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You can hear her work on \u003ca href=\"https://www.npr.org/search?query=Rachael%20Myrow&page=1\">NPR\u003c/a>, \u003ca href=\"https://theworld.org/people/rachael-myrow\">The World\u003c/a>, WBUR's \u003ca href=\"https://www.wbur.org/search?q=Rachael%20Myrow\">\u003ci>Here & Now\u003c/i>\u003c/a> and the BBC. \u003c/i>She also guest hosts for KQED's \u003ci>\u003ca href=\"https://www.kqed.org/forum/tag/rachael-myrow\">Forum\u003c/a>\u003c/i>. Over the years, she's talked with Kamau Bell, David Byrne, Kamala Harris, Tony Kushner, Armistead Maupin, Van Dyke Parks, Arnold Schwarzenegger and Tommie Smith, among others.\r\n\r\nBefore all this, she hosted \u003cem>The California Report\u003c/em> for 7+ years, reporting on topics like \u003ca href=\"https://soundcloud.com/rmyrow/on-a-mission-to-reform-assisted-living\">assisted living facilities\u003c/a>, the \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2014/12/01/367703789/amazon-unleashes-robot-army-to-send-your-holiday-packages-faster\">robot takeover\u003c/a> of Amazon, and \u003ca href=\"https://www.kqed.org/bayareabites/50822/in-search-of-the-chocolate-persimmon\" rel=\"noopener noreferrer\">chocolate persimmons\u003c/a>.\r\n\r\nAwards? Sure: Peabody, Edward R. Murrow, Regional Edward R. Murrow, RTNDA, Northern California RTNDA, SPJ Northern California Chapter, LA Press Club, Golden Mic. Prior to joining KQED, Rachael worked in Los Angeles at KPCC and Marketplace. She holds degrees in English and journalism from UC Berkeley (where she got her start in public radio on KALX-FM).\r\n\r\nOutside of the studio, you'll find Rachael hiking Bay Area trails and whipping up Instagram-ready meals in her kitchen.","avatar":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g","twitter":"rachaelmyrow","facebook":null,"instagram":null,"linkedin":"https://www.linkedin.com/in/rachaelmyrow/","sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["edit_others_posts","editor"]},{"site":"futureofyou","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"stateofhealth","roles":["editor"]},{"site":"science","roles":["editor"]},{"site":"food","roles":["editor"]},{"site":"forum","roles":["editor"]}],"headData":{"title":"Rachael Myrow | KQED","description":"Senior Editor of KQED's Silicon Valley News Desk","ogImgSrc":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/rachael-myrow"},"spope":{"type":"authors","id":"3234","meta":{"index":"authors_1591205172","id":"3234","found":true},"name":"Shelby Pope","firstName":null,"lastName":null,"slug":"spope","email":"shelbylpope@gmail.com","display_author_email":false,"staff_mastheads":[],"title":null,"bio":"\u003cp style=\"text-align: left;\">Shelby Pope is a freelance writer in Oakland who's written for \u003cem>The Toast\u003c/em>, \u003cem>East Bay Express\u003c/em> and \u003cem>Bay Area Bites\u003c/em>. You can find her on Twitter @shelbylpope\u003c/p>","avatar":"https://secure.gravatar.com/avatar/f0bc7c2dc7ea404f67cbf922a5393d8a?s=600&d=blank&r=g","twitter":"shelbylpope","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["contributor"]}],"headData":{"title":"Shelby Pope | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/f0bc7c2dc7ea404f67cbf922a5393d8a?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/f0bc7c2dc7ea404f67cbf922a5393d8a?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/spope"},"cescoda":{"type":"authors","id":"11206","meta":{"index":"authors_1591205172","id":"11206","found":true},"name":"Carla Escoda","firstName":"Carla","lastName":"Escoda","slug":"cescoda","email":"ballettothepeople@gmail.com","display_author_email":false,"staff_mastheads":[],"title":null,"bio":"Carla can most often be found in theatres, airports and on airplanes, writing about dance and the arts for various websites whenever she can find wi-fi. Her blog Ballet to the People<\u003ca href=\"http://ballettothepeople.com/\" target=\"_blank\" rel=\"noreferrer\">http://\u003cwbr />ballettothepeople.com\u003c/a>> has become a street corner where dance-lovers enjoy loitering and plotting the revolution which will renew the populist roots of ballet.\r\n\u003cspan class=\"im\">\r\nIn her previous lives, Carla worked in scientific research, then in project finance in Asia. Prior to that, she trained as a ballet and modern dancer, and performed with the Yaledancers while getting her undergraduate degrees in Engineering and Applied Science and French Literature, and her graduate degree in Engineering.\u003c/span>","avatar":"https://secure.gravatar.com/avatar/3a012eb3749d4353e3e28aab414dd815?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["author"]}],"headData":{"title":"Carla Escoda | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/3a012eb3749d4353e3e28aab414dd815?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/3a012eb3749d4353e3e28aab414dd815?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/cescoda"},"lblanco":{"type":"authors","id":"11357","meta":{"index":"authors_1591205172","id":"11357","found":true},"name":"Lina Blanco","firstName":"Lina","lastName":"Blanco","slug":"lblanco","email":"lblanco@kqed.org","display_author_email":false,"staff_mastheads":[],"title":null,"bio":"Lina was a Senior Engagement Platforms Manager for KQED News, producing engagement strategies on social media at \u003ca href=\"https://twitter.com/KQEDnews\">@KQEDNews, \u003c/a>via \u003ca href=\"https://www.kqed.org/about/newsletters/\">KQED's daily newsletter\u003c/a> as well as texting campaigns with KQED readers and listeners. She also co-produces for KQED's bilingual news hub \u003ca href=\"https://www.instagram.com/kqedenespanol/\">KQED en Español\u003c/a>.\r\n\r\nLina previously worked for \u003ca href=\"https://kqed.org/arts\">KQED Arts\u003c/a> — supporting audience engagement efforts on the weekly \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\">\u003cem>Rightnowish\u003c/em> \u003c/a>podcast, Webby-winning video series \u003ca href=\"https://www.kqed.org/if-cities-could-dance\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a>, and daily Arts & Culture reporting. She won a \u003ca href=\"https://www.kqed.org/pressroom/10884/murrow\">National 2019 Edward R. Murrow Award for Excellence in Social Media\u003c/a> for KQED's series \u003cem>The Hustle\u003c/em>.\r\n\r\nBefore KQED, Lina worked as a graphic designer and digital storytelling facilitator at the \u003ca href=\"https://www.nativehealth.org/\">Native American Health Center\u003c/a>.\r\n\r\nShe's mom to a senior Chihuahua (plus one black cat) and lives in West Sonoma County on a small farmstead.","avatar":"https://secure.gravatar.com/avatar/77ec326d67223c38a436b87bcfd2a2e8?s=600&d=blank&r=g","twitter":"LinaBlanco","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["subscriber"]},{"site":"news","roles":["subscriber"]},{"site":"pop","roles":["administrator"]},{"site":"about","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"science","roles":["editor"]},{"site":"checkplease","roles":["editor"]},{"site":"food","roles":["editor"]},{"site":"perspectives","roles":["editor"]}],"headData":{"title":"Lina Blanco | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/77ec326d67223c38a436b87bcfd2a2e8?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/77ec326d67223c38a436b87bcfd2a2e8?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/lblanco"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal 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FM","link":"/"}},"arts_13819312":{"type":"posts","id":"arts_13819312","meta":{"index":"posts_1591205157","site":"arts","id":"13819312","score":null,"sort":[1516220042000]},"guestAuthors":[],"slug":"google-arts-and-culture-selfie-app-inherits-art-world-disparities","title":"Google Arts and Culture #Selfie App Inherits Art World Disparities","publishDate":1516220042,"format":"standard","headTitle":"Google Arts and Culture #Selfie App Inherits Art World Disparities | KQED","labelTerm":{"term":610,"site":"arts"},"content":"\u003cp>When an app asks you, “Is your portrait in a museum?” and you’re a person of color, it’s likely the answer is complicated.\u003c/p>\n\u003cp>\u003ca href=\"https://www.google.com/culturalinstitute/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Google Arts and Culture\u003c/a> — Google Cultural Institute’s eager nod to art world institutions — released a wildly popular feature on their \u003ca href=\"https://t.co/DUuzxlMKCd\" target=\"_blank\" rel=\"noopener noreferrer\">app\u003c/a> this month that allows users to find their art doppelgänger.\u003c/p>\n\u003cp>Once you snap a selfie on the app, your “faceprint” is charted through a series of measurements (the distance between your eyes, the width of your nose, and fullness of your lips). Your image then goes through a matching process with over \u003ca href=\"https://www.inverse.com/article/40177-google-arts-and-culture-technology\" target=\"_blank\" rel=\"noopener noreferrer\">70,000 works of art\u003c/a> in Google’s database. The artwork candidates hail from powerhouses like the Louvre, J. Paul Getty Museum and Rijksmuseum on down to a handful of smaller art foundations and contemporary galleries.\u003c/p>\n\u003cp>If you’re looking for a complete list of artwork titles and origins, you’re out of luck. Intentional or not, Google has remained somewhat tight-lipped about the artwork they’ve cataloged.\u003c/p>\n\u003cp>Nevertheless, its source material is not exactly diverse. When I conducted a search of the 100 most recent posts tagged \u003ca href=\"https://www.instagram.com/explore/tags/googleartsandculture/\" target=\"_blank\" rel=\"noopener noreferrer\">#googleartsandculture\u003c/a> on Instagram, I found that 91 percent of the artwork was created by male artists, and 63 percent was created by European and American artists before the 20th century.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As NPR \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/15/578151195/google-app-goes-viral-making-an-art-out-of-matching-faces-to-paintings\" target=\"_blank\" rel=\"noopener noreferrer\">notes\u003c/a>, the app is particularly problematic for people of color, as a good percentage of the artwork it draws from is both Western and depicting white subjects.\u003c/p>\n\u003cp>https://twitter.com/nydiahartono/status/951558504573104128\u003c/p>\n\u003cp>Then again, the mainstream art world is no stranger to being called overwhelmingly \u003ca href=\"http://www.blouinartinfo.com/news/story/840695/diversify-or-die-why-the-art-world-needs-to-keep-up-with-our\" target=\"_blank\" rel=\"noopener noreferrer\">rich\u003c/a>, \u003ca href=\"https://news.artnet.com/art-world/new-york-galleries-study-979049\" target=\"_blank\" rel=\"noopener noreferrer\">white\u003c/a> and \u003ca href=\"https://ww2.kqed.org/arts/2017/11/30/sf-gallery-tally-gender-parity-bay-area-art-galleries\" target=\"_blank\" rel=\"noopener noreferrer\">male\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/ryankubo/status/953292632481918976\u003c/p>\n\u003cp>https://twitter.com/inuyashas_/status/952956037245612034\u003c/p>\n\u003cp>And what of the facial recognition software? Even if there’s nothing inherently biased in its faceprinting technology, the lack of representation in Google’s artwork database seems to either whitewash or lump one race into a loose set of facial characteristics.\u003c/p>\n\u003cp>https://www.instagram.com/p/BeCk1llhddZ/\u003c/p>\n\u003cp>https://twitter.com/liluzi_girth/status/951913732782854149\u003c/p>\n\u003cp>This isn’t the first time Google’s facial recognition software has failed people of color. In 2015, two Google Photos users discovered, to their horror, that their selfies were tagged in a new album titled ‘\u003ca href=\"https://www.forbes.com/sites/mzhang/2015/07/01/google-photos-tags-two-african-americans-as-gorillas-through-facial-recognition-software/\" target=\"_blank\" rel=\"noopener noreferrer\">Gorillas\u003c/a>.’\u003c/p>\n\u003cp>https://twitter.com/jackyalcine/status/615329515909156865\u003c/p>\n\u003cp>Beyond faulty AI, the pool of art that’s available to Google has a lot to say about how it sees its users and which art it values.\u003c/p>\n\u003cfigure id=\"attachment_13819317\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/D_Berry-800x799.jpg\" alt=\"\" width=\"500\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-520x519.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-150x150.jpg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">(Dorothy Berry / Facebook)\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>\u003cb>“I get the same 5 images of black women that look nothing like me and it is definitely based on nose width.”\u003c/b>\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13819316\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/D_Berry_2-800x790.jpg\" alt=\"\" width=\"500\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-800x790.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-768x758.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-240x237.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-375x370.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-520x514.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-96x96.jpg 96w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">(Dorothy Berry / Facebook)\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>\u003cb>“I got this one when I was frustrated.” \u003c/b>\u003c/p>\u003c/blockquote>\n\u003cp>Many of the pieces that do depict people of color are filtered through both a European and male gaze. In the examples in the second row below, Alfred Jacob Miller’s 19th-century depictions of Native Americans existed to introduce the white art-consuming audience of the day to \u003ca href=\"http://www.alfredjacobmiller.com/explore/art-of-alfred-jacob-miller/\" target=\"_blank\" rel=\"noopener noreferrer\">Westward expansion\u003c/a> and colonial exploits. In 2018, when so many contemporary artists work hard to correct such representations, what does it mean for people of color to be re-categorized through a colonial lens?\u003c/p>\n\u003cp>https://twitter.com/LinaBlanco/status/952381900508680192\u003c/p>\n\u003cp>If Google Arts and Culture truly wants to match its users with artwork, they should make a concerted effort to include collections with more diverse source material; portraiture and artwork that transcends race, gender and medium. (If Google merely wants to collect faces for its database, well, it’s \u003ca href=\"https://www.washingtonpost.com/news/the-switch/wp/2018/01/16/google-app-that-matches-your-face-to-artwork-is-wildly-popular-its-also-raising-privacy-concerns/?utm_term=.9b3df887d46f\" target=\"_blank\" rel=\"noopener noreferrer\">doing a great job\u003c/a>.)