing the first annual queer tattoo fest in San Francisco, California.\u003c/figcaption>\u003c/figure>\n\u003cp>One of the major divides between the organizers and artists who decided not to be involved is the question of including information about home tattooing at the event.\u003c/p>\n\u003cp>“The show’s promoters insisted on including a segment on home tattooing and hosting someone selling DIY, home tattoo kits,” the QTA’s statement reads. “We feel this is terribly irresponsible and in no way want to endorse home tattooing for many reasons.”\u003c/p>\n\u003cp>Lux says the fest never planned to give home tattoo instructions, but would include an hour-long meet-up where home tattooists could present their point of view, which is that their method is autonomous and accessible.\u003c/p>\n\u003cp>“This is something that is kind of an inherent problem with our country,” Lux says, as she explains that there are few black, queer tattoo artists. She adds that it raises questions about elitism, classism and racism for artists to be against home tattooing.\u003c/p>\n\u003cp>“None of these white people are willing to participate in a conversation about how they are not accessible to all communities,” Lux says. “They’re continuing an old boys club hierarchy by keeping it exclusive, when I feel, and many feel, like tattooing and having skin is a right of all humans.”\u003c/p>\n\u003cfigure id=\"attachment_13815682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_1970.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_1970-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_1970-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_1970-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_1970-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_1970-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_1970-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_1970-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_1970-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_1970-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_1970-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_1970-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_1970.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A person displays a tattoo done by Micah Riot. \u003ccite>(Courtesy of Micah Riot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response to the notion of being elitist, Riot says, “How dare she call female queer tattoo artists who are trying to make a living and trying to take their art seriously elitists.”\u003c/p>\n\u003cp>The QTA also cites safety and hygienic concerns when it comes to home tattooing, Bergin says, on top of wanting to protect the livelihood of professional artists.\u003c/p>\n\u003cp>“To a tattooer, this is more than a job. It is precious and we give our lives to it,” he says. “It’s something to learn and you have to earn and work hard for it. Anything that cheapens that, the tattoo industry is against.”\u003c/p>\n\u003cp>The QTA’s statement also questions where the proceeds from the event are going. “We found ourselves feeling exploited and unable to trust the event’s organizers and their intentions,” it reads.\u003c/p>\n\u003cp>Lux says the event’s Facebook page states the money will go to pay performers and future endeavours. “My main goal is not actually this event, my main goal is the tenth annual queer tattoo festival,” Lux says.\u003c/p>\n\u003cfigure id=\"attachment_13815348\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_9688.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815348\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_9688-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9688-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9688-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9688-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9688-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9688-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9688-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9688-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9688-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9688-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9688-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nick Bergin tattoos a male pin-up design on Lawrence Stevenson’s calf in San Mateo, California on Nov. 14, 2017. (Audrey Garces/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>On the day of the fest, Bergin, Riot and the other tattooers will convene for an open meeting to start planning an event that focuses on their culture through “research, education, outreach and celebration,” according to the statement.\u003c/p>\n\u003cp>“Let’s make this happen. Let’s make a real, queer tattoo conference,” Riot says. “Let’s honor our elders, let’s talk about our history, let’s talk about where we’re at and how we’re gonna go forward and band together as a community.”\u003c/p>\n\u003cp>The original fest planned for Sunday will go on. The organizers plan to center it on having broader conversations about the industry in and of itself.\u003c/p>\n\u003cp>“I’m happy that they are deciding to continue the conversation, but it seems like the conversation is best served to the community instead of within themselves,” Lux says about the QTA’s planned meeting.\u003c/p>\n\u003cp>A seed has been planted for future discussions within the queer tattoo community about who they are and how to create opportunities to fortify and share their craft. Sitting in the back of his studio, a week before the QTA released their statement, Bergin explained the fest as what it was and still remains: the start of what’s to come.\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>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13815344/first-queer-tattoo-fest-raises-questions-within-community","authors":["11367"],"programs":["arts_1364"],"categories":["arts_70"],"tags":["arts_3226","arts_596","arts_3224"],"featImg":"arts_13815679","label":"arts_1364"},"arts_13814166":{"type":"posts","id":"arts_13814166","meta":{"index":"posts_1591205157","site":"arts","id":"13814166","score":null,"sort":[1510272176000]},"guestAuthors":[],"slug":"an-academic-and-a-drag-performer-dialogue-through-dance","title":"An Academic and a Drag Performer Dialogue Through Dance","publishDate":1510272176,"format":"image","headTitle":"An Academic and a Drag Performer Dialogue Through Dance | KQED","labelTerm":{"term":1364,"site":"arts"},"content":"\u003cp>\u003ca href=\"http://www.hopemohr.org/\" target=\"_blank\" rel=\"noopener\">Hope Mohr Dance’s\u003c/a> 2017 Bridge Project opens with an unexpected scene: \u003ca href=\"http://www.fauxnique.net/\" target=\"_blank\" rel=\"noopener\">Monique Jenkinson\u003c/a>, the first cisgender female to win a major drag pageant, dancing alongside acclaimed gender theorist \u003ca href=\"https://vcresearch.berkeley.edu/faculty/judith-butler\" target=\"_blank\" rel=\"noopener\">Judith Butler\u003c/a> as they share an “embodied conversation” beneath disco lights. Since 2010, Hope Mohr — the program’s artistic director — has organized the Bridge Project to interrogate a particular topic. This year, two weeks of interdisciplinary conversations, performances, and workshops will explore the idea of gender in movement and what it means to have a radical body.\u003c/p>\n\u003cp>“The Bridge Project was born out of a passion I feel to facilitate conversations in and beyond the dance world,” Mohr says. “It’s really important as dance-makers to be in conversation with people outside of dance. So I am trying to make those conversations happen.”\u003c/p>\n\u003cp>The project began with a focus on female choreographers, but has since expanded to challenge the “canon of modernism and postmodernism to include voices from historically marginalized communities,” in Mohr’s words. This year’s festival in particular is meant to unite artists, activists, and academics around the issue of gender equality — inviting performers to explore what it means to have a radical body through their respective mediums.\u003c/p>\n\u003cfigure id=\"attachment_13814171\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814171\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-800x794.jpg\" alt=\"Drag performer Monique Jenkinson and gender theorist Judith Butler had an embodied conversation while dancing at the opening night of the Bridge Project. \" width=\"800\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-240x238.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-375x372.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-520x516.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drag performer Monique Jenkinson and gender theorist Judith Butler had an embodied conversation while dancing at the opening night of the Bridge Project. \u003ccite>(Jenny Chu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, with a program that features academics and performance groups, this year’s Bridge Project makes that goal a reality. Take, for example, the festival’s eclectic opening night. In their conversation, Butler and Jenkinson discussed — while dancing — how allowing the body to simply rest despite the demands of our productivity-driven society can be a radical act.\u003c/p>\n\u003cp>Butler’s comedic, quirky steps were the perfect foil to Jenkinson’s fluid modern movement. Through dance and rich conversation, the duo explored how just living, moving, and breathing in our current life conditions is a radical act — a body’s simple form of resistance to the oppressing forces of today’s world. By blending Jenkinson’s background in drag (a performance of femininity) with Butler’s academic approach, the performance offered a whole new way of understanding the body and how it can exist, radically.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gender and how it’s performed has long been an evolving concept in dance. Since the era of classical ballet — a very gendered and heteronormative dance form — modernism, postmodernism, and contemporary work have all worked to challenge fundamental notions of gender in movement.\u003c/p>\n\u003cp>“As dance as a form has evolved, it has pushed against both gender stereotypes and traditional approaches to narrative,” Mohr explains. “Dance must continue to challenge fundamental assumptions about how we see bodies on stage and how we see bodies in performance.”\u003c/p>\n\u003cfigure id=\"attachment_13814172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814172\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Judith-Butler-and-Monique-Jenkinson-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-800x450.jpg\" alt=\"Butler and Jenkinson discussed the notion of what it means to live in a radical body. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Judith-Butler-and-Monique-Jenkinson-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Judith-Butler-and-Monique-Jenkinson-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Judith-Butler-and-Monique-Jenkinson-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Judith-Butler-and-Monique-Jenkinson-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Judith-Butler-and-Monique-Jenkinson-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Judith-Butler-and-Monique-Jenkinson-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Butler and Jenkinson discussed the notion of what it means to live in a radical body. \u003ccite>(Jenny Chu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Mohr, then, dance — and performance on a larger scale — has always been a key platform for introducing impactful ideas. Now, as a choreographer with an extensive history of activism, Mohr aims to curate performance pieces with political messages. Through her work, she also aims to bring together people across different community lines: Locations, generations, cultures.\u003c/p>\n\u003cp>“As an artist, for a long time, I tried to make explicitly political, didactic art,” Mohr explains, “but I became dissatisfied with the art that I was making. When I gave myself permission to make art for art’s sake, I started pouring politics into my curating. I approach curating as a form of community organizing. My goal is to put together a program that mixes up different groups of people and also mixes up modes of discourse.”\u003c/p>\n\u003cp>From the upcoming performances, Mohr ultimately hopes that audience members come away with a better understanding of what it means to be radical, especially in the current political climate.\u003c/p>\n\u003cp>“The meaning of radical is really context-dependent,” she says. “What’s radical to me might be ordinary to somebody else. I hope that this program will offer people some resources to dig deep into the question of what radical means to them and in their communities.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814173\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project-2.-Photo-by-Jenny-Chu-Copy-800x450.jpg\" alt=\"\" width=\"0\" height=\"0\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project-2.-Photo-by-Jenny-Chu-Copy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project-2.-Photo-by-Jenny-Chu-Copy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project-2.-Photo-by-Jenny-Chu-Copy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project-2.-Photo-by-Jenny-Chu-Copy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project-2.-Photo-by-Jenny-Chu-Copy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project-2.-Photo-by-Jenny-Chu-Copy-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project-2.-Photo-by-Jenny-Chu-Copy-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project-2.-Photo-by-Jenny-Chu-Copy-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project-2.-Photo-by-Jenny-Chu-Copy-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project-2.