\u003c/p>\n\u003cp>https://twitter.com/peterpcullen/status/952711641912799234\u003c/p>\n\u003cp>Thankfully, recent \u003ca href=\"https://www.theatlantic.com/education/archive/2016/02/rewriting-art-history/435426/\" target=\"_blank\" rel=\"noopener noreferrer\">art movements\u003c/a> are underway to radically uproot and shatter Eurocentric biases in art history. More and more, well-known \u003ca href=\"https://ww2.kqed.org/arts/2017/09/25/de-youngs-revelations-unveils-a-hidden-history-of-black-artistic-resistance/\" target=\"_blank\" rel=\"noopener noreferrer\">institutions\u003c/a> recognize art made by and for people of color as more than token — or, god-forbid, “exotic” — collections.\u003c/p>\n\u003cp>Let’s hope Google can keep up.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Have you used \u003ca href=\"https://www.google.com/culturalinstitute/beta/camera/selfie\" target=\"_blank\" rel=\"noopener noreferrer\">Google Art and Culture\u003c/a> app’s new selfie feature? We’d like to hear your thoughts. Share your selfie with us on \u003ca href=\"https://www.instagram.com/kqed_arts\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>, \u003ca href=\"https://twitter.com/KQEDarts\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>, or \u003ca href=\"https://www.facebook.com/kqedarts/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"It's all over your social media feeds, but not everyone finds themselves well represented in Google's version of art history.","status":"publish","parent":0,"modified":1705028757,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":710},"headData":{"title":"Google Arts and Culture #Selfie App Inherits Art World Disparities | KQED","description":"It's all over your social media feeds, but not everyone finds themselves well represented in Google's version of art history.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Google Arts and Culture #Selfie App Inherits Art World Disparities","datePublished":"2018-01-17T20:14:02.000Z","dateModified":"2024-01-12T03:05:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13819312/google-arts-and-culture-selfie-app-inherits-art-world-disparities","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When an app asks you, “Is your portrait in a museum?” and you’re a person of color, it’s likely the answer is complicated.\u003c/p>\n\u003cp>\u003ca href=\"https://www.google.com/culturalinstitute/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Google Arts and Culture\u003c/a> — Google Cultural Institute’s eager nod to art world institutions — released a wildly popular feature on their \u003ca href=\"https://t.co/DUuzxlMKCd\" target=\"_blank\" rel=\"noopener noreferrer\">app\u003c/a> this month that allows users to find their art doppelgänger.\u003c/p>\n\u003cp>Once you snap a selfie on the app, your “faceprint” is charted through a series of measurements (the distance between your eyes, the width of your nose, and fullness of your lips). Your image then goes through a matching process with over \u003ca href=\"https://www.inverse.com/article/40177-google-arts-and-culture-technology\" target=\"_blank\" rel=\"noopener noreferrer\">70,000 works of art\u003c/a> in Google’s database. The artwork candidates hail from powerhouses like the Louvre, J. Paul Getty Museum and Rijksmuseum on down to a handful of smaller art foundations and contemporary galleries.\u003c/p>\n\u003cp>If you’re looking for a complete list of artwork titles and origins, you’re out of luck. Intentional or not, Google has remained somewhat tight-lipped about the artwork they’ve cataloged.\u003c/p>\n\u003cp>Nevertheless, its source material is not exactly diverse. When I conducted a search of the 100 most recent posts tagged \u003ca href=\"https://www.instagram.com/explore/tags/googleartsandculture/\" target=\"_blank\" rel=\"noopener noreferrer\">#googleartsandculture\u003c/a> on Instagram, I found that 91 percent of the artwork was created by male artists, and 63 percent was created by European and American artists before the 20th century.\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>As NPR \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/15/578151195/google-app-goes-viral-making-an-art-out-of-matching-faces-to-paintings\" target=\"_blank\" rel=\"noopener noreferrer\">notes\u003c/a>, the app is particularly problematic for people of color, as a good percentage of the artwork it draws from is both Western and depicting white subjects.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"951558504573104128"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Then again, the mainstream art world is no stranger to being called overwhelmingly \u003ca href=\"http://www.blouinartinfo.com/news/story/840695/diversify-or-die-why-the-art-world-needs-to-keep-up-with-our\" target=\"_blank\" rel=\"noopener noreferrer\">rich\u003c/a>, \u003ca href=\"https://news.artnet.com/art-world/new-york-galleries-study-979049\" target=\"_blank\" rel=\"noopener noreferrer\">white\u003c/a> and \u003ca href=\"https://ww2.kqed.org/arts/2017/11/30/sf-gallery-tally-gender-parity-bay-area-art-galleries\" target=\"_blank\" rel=\"noopener noreferrer\">male\u003c/a>.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"953292632481918976"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"952956037245612034"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And what of the facial recognition software? Even if there’s nothing inherently biased in its faceprinting technology, the lack of representation in Google’s artwork database seems to either whitewash or lump one race into a loose set of facial characteristics.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"BeCk1llhddZ"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"951913732782854149"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This isn’t the first time Google’s facial recognition software has failed people of color. In 2015, two Google Photos users discovered, to their horror, that their selfies were tagged in a new album titled ‘\u003ca href=\"https://www.forbes.com/sites/mzhang/2015/07/01/google-photos-tags-two-african-americans-as-gorillas-through-facial-recognition-software/\" target=\"_blank\" rel=\"noopener noreferrer\">Gorillas\u003c/a>.’\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"615329515909156865"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Beyond faulty AI, the pool of art that’s available to Google has a lot to say about how it sees its users and which art it values.\u003c/p>\n\u003cfigure id=\"attachment_13819317\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/D_Berry-800x799.jpg\" alt=\"\" width=\"500\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-520x519.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry-150x150.jpg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">(Dorothy Berry / Facebook)\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>\u003cb>“I get the same 5 images of black women that look nothing like me and it is definitely based on nose width.”\u003c/b>\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13819316\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/D_Berry_2-800x790.jpg\" alt=\"\" width=\"500\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-800x790.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-768x758.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-240x237.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-375x370.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-520x514.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/D_Berry_2-96x96.jpg 96w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">(Dorothy Berry / Facebook)\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>\u003cb>“I got this one when I was frustrated.” \u003c/b>\u003c/p>\u003c/blockquote>\n\u003cp>Many of the pieces that do depict people of color are filtered through both a European and male gaze. In the examples in the second row below, Alfred Jacob Miller’s 19th-century depictions of Native Americans existed to introduce the white art-consuming audience of the day to \u003ca href=\"http://www.alfredjacobmiller.com/explore/art-of-alfred-jacob-miller/\" target=\"_blank\" rel=\"noopener noreferrer\">Westward expansion\u003c/a> and colonial exploits. In 2018, when so many contemporary artists work hard to correct such representations, what does it mean for people of color to be re-categorized through a colonial lens?\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"952381900508680192"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>If Google Arts and Culture truly wants to match its users with artwork, they should make a concerted effort to include collections with more diverse source material; portraiture and artwork that transcends race, gender and medium. (If Google merely wants to collect faces for its database, well, it’s \u003ca href=\"https://www.washingtonpost.com/news/the-switch/wp/2018/01/16/google-app-that-matches-your-face-to-artwork-is-wildly-popular-its-also-raising-privacy-concerns/?utm_term=.9b3df887d46f\" target=\"_blank\" rel=\"noopener noreferrer\">doing a great job\u003c/a>.)\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"952711641912799234"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Thankfully, recent \u003ca href=\"https://www.theatlantic.com/education/archive/2016/02/rewriting-art-history/435426/\" target=\"_blank\" rel=\"noopener noreferrer\">art movements\u003c/a> are underway to radically uproot and shatter Eurocentric biases in art history. More and more, well-known \u003ca href=\"https://ww2.kqed.org/arts/2017/09/25/de-youngs-revelations-unveils-a-hidden-history-of-black-artistic-resistance/\" target=\"_blank\" rel=\"noopener noreferrer\">institutions\u003c/a> recognize art made by and for people of color as more than token — or, god-forbid, “exotic” — collections.\u003c/p>\n\u003cp>Let’s hope Google can keep up.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Have you used \u003ca href=\"https://www.google.com/culturalinstitute/beta/camera/selfie\" target=\"_blank\" rel=\"noopener noreferrer\">Google Art and Culture\u003c/a> app’s new selfie feature? We’d like to hear your thoughts. Share your selfie with us on \u003ca href=\"https://www.instagram.com/kqed_arts\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>, \u003ca href=\"https://twitter.com/KQEDarts\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>, or \u003ca href=\"https://www.facebook.com/kqedarts/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13819312/google-arts-and-culture-selfie-app-inherits-art-world-disparities","authors":["11357"],"series":["arts_610"],"categories":["arts_2303","arts_835","arts_71","arts_75","arts_70"],"tags":["arts_3634","arts_2767","arts_1118","arts_3649","arts_3648","arts_596","arts_3650","arts_3652","arts_3656","arts_1935"],"featImg":"arts_13819577","label":"arts_610"},"arts_13536893":{"type":"posts","id":"arts_13536893","meta":{"index":"posts_1591205157","site":"arts","id":"13536893","score":null,"sort":[1498676201000]},"guestAuthors":[],"slug":"state-budget-permanently-increases-arts-council-funding-by-6-8-million","title":"State Budget Permanently Increases Arts Council Funding by $6.8 Million","publishDate":1498676201,"format":"standard","headTitle":"State Budget Permanently Increases Arts Council Funding by $6.8 Million | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>In the state budget Gov. Jerry Brown \u003ca href=\"http://www.mercurynews.com/2017/06/27/jerry-brown-signs-125-billion-budget-for-california/\" target=\"_blank\" rel=\"noopener noreferrer\">just signed\u003c/a> there’s a big win for the arts, and specifically the \u003ca href=\"http://arts.ca.gov/news/prdetail.php?id=250\" target=\"_blank\" rel=\"noopener noreferrer\">California Arts Council\u003c/a>: $6.8 million permanently added to the agency’s budget.\u003c/p>\n\u003cp>At a time when federal funding for \u003ca href=\"https://ww2.kqed.org/arts/2017/03/17/in-california-the-beginning-of-the-battle-to-save-arts-funding/\" target=\"_blank\" rel=\"noopener noreferrer\">the arts is in jeopardy\u003c/a>, the state agency can count on a bigger pot of money to support a wide variety of arts programs all over California. It’s also a sign that state legislators have reprioritized arts funding after years of dedicating little money to the council.\u003c/p>\n\u003cp>The \u003ca href=\"http://nasaa-arts.org/nasaa_research/per-capita-ranking-estimation-tool/\" target=\"_blank\" rel=\"noopener noreferrer\">National Assembly of State Arts Agencies\u003c/a> ranks states according to arts funding in four different ways, but in terms of total state agency spending, California ranks 40th out of 50 states in per-capita funding, based on this fiscal year. The ranking based on this latest budget hasn’t been released yet.\u003c/p>\n\u003cp>“We are thrilled,” Brad Erickson, Executive Director of \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area,\u003c/a> said. He’s followed budget negotiations closely over the years, and in the past, he’s \u003ca href=\"https://ww2.kqed.org/arts/2017/06/13/california-arts-council-announces-record-breaking-grants-worth-15-million/\" target=\"_blank\" rel=\"noopener noreferrer\">criticized state government\u003c/a> for one-time budget boosts that leave the council and its grantees in a state of suspense about the future of programs. The Governor, Erickson says, “has set an new baseline for its future funding.”\u003c/p>\n\u003cp>“What this really means is that the excellent programs begun last year with these funds will continue,” Erickson added.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tamara Alvarado heads the \u003ca href=\"http://schoolofartsandculture.org/\" target=\"_blank\" rel=\"noopener noreferrer\">School of Arts & Culture\u003c/a> at San Jose’s Mexican Heritage Plaza, which provides “high quality arts education primarily through mariachi music and Mexican folkloric dance.” The School is getting two grants this fiscal year, worth roughly $170,000, for arts education and creative place-making in San Jose.\u003c/p>\n\u003cp>“In this time when the NEA is on the chopping block, I am pleased to see the Governor sign on to a budget that includes permanent funding. It tells me that the Governor understands and supports the concept and practice of every Californian having access to creativity and art,” Alvarado said.\u003c/p>\n\u003cp>\u003cstrong>But Wait, There’s More\u003c/strong>\u003c/p>\n\u003cp>The California Arts Council budget also includes an additional $750,000 ongoing allocation to support increased arts programming for youth engaged in the juvenile justice system, as well as an additional $2 million increased allocation for California’s \u003ca href=\"http://arts.ca.gov/initiatives/aic.php\" target=\"_blank\" rel=\"noopener noreferrer\">Arts in Corrections\u003c/a> program.\u003c/p>\n\u003cp>And then there’s approximately $1.1 million in annual federal support from the National Endowment for the Arts in the council’s budget, and approximately $2.5 million in annual funds from sales and renewals of California’s \u003ca href=\"http://arts.ca.gov/getinvolved/alp.php\" target=\"_blank\" rel=\"noopener noreferrer\">Arts License Plate\u003c/a> and voluntary state tax return contributions to the \u003ca href=\"http://arts.ca.gov/getinvolved/kais.php\" target=\"_blank\" rel=\"noopener noreferrer\">Keep Arts in Schools Fund\u003c/a>. Altogether, the Arts Council’s total 2017-18 budget will be approximately $19.48 million, plus an additional, separate $8 million state allocation for Arts in Corrections.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are grateful to Governor Brown and our state legislators for their belief in the power of the arts to enrich our lives and foster safe, healthy, and vibrant California communities,” Donn Harris, California Arts Council Chair, is quoted saying in the agency’s press release. “The state’s increased investment in culture and creative expression has helped to grow arts programs benefitting Californians at all levels of society, and demonstrates clearly who we are and what we value as a state.”\u003c/p>\n\n","blocks":[],"excerpt":"After a few years of temporary increases, the state budget has made boosting arts a priority","status":"publish","parent":0,"modified":1705030200,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":581},"headData":{"title":"State Budget Permanently Increases Arts Council Funding by $6.8 Million | KQED","description":"After a few years of temporary increases, the state budget has made boosting arts a priority","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"State Budget Permanently Increases Arts Council Funding by $6.8 Million","datePublished":"2017-06-28T18:56:41.000Z","dateModified":"2024-01-12T03:30:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13536893/state-budget-permanently-increases-arts-council-funding-by-6-8-million","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the state budget Gov. Jerry Brown \u003ca href=\"http://www.mercurynews.com/2017/06/27/jerry-brown-signs-125-billion-budget-for-california/\" target=\"_blank\" rel=\"noopener noreferrer\">just signed\u003c/a> there’s a big win for the arts, and specifically the \u003ca href=\"http://arts.ca.gov/news/prdetail.php?id=250\" target=\"_blank\" rel=\"noopener noreferrer\">California Arts Council\u003c/a>: $6.8 million permanently added to the agency’s budget.\u003c/p>\n\u003cp>At a time when federal funding for \u003ca href=\"https://ww2.kqed.org/arts/2017/03/17/in-california-the-beginning-of-the-battle-to-save-arts-funding/\" target=\"_blank\" rel=\"noopener noreferrer\">the arts is in jeopardy\u003c/a>, the state agency can count on a bigger pot of money to support a wide variety of arts programs all over California. It’s also a sign that state legislators have reprioritized arts funding after years of dedicating little money to the council.\u003c/p>\n\u003cp>The \u003ca href=\"http://nasaa-arts.org/nasaa_research/per-capita-ranking-estimation-tool/\" target=\"_blank\" rel=\"noopener noreferrer\">National Assembly of State Arts Agencies\u003c/a> ranks states according to arts funding in four different ways, but in terms of total state agency spending, California ranks 40th out of 50 states in per-capita funding, based on this fiscal year. The ranking based on this latest budget hasn’t been released yet.\u003c/p>\n\u003cp>“We are thrilled,” Brad Erickson, Executive Director of \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area,\u003c/a> said. He’s followed budget negotiations closely over the years, and in the past, he’s \u003ca href=\"https://ww2.kqed.org/arts/2017/06/13/california-arts-council-announces-record-breaking-grants-worth-15-million/\" target=\"_blank\" rel=\"noopener noreferrer\">criticized state government\u003c/a> for one-time budget boosts that leave the council and its grantees in a state of suspense about the future of programs. The Governor, Erickson says, “has set an new baseline for its future funding.”\u003c/p>\n\u003cp>“What this really means is that the excellent programs begun last year with these funds will continue,” Erickson added.\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>Tamara Alvarado heads the \u003ca href=\"http://schoolofartsandculture.org/\" target=\"_blank\" rel=\"noopener noreferrer\">School of Arts & Culture\u003c/a> at San Jose’s Mexican Heritage Plaza, which provides “high quality arts education primarily through mariachi music and Mexican folkloric dance.” The School is getting two grants this fiscal year, worth roughly $170,000, for arts education and creative place-making in San Jose.\u003c/p>\n\u003cp>“In this time when the NEA is on the chopping block, I am pleased to see the Governor sign on to a budget that includes permanent funding. It tells me that the Governor understands and supports the concept and practice of every Californian having access to creativity and art,” Alvarado said.\u003c/p>\n\u003cp>\u003cstrong>But Wait, There’s More\u003c/strong>\u003c/p>\n\u003cp>The California Arts Council budget also includes an additional $750,000 ongoing allocation to support increased arts programming for youth engaged in the juvenile justice system, as well as an additional $2 million increased allocation for California’s \u003ca href=\"http://arts.ca.gov/initiatives/aic.php\" target=\"_blank\" rel=\"noopener noreferrer\">Arts in Corrections\u003c/a> program.\u003c/p>\n\u003cp>And then there’s approximately $1.1 million in annual federal support from the National Endowment for the Arts in the council’s budget, and approximately $2.5 million in annual funds from sales and renewals of California’s \u003ca href=\"http://arts.ca.gov/getinvolved/alp.php\" target=\"_blank\" rel=\"noopener noreferrer\">Arts License Plate\u003c/a> and voluntary state tax return contributions to the \u003ca href=\"http://arts.ca.gov/getinvolved/kais.php\" target=\"_blank\" rel=\"noopener noreferrer\">Keep Arts in Schools Fund\u003c/a>. Altogether, the Arts Council’s total 2017-18 budget will be approximately $19.48 million, plus an additional, separate $8 million state allocation for Arts in Corrections.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are grateful to Governor Brown and our state legislators for their belief in the power of the arts to enrich our lives and foster safe, healthy, and vibrant California communities,” Donn Harris, California Arts Council Chair, is quoted saying in the agency’s press release. “The state’s increased investment in culture and creative expression has helped to grow arts programs benefitting Californians at all levels of society, and demonstrates clearly who we are and what we value as a state.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13536893/state-budget-permanently-increases-arts-council-funding-by-6-8-million","authors":["251"],"programs":["arts_1272"],"series":["arts_610","arts_838"],"categories":["arts_1","arts_235"],"tags":["arts_1448","arts_596"],"featImg":"arts_13537802","label":"arts_1272"},"arts_13516134":{"type":"posts","id":"arts_13516134","meta":{"index":"posts_1591205157","site":"arts","id":"13516134","score":null,"sort":[1498586419000]},"guestAuthors":[],"slug":"hamilton-from-broadway-smash-to-teaching-tool-for-students","title":"'Hamilton': From Broadway Smash to Teaching Tool for Young Students","publishDate":1498586419,"format":"standard","headTitle":"‘Hamilton’: From Broadway Smash to Teaching Tool for Young Students | KQED","labelTerm":{"term":838,"site":"arts"},"content":"\u003cp>Mariah Rankine-Landers wasn’t excited to see the play her friend dragged her to. She had flown to New York for one reason, and one reason, only: Taye Diggs.\u003c/p>\n\u003cp>At the time, Diggs was starring in a Broadway production of \u003cem>Hedwig and the Angry Inch\u003c/em>, and Rankine-Landers and her friend Jessa Brie Moreno flew across the country to see it. During the trip, however, Moreno bought tickets to another play, one Rankine-Landers hadn’t heard of: \u003cem>Hamilton\u003c/em>.\u003c/p>\n\u003cp>When the curtains went up, Rankine-Landers noticed that the cast looked like her — a rarity in the theater world. \u003cem>Great\u003c/em>, she thought, \u003cem>another musical starting with a slave song\u003c/em>. Soon, though, she realized that the black actors in this play weren’t relegated to typical disenfranchised roles: they were the protagonists. She felt tears in her eyes, remembering all the times she had been told that she couldn’t play dress-up in historical costumes. “In that moment, she said, “I realized, ‘The world is changing.’”\u003c/p>\n\u003cfigure id=\"attachment_13531208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-800x450.jpg\" alt=\"Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13531208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday morning, Rankine-Landers told this story to a group of about 25 teachers at the Museum of the African Diaspora. Rankine-Landers is part of Rise Up!, a group developing curriculum for educators using \u003cem>Hamilton\u003c/em> as a teaching tool. Weeks before the group’s website with public resources goes live, the teachers, armed with notebooks and coffee, were there to learn how to take advantage of the cultural zeitgeist.\u003c/p>\n\u003cp>For students, the play’s themes of revolution and power have taken on a particular significance since the election. “What’s changed is young people have a new and vital response to civic action,” said Marc Bamuthi Joseph, who developed the day’s curriculum with Rakine-Landers. Joseph is the Chief of Program and Pedagogy at Yerba Buena Center for the Arts (his title, he joked, is “what happens when poets name themselves”), whose introduction to the play came from Daveed Diggs. One of the musical’s breakout stars, Diggs’ last pre-\u003cem>Hamilton\u003c/em> role was in Joesph’s own choreopoem \u003cem>Word Becomes Flesh\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13516258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13516258\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/edited2-800x420.jpg\" alt=\"Marc Bamuthi Joseph takes notes during one of the event's discussions.\" width=\"800\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-768x403.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-1020x535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-1180x619.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-960x504.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-240x126.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-375x197.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-520x273.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marc Bamuthi Joseph takes notes during one of the event’s discussions. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m so nervous,” Rankine-Landers said before the event, tapping at a laptop. “I hope that they’re piqued.” The Rise Up! Curriculum encourages educators to have their students tie their personal experiences, their own revolutions, to the American Revolution. To model that, Rankine-Landers and Joesph had to ask the teachers deep, uncomfortable questions about their lived experiences. One of Rankine-Landers’ goals for the day was encourage educators to become comfortable with the uncomfortable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After an opening prayer wherein the group agreed to acknowledge their past and move toward a future of more inclusive narratives, Rankine-Landers introduced handshake shapes, which she demonstrated with Jessa Brie Moreno (the friend who originally introduced Rankine-Landers to \u003cem>Hamilton\u003c/em>, and one of the leaders of Rise Up!). Partners started with a handshake or fist bump. Then, one partner broke away to establish a new point of contact, while the other partner remained in the original position. The process repeated until partners were tangled around each other, any awkwardness forgotten. For some, the result was a floundering waltz, or a choppy yoga routine. “That’s too much, I’m not trying to fall right now,” one woman warned her partner. Others ended up on the floor. “So good to get into the body,” Joseph enthused.\u003c/p>\n\u003cfigure id=\"attachment_13531206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-800x450.jpg\" alt=\"Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13531206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Attendees then went through a series of exercises where they were asked to interrogate themselves. Think of a memory or experience you’ve had, instructors asked, that you’d like to plant in the brain of of our 45th president (the class’ preferred way of referring to Trump). During other exercises, they were asked to examine their memories and definitions of the world, as well as those of their personal relationships: \u003cem>Who are the five people you’re most accountable to? Who are you engaged with? Who are you not close with?\u003c/em>\u003c/p>\n\u003cp>This excavation helped teachers develop a framework that would allow them to incorporate their students’ personal narratives into the study of history, to “think about personal experiences and connect them to traditional paradigms of power,” as Joseph said. “Where does accountability to one another come up in history? Who are you responsible for throughout history? How does compassion play into the American revolution?” Joseph asked, eliciting approving snaps from the crowd.\u003c/p>\n\u003cfigure id=\"attachment_13516262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/edited1-800x342.jpg\" alt=\"Attendees at the Museum of the African Diaspora's Saturday event, Rise Up! An American Curriculum.\" width=\"800\" height=\"342\" class=\"size-medium wp-image-13516262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-800x342.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-768x328.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-1020x436.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-1180x505.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-960x411.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-240x103.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-375x160.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-520x222.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees at the Museum of the African Diaspora’s Saturday event, Rise Up! An American Curriculum. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But before they could pose those questions to their students, the teachers had to ask themselves the questions first. Rankine-Landers’ goal wasn’t to provide didactic instructions about how to teach \u003cem>Hamilton\u003c/em>, but to create a space where teachers could be vulnerable, a place to address the complex emotions that Hamilton — and teaching — can provoke. \u003c/p>\n\u003cp>In that regard, the class had been a success, she said afterward, as she watched attendees mingling after three hours of sharing stories, challenges and tears. “My favorite part is creating this community,” she said. “They walked in as strangers, and now they’re hugging.”\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_.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\n","blocks":[],"excerpt":"A workshop from the group Rise Up! gives teachers skills to inspire students through the lens of the hit musical 'Hamilton.'","status":"publish","parent":0,"modified":1705030208,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":952},"headData":{"title":"'Hamilton': From Broadway Smash to Teaching Tool for Young Students | KQED","description":"A workshop from the group Rise Up! gives teachers skills to inspire students through the lens of the hit musical 'Hamilton.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Hamilton': From Broadway Smash to Teaching Tool for Young Students","datePublished":"2017-06-27T18:00:19.000Z","dateModified":"2024-01-12T03:30:08.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13516134/hamilton-from-broadway-smash-to-teaching-tool-for-students","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mariah Rankine-Landers wasn’t excited to see the play her friend dragged her to. She had flown to New York for one reason, and one reason, only: Taye Diggs.\u003c/p>\n\u003cp>At the time, Diggs was starring in a Broadway production of \u003cem>Hedwig and the Angry Inch\u003c/em>, and Rankine-Landers and her friend Jessa Brie Moreno flew across the country to see it. During the trip, however, Moreno bought tickets to another play, one Rankine-Landers hadn’t heard of: \u003cem>Hamilton\u003c/em>.\u003c/p>\n\u003cp>When the curtains went up, Rankine-Landers noticed that the cast looked like her — a rarity in the theater world. \u003cem>Great\u003c/em>, she thought, \u003cem>another musical starting with a slave song\u003c/em>. Soon, though, she realized that the black actors in this play weren’t relegated to typical disenfranchised roles: they were the protagonists. She felt tears in her eyes, remembering all the times she had been told that she couldn’t play dress-up in historical costumes. “In that moment, she said, “I realized, ‘The world is changing.’”\u003c/p>\n\u003cfigure id=\"attachment_13531208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-800x450.jpg\" alt=\"Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13531208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday morning, Rankine-Landers told this story to a group of about 25 teachers at the Museum of the African Diaspora. Rankine-Landers is part of Rise Up!, a group developing curriculum for educators using \u003cem>Hamilton\u003c/em> as a teaching tool. Weeks before the group’s website with public resources goes live, the teachers, armed with notebooks and coffee, were there to learn how to take advantage of the cultural zeitgeist.\u003c/p>\n\u003cp>For students, the play’s themes of revolution and power have taken on a particular significance since the election. “What’s changed is young people have a new and vital response to civic action,” said Marc Bamuthi Joseph, who developed the day’s curriculum with Rakine-Landers. Joseph is the Chief of Program and Pedagogy at Yerba Buena Center for the Arts (his title, he joked, is “what happens when poets name themselves”), whose introduction to the play came from Daveed Diggs. One of the musical’s breakout stars, Diggs’ last pre-\u003cem>Hamilton\u003c/em> role was in Joesph’s own choreopoem \u003cem>Word Becomes Flesh\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13516258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13516258\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/edited2-800x420.jpg\" alt=\"Marc Bamuthi Joseph takes notes during one of the event's discussions.\" width=\"800\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-768x403.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-1020x535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-1180x619.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-960x504.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-240x126.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-375x197.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-520x273.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marc Bamuthi Joseph takes notes during one of the event’s discussions. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m so nervous,” Rankine-Landers said before the event, tapping at a laptop. “I hope that they’re piqued.” The Rise Up! Curriculum encourages educators to have their students tie their personal experiences, their own revolutions, to the American Revolution. To model that, Rankine-Landers and Joesph had to ask the teachers deep, uncomfortable questions about their lived experiences. One of Rankine-Landers’ goals for the day was encourage educators to become comfortable with the uncomfortable.\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>After an opening prayer wherein the group agreed to acknowledge their past and move toward a future of more inclusive narratives, Rankine-Landers introduced handshake shapes, which she demonstrated with Jessa Brie Moreno (the friend who originally introduced Rankine-Landers to \u003cem>Hamilton\u003c/em>, and one of the leaders of Rise Up!). Partners started with a handshake or fist bump. Then, one partner broke away to establish a new point of contact, while the other partner remained in the original position. The process repeated until partners were tangled around each other, any awkwardness forgotten. For some, the result was a floundering waltz, or a choppy yoga routine. “That’s too much, I’m not trying to fall right now,” one woman warned her partner. Others ended up on the floor. “So good to get into the body,” Joseph enthused.\u003c/p>\n\u003cfigure id=\"attachment_13531206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-800x450.jpg\" alt=\"Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13531206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Attendees then went through a series of exercises where they were asked to interrogate themselves. Think of a memory or experience you’ve had, instructors asked, that you’d like to plant in the brain of of our 45th president (the class’ preferred way of referring to Trump). During other exercises, they were asked to examine their memories and definitions of the world, as well as those of their personal relationships: \u003cem>Who are the five people you’re most accountable to? Who are you engaged with? Who are you not close with?\u003c/em>\u003c/p>\n\u003cp>This excavation helped teachers develop a framework that would allow them to incorporate their students’ personal narratives into the study of history, to “think about personal experiences and connect them to traditional paradigms of power,” as Joseph said. “Where does accountability to one another come up in history? Who are you responsible for throughout history? How does compassion play into the American revolution?” Joseph asked, eliciting approving snaps from the crowd.\u003c/p>\n\u003cfigure id=\"attachment_13516262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/edited1-800x342.jpg\" alt=\"Attendees at the Museum of the African Diaspora's Saturday event, Rise Up! An American Curriculum.\" width=\"800\" height=\"342\" class=\"size-medium wp-image-13516262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-800x342.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-768x328.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-1020x436.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-1180x505.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-960x411.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-240x103.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-375x160.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-520x222.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees at the Museum of the African Diaspora’s Saturday event, Rise Up! An American Curriculum. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But before they could pose those questions to their students, the teachers had to ask themselves the questions first. Rankine-Landers’ goal wasn’t to provide didactic instructions about how to teach \u003cem>Hamilton\u003c/em>, but to create a space where teachers could be vulnerable, a place to address the complex emotions that Hamilton — and teaching — can provoke. \u003c/p>\n\u003cp>In that regard, the class had been a success, she said afterward, as she watched attendees mingling after three hours of sharing stories, challenges and tears. “My favorite part is creating this community,” she said. “They walked in as strangers, and now they’re hugging.”\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_.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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13516134/hamilton-from-broadway-smash-to-teaching-tool-for-students","authors":["3234"],"series":["arts_610","arts_838"],"categories":["arts_967"],"tags":["arts_1118","arts_1922","arts_596"],"featImg":"arts_13531698","label":"arts_838"},"arts_13113401":{"type":"posts","id":"arts_13113401","meta":{"index":"posts_1591205157","site":"arts","id":"13113401","score":null,"sort":[1493650851000]},"guestAuthors":[],"slug":"stanford-psychiatrists-take-to-the-stage","title":"Stanford Psychiatrists Take to the Stage","publishDate":1493650851,"format":"audio","headTitle":"Stanford Psychiatrists Take to the Stage | KQED","labelTerm":{"term":610,"site":"arts"},"content":"\u003cp>In Palo Alto, where Asian Americans make up nearly 40 percent of the \u003ca href=\"https://www.pausd.org/sites/default/files/pdn-news/attachments/Elementary%20Enrollment%20Demographics.pdf\" target=\"_blank\" rel=\"noopener\">student population\u003c/a>, they also make up roughly 40 percent of youth suicides over the last decade. And in just the last two years, four out of five teen suicides in Palo Alto have been East Asian kids.\u003c/p>\n\u003cp>But many parents are first-generation immigrants, leery of acknowledging and addressing mental health problems. So psychiatrists at \u003ca href=\"http://www.stanfordchipao.com/\" target=\"_blank\" rel=\"noopener\">Stanford University\u003c/a> are turning to an unlikely art form to start the conversation: theater.\u003c/p>\n\u003cp>“A lot of parents are reluctant to talk about their own feelings,” says \u003ca href=\"https://med.stanford.edu/profiles/rona-hu\" target=\"_blank\" rel=\"noopener\">Dr. Rona Hu\u003c/a>, a second-generation Chinese American Stanford psychiatrist and the main force behind a volunteer theater troupe whose job it is to model good parenting techniques informed by American psychiatry. “Immigrant parents often aren’t aware of or prepared for the way that their teenagers behave in this culture, because it’s so different from the way that they were raised.”\u003c/p>\n\u003cfigure id=\"attachment_13113614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13113614 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-800x451.jpg\" alt=\"Each vignette is based on real life, and the psychiatrists channel their younger selves, as well as older relatives when performing on stage. Dr. Rona Hu says she draws on a combination of her mother and her aunt.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Each vignette is based on real life, and the psychiatrists channel their younger selves, as well as older relatives when performing on stage. Dr. Rona Hu says she draws on a combination of her mother and her aunt. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hu, who has no performing arts training beyond one drama class in 9th grade, came up with the idea of theatrical, therapeutic vignettes in 2015 while making the rounds as a speaker on mental health at local schools. Parents would come up to her after lectures and panel discussions and ask for more practical help. “You can \u003cem>tell\u003c/em> us to communicate better with our teenagers,” Hu says of her interactions with parents. “But \u003cem>show\u003c/em> us. How do we do it?”\u003c/p>\n\u003cp>She was also inspired by her days as a resident at the University of California, San Francisco (UCSF), where faculty members used theatrical vignettes to help young doctors learn how to interact with difficult patients. During these sessions, teachers would act out a negative exchange, talk in character about what went wrong, and then reenact the scene to demonstrate a better outcome.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hu’s theater troupe is comprised mostly of medical professionals who write and perform skits inspired by their first and second-generation immigrant experience. They’ve been performing since March of 2016.\u003c/p>\n\u003cfigure id=\"attachment_13113615\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13113615\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-800x451.jpg\" alt='In \"Awkward Hug,\" a son, played by Stanford student Jason Li, has to beg for a physical expression of affection from his father, played by Dr. Steven Sust. ' width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In “Awkward Hug,” a son, played by Stanford student Jason Li, has to beg for a physical expression of affection from his father, played by Dr. Steven Sust. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent evening, the troupe performed at Jordan Middle School in Palo Alto for an audience of roughly 100 parents.\u003c/p>\n\u003cp>With the barest of sets and costumes, the cast – most of them medical professionals – played out six uncomfortable conversations, covering topics like bad language, poor test scores, and depression.\u003c/p>\n\u003cp>In the staged scenes, the parents all love their children, but their tendency to respond with shock, anger or denial drives an emotional wedge between the generations.\u003c/p>\n\u003cp>Though the scenes are often played broadly for laughs, they also reflect real-life experience. Hu says, “I’ve had any number of parents coming up to me with tears rolling down their cheeks, saying, ‘That vignette was my life.’”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Vignettes for Asian Parents of Teens - "What's Wrong With You!"