-Photo-by-Jenny-Chu-Copy-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"This year's Bridge Project fosters conversations about gender through interdisciplinary workshops and performances. ","status":"publish","parent":0,"modified":1705029144,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":731},"headData":{"title":"An Academic and a Drag Performer Dialogue Through Dance | KQED","description":"This year's Bridge Project fosters conversations about gender through interdisciplinary workshops and performances. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"An Academic and a Drag Performer Dialogue Through Dance","datePublished":"2017-11-10T00:02:56.000Z","dateModified":"2024-01-12T03:12:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13814166/an-academic-and-a-drag-performer-dialogue-through-dance","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.hopemohr.org/\" target=\"_blank\" rel=\"noopener\">Hope Mohr Dance’s\u003c/a> 2017 Bridge Project opens with an unexpected scene: \u003ca href=\"http://www.fauxnique.net/\" target=\"_blank\" rel=\"noopener\">Monique Jenkinson\u003c/a>, the first cisgender female to win a major drag pageant, dancing alongside acclaimed gender theorist \u003ca href=\"https://vcresearch.berkeley.edu/faculty/judith-butler\" target=\"_blank\" rel=\"noopener\">Judith Butler\u003c/a> as they share an “embodied conversation” beneath disco lights. Since 2010, Hope Mohr — the program’s artistic director — has organized the Bridge Project to interrogate a particular topic. This year, two weeks of interdisciplinary conversations, performances, and workshops will explore the idea of gender in movement and what it means to have a radical body.\u003c/p>\n\u003cp>“The Bridge Project was born out of a passion I feel to facilitate conversations in and beyond the dance world,” Mohr says. “It’s really important as dance-makers to be in conversation with people outside of dance. So I am trying to make those conversations happen.”\u003c/p>\n\u003cp>The project began with a focus on female choreographers, but has since expanded to challenge the “canon of modernism and postmodernism to include voices from historically marginalized communities,” in Mohr’s words. This year’s festival in particular is meant to unite artists, activists, and academics around the issue of gender equality — inviting performers to explore what it means to have a radical body through their respective mediums.\u003c/p>\n\u003cfigure id=\"attachment_13814171\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814171\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-800x794.jpg\" alt=\"Drag performer Monique Jenkinson and gender theorist Judith Butler had an embodied conversation while dancing at the opening night of the Bridge Project. \" width=\"800\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-240x238.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-375x372.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-520x516.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-3-Copy-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drag performer Monique Jenkinson and gender theorist Judith Butler had an embodied conversation while dancing at the opening night of the Bridge Project. \u003ccite>(Jenny Chu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, with a program that features academics and performance groups, this year’s Bridge Project makes that goal a reality. Take, for example, the festival’s eclectic opening night. In their conversation, Butler and Jenkinson discussed — while dancing — how allowing the body to simply rest despite the demands of our productivity-driven society can be a radical act.\u003c/p>\n\u003cp>Butler’s comedic, quirky steps were the perfect foil to Jenkinson’s fluid modern movement. Through dance and rich conversation, the duo explored how just living, moving, and breathing in our current life conditions is a radical act — a body’s simple form of resistance to the oppressing forces of today’s world. By blending Jenkinson’s background in drag (a performance of femininity) with Butler’s academic approach, the performance offered a whole new way of understanding the body and how it can exist, radically.\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>Gender and how it’s performed has long been an evolving concept in dance. Since the era of classical ballet — a very gendered and heteronormative dance form — modernism, postmodernism, and contemporary work have all worked to challenge fundamental notions of gender in movement.\u003c/p>\n\u003cp>“As dance as a form has evolved, it has pushed against both gender stereotypes and traditional approaches to narrative,” Mohr explains. “Dance must continue to challenge fundamental assumptions about how we see bodies on stage and how we see bodies in performance.”\u003c/p>\n\u003cfigure id=\"attachment_13814172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814172\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Judith-Butler-and-Monique-Jenkinson-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-800x450.jpg\" alt=\"Butler and Jenkinson discussed the notion of what it means to live in a radical body. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Judith-Butler-and-Monique-Jenkinson-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Judith-Butler-and-Monique-Jenkinson-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Judith-Butler-and-Monique-Jenkinson-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Judith-Butler-and-Monique-Jenkinson-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Judith-Butler-and-Monique-Jenkinson-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Judith-Butler-and-Monique-Jenkinson-in-the-2017-Bridge-Project.-Photo-by-Jenny-Chu-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Butler and Jenkinson discussed the notion of what it means to live in a radical body. \u003ccite>(Jenny Chu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Mohr, then, dance — and performance on a larger scale — has always been a key platform for introducing impactful ideas. Now, as a choreographer with an extensive history of activism, Mohr aims to curate performance pieces with political messages. Through her work, she also aims to bring together people across different community lines: Locations, generations, cultures.\u003c/p>\n\u003cp>“As an artist, for a long time, I tried to make explicitly political, didactic art,” Mohr explains, “but I became dissatisfied with the art that I was making. When I gave myself permission to make art for art’s sake, I started pouring politics into my curating. I approach curating as a form of community organizing. My goal is to put together a program that mixes up different groups of people and also mixes up modes of discourse.”\u003c/p>\n\u003cp>From the upcoming performances, Mohr ultimately hopes that audience members come away with a better understanding of what it means to be radical, especially in the current political climate.\u003c/p>\n\u003cp>“The meaning of radical is really context-dependent,” she says. “What’s radical to me might be ordinary to somebody else. I hope that this program will offer people some resources to dig deep into the question of what radical means to them and in their communities.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814173\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project-2.-Photo-by-Jenny-Chu-Copy-800x450.jpg\" alt=\"\" width=\"0\" height=\"0\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project-2.-Photo-by-Jenny-Chu-Copy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project-2.-Photo-by-Jenny-Chu-Copy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project-2.-Photo-by-Jenny-Chu-Copy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project-2.-Photo-by-Jenny-Chu-Copy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project-2.-Photo-by-Jenny-Chu-Copy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project-2.-Photo-by-Jenny-Chu-Copy-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project-2.-Photo-by-Jenny-Chu-Copy-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project-2.-Photo-by-Jenny-Chu-Copy-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project-2.-Photo-by-Jenny-Chu-Copy-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Monique-Jenkinson-and-Judith-Butler-in-the-2017-Bridge-Project-2.-Photo-by-Jenny-Chu-Copy-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13814166/an-academic-and-a-drag-performer-dialogue-through-dance","authors":["11391"],"programs":["arts_1364"],"categories":["arts_966"],"tags":["arts_879","arts_596"],"featImg":"arts_13814173","label":"arts_1364"},"arts_13812757":{"type":"posts","id":"arts_13812757","meta":{"index":"posts_1591205157","site":"arts","id":"13812757","score":null,"sort":[1509030021000]},"guestAuthors":[],"slug":"over-160-black-men-one-giant-conversation-at-oakland-museum","title":"Over 160 Black Men, One Giant Conversation at Oakland Museum","publishDate":1509030021,"format":"image","headTitle":"Over 160 Black Men, One Giant Conversation at Oakland Museum | KQED","labelTerm":{"term":1364,"site":"arts"},"content":"\u003cp>Walking into \u003cem>Question Bridge: Black Males\u003c/em>, a newly acquired multimedia exhibit at the Oakland Museum of California, I’m immediately enveloped in hushed darkness. The space is quiet, plainly decorated, with the walls, floors, and benches practically disappearing in a muted, uniform black. Viewers watch video recordings with an almost reverent silence, their eyes fixed on the room’s only source of light: an array of brightly lit screens, with a black man in the center of each.\u003c/p>\n\u003cp>Directed by Chris Johnson and Hank Willis Thomas, in collaboration with Bayete Ross Smith and Kamal Sinclair, \u003cem>Question Bridge: Black Males\u003c/em> has grown from its roots as a video installation into a full-fledged movement of national significance. Originally shown at OMCA in 2012, the project was commended for its presentation of the black male narrative — and, most notably, its diversity across the American population.\u003c/p>\n\u003cfigure id=\"attachment_13812763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-800x321.jpg\" alt=\"A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair.\" width=\"800\" height=\"321\" class=\"size-medium wp-image-13812763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-800x321.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-768x308.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-1020x409.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-1180x473.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-960x385.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-520x209.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair. \u003ccite>(Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[The artists] wanted to make sure they covered as many different kinds of folks as possible. Different cities, older men, younger men. Different occupations,” says Rene de Guzman, curator of the OMCA showing. “Of course you can’t cover every single person, but I think [viewers] had a sense of like, this is a really broad range of folks who are participating in the conversation.”\u003c/p>\n\u003cp>The breadth clearly comes across. When watching even a small snippet of the three-hour long video reel featuring 160 interviewees, it’s impossible not to notice the wide range black males from all walks of life — young boys, established judges, current prison inmates, famous actors and many more.\u003c/p>\n\u003cp>“One [hope of the exhibit] is for folks to understand that black males are as dynamic, interesting, and complicated as everyone else. That folks will stop objectifying who they are — they’re human beings…[Their narratives] are expansive and complex and incredibly interesting,” shares de Guzman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the range in location and physicality of those interviewed, \u003cem>Question Bridge: Black Males\u003c/em> hinges on the notion that people are bound by their shared ideas and experiences. While viewing the piece, the men often appear to be talking with one another, each contributing a different perspective to an ongoing conversation — despite never having been in the same room. They discuss the use of the n-word, Post Traumatic Slave Syndrome, and how they know when they’re really in love — while maintaining a feeling of continuity, which Guzman explains was intentional.\u003c/p>\n\u003cp>“What [the artists] wanted to emphasize was that it was not physicality so much as ideas that connect people,” he says, hoping the exhibit can help viewers understand “not only how they think about black males, but how they think about themselves. Their differences and their commonalities, so that they can connect with other kinds of people.” \u003c/p>\n\u003cfigure id=\"attachment_13812762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-800x683.jpg\" alt=\"A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair.\" width=\"800\" height=\"683\" class=\"size-medium wp-image-13812762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-800x683.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-768x656.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-1020x871.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-1180x1008.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-960x820.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-240x205.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-375x320.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-520x444.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair. \u003ccite>(Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Creating a tangible, physical space to make room for such multi-faceted reflection is no easy feat — something de Guzman kept in mind while designing the exhibit. Rather than viewing interviews from afar, viewers are seated in close proximity to the spread of screens.