\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/3FFMhUEzB9A?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As with the skits at UCSF, a moderator “interviews” the actors after their scene, so they can explain the psychological underpinnings of the argument. The audience also has an opportunity to weigh in with questions.\u003c/p>\n\u003cp>Then, the actor-psychiatrists model on stage what good parenting looks like. The father who first berated his son for failing another math test offers sympathy and practical solutions instead. The mother who first laughed off her daughter’s depression now agrees to help her consult a medical professional.\u003c/p>\n\u003cp>The overall idea of the theater project is to get parents talking about applying emotional intelligence to their daily interactions with their children. “’What’s wrong, sweetie?’ versus ‘What’s wrong with you?’ which sounds accusatory,” Hu says. “Especially if they’ve been raised in a culture where it was taboo to talk about feelings, these are skills that will take some work to acquire.”\u003c/p>\n\u003cfigure id=\"attachment_13113823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13113823 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-800x450.jpg\" alt='In \"Just Be Happy,\" Dr. Bibi Das plays a mother struggling to talk to her daughter, played by Preeti Talwai, about depression.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In “Just Be Happy,” Dr. Bibi Das plays a mother struggling to talk to her daughter, played by Preeti Talwai, about depression. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Federal researchers who \u003ca href=\"https://www.sccgov.org/sites/sccphd/en-us/Partners/collabproj/epi-aid/Pages/epi-aid.aspx\" target=\"_blank\" rel=\"noopener\">delved into the data\u003c/a> found many teen suicides in Palo Alto in recent years had underlying mental health issues. Each case is unique, but Hu says a child that feels his or her parent is an ally is less likely to hide problems that could develop into something serious, or even life-threatening.\u003c/p>\n\u003cp>“If the parent knows about the issue, then they can do something about it,” Hu says. “But if they don’t know, then there’s really nothing they can do.”\u003c/p>\n\u003cp>Gloria Zhang, a Palo Alto parent present at the Jordan Middle School event, says she doesn’t want to wait till there’s a crisis to develop a better relationship with her middle schooler. She says she feels like she could use more training to talk to her son without losing her temper. “I want to improve; communicate with him better, to let him to understand I love him,” Zhang says. “I want him healthy.”\u003c/p>\n\u003cfigure id=\"attachment_13113824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13113824 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-800x451.jpg\" alt='In \"Party Dress,\" Jaime Jimenez, assistant nurse manager for inpatient psychiatry at Stanford, plays a dad shocked at what his teenage daughter, played by Dr. Renee Garcia, is wearing.' width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In “Party Dress,” Jaime Jimenez, assistant nurse manager for inpatient psychiatry at Stanford, plays a dad shocked at what his teenage daughter, played by Dr. Renee Garcia, is wearing. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That feeling isn’t limited to East Asian parents. By popular demand, the troupe has expanded its audience base to include Latino and South Asian families.\u003c/p>\n\u003cp>The Stanford psychiatrists are currently applying for grants to study whether the skits work in a scientific sense — as well as a theatrical one.\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=\"Q.Logo.Break\" 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>The Stanford psychiatrists perform next for the American Psychiatric Association Saturday, May 20, in San Diego. More info \u003ca href=\"https://www.psychiatry.org/psychiatrists/meetings/annual-meeting\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In Palo Alto, where Asian Americans make up roughly 40 percent of youth suicides, Stanford psychiatrists are writing and performing skits aimed at educating parents to have more productive conversations with their children.","status":"publish","parent":0,"modified":1705030794,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1023},"headData":{"title":"Stanford Psychiatrists Take to the Stage | KQED","description":"In Palo Alto, where Asian Americans make up roughly 40 percent of youth suicides, Stanford psychiatrists are writing and performing skits aimed at educating parents to have more productive conversations with their children.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Stanford Psychiatrists Take to the Stage","datePublished":"2017-05-01T15:00:51.000Z","dateModified":"2024-01-12T03:39:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"http://www.kqed.org/.stream/anon/radio/tcr/2017/05/MentalHealthTheatre170501.mp3","sticky":false,"path":"/arts/13113401/stanford-psychiatrists-take-to-the-stage","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Palo Alto, where Asian Americans make up nearly 40 percent of the \u003ca href=\"https://www.pausd.org/sites/default/files/pdn-news/attachments/Elementary%20Enrollment%20Demographics.pdf\" target=\"_blank\" rel=\"noopener\">student population\u003c/a>, they also make up roughly 40 percent of youth suicides over the last decade. And in just the last two years, four out of five teen suicides in Palo Alto have been East Asian kids.\u003c/p>\n\u003cp>But many parents are first-generation immigrants, leery of acknowledging and addressing mental health problems. So psychiatrists at \u003ca href=\"http://www.stanfordchipao.com/\" target=\"_blank\" rel=\"noopener\">Stanford University\u003c/a> are turning to an unlikely art form to start the conversation: theater.\u003c/p>\n\u003cp>“A lot of parents are reluctant to talk about their own feelings,” says \u003ca href=\"https://med.stanford.edu/profiles/rona-hu\" target=\"_blank\" rel=\"noopener\">Dr. Rona Hu\u003c/a>, a second-generation Chinese American Stanford psychiatrist and the main force behind a volunteer theater troupe whose job it is to model good parenting techniques informed by American psychiatry. “Immigrant parents often aren’t aware of or prepared for the way that their teenagers behave in this culture, because it’s so different from the way that they were raised.”\u003c/p>\n\u003cfigure id=\"attachment_13113614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13113614 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-800x451.jpg\" alt=\"Each vignette is based on real life, and the psychiatrists channel their younger selves, as well as older relatives when performing on stage. Dr. Rona Hu says she draws on a combination of her mother and her aunt.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25054_Enlow_Parent_Skit-005-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Each vignette is based on real life, and the psychiatrists channel their younger selves, as well as older relatives when performing on stage. Dr. Rona Hu says she draws on a combination of her mother and her aunt. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hu, who has no performing arts training beyond one drama class in 9th grade, came up with the idea of theatrical, therapeutic vignettes in 2015 while making the rounds as a speaker on mental health at local schools. Parents would come up to her after lectures and panel discussions and ask for more practical help. “You can \u003cem>tell\u003c/em> us to communicate better with our teenagers,” Hu says of her interactions with parents. “But \u003cem>show\u003c/em> us. How do we do it?”\u003c/p>\n\u003cp>She was also inspired by her days as a resident at the University of California, San Francisco (UCSF), where faculty members used theatrical vignettes to help young doctors learn how to interact with difficult patients. During these sessions, teachers would act out a negative exchange, talk in character about what went wrong, and then reenact the scene to demonstrate a better outcome.\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>Hu’s theater troupe is comprised mostly of medical professionals who write and perform skits inspired by their first and second-generation immigrant experience. They’ve been performing since March of 2016.\u003c/p>\n\u003cfigure id=\"attachment_13113615\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13113615\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-800x451.jpg\" alt='In \"Awkward Hug,\" a son, played by Stanford student Jason Li, has to beg for a physical expression of affection from his father, played by Dr. Steven Sust. ' width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25055_Enlow_Parent_Skit-007-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In “Awkward Hug,” a son, played by Stanford student Jason Li, has to beg for a physical expression of affection from his father, played by Dr. Steven Sust. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent evening, the troupe performed at Jordan Middle School in Palo Alto for an audience of roughly 100 parents.\u003c/p>\n\u003cp>With the barest of sets and costumes, the cast – most of them medical professionals – played out six uncomfortable conversations, covering topics like bad language, poor test scores, and depression.\u003c/p>\n\u003cp>In the staged scenes, the parents all love their children, but their tendency to respond with shock, anger or denial drives an emotional wedge between the generations.\u003c/p>\n\u003cp>Though the scenes are often played broadly for laughs, they also reflect real-life experience. Hu says, “I’ve had any number of parents coming up to me with tears rolling down their cheeks, saying, ‘That vignette was my life.’”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Vignettes for Asian Parents of Teens - "What's Wrong With You!"\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/3FFMhUEzB9A?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As with the skits at UCSF, a moderator “interviews” the actors after their scene, so they can explain the psychological underpinnings of the argument. The audience also has an opportunity to weigh in with questions.\u003c/p>\n\u003cp>Then, the actor-psychiatrists model on stage what good parenting looks like. The father who first berated his son for failing another math test offers sympathy and practical solutions instead. The mother who first laughed off her daughter’s depression now agrees to help her consult a medical professional.\u003c/p>\n\u003cp>The overall idea of the theater project is to get parents talking about applying emotional intelligence to their daily interactions with their children. “’What’s wrong, sweetie?’ versus ‘What’s wrong with you?’ which sounds accusatory,” Hu says. “Especially if they’ve been raised in a culture where it was taboo to talk about feelings, these are skills that will take some work to acquire.”\u003c/p>\n\u003cfigure id=\"attachment_13113823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13113823 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-800x450.jpg\" alt='In \"Just Be Happy,\" Dr. Bibi Das plays a mother struggling to talk to her daughter, played by Preeti Talwai, about depression.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25037_Enlow_Parent_Skit-034-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In “Just Be Happy,” Dr. Bibi Das plays a mother struggling to talk to her daughter, played by Preeti Talwai, about depression. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Federal researchers who \u003ca href=\"https://www.sccgov.org/sites/sccphd/en-us/Partners/collabproj/epi-aid/Pages/epi-aid.aspx\" target=\"_blank\" rel=\"noopener\">delved into the data\u003c/a> found many teen suicides in Palo Alto in recent years had underlying mental health issues. Each case is unique, but Hu says a child that feels his or her parent is an ally is less likely to hide problems that could develop into something serious, or even life-threatening.\u003c/p>\n\u003cp>“If the parent knows about the issue, then they can do something about it,” Hu says. “But if they don’t know, then there’s really nothing they can do.”\u003c/p>\n\u003cp>Gloria Zhang, a Palo Alto parent present at the Jordan Middle School event, says she doesn’t want to wait till there’s a crisis to develop a better relationship with her middle schooler. She says she feels like she could use more training to talk to her son without losing her temper. “I want to improve; communicate with him better, to let him to understand I love him,” Zhang says. “I want him healthy.”\u003c/p>\n\u003cfigure id=\"attachment_13113824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13113824 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-800x451.jpg\" alt='In \"Party Dress,\" Jaime Jimenez, assistant nurse manager for inpatient psychiatry at Stanford, plays a dad shocked at what his teenage daughter, played by Dr. Renee Garcia, is wearing.' width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS25035_Enlow_Parent_Skit-020-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In “Party Dress,” Jaime Jimenez, assistant nurse manager for inpatient psychiatry at Stanford, plays a dad shocked at what his teenage daughter, played by Dr. Renee Garcia, is wearing. \u003ccite>(Photo: Jeff Enlow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That feeling isn’t limited to East Asian parents. By popular demand, the troupe has expanded its audience base to include Latino and South Asian families.\u003c/p>\n\u003cp>The Stanford psychiatrists are currently applying for grants to study whether the skits work in a scientific sense — as well as a theatrical one.\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=\"Q.Logo.Break\" 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>The Stanford psychiatrists perform next for the American Psychiatric Association Saturday, May 20, in San Diego. More info \u003ca href=\"https://www.psychiatry.org/psychiatrists/meetings/annual-meeting\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13113401/stanford-psychiatrists-take-to-the-stage","authors":["251"],"series":["arts_610"],"categories":["arts_235","arts_967"],"tags":["arts_4672","arts_5391","arts_1119","arts_1118","arts_1773","arts_4670","arts_596","arts_4642","arts_3001"],"featImg":"arts_13113403","label":"arts_610"},"arts_13123697":{"type":"posts","id":"arts_13123697","meta":{"index":"posts_1591205157","site":"arts","id":"13123697","score":null,"sort":[1493410122000]},"guestAuthors":[],"slug":"star-studded-hercules-brings-catharsis-to-bayview-citizens","title":"Star-Studded 'Hercules' Brings Catharsis to Bayview Citizens","publishDate":1493410122,"format":"standard","headTitle":"Star-Studded ‘Hercules’ Brings Catharsis to Bayview Citizens | KQED","labelTerm":{"term":610,"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">Thursday at the \u003ca href=\"https://www.bvoh.org/\" target=\"_blank\" rel=\"noopener\">Bayview Opera House\u003c/a>, Bryan Doerries staged a one-night-only reading of the Ancient Greek dramatist Euripides’ 2,500-year-old play \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Madness of Hercules. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">For Doerries, the Brooklyn-based artistic director of \u003ca href=\"http://theaterofwar.com/projects/theater-of-war/overview\" target=\"_blank\" rel=\"noopener\">Theater of War Productions\u003c/a>, the reading itself was secondary — almost beside the point. As he put it, “The audience is everything.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The event, titled \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hercules in the Bayview\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, is part of a series of staged readings that Theater of War presents to different communities around the country. Self-described as a “social impact company,” it uses theater to address a wide range of social issues. Doerries brought \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hercules\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to the Bayview-Hunters Point neighborhood to initiate a discussion, he said, “about the timeless experience of violence.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13123702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13123702 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Reading_Lead-800x377.jpg\" alt=\"Left to right: Frances McDormand, Reg E. Cathey, James Carpenter. (Photo: Fred Landers)\" width=\"800\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-800x377.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-768x362.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-240x113.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-375x177.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-520x245.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Frances McDormand, Reg E. Cathey, James Carpenter. (Photo: Fred Landers)\u003c/figcaption>\u003c/figure>\n\u003cp>After the reading ended, a group of five panelists, chosen for their ties to the Bayview community, sat together on stage to talk about their experience of violence in the neighborhood. To focus the discussion, Doerries had instructed them to base their remarks on what moved them about the ancient play.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The figure of Hercules is best known today from his appearances in pop culture pictures. Disney drew \u003ca href=\"http://www.nytimes.com/movie/review?res=9806E1DD173FF930A25755C0A961958260\" target=\"_blank\" rel=\"noopener\">him\u003c/a> in bright primary colors. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.facebook.com/Hercules3d/\" target=\"_blank\" rel=\"noopener\">Kellan Lutz\u003c/a> and \u003ca href=\"https://www.rottentomatoes.com/m/hercules_the_thracian_wars/\" target=\"_blank\" rel=\"noopener\">Dwayne “The Rock” Johnson\u003c/a> attempted to embody him with their outsized chests. He’s the most masculine of Greek heroes, vanquishing armies, enduring his labors and subduing monsters. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But Euripides’ play is set after his famous exploits when, in an inexplicable fit, he kills his wife and children. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Madness of Hercules \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">depicts a life that’s been suffused with and motivated by violence. The play’s mournful tone examines the emotional aftermath of living such an aggrieved life, as well as the devastation of carrying on after your loved ones are dead.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13123703\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13123703 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-800x451.jpg\" alt=\"Community panel discusses connections between ‘Hercules in the Bayview’ and real-life tragedies that have unfolded in neighborhood residents’ lives in recent years. . Left to right: Chris McAllister, April Spears, Takija Gardner, Gwen Woods, Shawn Richard. \" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529.jpg 834w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Community panel discusses connections between ‘Hercules in the Bayview’ and real-life tragedies that have unfolded in neighborhood residents’ lives in recent years. . Left to right: Chris McAllister, April Spears, Takija Gardner, Gwen Woods, Shawn Richard. \u003ccite>(Photo: Fred Landers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gwen Woods was one of the community panelists on stage. In Dec. 2015, her son Mario was killed on 3rd Street in the Bayview. Woods spoke eloquently about her grief, finding parallels between Hercules’ request for his children’s burial rites and her own. “We buried that child with all the dignity he deserved that I wanted,” Woods said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another panelist, Takija Gardner, is the executive director at Bayview-Hunters Point YMCA. She grew up in the neighborhood and lost her brother to violence, “He was murdered by his friends,” Gardner said. She cited Hercules’ lament “I’m cursed by the gods,” but brought it down to earth, applying it to her own experience. “I think about structures and institutions and how young black men in this community have to go through so many barriers to figure out what their worth is,” Gardner said.\u003c/p>\n\u003cfigure id=\"attachment_13123704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13123704 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Reading-800x533.jpg\" alt=\"Left to right: Brian Doerries, Linda Powell, Frances McDormand, Reg E. Cathey, James Carpenter.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Brian Doerries, Linda Powell, Frances McDormand, Reg E. Cathey, James Carpenter. \u003ccite>(Photo: Fred Landers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the panelists had finished their initial thoughts and reactions to the play, Doerries opened the floor for questions and comments. Audience member Cephus “Uncle Bobby” Johnson spoke first, followed by Sala-Haquekyah Chandler. Both took the opportunity to remind those present that their grief, and shared that their ensuing feelings of rage hadn’t abated. Johnson mentioned the date of his nephew Oscar Grant’s death at Oakland’s Fruitvale Station on in Jan. 2009. Chandler also spoke about her loss: her son Yalani was killed in Hayes Valley in Jan. 2015.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As each witness or relative to violence told his or her story, it became evident that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hercules in the Bayview\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> wasn’t designed as a problem-solving event. The real life tragedies and remembrances of loved ones lost impacted the hushed audience more than the star-studded reading, involving Frances McDormand, Linda Powell, James Carpenter and Reg. E. Cathey. Intent on encouraging a shared public catharsis, Doerries the theater director achieved his goal.\u003c/span>\u003c/p>\n\u003cp>\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=\"Q.Logo.Break\" 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":"A play reading at Bayview Opera House with Frances McDormand, Linda Powell, James Carpenter and Reg. E. Cathey inspired remembrances of loved ones lost. \r\n","status":"publish","parent":0,"modified":1705030811,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":712},"headData":{"title":"Star-Studded 'Hercules' Brings Catharsis to Bayview Citizens | KQED","description":"A play reading at Bayview Opera House with Frances McDormand, Linda Powell, James Carpenter and Reg. E. Cathey inspired remembrances of loved ones lost. \r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Star-Studded 'Hercules' Brings Catharsis to Bayview Citizens","datePublished":"2017-04-28T20:08:42.000Z","dateModified":"2024-01-12T03:40:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13123697/star-studded-hercules-brings-catharsis-to-bayview-citizens","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Thursday at the \u003ca href=\"https://www.bvoh.org/\" target=\"_blank\" rel=\"noopener\">Bayview Opera House\u003c/a>, Bryan Doerries staged a one-night-only reading of the Ancient Greek dramatist Euripides’ 2,500-year-old play \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Madness of Hercules. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">For Doerries, the Brooklyn-based artistic director of \u003ca href=\"http://theaterofwar.com/projects/theater-of-war/overview\" target=\"_blank\" rel=\"noopener\">Theater of War Productions\u003c/a>, the reading itself was secondary — almost beside the point. As he put it, “The audience is everything.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The event, titled \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hercules in the Bayview\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, is part of a series of staged readings that Theater of War presents to different communities around the country. Self-described as a “social impact company,” it uses theater to address a wide range of social issues. Doerries brought \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hercules\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to the Bayview-Hunters Point neighborhood to initiate a discussion, he said, “about the timeless experience of violence.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13123702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13123702 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Reading_Lead-800x377.jpg\" alt=\"Left to right: Frances McDormand, Reg E. Cathey, James Carpenter. (Photo: Fred Landers)\" width=\"800\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-800x377.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-768x362.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-240x113.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-375x177.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead-520x245.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Reading_Lead.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Frances McDormand, Reg E. Cathey, James Carpenter. (Photo: Fred Landers)\u003c/figcaption>\u003c/figure>\n\u003cp>After the reading ended, a group of five panelists, chosen for their ties to the Bayview community, sat together on stage to talk about their experience of violence in the neighborhood. To focus the discussion, Doerries had instructed them to base their remarks on what moved them about the ancient play.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The figure of Hercules is best known today from his appearances in pop culture pictures. Disney drew \u003ca href=\"http://www.nytimes.com/movie/review?res=9806E1DD173FF930A25755C0A961958260\" target=\"_blank\" rel=\"noopener\">him\u003c/a> in bright primary colors. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.facebook.com/Hercules3d/\" target=\"_blank\" rel=\"noopener\">Kellan Lutz\u003c/a> and \u003ca href=\"https://www.rottentomatoes.com/m/hercules_the_thracian_wars/\" target=\"_blank\" rel=\"noopener\">Dwayne “The Rock” Johnson\u003c/a> attempted to embody him with their outsized chests. He’s the most masculine of Greek heroes, vanquishing armies, enduring his labors and subduing monsters. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But Euripides’ play is set after his famous exploits when, in an inexplicable fit, he kills his wife and children. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Madness of Hercules \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">depicts a life that’s been suffused with and motivated by violence. The play’s mournful tone examines the emotional aftermath of living such an aggrieved life, as well as the devastation of carrying on after your loved ones are dead.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13123703\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13123703 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-800x451.jpg\" alt=\"Community panel discusses connections between ‘Hercules in the Bayview’ and real-life tragedies that have unfolded in neighborhood residents’ lives in recent years. . Left to right: Chris McAllister, April Spears, Takija Gardner, Gwen Woods, Shawn Richard. \" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Panel_I-e1493409270529.jpg 834w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Community panel discusses connections between ‘Hercules in the Bayview’ and real-life tragedies that have unfolded in neighborhood residents’ lives in recent years. . Left to right: Chris McAllister, April Spears, Takija Gardner, Gwen Woods, Shawn Richard. \u003ccite>(Photo: Fred Landers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gwen Woods was one of the community panelists on stage. In Dec. 2015, her son Mario was killed on 3rd Street in the Bayview. Woods spoke eloquently about her grief, finding parallels between Hercules’ request for his children’s burial rites and her own. “We buried that child with all the dignity he deserved that I wanted,” Woods said.\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>Another panelist, Takija Gardner, is the executive director at Bayview-Hunters Point YMCA. She grew up in the neighborhood and lost her brother to violence, “He was murdered by his friends,” Gardner said. She cited Hercules’ lament “I’m cursed by the gods,” but brought it down to earth, applying it to her own experience. “I think about structures and institutions and how young black men in this community have to go through so many barriers to figure out what their worth is,” Gardner said.\u003c/p>\n\u003cfigure id=\"attachment_13123704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13123704 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Reading-800x533.jpg\" alt=\"Left to right: Brian Doerries, Linda Powell, Frances McDormand, Reg E. Cathey, James Carpenter.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Brian Doerries, Linda Powell, Frances McDormand, Reg E. Cathey, James Carpenter. \u003ccite>(Photo: Fred Landers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the panelists had finished their initial thoughts and reactions to the play, Doerries opened the floor for questions and comments. Audience member Cephus “Uncle Bobby” Johnson spoke first, followed by Sala-Haquekyah Chandler. Both took the opportunity to remind those present that their grief, and shared that their ensuing feelings of rage hadn’t abated. Johnson mentioned the date of his nephew Oscar Grant’s death at Oakland’s Fruitvale Station on in Jan. 2009. Chandler also spoke about her loss: her son Yalani was killed in Hayes Valley in Jan. 2015.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As each witness or relative to violence told his or her story, it became evident that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hercules in the Bayview\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> wasn’t designed as a problem-solving event. The real life tragedies and remembrances of loved ones lost impacted the hushed audience more than the star-studded reading, involving Frances McDormand, Linda Powell, James Carpenter and Reg. E. Cathey. Intent on encouraging a shared public catharsis, Doerries the theater director achieved his goal.\u003c/span>\u003c/p>\n\u003cp>\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=\"Q.Logo.Break\" 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/13123697/star-studded-hercules-brings-catharsis-to-bayview-citizens","authors":["42"],"series":["arts_610"],"categories":["arts_235","arts_967"],"tags":["arts_1119","arts_596"],"featImg":"arts_13123700","label":"arts_610"},"arts_12977906":{"type":"posts","id":"arts_12977906","meta":{"index":"posts_1591205157","site":"arts","id":"12977906","score":null,"sort":[1490911219000]},"guestAuthors":[],"slug":"deaf-photographer-protests-trump-with-strong-words","title":"Deaf Photographer Protests Trump with Strong Words","publishDate":1490911219,"format":"audio","headTitle":"Deaf Photographer Protests Trump with Strong Words | KQED","labelTerm":{"term":610,"site":"arts"},"content":"\u003cp>Clare Cassidy is an artist, with a beef against President Donald Trump. “I was so pissed off,” Cassidy, who is based in Livermore, says. “I could see his oppression to everyone that he’s touched — people with different religions, people of color, deaf. Humanity has been tainted.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>When Cassidy signs about Trump her eyes blaze, and her gestures seem sharper, more emphatic. You really notice her gestures because Cassidy is deaf. She speaks using American Sign Language through an interpreter, in this case, her friend Shelley Lawrence.\u003c/p>\n\u003cfigure id=\"attachment_12977915\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12977915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FullSizeRender-800x495.jpg\" alt=\"Photographer Clare Cassidy signing the word roar\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Clare Cassidy signing the word “roar.” \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cassidy says that while she was initially in a state of despair after the presidential election, she soon realized she had a way to turn her anger into visual art.\u003c/p>\n\u003cp>“As a deaf person, I am attuned to the environment with no auditory distractions,” Cassidy says. “So I capture things with my eyes.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/315297929″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cstrong>Wearing your heart on your chest\u003c/strong>\u003c/p>\n\u003cp>Cassidy is a photographer, with a thriving business in \u003ca href=\"http://www.clarecassidyphotography.com/\" target=\"_blank\" rel=\"noopener\">family portraits\u003c/a>. But for this project, she’s recruited around 140 subjects so far — both friends and strangers — for an online series of black and white portraits she calls \u003cem>\u003ca href=\"http://www.roarfromtheheart.com/\" target=\"_blank\" rel=\"noopener\">Roar from the Heart\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>For the images, Cassidy asks people to spell out their feelings, literally, by writing them in marker on their chests. Then they pose for her camera.\u003c/p>\n\u003cfigure id=\"attachment_12978348\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12978348\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-800x455.jpg\" alt=\"An image from Clare Cassidy‘s photo series ‘Roar from the Heart‘\" width=\"800\" height=\"455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-1020x580.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-960x546.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821.jpg 1097w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An image from Clare Cassidy‘s photo series ‘Roar from the Heart‘ \u003ccite>(Photo: Clare Cassidy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you’re angry, when you’re happy, you feel it in your chest, Right? In your heart,” Cassidy says.\u003c/p>\n\u003cp>The subjects’ faces reflect their words: “Tenacious,” “appalled,” “fierce.” Two women in the same picture share the defiant phrase, “Don’t even try to touch our marriage.”\u003c/p>\n\u003cfigure id=\"attachment_12978347\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12978347\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-800x453.jpg\" alt=\"One of the images from Clare Cassidy‘s photo project ‘Roar from the Heart‘\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926.jpg 1097w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the images from Clare Cassidy‘s photo project ‘Roar from the Heart‘ \u003ccite>(Photo: Clare Cassidy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Besides her photography work, Cassidy teaches at the \u003ca href=\"http://www.csdeagles.com/\" target=\"_blank\" rel=\"noopener\">California School for the Deaf\u003c/a> in Fremont. She says she’s photographed herself twice for the series. In the first image, she wrote the word “enraged” on her chest. “I really wanted to choke someone,” Cassidy says.\u003c/p>\n\u003cp>By the time she captured herself on camera again, she had a different attitude. “I’m a fighter,” she says. “So the second photograph had the word ‘fighter.'”\u003c/p>\n\u003cfigure id=\"attachment_12977907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12977907\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Roar-Image-800x534.jpg\" alt=\"A self portrait by Clare Cassidy for ‘Roar from the Heart‘\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A self portrait by Clare Cassidy for ‘Roar from the Heart‘ \u003ccite>(Photo: Clare Cassidy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Personal animosity\u003c/strong>\u003c/p>\n\u003cp>For many disabled artists, the animosity toward Trump is personal. Cassidy she says people in her community haven’t forgiven Trump, while on the campaign trail, for mocking and mimicking \u003ca href=\"http://www.snopes.com/2016/07/28/donald-trump-criticized-for-mocking-disabled-reporter/\" target=\"_blank\" rel=\"noopener\">Serge Kovaleski\u003c/a>, a disabled reporter now working for \u003cem>The New York Times\u003c/em>.\u003c/p>\n\u003cp>Susan Henderson, executive director for the \u003ca href=\"https://dredf.org/\" target=\"_blank\" rel=\"noopener\">Disability Rights Education and Defense Fund (DREDF)\u003c/a> in Berkeley, says the disabled community’s feelings about the president extend beyond that incident. “President Trump is implementing policies that will hurt people with disabilities,” Henderson says. “We feel that what he was doing on the campaign was certainly foreshadowing that.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qc0an0Xz9bc\u003c/p>\n\u003cp>Henderson says the disability rights community worries about Trump’s efforts to repeal the Affordable Care Act. That puts at risk the Obama era requirement that insurance companies cover people, like the disabled, with preexisting conditions.\u003c/p>\n\u003cp>Henderson says her organization is also concerned about Trump’s choice of \u003ca href=\"http://www.npr.org/sections/ed/2017/02/03/513037533/how-betsy-devos-became-trump-s-least-popular-cabinet-pick\" target=\"_blank\" rel=\"noopener\">Education Secretary Betsy DeVos\u003c/a>, because she seems ignorant about the Individuals with Disabilities Enforcement Act (IDEA). IDEA is a law that seeks to protect the rights of disabled students, and DeVos says she wants to leave enforcement of the act up to the states.\u003c/p>\n\u003cp>“The reaction to DeVos was greater than anything I’d seen,” Henderson says. “We had so many phone calls and emails. It was a groundswell. It was the grassroots rising themselves up to talk about how inappropriate her appointment was.”\u003c/p>\n\u003cfigure id=\"attachment_12977909\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12977909\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-800x468.jpg\" alt=\"An image from Clare Cassidy‘s photo project ‘Roar from the Heart‘\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-1020x597.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-960x562.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-520x304.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An image from Clare Cassidy‘s photo project ‘Roar from the Heart‘ \u003ccite>(Photo: Clare Cassidy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Capturing passion with a camera\u003c/strong>\u003c/p>\n\u003cp>This level of passion can be clearly seen in the photos captured by Clare Cassidy in \u003cem>Roar from the Heart\u003c/em>. These days, the artist calls herself an “alarmist for humanity,” warning society about the dangers of the President’s policies concerning women, Muslims, people of color and the disabled.\u003c/p>\n\u003cp>So if Trump were to stumble on Cassidy’s online gallery, what would the artist like the president to feel?\u003c/p>\n\u003cp>“A little twitch in his heart,” Cassidy says. “I just hope it can start him understanding the bigger picture.”\u003c/p>\n\u003cfigure id=\"attachment_12977921\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12977921\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-800x495.jpg\" alt=\"Photographer Clare Cassidy signing the word empathy\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Clare Cassidy signing the word “empathy.” \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cassidy is still \u003ca href=\"http://www.roarfromtheheart.com/how.html\" target=\"_blank\" rel=\"noopener\">recruiting subjects for her photo project\u003c/a>. And she’s encouraging people to submit their own images with a word or phrase on their chest, shot against a dark background, with the hashtag #roarnow.\u003c/p>\n\u003cp>\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=\"Q.Logo.Break\" 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":"For her ‘Roar from the Heart‘ photo series, Livermore-based artist Clare Cassidy asks people to spell out their feelings, literally, by writing them in marker on their chests.","status":"publish","parent":0,"modified":1705031082,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":911},"headData":{"title":"Deaf Photographer Protests Trump with Strong Words | KQED","description":"For her ‘Roar from the Heart‘ photo series, Livermore-based artist Clare Cassidy asks people to spell out their feelings, literally, by writing them in marker on their chests.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Deaf Photographer Protests Trump with Strong Words","datePublished":"2017-03-30T22:00:19.000Z","dateModified":"2024-01-12T03:44:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2017/03/RoarFromtheHeart-KQEDArts.mp3\r 7152974\r audio/mpeg\r a:1:{s:8:\"duration\";s:7:\"0:03:44\";}","guestFields":"0","sticky":false,"WpOldSlug":"deaf-mute-photographer-protests-trump-with-strong-words","path":"/arts/12977906/deaf-photographer-protests-trump-with-strong-words","audioDuration":null,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Clare Cassidy is an artist, with a beef against President Donald Trump. “I was so pissed off,” Cassidy, who is based in Livermore, says. “I could see his oppression to everyone that he’s touched — people with different religions, people of color, deaf. Humanity has been tainted.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>When Cassidy signs about Trump her eyes blaze, and her gestures seem sharper, more emphatic. You really notice her gestures because Cassidy is deaf. She speaks using American Sign Language through an interpreter, in this case, her friend Shelley Lawrence.\u003c/p>\n\u003cfigure id=\"attachment_12977915\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12977915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FullSizeRender-800x495.jpg\" alt=\"Photographer Clare Cassidy signing the word roar\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Clare Cassidy signing the word “roar.” \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cassidy says that while she was initially in a state of despair after the presidential election, she soon realized she had a way to turn her anger into visual art.\u003c/p>\n\u003cp>“As a deaf person, I am attuned to the environment with no auditory distractions,” Cassidy says. “So I capture things with my eyes.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/315297929″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/315297929″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wearing your heart on your chest\u003c/strong>\u003c/p>\n\u003cp>Cassidy is a photographer, with a thriving business in \u003ca href=\"http://www.clarecassidyphotography.com/\" target=\"_blank\" rel=\"noopener\">family portraits\u003c/a>. But for this project, she’s recruited around 140 subjects so far — both friends and strangers — for an online series of black and white portraits she calls \u003cem>\u003ca href=\"http://www.roarfromtheheart.com/\" target=\"_blank\" rel=\"noopener\">Roar from the Heart\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>For the images, Cassidy asks people to spell out their feelings, literally, by writing them in marker on their chests. Then they pose for her camera.\u003c/p>\n\u003cfigure id=\"attachment_12978348\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12978348\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-800x455.jpg\" alt=\"An image from Clare Cassidy‘s photo series ‘Roar from the Heart‘\" width=\"800\" height=\"455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-1020x580.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-960x546.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-from-the-Heart-Annoyed-e1490910830821.jpg 1097w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An image from Clare Cassidy‘s photo series ‘Roar from the Heart‘ \u003ccite>(Photo: Clare Cassidy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you’re angry, when you’re happy, you feel it in your chest, Right? In your heart,” Cassidy says.