\u003c/p>\n\u003cp>In fact, the benches, placed in rows going away from the screen, even faintly recall the pews of a church. And the viewers’ collective quiet similarly contributes to the feeling of entering into a “sacred agreement [viewers] made with the project. That [they] were a guest to this conversation that is vulnerable, unique, and intimate,” according to de Guzman.\u003c/p>\n\u003cp>Ultimately, every thoughtful, intentional choice in setting the exhibit sets the tone for its core purpose: Fostering conversation while providing a platform for black men to speak their thoughts, regardless of who or where they may be. Recounting an impromptu talk with artist and cofounder Chris Johnson on opening night, de Guzman explained how audience members thought that interviewees had extensively prepared their answers for the filming. \u003c/p>\n\u003cp>“[In response,] Chris said no,” de Guzman says. “He said that these rehearsed answers are happening all over the place every single day. The project just gave folks the opportunity to share what they were thinking about their whole lives.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\u003cem>‘Question Bridge: Black Males’ runs through Feb. 25, 2018, at the Oakland Museum of California. \u003ca href=\"http://museumca.org/exhibit/question-bridge-black-males-2017\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'Question Bridge: Black Males' has grown from its roots as a video installation into a full-fledged movement of national significance.","status":"publish","parent":0,"modified":1705029243,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":763},"headData":{"title":"Over 160 Black Men, One Giant Conversation at Oakland Museum | KQED","description":"'Question Bridge: Black Males' has grown from its roots as a video installation into a full-fledged movement of national significance.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Over 160 Black Men, One Giant Conversation at Oakland Museum","datePublished":"2017-10-26T15:00:21.000Z","dateModified":"2024-01-12T03:14:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13812757/over-160-black-men-one-giant-conversation-at-oakland-museum","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walking into \u003cem>Question Bridge: Black Males\u003c/em>, a newly acquired multimedia exhibit at the Oakland Museum of California, I’m immediately enveloped in hushed darkness. The space is quiet, plainly decorated, with the walls, floors, and benches practically disappearing in a muted, uniform black. Viewers watch video recordings with an almost reverent silence, their eyes fixed on the room’s only source of light: an array of brightly lit screens, with a black man in the center of each.\u003c/p>\n\u003cp>Directed by Chris Johnson and Hank Willis Thomas, in collaboration with Bayete Ross Smith and Kamal Sinclair, \u003cem>Question Bridge: Black Males\u003c/em> has grown from its roots as a video installation into a full-fledged movement of national significance. Originally shown at OMCA in 2012, the project was commended for its presentation of the black male narrative — and, most notably, its diversity across the American population.\u003c/p>\n\u003cfigure id=\"attachment_13812763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-800x321.jpg\" alt=\"A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair.\" width=\"800\" height=\"321\" class=\"size-medium wp-image-13812763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-800x321.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-768x308.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-1020x409.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-1180x473.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-960x385.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-520x209.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair. \u003ccite>(Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[The artists] wanted to make sure they covered as many different kinds of folks as possible. Different cities, older men, younger men. Different occupations,” says Rene de Guzman, curator of the OMCA showing. “Of course you can’t cover every single person, but I think [viewers] had a sense of like, this is a really broad range of folks who are participating in the conversation.”\u003c/p>\n\u003cp>The breadth clearly comes across. When watching even a small snippet of the three-hour long video reel featuring 160 interviewees, it’s impossible not to notice the wide range black males from all walks of life — young boys, established judges, current prison inmates, famous actors and many more.\u003c/p>\n\u003cp>“One [hope of the exhibit] is for folks to understand that black males are as dynamic, interesting, and complicated as everyone else. That folks will stop objectifying who they are — they’re human beings…[Their narratives] are expansive and complex and incredibly interesting,” shares de Guzman.\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>Despite the range in location and physicality of those interviewed, \u003cem>Question Bridge: Black Males\u003c/em> hinges on the notion that people are bound by their shared ideas and experiences. While viewing the piece, the men often appear to be talking with one another, each contributing a different perspective to an ongoing conversation — despite never having been in the same room. They discuss the use of the n-word, Post Traumatic Slave Syndrome, and how they know when they’re really in love — while maintaining a feeling of continuity, which Guzman explains was intentional.\u003c/p>\n\u003cp>“What [the artists] wanted to emphasize was that it was not physicality so much as ideas that connect people,” he says, hoping the exhibit can help viewers understand “not only how they think about black males, but how they think about themselves. Their differences and their commonalities, so that they can connect with other kinds of people.” \u003c/p>\n\u003cfigure id=\"attachment_13812762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-800x683.jpg\" alt=\"A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair.\" width=\"800\" height=\"683\" class=\"size-medium wp-image-13812762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-800x683.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-768x656.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-1020x871.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-1180x1008.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-960x820.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-240x205.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-375x320.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-520x444.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair. \u003ccite>(Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Creating a tangible, physical space to make room for such multi-faceted reflection is no easy feat — something de Guzman kept in mind while designing the exhibit. Rather than viewing interviews from afar, viewers are seated in close proximity to the spread of screens.\u003c/p>\n\u003cp>In fact, the benches, placed in rows going away from the screen, even faintly recall the pews of a church. And the viewers’ collective quiet similarly contributes to the feeling of entering into a “sacred agreement [viewers] made with the project. That [they] were a guest to this conversation that is vulnerable, unique, and intimate,” according to de Guzman.\u003c/p>\n\u003cp>Ultimately, every thoughtful, intentional choice in setting the exhibit sets the tone for its core purpose: Fostering conversation while providing a platform for black men to speak their thoughts, regardless of who or where they may be. Recounting an impromptu talk with artist and cofounder Chris Johnson on opening night, de Guzman explained how audience members thought that interviewees had extensively prepared their answers for the filming. \u003c/p>\n\u003cp>“[In response,] Chris said no,” de Guzman says. “He said that these rehearsed answers are happening all over the place every single day. The project just gave folks the opportunity to share what they were thinking about their whole lives.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\u003cem>‘Question Bridge: Black Males’ runs through Feb. 25, 2018, at the Oakland Museum of California. \u003ca href=\"http://museumca.org/exhibit/question-bridge-black-males-2017\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13812757/over-160-black-men-one-giant-conversation-at-oakland-museum","authors":["11391"],"programs":["arts_1364"],"categories":["arts_70"],"tags":["arts_1522","arts_1118","arts_596","arts_2755"],"featImg":"arts_13812764","label":"arts_1364"},"arts_13810941":{"type":"posts","id":"arts_13810941","meta":{"index":"posts_1591205157","site":"arts","id":"13810941","score":null,"sort":[1508457641000]},"guestAuthors":[],"slug":"janine-barrera-castillo-paints-natures-abstract-truth","title":"Janine Barrera-Castillo Paints Nature's Abstract Truth","publishDate":1508457641,"format":"image","headTitle":"Janine Barrera-Castillo Paints Nature’s Abstract Truth | KQED","labelTerm":{"term":1364,"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">A paint-covered glove holding onto a brush glides back and forth, back and forth, dips into her paint, and motions back and forth across the canvas again, spreading a layer of green to set the piece’s foundation. The movement becomes a meditative practice, as the artist lets the painting lead her hand to create vibrant patterns of layered oil.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is how Janine Barrera-Castillo spends most days of the week, shut inside her studio, fixated on the only thing in the world that matters in that moment. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I love the idea of how nature is so real and so honest,” she says of creating her abstract landscapes. “You know, like that’s the way things are supposed to be.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Barrera-Castillo begins her day the with an hour-long walk, a ritual she’s practiced for the past 20 years. She strolls near her house in Green Valley, past the many oak trees that stand tall in her neighborhood, before walking to her studio in Vallejo.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“You can imagine how the Bay Area used to look like,” she says about the picturesque views outside her home. “At one time it probably all looked like that.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13810948\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-800x525.jpg\" alt=\"\" width=\"800\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-520x341.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rather than directly copying these views in her work, she strives to capture the feelings that nature evokes with oil paints, textures and brilliant colors.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Barrera-Castillo is currently gearing up for her upcoming solo exhibit \u003cem>Patterns of Nature\u003c/em>, opening Oct. 23 at the Philippine Center in San Francisco. One piece selected for her upcoming show, “Complimentary Sunset,” leans against her studio wall with shapes both warm and cool, evoking the scene that she sees outside her window every night in the North Bay.\u003c/span>\u003c/p>\n\u003cp>As a nature-lover who moved to the Bay Area about 30 years ago, it worries her that she feels the summers getting hotter, the colder days growing fewer and farther between, and natural disasters tearing apart communities across the country.\u003c/p>\n\u003cp>Just one week after speaking with KQED, in fact, her family evacuated their Green Valley home as fires tore through the North Bay, destroying scenery that now lives on only through memory, photographs or paintings. Her art remains a tribute to that beauty, and her personal plea to encourage humans to take better care of the natural world around them. \u003c/p>\n\u003cp>Though Barrera-Castillo always possessed a love of art and nature, it took nearly half a lifetime of artistic self-discovery to cultivate her unique abstract style.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13810949\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9295-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Growing up in a rural town in Cebu, Philippines, Barrera-Castillo’s father, who was a photographer himself, took a young Janine with him when he explored the island to take photos of landscapes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As she grew up, the focus of her formal art training emphasized tradition rather than creativity. While attending the University of the Philippines, she spent her time learning to emulate classic Western European-style paintings.\u003c/span>\u003c/p>\n\u003cp>On top of that, teachers constantly told her to “paint like a Filipino,” a directive she couldn’t wrap her mind around.\u003c/p>\n\u003cp>“A Filipino will always paint Filipino even if he’s painting the Eiffel Tower in Paris — he can’t help it because he’s looking at it through Filipino eyes,” she says now, with a laugh. \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After graduation, she earned a scholarship to Academy of Art University and immigrated to the U.S. Not only did she struggle to assimilate into a different culture, but she encountered the demands of an entirely new artistic philosophy in America. Her professors told her the opposite of what she was taught back home, encouraging her to break away from the traditional styles instilled in her.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She also felt frustration at seeing her male peers booked in shows more often than women. And as she grappled with the struggle to find her artistic identity, she made the decision to become a wife and mother. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s women who are holding on to what [they] love to do and at the same time trying to fulfill [their] obligations as a mother or wife,” she says. “Some women sacrifice one for the other, some women try to do all.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For years, she made the sacrifice.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s really painful not to be able to paint if you’re an artist,” she says, remembering a period in life when she stopped painting completely. “It just really messes you up as a person.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13810947\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9310-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But once her children grew older, Barrera-Castillo realized a part of herself felt missing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She began to make friends with her brushes and paints again, spending time in her studio without the pressure to create. Slowly but surely, over several years, she put oil to canvas again and found her meditative rhythm through abstract landscapes, a way to honor what she loves most.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Barrera-Castillo’s current style is a reflection of her evolution as an artist, as an immigrant, as a mother — and most of all, as a lover of the environment.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Even though my work looks like pleasant paintings with pretty colors, this is my way of paying tribute to whatever we still have right now, which can easily just go,” she says. “I wish we can preserve that for many generations to come.” \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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\n","blocks":[],"excerpt":"Growing up in Cebu, Philippines, the artist inherited a love of nature that fuels her colorful, abstract painting today.","status":"publish","parent":0,"modified":1705029289,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":905},"headData":{"title":"Janine Barrera-Castillo Paints Nature's Abstract Truth | KQED","description":"Growing up in Cebu, Philippines, the artist inherited a love of nature that fuels her colorful, abstract painting today.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Janine Barrera-Castillo Paints Nature's Abstract Truth","datePublished":"2017-10-20T00:00:41.000Z","dateModified":"2024-01-12T03:14:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13810941/janine-barrera-castillo-paints-natures-abstract-truth","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">A paint-covered glove holding onto a brush glides back and forth, back and forth, dips into her paint, and motions back and forth across the canvas again, spreading a layer of green to set the piece’s foundation. The movement becomes a meditative practice, as the artist lets the painting lead her hand to create vibrant patterns of layered oil.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is how Janine Barrera-Castillo spends most days of the week, shut inside her studio, fixated on the only thing in the world that matters in that moment. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I love the idea of how nature is so real and so honest,” she says of creating her abstract landscapes. “You know, like that’s the way things are supposed to be.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Barrera-Castillo begins her day the with an hour-long walk, a ritual she’s practiced for the past 20 years. She strolls near her house in Green Valley, past the many oak trees that stand tall in her neighborhood, before walking to her studio in Vallejo.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“You can imagine how the Bay Area used to look like,” she says about the picturesque views outside her home. “At one time it probably all looked like that.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13810948\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-800x525.jpg\" alt=\"\" width=\"800\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-520x341.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rather than directly copying these views in her work, she strives to capture the feelings that nature evokes with oil paints, textures and brilliant colors.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Barrera-Castillo is currently gearing up for her upcoming solo exhibit \u003cem>Patterns of Nature\u003c/em>, opening Oct. 23 at the Philippine Center in San Francisco. One piece selected for her upcoming show, “Complimentary Sunset,” leans against her studio wall with shapes both warm and cool, evoking the scene that she sees outside her window every night in the North Bay.\u003c/span>\u003c/p>\n\u003cp>As a nature-lover who moved to the Bay Area about 30 years ago, it worries her that she feels the summers getting hotter, the colder days growing fewer and farther between, and natural disasters tearing apart communities across the country.\u003c/p>\n\u003cp>Just one week after speaking with KQED, in fact, her family evacuated their Green Valley home as fires tore through the North Bay, destroying scenery that now lives on only through memory, photographs or paintings. Her art remains a tribute to that beauty, and her personal plea to encourage humans to take better care of the natural world around them. \u003c/p>\n\u003cp>Though Barrera-Castillo always possessed a love of art and nature, it took nearly half a lifetime of artistic self-discovery to cultivate her unique abstract style.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13810949\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9295-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Growing up in a rural town in Cebu, Philippines, Barrera-Castillo’s father, who was a photographer himself, took a young Janine with him when he explored the island to take photos of landscapes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As she grew up, the focus of her formal art training emphasized tradition rather than creativity. While attending the University of the Philippines, she spent her time learning to emulate classic Western European-style paintings.\u003c/span>\u003c/p>\n\u003cp>On top of that, teachers constantly told her to “paint like a Filipino,” a directive she couldn’t wrap her mind around.\u003c/p>\n\u003cp>“A Filipino will always paint Filipino even if he’s painting the Eiffel Tower in Paris — he can’t help it because he’s looking at it through Filipino eyes,” she says now, with a laugh. \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After graduation, she earned a scholarship to Academy of Art University and immigrated to the U.S. Not only did she struggle to assimilate into a different culture, but she encountered the demands of an entirely new artistic philosophy in America. Her professors told her the opposite of what she was taught back home, encouraging her to break away from the traditional styles instilled in her.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She also felt frustration at seeing her male peers booked in shows more often than women. And as she grappled with the struggle to find her artistic identity, she made the decision to become a wife and mother. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s women who are holding on to what [they] love to do and at the same time trying to fulfill [their] obligations as a mother or wife,” she says. “Some women sacrifice one for the other, some women try to do all.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For years, she made the sacrifice.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s really painful not to be able to paint if you’re an artist,” she says, remembering a period in life when she stopped painting completely. “It just really messes you up as a person.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13810947\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9310-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But once her children grew older, Barrera-Castillo realized a part of herself felt missing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She began to make friends with her brushes and paints again, spending time in her studio without the pressure to create. Slowly but surely, over several years, she put oil to canvas again and found her meditative rhythm through abstract landscapes, a way to honor what she loves most.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Barrera-Castillo’s current style is a reflection of her evolution as an artist, as an immigrant, as a mother — and most of all, as a lover of the environment.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Even though my work looks like pleasant paintings with pretty colors, this is my way of paying tribute to whatever we still have right now, which can easily just go,” she says. “I wish we can preserve that for many generations to come.” \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13810941/janine-barrera-castillo-paints-natures-abstract-truth","authors":["11367"],"programs":["arts_1364"],"categories":["arts_835","arts_70"],"tags":["arts_1522","arts_1118","arts_2832","arts_596"],"featImg":"arts_13810942","label":"arts_1364"},"arts_13810477":{"type":"posts","id":"arts_13810477","meta":{"index":"posts_1591205157","site":"arts","id":"13810477","score":null,"sort":[1507208406000]},"guestAuthors":[],"slug":"a-reclamation-of-power-for-black-women-in-oakland","title":"A Reclamation of Power for Black Women in Oakland","publishDate":1507208406,"format":"image","headTitle":"A Reclamation of Power for Black Women in Oakland | KQED","labelTerm":{"term":1364,"site":"arts"},"content":"\u003cp>“It’s kind of wild to be here at seven years,” Anyka Barber says, founder of Oakland’s Betti Ono gallery in downtown Oakland. “Space is a premium, as we all know. So being able to hold this space for seven years was no small feat.”\u003c/p>\n\u003cp>It’s also no small feat that Betti Ono opened in the first place. Tucked into the corner of Frank Ogawa Plaza, Betti Ono has brought exposure to emerging artists and fostered critical conversation around topics like race, sex, politics and identity in ways that simply did not exist in Oakland seven years ago.\u003c/p>\n\u003cp>At the time, while working in both museum spaces and community art centers, Barber noticed a lack of opportunity for women of color to enter into leadership positions — as well as a pronounced void of accessible spaces inclusive of black, brown, and indigenous bodies and art. \u003c/p>\n\u003cfigure id=\"attachment_13810508\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/SashaKelley.jpg\" alt=\"Sasha Kelley, 'Circle of Black Women / ABRACADABRAKAAFRIKA.'\" width=\"600\" height=\"405\" class=\"size-full wp-image-13810508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SashaKelley.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SashaKelley-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SashaKelley-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SashaKelley-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SashaKelley-520x351.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley, ‘Circle of Black Women / ABRACADABRAKAAFRIKA.’ \u003ccite>(Sasha Kelley/Betti Ono)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In terms of actual venues and spaces to make your work visible, to put your work out there professionally, that provided artists of color opportunity to exhibit — those were the barriers we were pushing against [in Oakland],” Barber expresses. “Breaking the mold, breaking the boxes [by saying that] artists of color — black women, black men, people of color in general — have things to say with their work. That they are talented. And deserve a platform.”\u003c/p>\n\u003cp>In an era of Oakland’s rapidly changing landscape, Betti Ono became a haven of community, accessibility, and cultural stronghold.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, for its seven-year anniversary, Betti Ono Gallery is collaborating with \u003cem>Black Women Over Breathing\u003c/em>, a movement co-founded by Adrian Walker and Danielle McCoy that seeks to emphasize the historically underrepresented importance of black women in our everyday lives. Surrounded by women his whole life, Walker wanted to pay tribute to the integral, moving roles black women have held throughout his own personal journey, as well in the world’s history.\u003c/p>\n\u003cfigure id=\"attachment_13810511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-800x534.jpg\" alt=\"Danielle McCoy, 'SayHerName.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13810511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Danielle McCoy, ‘SayHerName.’ \u003ccite>(Betti Ono)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Black women artists — they’re amazing. I look up to them the most because their stories are so deep. Family-oriented. How they were brought up,” Walker says. “All that is rooted in my work in a way. They own this. It’s because of them…I’m honored — this seven-year anniversary — just to be a part of it.”\u003c/p>\n\u003cp>Building opportunity for emerging artists — and artists of color — is something that’s central to both Betti Ono Gallery and \u003cem>Black Women Over Breathing\u003c/em>. For the upcoming show in particular, Walker and McCoy have curated works from artists of vast backgrounds, experience, and mediums; exhibiting artists include Lukaza Branfman, Jade Fair, Kierra Johnson, Jay Katelansky, Sasha Kelley, Yetunde Olagbaju, Danielle McCoy, Lelia Weefur, and Zakiya Zazzaboi.\u003c/p>\n\u003cfigure id=\"attachment_13810517\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Lukaza.jpg\" alt=\"Lukaza Branfman-Verissimo, 'As Bright as Yellow.'\" width=\"400\" height=\"600\" class=\"size-full wp-image-13810517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Lukaza.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Lukaza-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Lukaza-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Lukaza-375x563.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Lukaza Branfman-Verissimo, ‘As Bright as Yellow.’ \u003ccite>(Betti Ono Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The curators have done a great job of… really tackling critical issues affecting black women in ways that may not be so superficial, really getting into the undercurrent of what life is like. Everyday,” comments Barber. “We celebrate the culture of everyday people, but one of the intentions is to say that who we are, how we are, and how we show up is good enough. It’s enough to be seen, be respected, and be valued.”\u003c/p>\n\u003cp>Walker adds, “I just wanted black women to be able to express themselves. And how they portray what \u003cem>Black Women Over Breathing\u003c/em> is. [Across] all types of mediums. [To] do what they want and show their work in many different forms.”\u003c/p>\n\u003cp>Ultimately, Barber envisions the upcoming show simultaneously as a celebration of black womanhood and all the work done at Betti Ono over the last seven years. Both she and Walker want audiences to walk away from the space with a new cultural understanding and consciousness that may have been missing before.\u003c/p>\n\u003cp>“I think there has been a lot of pretending about how critical black women have been to the formation of this country, even while being discriminated against [and] being oppressed. So, I feel like the statement is about that: a reclamation of our power and our agency. Our lives. Period. In whatever shape or form,” Barber states. “[And] I feel like Betti Ono is going to continue being the space that continues to elevate conversations to this point.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\u003cem>‘Betti Ono 7 Year Anniversary: Black Women Over Breathing’ runs Oct. 6, 2017–Jan. 5, 2018 at Betti Ono Gallery, with an \u003ca href=\"https://www.facebook.com/events/1620443231348620/\" rel=\"noopener\" target=\"_blank\">opening reception\u003c/a> from 6pm–9pm on Oct. 6. \u003ca href=\"https://bettiono.com/2017/09/15/betti-ono-celebrates-7-year-anniversary-black-women-over-breathing-exhibition/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"At Betti Ono Gallery's seven-year anniversary, 'Black Women Over Breathing' tackles the undercurrent of critical issues affecting black women.","status":"publish","parent":0,"modified":1705029398,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":800},"headData":{"title":"A Reclamation of Power for Black Women in Oakland | KQED","description":"At Betti Ono Gallery's seven-year anniversary, 'Black Women Over Breathing' tackles the undercurrent of critical issues affecting black women.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Reclamation of Power for Black Women in Oakland","datePublished":"2017-10-05T13:00:06.000Z","dateModified":"2024-01-12T03:16:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13810477/a-reclamation-of-power-for-black-women-in-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“It’s kind of wild to be here at seven years,” Anyka Barber says, founder of Oakland’s Betti Ono gallery in downtown Oakland. “Space is a premium, as we all know. So being able to hold this space for seven years was no small feat.”\u003c/p>\n\u003cp>It’s also no small feat that Betti Ono opened in the first place. Tucked into the corner of Frank Ogawa Plaza, Betti Ono has brought exposure to emerging artists and fostered critical conversation around topics like race, sex, politics and identity in ways that simply did not exist in Oakland seven years ago.\u003c/p>\n\u003cp>At the time, while working in both museum spaces and community art centers, Barber noticed a lack of opportunity for women of color to enter into leadership positions — as well as a pronounced void of accessible spaces inclusive of black, brown, and indigenous bodies and art. \u003c/p>\n\u003cfigure id=\"attachment_13810508\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/SashaKelley.jpg\" alt=\"Sasha Kelley, 'Circle of Black Women / ABRACADABRAKAAFRIKA.'\" width=\"600\" height=\"405\" class=\"size-full wp-image-13810508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SashaKelley.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SashaKelley-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SashaKelley-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SashaKelley-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SashaKelley-520x351.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley, ‘Circle of Black Women / ABRACADABRAKAAFRIKA.’ \u003ccite>(Sasha Kelley/Betti Ono)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In terms of actual venues and spaces to make your work visible, to put your work out there professionally, that provided artists of color opportunity to exhibit — those were the barriers we were pushing against [in Oakland],” Barber expresses. “Breaking the mold, breaking the boxes [by saying that] artists of color — black women, black men, people of color in general — have things to say with their work. That they are talented. And deserve a platform.”\u003c/p>\n\u003cp>In an era of Oakland’s rapidly changing landscape, Betti Ono became a haven of community, accessibility, and cultural stronghold.\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>Now, for its seven-year anniversary, Betti Ono Gallery is collaborating with \u003cem>Black Women Over Breathing\u003c/em>, a movement co-founded by Adrian Walker and Danielle McCoy that seeks to emphasize the historically underrepresented importance of black women in our everyday lives. Surrounded by women his whole life, Walker wanted to pay tribute to the integral, moving roles black women have held throughout his own personal journey, as well in the world’s history.\u003c/p>\n\u003cfigure id=\"attachment_13810511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-800x534.jpg\" alt=\"Danielle McCoy, 'SayHerName.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13810511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Danielle McCoy, ‘SayHerName.’ \u003ccite>(Betti Ono)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Black women artists — they’re amazing. I look up to them the most because their stories are so deep. Family-oriented. How they were brought up,” Walker says. “All that is rooted in my work in a way. They own this. It’s because of them…I’m honored — this seven-year anniversary — just to be a part of it.”\u003c/p>\n\u003cp>Building opportunity for emerging artists — and artists of color — is something that’s central to both Betti Ono Gallery and \u003cem>Black Women Over Breathing\u003c/em>. For the upcoming show in particular, Walker and McCoy have curated works from artists of vast backgrounds, experience, and mediums; exhibiting artists include Lukaza Branfman, Jade Fair, Kierra Johnson, Jay Katelansky, Sasha Kelley, Yetunde Olagbaju, Danielle McCoy, Lelia Weefur, and Zakiya Zazzaboi.\u003c/p>\n\u003cfigure id=\"attachment_13810517\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Lukaza.jpg\" alt=\"Lukaza Branfman-Verissimo, 'As Bright as Yellow.'\" width=\"400\" height=\"600\" class=\"size-full wp-image-13810517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Lukaza.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Lukaza-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Lukaza-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Lukaza-375x563.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Lukaza Branfman-Verissimo, ‘As Bright as Yellow.’ \u003ccite>(Betti Ono Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The curators have done a great job of… really tackling critical issues affecting black women in ways that may not be so superficial, really getting into the undercurrent of what life is like. Everyday,” comments Barber. “We celebrate the culture of everyday people, but one of the intentions is to say that who we are, how we are, and how we show up is good enough. It’s enough to be seen, be respected, and be valued.”\u003c/p>\n\u003cp>Walker adds, “I just wanted black women to be able to express themselves. And how they portray what \u003cem>Black Women Over Breathing\u003c/em> is. [Across] all types of mediums. [To] do what they want and show their work in many different forms.”\u003c/p>\n\u003cp>Ultimately, Barber envisions the upcoming show simultaneously as a celebration of black womanhood and all the work done at Betti Ono over the last seven years. Both she and Walker want audiences to walk away from the space with a new cultural understanding and consciousness that may have been missing before.\u003c/p>\n\u003cp>“I think there has been a lot of pretending about how critical black women have been to the formation of this country, even while being discriminated against [and] being oppressed. So, I feel like the statement is about that: a reclamation of our power and our agency. Our lives. Period. In whatever shape or form,” Barber states. “[And] I feel like Betti Ono is going to continue being the space that continues to elevate conversations to this point.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\u003cem>‘Betti Ono 7 Year Anniversary: Black Women Over Breathing’ runs Oct. 6, 2017–Jan. 5, 2018 at Betti Ono Gallery, with an \u003ca href=\"https://www.facebook.com/events/1620443231348620/\" rel=\"noopener\" target=\"_blank\">opening reception\u003c/a> from 6pm–9pm on Oct. 6. \u003ca href=\"https://bettiono.com/2017/09/15/betti-ono-celebrates-7-year-anniversary-black-women-over-breathing-exhibition/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13810477/a-reclamation-of-power-for-black-women-in-oakland","authors":["11391"],"programs":["arts_1364"],"categories":["arts_70"],"tags":["arts_1118","arts_3649","arts_596","arts_1143"],"featImg":"arts_13810484","label":"arts_1364"},"arts_13809520":{"type":"posts","id":"arts_13809520","meta":{"index":"posts_1591205157","site":"arts","id":"13809520","score":null,"sort":[1506636045000]},"guestAuthors":[],"slug":"honey-mahogany-black-friday-stud-bar-san-francisco","title":"Honey Mahogany's Queer Black Variety Show for Everyone","publishDate":1506636045,"format":"image","headTitle":"Honey Mahogany’s Queer Black Variety Show for Everyone | KQED","labelTerm":{"term":1364,"site":"arts"},"content":"\u003cp>In the back of The Stud bar, bodies covered in sweat crowd the stage. Beneath a glittering disco ball, to the boom of screams and applause, Honey Mahogany appears from behind the curtain to reveal a black leather dress and boots up to her knees, her third costume change of the night.\u003c/p>\n\u003cp>This is no ordinary Friday night in September — it’s the kickoff of Folsom Street Fair weekend, which for tonight’s crowd might as well be an official San Francisco holiday. As she switches roles from lip-syncing Beyoncé hits to hostess, Mahogany reminds partygoers of the method to the proverbial madness. “I want you all to know that Black Fridays is special not just because it is a black variety show,” she says, “but also because we give all the proceeds to the Transgender Cultural District!” \u003c/p>\n\u003cfigure id=\"attachment_13809527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809527\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany sits at Mission Pie for an interview on Sept. 14. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talking with KQED, Mahogany says she created the monthly variety show as a space for queer and transgender people of color to perform. Since its debut in April of this year, it’s brought a mix of drag artists, burlesque dancers, musicians, spoken-word artists and comedians. Though the show draws a diverse crowd of attendees, Mahogany created it as an outlet for specifically black performers to be celebrated.\u003c/p>\n\u003cp>“It’s a show by black people, of black people, for everybody,” Mahogany says. “It’s also about welcoming non-black people into that space and being like ‘This is what we’re about, and this is who we are. Celebrate this with us.’”\u003c/p>\n\u003cfigure id=\"attachment_13809534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809534\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Militia Towers takes to the Black Fridays stage for the first time on Sept.22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s still this weird 80’s-style diversity, where if you have at least one of something other than your standard white person, then you’re diverse,” says Alotta Boutté, a performer who brings a mix of cabaret and burlesque to Black Fridays. “Something like Black Fridays normalizes the actual reality that there are many of us out here trying to perform and bring our heart to people.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Five years ago, Mahogany — fresh from her run as a contestant on \u003cem>RuPaul’s Drag Race\u003c/em> — began hosting \u003cem>Drag Race\u003c/em> viewing parties called “Mahogany Mondays.” Occasionally, she would host “Black Out” Mondays featuring all black performers, which morphed into what is now “Black Fridays,” every fourth Friday at The Stud.\u003c/p>\n\u003cfigure id=\"attachment_13809954\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BlackFri.1.jpg\" alt=\"Bionka Simone enters the stage for Black Fridays on Sept. 22.\" width=\"1920\" height=\"1277\" class=\"size-full wp-image-13809954\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-520x346.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bionka Simone enters the stage for Black Fridays on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Stud is an eclectic, 51-year-old gay bar that Mahogany \u003ca href=\"http://www.sfweekly.com/culture/feature-culture/how-the-stud-was-saved/\" rel=\"noopener\" target=\"_blank\">co-owns with 17 other people\u003c/a>. After its rent nearly tripled, The Stud was purchased by the collective a year ago to preserve the bar and its place in the community.\u003c/p>\n\u003cp>“The Stud has always been a very queer space and a place for artists, a place for people who didn’t necessarily identify with the more mainstream gay culture,” Mahogany says. The venue is unique in being not just a gay man’s space, but also a space for women, trans and gender nonconforming people, making it the ideal venue for Black Fridays, she adds.\u003c/p>\n\u003cp>“In San Francisco, we really live within this bubble of liberalism, but it’s almost like because we feel like we live in this bubble we feel like we are above racism and sexism,” Mahogany says. “Whether we realize it or not, we all feed into these oppressive systems. I just wanted to put the focus on that.”\u003c/p>\n\u003cfigure id=\"attachment_13809533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany slips dollar bills into the pocket of her co-host, Lance Holman on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a native San Franciscan growing up attending Catholic school, social service has long been a part of Mahogany’s life. She became involved in LGBTQ causes in college at USC and earned a Master’s in Social Work at UC Berkeley. Mahogany went to work as a social worker in the Bay Area with homeless youth and the LGBTQ community after graduating.\u003c/p>\n\u003cp>“My life has a lot of swinging back and forth between drag and social work, and somehow I always end up doing both,” Mahogany says. “I can never leave either one behind for very long.”\u003c/p>\n\u003cp>An activist in the neighborhood, Mahogany helped lead the fight to establish the Compton’s Transgender Cultural District in the Tenderloin, which is now slated to kickstart in October. Black Fridays have thus far raised roughly $3,000 for the effort.\u003c/p>\n\u003cfigure id=\"attachment_13809955\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BlackFri.2.jpg\" alt=\"Sgt. Die Wies and an assistant perform at Black Fridays on Sept. 22.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13809955\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sgt. Die Wies and an assistant perform at Black Fridays on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Honey Mahogany is an absolute treasure to have in San Francisco, she sets the bar really high,” says Qween (Travis Santell Rowland), a drag queen and spoken-word artist who has performed at several Black Fridays. “I think that she provides a very nurturing environment, both backstage and when she presents us to go onstage.”\u003c/p>\n\u003cp>Bouteé agrees. “A bunch of us were talking about this backstage… when you’re in such a close, intimate setting with a bunch of other white performers, you don’t fully understand how much you withhold of yourself,” she says. “I really appreciate those moments when there’s more than one of us backstage and you can be a little bit more yourself.”\u003c/p>\n\u003cfigure id=\"attachment_13809531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809531\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alotta Boutté lip-syncs to Ike and Tina Turner’s “I’m Yours” on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the audience hungry for more at The Stud, Mahogany draws back the curtain to announce Bouteé, her “drag daddy” and the final performer of the evening.\u003c/p>\n\u003cp>Dressed in a vibrant grape-colored skin tight dress, Boutté comes out gagged and wearing cuffs on her hands and feet. As the music to Ike and Tina Turner’s “I’m Yours” blares, dollars bills rain on her as an audience member releases her from the restraints and delivers a bill to Boutté’s mouth straight from between her teeth. Boutté shimmies across the stage and belts her lip-sync, exuding a magic that the audience grabs onto and eventually takes to the dance floor until the early hours of 4am.\u003c/p>\n\u003cp>A little bit more yourself, indeed.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For more on Honey Mahogany and Black Fridays, follow her \u003ca href=\"https://www.facebook.com/honeymahoganyofficialfanpage/\" rel=\"noopener\" target=\"_blank\">official fan page\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The monthly series at The Stud is a party with a purpose.","status":"publish","parent":0,"modified":1705029444,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1118},"headData":{"title":"Honey Mahogany's Queer Black Variety Show for Everyone | KQED","description":"The monthly series at The Stud is a party with a purpose.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Honey Mahogany's Queer Black Variety Show for Everyone","datePublished":"2017-09-28T22:00:45.000Z","dateModified":"2024-01-12T03:17:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13809520/honey-mahogany-black-friday-stud-bar-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the back of The Stud bar, bodies covered in sweat crowd the stage. Beneath a glittering disco ball, to the boom of screams and applause, Honey Mahogany appears from behind the curtain to reveal a black leather dress and boots up to her knees, her third costume change of the night.\u003c/p>\n\u003cp>This is no ordinary Friday night in September — it’s the kickoff of Folsom Street Fair weekend, which for tonight’s crowd might as well be an official San Francisco holiday. As she switches roles from lip-syncing Beyoncé hits to hostess, Mahogany reminds partygoers of the method to the proverbial madness. “I want you all to know that Black Fridays is special not just because it is a black variety show,” she says, “but also because we give all the proceeds to the Transgender Cultural District!” \u003c/p>\n\u003cfigure id=\"attachment_13809527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809527\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany sits at Mission Pie for an interview on Sept. 14. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talking with KQED, Mahogany says she created the monthly variety show as a space for queer and transgender people of color to perform. Since its debut in April of this year, it’s brought a mix of drag artists, burlesque dancers, musicians, spoken-word artists and comedians. Though the show draws a diverse crowd of attendees, Mahogany created it as an outlet for specifically black performers to be celebrated.\u003c/p>\n\u003cp>“It’s a show by black people, of black people, for everybody,” Mahogany says. “It’s also about welcoming non-black people into that space and being like ‘This is what we’re about, and this is who we are. Celebrate this with us.’”\u003c/p>\n\u003cfigure id=\"attachment_13809534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809534\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Militia Towers takes to the Black Fridays stage for the first time on Sept.22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s still this weird 80’s-style diversity, where if you have at least one of something other than your standard white person, then you’re diverse,” says Alotta Boutté, a performer who brings a mix of cabaret and burlesque to Black Fridays. “Something like Black Fridays normalizes the actual reality that there are many of us out here trying to perform and bring our heart to people.”\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>Five years ago, Mahogany — fresh from her run as a contestant on \u003cem>RuPaul’s Drag Race\u003c/em> — began hosting \u003cem>Drag Race\u003c/em> viewing parties called “Mahogany Mondays.” Occasionally, she would host “Black Out” Mondays featuring all black performers, which morphed into what is now “Black Fridays,” every fourth Friday at The Stud.\u003c/p>\n\u003cfigure id=\"attachment_13809954\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BlackFri.1.jpg\" alt=\"Bionka Simone enters the stage for Black Fridays on Sept. 22.\" width=\"1920\" height=\"1277\" class=\"size-full wp-image-13809954\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-520x346.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bionka Simone enters the stage for Black Fridays on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Stud is an eclectic, 51-year-old gay bar that Mahogany \u003ca href=\"http://www.sfweekly.com/culture/feature-culture/how-the-stud-was-saved/\" rel=\"noopener\" target=\"_blank\">co-owns with 17 other people\u003c/a>. After its rent nearly tripled, The Stud was purchased by the collective a year ago to preserve the bar and its place in the community.\u003c/p>\n\u003cp>“The Stud has always been a very queer space and a place for artists, a place for people who didn’t necessarily identify with the more mainstream gay culture,” Mahogany says. The venue is unique in being not just a gay man’s space, but also a space for women, trans and gender nonconforming people, making it the ideal venue for Black Fridays, she adds.\u003c/p>\n\u003cp>“In San Francisco, we really live within this bubble of liberalism, but it’s almost like because we feel like we live in this bubble we feel like we are above racism and sexism,” Mahogany says. “Whether we realize it or not, we all feed into these oppressive systems. I just wanted to put the focus on that.”\u003c/p>\n\u003cfigure id=\"attachment_13809533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany slips dollar bills into the pocket of her co-host, Lance Holman on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a native San Franciscan growing up attending Catholic school, social service has long been a part of Mahogany’s life. She became involved in LGBTQ causes in college at USC and earned a Master’s in Social Work at UC Berkeley. Mahogany went to work as a social worker in the Bay Area with homeless youth and the LGBTQ community after graduating.\u003c/p>\n\u003cp>“My life has a lot of swinging back and forth between drag and social work, and somehow I always end up doing both,” Mahogany says. “I can never leave either one behind for very long.”\u003c/p>\n\u003cp>An activist in the neighborhood, Mahogany helped lead the fight to establish the Compton’s Transgender Cultural District in the Tenderloin, which is now slated to kickstart in October. Black Fridays have thus far raised roughly $3,000 for the effort.\u003c/p>\n\u003cfigure id=\"attachment_13809955\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BlackFri.2.jpg\" alt=\"Sgt. Die Wies and an assistant perform at Black Fridays on Sept. 22.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13809955\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sgt. Die Wies and an assistant perform at Black Fridays on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Honey Mahogany is an absolute treasure to have in San Francisco, she sets the bar really high,” says Qween (Travis Santell Rowland), a drag queen and spoken-word artist who has performed at several Black Fridays. “I think that she provides a very nurturing environment, both backstage and when she presents us to go onstage.”\u003c/p>\n\u003cp>Bouteé agrees. “A bunch of us were talking about this backstage… when you’re in such a close, intimate setting with a bunch of other white performers, you don’t fully understand how much you withhold of yourself,” she says. “I really appreciate those moments when there’s more than one of us backstage and you can be a little bit more yourself.”\u003c/p>\n\u003cfigure id=\"attachment_13809531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809531\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alotta Boutté lip-syncs to Ike and Tina Turner’s “I’m Yours” on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the audience hungry for more at The Stud, Mahogany draws back the curtain to announce Bouteé, her “drag daddy” and the final performer of the evening.\u003c/p>\n\u003cp>Dressed in a vibrant grape-colored skin tight dress, Boutté comes out gagged and wearing cuffs on her hands and feet. As the music to Ike and Tina Turner’s “I’m Yours” blares, dollars bills rain on her as an audience member releases her from the restraints and delivers a bill to Boutté’s mouth straight from between her teeth. Boutté shimmies across the stage and belts her lip-sync, exuding a magic that the audience grabs onto and eventually takes to the dance floor until the early hours of 4am.\u003c/p>\n\u003cp>A little bit more yourself, indeed.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/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>\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>For more on Honey Mahogany and Black Fridays, follow her \u003ca href=\"https://www.facebook.com/honeymahoganyofficialfanpage/\" rel=\"noopener\" target=\"_blank\">official fan page\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13809520/honey-mahogany-black-friday-stud-bar-san-francisco","authors":["11367"],"programs":["arts_1364"],"categories":["arts_835","arts_76","arts_967"],"tags":["arts_1556","arts_1118","arts_3226","arts_596"],"featImg":"arts_13809936","label":"arts_1364"},"arts_13808329":{"type":"posts","id":"arts_13808329","meta":{"index":"posts_1591205157","site":"arts","id":"13808329","score":null,"sort":[1505394041000]},"guestAuthors":[],"slug":"making-iran-and-oakland-feel-like-the-same-place","title":"Making Iran and Oakland Feel Like the Same Place","publishDate":1505394041,"format":"image","headTitle":"Making Iran and Oakland Feel Like the Same Place | KQED","labelTerm":{"term":1364,"site":"arts"},"content":"\u003cp>Upon entering the darkness of \u003ca href=\"http://aggregatespacegallery.org/\" target=\"_blank\" rel=\"noopener\">Aggregate Space Gallery\u003c/a> (ASG) in West Oakland, I’m immediately greeted by a bright, LED-lit image of two women’s profiles in a video installation titled “Although the Wind.” No detailed information is given — the two women face one another nearly motionless in a white room — and it feels impossible to discern who or where the artists are. In the video’s still, bare frame, viewers watch as both women blow air in and out of their mouths, cheeks puffed and breath heavy.\u003c/p>\n\u003cp>The piece opens \u003cem>Eleven and a Half Hours\u003c/em>, a ongoing video exhibition at ASG centered on expression of resistance, action, and politics in the everyday lives of two Iranian and American women. A collaboration between Tehran-based artist \u003ca href=\"http://www.shirinabedinirad.com/\" target=\"_blank\" rel=\"noopener\">Shirin Abedinirad\u003c/a> and Oakland-based artist \u003ca href=\"http://www.dionneleestudio.com/\" target=\"_blank\" rel=\"noopener\">Dionne Lee\u003c/a>, \u003cem>Eleven and a Half Hours\u003c/em> focuses on striking similarities between the two women’s everyday lives — despite their difference in location, culture, and race.\u003c/p>\n\u003cfigure id=\"attachment_13808331\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/A-Use-for-Rope-or-String-D-800x533.jpg\" alt=\"'A Use for Rope or String,' Shirin Abedinirad and Dionne Lee.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13808331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/A-Use-for-Rope-or-String-D-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/A-Use-for-Rope-or-String-D-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/A-Use-for-Rope-or-String-D-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/A-Use-for-Rope-or-String-D-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/A-Use-for-Rope-or-String-D.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/A-Use-for-Rope-or-String-D-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/A-Use-for-Rope-or-String-D-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/A-Use-for-Rope-or-String-D-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/A-Use-for-Rope-or-String-D-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/A-Use-for-Rope-or-String-D-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Sirocco VIII’ by Shirin Abedinirad and ‘A Use for Rope or String,” by Dionne Lee. \u003ccite>(Aaron Rosenstreich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I started doing a lot of video installations for my own artistic practice, and for this [exhibit] I wanted to continue that journey,” curator Shaghayegh Cyrous tells me. “I thought, maybe I can create a platform for an Iranian and American [to collaborate], especially after the travel ban. Maybe I can create an opportunity to go deeper into what’s going on in the daily life of two women and artists — two totally different persons.”\u003c/p>\n\u003cp>Cyrous took on the project as a culmination of her participation in ASG’s annual gallery exhibitions internship, a program that trains emerging artists who want to learn about a curatorial practice or expand their understanding of a non-profit/artist-run space. Conrad Meyers, director of ASG, also notes that a key focal point of the exhibit is its confounding of the Iranian and American space.\u003c/p>\n\u003cp>He shares, “A lot of [Cyrous’s] earlier ideas were about blurring lines between the two cultures, and making it feel like a conundrum…making Iran and Oakland feel like the same place. I really responded to that.” \u003c/p>\n\u003cfigure id=\"attachment_13808332\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Before-Getting-on-With-the--800x1200.jpg\" alt=\"'Before Getting On With the World Again,' Shirin Abedinirad and Dionne Lee.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13808332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Before-Getting-on-With-the--800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Before-Getting-on-With-the--160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Before-Getting-on-With-the--768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Before-Getting-on-With-the--1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Before-Getting-on-With-the--1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Before-Getting-on-With-the--960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Before-Getting-on-With-the--240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Before-Getting-on-With-the--375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Before-Getting-on-With-the--520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Before-Getting-on-With-the-.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Before Getting On With the World Again,’ Shirin Abedinirad and Dionne Lee. \u003ccite>(Aaron Rosenstreich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the exhibit, Cyrous also interlaces the law of inertia and how it determines movement — or lack thereof — in the world around us. “Although the Wind,” for instance, was inspired by the act of blowing into a flame, and the two possible consequences — the flame either rising, or dying out. For her, the idea of “stop or go” represented by the piece was a demonstration of Newton’s First Law in the exhibition, especially as it pertains to resistance. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[In a project for Jim Campbell], I was…filming people’s daily lives, researching their movement, and how that movement was created,” she explains. “I thought it was interesting that the law of inertia existed everywhere. Things that are moving stay moving unless a power stops them. So that’s resistance in a different version, I would say.”\u003c/p>\n\u003cp>At a simplistic glance, the exhibit doesn’t necessarily read as overtly political; most pieces in the exhibit feature abstract imagery, such as Abedinirad’s broken reflection of herself in the Caspian Sea. Rather, Cyrous hopes for the juxtaposition of the two artists’ work, side by side, to challenge stereotypes associated with American and Iranian identity.\u003c/p>\n\u003cp>In fact, visitors to ASG are often unable to discern which piece of art came from which artist. Cyrous shares that people actually often mistake Lee’s “A Use for Rope or String” (a repeating film of Lee playing Cat’s Cradle with a string) with Abedinirad’s “Sirocco VIII” (a snippet of Abedinirad’s bare lower legs), since many viewers don’t expect to see an Iranian woman in high heels.\u003c/p>\n\u003cp>Meyers also adds, “I think something that came up very early on was putting a black woman and an Iranian woman that cannot leave her home on video screens — that was a political act [in and of itself]… So, in this case, it was really about creating a sensation that we’re looking at a phenomenon in this exhibition. And that phenomenon is this idea of living with resistance.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\u003cem>‘Eleven and a Half Hours’ is at Aggregate Space Gallery in Oakland through Sept. 23. \u003ca href=\"https://aggregatespacegallery.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"At Aggregate Space Gallery, Shaghayegh Cyrous curates a synergy of cultures.\r\n","status":"publish","parent":0,"modified":1705029542,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":783},"headData":{"title":"Making Iran and Oakland Feel Like the Same Place | KQED","description":"At Aggregate Space Gallery, Shaghayegh Cyrous curates a synergy of cultures.\r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Making Iran and Oakland Feel Like the Same Place","datePublished":"2017-09-14T13:00:41.000Z","dateModified":"2024-01-12T03:19:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13808329/making-iran-and-oakland-feel-like-the-same-place","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Upon entering the darkness of \u003ca href=\"http://aggregatespacegallery.org/\" target=\"_blank\" rel=\"noopener\">Aggregate Space Gallery\u003c/a> (ASG) in West Oakland, I’m immediately greeted by a bright, LED-lit image of two women’s profiles in a video installation titled “Although the Wind.” No detailed information is given — the two women face one another nearly motionless in a white room — and it feels impossible to discern who or where the artists are. In the video’s still, bare frame, viewers watch as both women blow air in and out of their mouths, cheeks puffed and breath heavy.\u003c/p>\n\u003cp>The piece opens \u003cem>Eleven and a Half Hours\u003c/em>, a ongoing video exhibition at ASG centered on expression of resistance, action, and politics in the everyday lives of two Iranian and American women. A collaboration between Tehran-based artist \u003ca href=\"http://www.shirinabedinirad.com/\" target=\"_blank\" rel=\"noopener\">Shirin Abedinirad\u003c/a> and Oakland-based artist \u003ca href=\"http://www.dionneleestudio.com/\" target=\"_blank\" rel=\"noopener\">Dionne Lee\u003c/a>, \u003cem>Eleven and a Half Hours\u003c/em> focuses on striking similarities between the two women’s everyday lives — despite their difference in location, culture, and race.\u003c/p>\n\u003cfigure id=\"attachment_13808331\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/A-Use-for-Rope-or-String-D-800x533.jpg\" alt=\"'A Use for Rope or String,' Shirin Abedinirad and Dionne Lee.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13808331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/A-Use-for-Rope-or-String-D-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/A-Use-for-Rope-or-String-D-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/A-Use-for-Rope-or-String-D-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/A-Use-for-Rope-or-String-D-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/A-Use-for-Rope-or-String-D.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/A-Use-for-Rope-or-String-D-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/A-Use-for-Rope-or-String-D-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/A-Use-for-Rope-or-String-D-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/A-Use-for-Rope-or-String-D-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/A-Use-for-Rope-or-String-D-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Sirocco VIII’ by Shirin Abedinirad and ‘A Use for Rope or String,” by Dionne Lee. \u003ccite>(Aaron Rosenstreich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I started doing a lot of video installations for my own artistic practice, and for this [exhibit] I wanted to continue that journey,” curator Shaghayegh Cyrous tells me. “I thought, maybe I can create a platform for an Iranian and American [to collaborate], especially after the travel ban. Maybe I can create an opportunity to go deeper into what’s going on in the daily life of two women and artists — two totally different persons.”\u003c/p>\n\u003cp>Cyrous took on the project as a culmination of her participation in ASG’s annual gallery exhibitions internship, a program that trains emerging artists who want to learn about a curatorial practice or expand their understanding of a non-profit/artist-run space. Conrad Meyers, director of ASG, also notes that a key focal point of the exhibit is its confounding of the Iranian and American space.\u003c/p>\n\u003cp>He shares, “A lot of [Cyrous’s] earlier ideas were about blurring lines between the two cultures, and making it feel like a conundrum…making Iran and Oakland feel like the same place. I really responded to that.” \u003c/p>\n\u003cfigure id=\"attachment_13808332\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Before-Getting-on-With-the--800x1200.jpg\" alt=\"'Before Getting On With the World Again,' Shirin Abedinirad and Dionne Lee.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13808332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Before-Getting-on-With-the--800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Before-Getting-on-With-the--160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Before-Getting-on-With-the--768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Before-Getting-on-With-the--1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Before-Getting-on-With-the--1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Before-Getting-on-With-the--960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Before-Getting-on-With-the--240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Before-Getting-on-With-the--375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Before-Getting-on-With-the--520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Before-Getting-on-With-the-.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Before Getting On With the World Again,’ Shirin Abedinirad and Dionne Lee. \u003ccite>(Aaron Rosenstreich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the exhibit, Cyrous also interlaces the law of inertia and how it determines movement — or lack thereof — in the world around us. “Although the Wind,” for instance, was inspired by the act of blowing into a flame, and the two possible consequences — the flame either rising, or dying out. For her, the idea of “stop or go” represented by the piece was a demonstration of Newton’s First Law in the exhibition, especially as it pertains to resistance. \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>“[In a project for Jim Campbell], I was…filming people’s daily lives, researching their movement, and how that movement was created,” she explains. “I thought it was interesting that the law of inertia existed everywhere. Things that are moving stay moving unless a power stops them. So that’s resistance in a different version, I would say.”\u003c/p>\n\u003cp>At a simplistic glance, the exhibit doesn’t necessarily read as overtly political; most pieces in the exhibit feature abstract imagery, such as Abedinirad’s broken reflection of herself in the Caspian Sea. Rather, Cyrous hopes for the juxtaposition of the two artists’ work, side by side, to challenge stereotypes associated with American and Iranian identity.\u003c/p>\n\u003cp>In fact, visitors to ASG are often unable to discern which piece of art came from which artist. Cyrous shares that people actually often mistake Lee’s “A Use for Rope or String” (a repeating film of Lee playing Cat’s Cradle with a string) with Abedinirad’s “Sirocco VIII” (a snippet of Abedinirad’s bare lower legs), since many viewers don’t expect to see an Iranian woman in high heels.\u003c/p>\n\u003cp>Meyers also adds, “I think something that came up very early on was putting a black woman and an Iranian woman that cannot leave her home on video screens — that was a political act [in and of itself]… So, in this case, it was really about creating a sensation that we’re looking at a phenomenon in this exhibition. And that phenomenon is this idea of living with resistance.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\u003cem>‘Eleven and a Half Hours’ is at Aggregate Space Gallery in Oakland through Sept. 23. \u003ca href=\"https://aggregatespacegallery.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13808329/making-iran-and-oakland-feel-like-the-same-place","authors":["11391"],"programs":["arts_1364"],"categories":["arts_70"],"tags":["arts_2402","arts_1118","arts_1494","arts_596"],"featImg":"arts_13808330","label":"arts_1364"},"arts_13807616":{"type":"posts","id":"arts_13807616","meta":{"index":"posts_1591205157","site":"arts","id":"13807616","score":null,"sort":[1504821616000]},"guestAuthors":[],"slug":"for-arumi-a-feeling-thats-more-important-than-sound","title":"For Arumi, A Feeling More Important Than Sound","publishDate":1504821616,"format":"image","headTitle":"For Arumi, A Feeling More Important Than Sound | KQED","labelTerm":{"term":1364,"site":"arts"},"content":"\u003cp>Amidst the corrugated, graffiti-lined walls surrounding Oakland’s annual Hiero Day festival early Monday afternoon, San Francisco producer Arumi took the stage as a welcome respite to the day’s more hectic activity. Wearing a white long-sleeve shirt, with her bleached-blonde ends catching the occasional summer breeze, Arumi stood calm and collected as she opened her set with a mashup of Post Malone’s “Congratulations” — a momentary oasis of cool electronic sounds in the sweltering heat.\u003c/p>\n\u003cp>Although the DJ and producer from Los Angeles first learned how to mix in ninth grade, Arumi began seriously releasing music after she graduated from San Francisco State only a year and a half ago. Her characteristically ambient mixing style — an amalgamation of house, hip-hop, and funky synths — has since drawn the attention of many in the local art scene.\u003c/p>\n\u003cp>This year, in addition to Hiero Day, Arumi performed at the Women In Music Bay Area festival, showcased at 1015 Folsom, and produced the track “\u003ca href=\"http://www.thefader.com/2016/10/03/siri-come-with-me-video-gawdbawdy-oakland\" target=\"_blank\" rel=\"noopener\">Come With Me\u003c/a>” for emerging Oakland rapper Siri. She’s also appeared in a number of collaborations with Oakland art collective \u003ca href=\"http://www.levanguard.org/\" target=\"_blank\" rel=\"noopener\">Le Vanguard\u003c/a>, as well as with Vanessa Nguyen, one of its founding members.\u003c/p>\n\u003cfigure id=\"attachment_13807816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-800x533.jpg\" alt=\"Arumi performs at Hiero Day in West Oakland, Sept. 4, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13807816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arumi performs at Hiero Day in West Oakland, Sept. 4, 2017. \u003ccite>(Courtesy Arumi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everyone in the Bay Area has been super supportive. It’s been a really good experience because there’s such a tight music and art community,” she explains. “I’ve never felt competition, even with females. I feel like if I started in L.A., it’d be completely different, so I’m very thankful that I’m in the Bay right now, doing everything I’m doing.”\u003c/p>\n\u003cp>And as a female musician in a male-dominated industry, Arumi draws a great deal of inspiration from others in the same milieu. Los Angeles record label and music collective \u003ca href=\"https://soulection.com/\" target=\"_blank\" rel=\"noopener\">Soulection\u003c/a>, for instance, is one of the producer’s primary influences for its unique sound and women-heavy roster of DJs. Citing artists like Tokimonsta, Peggy Guo, Mija, and Black Madonna as inspirations alludes to the significant effect that female DJs — especially Asian female DJs — have had on Arumi’s own work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Females definitely have to prove themselves, I feel like. Especially in the music industry, because it’s so male-dominated,” Arumi says. “There’s just something unspoken about [working with women] that makes things flow a little better. We’re more on the same page… But yeah, we’re getting there. We can do it.”\u003c/p>\n\u003cp>In terms of incorporating her own cultural and ethnic heritage into her music, the artist — of Korean and Japanese descent — hopes to include pieces of traditional sounds she can alter to create her own unique work. For her, the small pockets of cultural sound are meant to bring exposure to her East Asian background.\u003c/p>\n\u003cp>“I get messages from young Asian females saying that what I’m doing is dope and that I inspire them — and that means the world to me,” she shares with a wide smile. “I’d love to see more Asian females in the game, you know? There are Asian females doing it for me, so I just want to be able to give back and do it for others.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/323113399&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>For now, Arumi is looking to expand the bright, easygoing style of her mixes to full-fledged production. Despite the fact that much of her work currently skews hip-hop (such as Arumi’s Hiero Day set, for instance), the producer wants to explore more experimental genres going forward. That means collaborating with even more members of the Bay’s rich, talented art scene, and making songs for artists that she believes in — especially those who focus on house or electronic music. When producing, however, Arumi says she immortalizes \u003cem>feelings\u003c/em> in her songs rather than particular sounds or styles.\u003c/p>\n\u003cp>“If I hear something that inspires me, I’ll try to recreate a similar vibe. It can be one sound, and I can put it together and build a whole song around it,” Arumi describes. “[I try to capture] whatever I am feeling, or something that makes me feel a certain way. Like [when] you feel something and wanna capture it, so you do your best to recreate that.”\u003c/p>\n\u003cp>Judging by the dreamy, dance-y set she played at Hiero Day, Arumi definitely knows how to capture a feeling. And looking at the strides she’s taken in the Bay Area music scene so far, she’s not afraid to share it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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\n","blocks":[],"excerpt":"The DJ and producer conjures a delicate, relaxed mood in her sets, inspiring other young Asian women in a male-dominated scene.","status":"publish","parent":0,"modified":1705029585,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":807},"headData":{"title":"For Arumi, A Feeling More Important Than Sound | KQED","description":"The DJ and producer conjures a delicate, relaxed mood in her sets, inspiring other young Asian women in a male-dominated scene.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"For Arumi, A Feeling More Important Than Sound","datePublished":"2017-09-07T22:00:16.000Z","dateModified":"2024-01-12T03:19:45.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13807616/for-arumi-a-feeling-thats-more-important-than-sound","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amidst the corrugated, graffiti-lined walls surrounding Oakland’s annual Hiero Day festival early Monday afternoon, San Francisco producer Arumi took the stage as a welcome respite to the day’s more hectic activity. Wearing a white long-sleeve shirt, with her bleached-blonde ends catching the occasional summer breeze, Arumi stood calm and collected as she opened her set with a mashup of Post Malone’s “Congratulations” — a momentary oasis of cool electronic sounds in the sweltering heat.\u003c/p>\n\u003cp>Although the DJ and producer from Los Angeles first learned how to mix in ninth grade, Arumi began seriously releasing music after she graduated from San Francisco State only a year and a half ago. Her characteristically ambient mixing style — an amalgamation of house, hip-hop, and funky synths — has since drawn the attention of many in the local art scene.\u003c/p>\n\u003cp>This year, in addition to Hiero Day, Arumi performed at the Women In Music Bay Area festival, showcased at 1015 Folsom, and produced the track “\u003ca href=\"http://www.thefader.com/2016/10/03/siri-come-with-me-video-gawdbawdy-oakland\" target=\"_blank\" rel=\"noopener\">Come With Me\u003c/a>” for emerging Oakland rapper Siri. She’s also appeared in a number of collaborations with Oakland art collective \u003ca href=\"http://www.levanguard.org/\" target=\"_blank\" rel=\"noopener\">Le Vanguard\u003c/a>, as well as with Vanessa Nguyen, one of its founding members.\u003c/p>\n\u003cfigure id=\"attachment_13807816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-800x533.jpg\" alt=\"Arumi performs at Hiero Day in West Oakland, Sept. 4, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13807816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arumi performs at Hiero Day in West Oakland, Sept. 4, 2017. \u003ccite>(Courtesy Arumi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everyone in the Bay Area has been super supportive. It’s been a really good experience because there’s such a tight music and art community,” she explains. “I’ve never felt competition, even with females. I feel like if I started in L.A., it’d be completely different, so I’m very thankful that I’m in the Bay right now, doing everything I’m doing.”\u003c/p>\n\u003cp>And as a female musician in a male-dominated industry, Arumi draws a great deal of inspiration from others in the same milieu. Los Angeles record label and music collective \u003ca href=\"https://soulection.com/\" target=\"_blank\" rel=\"noopener\">Soulection\u003c/a>, for instance, is one of the producer’s primary influences for its unique sound and women-heavy roster of DJs. Citing artists like Tokimonsta, Peggy Guo, Mija, and Black Madonna as inspirations alludes to the significant effect that female DJs — especially Asian female DJs — have had on Arumi’s own work.\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>“Females definitely have to prove themselves, I feel like. Especially in the music industry, because it’s so male-dominated,” Arumi says. “There’s just something unspoken about [working with women] that makes things flow a little better. We’re more on the same page… But yeah, we’re getting there. We can do it.”\u003c/p>\n\u003cp>In terms of incorporating her own cultural and ethnic heritage into her music, the artist — of Korean and Japanese descent — hopes to include pieces of traditional sounds she can alter to create her own unique work. For her, the small pockets of cultural sound are meant to bring exposure to her East Asian background.\u003c/p>\n\u003cp>“I get messages from young Asian females saying that what I’m doing is dope and that I inspire them — and that means the world to me,” she shares with a wide smile. “I’d love to see more Asian females in the game, you know? There are Asian females doing it for me, so I just want to be able to give back and do it for others.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/323113399&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>For now, Arumi is looking to expand the bright, easygoing style of her mixes to full-fledged production. Despite the fact that much of her work currently skews hip-hop (such as Arumi’s Hiero Day set, for instance), the producer wants to explore more experimental genres going forward. That means collaborating with even more members of the Bay’s rich, talented art scene, and making songs for artists that she believes in — especially those who focus on house or electronic music. When producing, however, Arumi says she immortalizes \u003cem>feelings\u003c/em> in her songs rather than particular sounds or styles.\u003c/p>\n\u003cp>“If I hear something that inspires me, I’ll try to recreate a similar vibe. It can be one sound, and I can put it together and build a whole song around it,” Arumi describes. “[I try to capture] whatever I am feeling, or something that makes me feel a certain way. Like [when] you feel something and wanna capture it, so you do your best to recreate that.”\u003c/p>\n\u003cp>Judging by the dreamy, dance-y set she played at Hiero Day, Arumi definitely knows how to capture a feeling. And looking at the strides she’s taken in the Bay Area music scene so far, she’s not afraid to share it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13807616/for-arumi-a-feeling-thats-more-important-than-sound","authors":["11391"],"programs":["arts_1364"],"categories":["arts_835","arts_69"],"tags":["arts_1522","arts_1118","arts_1088","arts_596"],"featImg":"arts_13807817","label":"arts_1364"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.","airtime":"MON-FRI 3am-9am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/morning-edition/","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/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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