\u003c/p>\n\u003cp>The subjects’ faces reflect their words: “Tenacious,” “appalled,” “fierce.” Two women in the same picture share the defiant phrase, “Don’t even try to touch our marriage.”\u003c/p>\n\u003cfigure id=\"attachment_12978347\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12978347\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-800x453.jpg\" alt=\"One of the images from Clare Cassidy‘s photo project ‘Roar from the Heart‘\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lesbian-3-e1490910585926.jpg 1097w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the images from Clare Cassidy‘s photo project ‘Roar from the Heart‘ \u003ccite>(Photo: Clare Cassidy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Besides her photography work, Cassidy teaches at the \u003ca href=\"http://www.csdeagles.com/\" target=\"_blank\" rel=\"noopener\">California School for the Deaf\u003c/a> in Fremont. She says she’s photographed herself twice for the series. In the first image, she wrote the word “enraged” on her chest. “I really wanted to choke someone,” Cassidy says.\u003c/p>\n\u003cp>By the time she captured herself on camera again, she had a different attitude. “I’m a fighter,” she says. “So the second photograph had the word ‘fighter.'”\u003c/p>\n\u003cfigure id=\"attachment_12977907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12977907\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Roar-Image-800x534.jpg\" alt=\"A self portrait by Clare Cassidy for ‘Roar from the Heart‘\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A self portrait by Clare Cassidy for ‘Roar from the Heart‘ \u003ccite>(Photo: Clare Cassidy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Personal animosity\u003c/strong>\u003c/p>\n\u003cp>For many disabled artists, the animosity toward Trump is personal. Cassidy she says people in her community haven’t forgiven Trump, while on the campaign trail, for mocking and mimicking \u003ca href=\"http://www.snopes.com/2016/07/28/donald-trump-criticized-for-mocking-disabled-reporter/\" target=\"_blank\" rel=\"noopener\">Serge Kovaleski\u003c/a>, a disabled reporter now working for \u003cem>The New York Times\u003c/em>.\u003c/p>\n\u003cp>Susan Henderson, executive director for the \u003ca href=\"https://dredf.org/\" target=\"_blank\" rel=\"noopener\">Disability Rights Education and Defense Fund (DREDF)\u003c/a> in Berkeley, says the disabled community’s feelings about the president extend beyond that incident. “President Trump is implementing policies that will hurt people with disabilities,” Henderson says. “We feel that what he was doing on the campaign was certainly foreshadowing that.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qc0an0Xz9bc'\n title='//www.youtube.com/embed/qc0an0Xz9bc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Henderson says the disability rights community worries about Trump’s efforts to repeal the Affordable Care Act. That puts at risk the Obama era requirement that insurance companies cover people, like the disabled, with preexisting conditions.\u003c/p>\n\u003cp>Henderson says her organization is also concerned about Trump’s choice of \u003ca href=\"http://www.npr.org/sections/ed/2017/02/03/513037533/how-betsy-devos-became-trump-s-least-popular-cabinet-pick\" target=\"_blank\" rel=\"noopener\">Education Secretary Betsy DeVos\u003c/a>, because she seems ignorant about the Individuals with Disabilities Enforcement Act (IDEA). IDEA is a law that seeks to protect the rights of disabled students, and DeVos says she wants to leave enforcement of the act up to the states.\u003c/p>\n\u003cp>“The reaction to DeVos was greater than anything I’d seen,” Henderson says. “We had so many phone calls and emails. It was a groundswell. It was the grassroots rising themselves up to talk about how inappropriate her appointment was.”\u003c/p>\n\u003cfigure id=\"attachment_12977909\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12977909\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-800x468.jpg\" alt=\"An image from Clare Cassidy‘s photo project ‘Roar from the Heart‘\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-1020x597.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-960x562.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148-520x304.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Roar-Image-4-e1490903755148.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An image from Clare Cassidy‘s photo project ‘Roar from the Heart‘ \u003ccite>(Photo: Clare Cassidy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Capturing passion with a camera\u003c/strong>\u003c/p>\n\u003cp>This level of passion can be clearly seen in the photos captured by Clare Cassidy in \u003cem>Roar from the Heart\u003c/em>. These days, the artist calls herself an “alarmist for humanity,” warning society about the dangers of the President’s policies concerning women, Muslims, people of color and the disabled.\u003c/p>\n\u003cp>So if Trump were to stumble on Cassidy’s online gallery, what would the artist like the president to feel?\u003c/p>\n\u003cp>“A little twitch in his heart,” Cassidy says. “I just hope it can start him understanding the bigger picture.”\u003c/p>\n\u003cfigure id=\"attachment_12977921\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12977921\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-800x495.jpg\" alt=\"Photographer Clare Cassidy signing the word empathy\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Clare Cassidy signing the word “empathy.” \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cassidy is still \u003ca href=\"http://www.roarfromtheheart.com/how.html\" target=\"_blank\" rel=\"noopener\">recruiting subjects for her photo project\u003c/a>. And she’s encouraging people to submit their own images with a word or phrase on their chest, shot against a dark background, with the hashtag #roarnow.\u003c/p>\n\u003cp>\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=\"Q.Logo.Break\" 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/12977906/deaf-photographer-protests-trump-with-strong-words","authors":["32"],"series":["arts_610"],"categories":["arts_235","arts_70"],"tags":["arts_1642","arts_1037","arts_1119","arts_1118","arts_596"],"featImg":"arts_12978353","label":"arts_610"},"arts_12967933":{"type":"posts","id":"arts_12967933","meta":{"index":"posts_1591205157","site":"arts","id":"12967933","score":null,"sort":[1490900430000]},"guestAuthors":[],"slug":"d-i-r-t-festival-resists-land-grab-and-trump-agenda","title":"‘D.I.R.T Festival’ Resists Land Grab and Trump Agenda","publishDate":1490900430,"format":"standard","headTitle":"‘D.I.R.T Festival’ Resists Land Grab and Trump Agenda | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>With Dance Mission Theater losing its longstanding home on 24th Street as the inexorable gentrification of the Mission district marches on, the third annual \u003ca href=\"http://www.dancemission.com/programs/down_and_dirty.html\" target=\"_blank\" rel=\"noopener\">\u003cem>D.I.R.T. Festival of Dance in Revolt(ing) Times\u003c/em>\u003c/a>, a political dance festival hosted by Dance Mission, is taking its theme of “Holding Our Ground” seriously.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The theme speaks eloquently not just to the issue of real estate, but also to that of political resistance. If the performance I attended last weekend — barely 24 hours after the defeat of the Trump Administration’s bid to “repeal and replace” Obamacare, and the same day a “Make America Great Again” (MAGA) rally in southern California turned violent — is anything to go by, the mood at \u003cem>D.I.R.T.\u003c/em> this coming weekend will be equally strident and feisty.\u003c/p>\n\u003cp>The diverse artists assembled for \u003cem>D.I.R.T.\u003c/em> channel their own anger, fears, frustrations and joys into physical acts – some of provocative beauty. These deserve a life beyond that afforded by the brief, small-scale festival. Though much of the program would very likely make the MAGA crowd see red.\u003c/p>\n\u003cfigure id=\"attachment_12967939\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12967939 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-800x484.jpg\" alt=\"Dexandro "D" Montalvo's 'Repealed' \" width=\"800\" height=\"484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-800x484.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-768x464.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-1020x616.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-1920x1160.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-1180x713.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-960x580.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-520x314.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354.jpg 2007w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dexandro “D” Montalvo’s ‘Repealed’ \u003ccite>(Photo: Andy Mogg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a work titled \u003cem>Repealed\u003c/em>, choreographer Dexandro “D” Montalvo plunges into the healthcare fracas, to the sonorities of industrial techno interspersed with recent soundbytes from the likes of senators Elizabeth Warren and Bernie Sanders denouncing the Republicans’ travesty of a healthcare proposal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Montalvo’s dancers enact a community struggling to care for each other as, one by one, they fall ill. Remarkably, even when racked with consumption, they manage the most physically heroic moves – whipping pirouettes and nervy group lifts. The community is decimated at the end. The outcome suggests that the lifeline furnished by the Trump Administration’s failure to repeal and replace is tenuous, and that what Americans have now by way of healthcare coverage remains broken.\u003c/p>\n\u003cp>Environmental issues and tribal rights are at the heart of a couple of other works in this year’s festival. In \u003cem>In the Name of Her\u003c/em>, choreographer and dancer Natalie Aceves responds to President Trump’s signing of an executive order clearing the way for the Dakota Access oil pipeline. The fiery piece which Aceves created for herself, Kaley Isabella and Jillian Hibbert, unspools against the potent backdrop of video clips documenting the struggles of indigenous populations. The work elegantly weaves in shards of poetry read by Aimee Suzara, tying the destruction of Philippine watersheds to American colonization and militarization from the turn of the 20th century.\u003c/p>\n\u003cfigure id=\"attachment_12967937\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12967937 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-800x451.jpg\" alt=\"Stephanie Bastos in Millicent Johnnie's 'Spoken Once' \" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961.jpg 2017w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephanie Bastos in Millicent Johnnie’s ‘Spoken Once’ \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Threats to Mother Earth also appear in Millicent Johnnie’s \u003cem>Spoken Once\u003c/em>, a solo for Stephanie Bastos, who swoops impetuously across the floor, her arms like an eagle’s wings as she hovers over sacred spaces. The dancer is missing the lower part of one leg, but that merely keeps her flight patterns low to the ground. At the wistful close, she examines her hands gravely, as if counting her fingers.\u003c/p>\n\u003cp>A third political theme at this year’s festival is women’s rights. Lisa Kusanagi’s \u003cem>16 Day Return Policy\u003c/em> is an indictment of misogyny by way of a strip-tease gone terribly wrong. Draped in a gold poncho and plowing through an inventory of flirtatious poses and facial expressions, Kusanagi jams her middle finger into her mouth, then her big toe. She turns her back on the audience and shimmies out of her panties from under the poncho.\u003c/p>\n\u003cfigure id=\"attachment_12967936\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12967936 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-800x451.jpg\" alt=\"Chris Evans and Byb Chanel Bibene \" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634.jpg 1149w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Evans and Byb Chanel Bibene \u003ccite>(Photo: Kimara Dixon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With many winks over her shoulder, she blithely traipses upstage, continuing to shed more panties along the way in a steady rhythm, leaving a trail of rainbow-colored underwear in her wake. This extraordinary performance takes a grim turn when Kusanagi cowers under the poncho and creeps and stumbles forward, her hair draped over her face. The performer’s undulating finger continues to beckon potential customers, like an aged street beggar.\u003c/p>\n\u003cp>When Kusanagi finally uncovers her face, only the whites of her eyes are visible, and the lighting lends her an inhuman pallor. The “show” over, she emerges naked from the poncho, dignified and erect, and walks slowly upstage into the deepening gloom. She’s just another woman used, discarded, and forgotten.\u003c/p>\n\u003cp>Next weekend’s audience can look forward to a slew of equally prescient work, ranging from Maurya Kerr and tinypistol’s \u003cem>anthem : two\u003c/em>, described as a “defiant and sorrowful refutation of America’s ‘national’ anthem” to Jory Horn’s focus on issues around cultural assimilation and the lives of children of refugees. (Horn’s parents fled the Khmer Rouge.)\u003c/p>\n\u003cfigure id=\"attachment_12967938\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12967938 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-800x451.jpg\" alt=\"Rachel Hernandez of Viver Brasil \" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155.jpg 1996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Hernandez of Viver Brasil \u003ccite>(Photo: Linda Udin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ground may be shifting under Dance Mission Theater’s feet. But the venue’s audience has a passionate following for \u003cem>D.I.R.T.\u003c/em> and a myriad other programs that nurture the varied artistic voices of the Bay Area’s resistance.\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=\"Q.Logo.Break\" 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>D.I.R.T. Festival of Dance in Revolt(ing) Times\u003c/em> runs through Sunday, Apr. 2 at Dance Mission Theater in San Francisco. For tickets and information, please click \u003ca href=\"http://www.dancemission.com/programs/down_and_dirty.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"With Dance Mission Theater losing its current home to gentrification, the third annual 'D.I.R.T. Festival of Dance in Revolt(ing) Times' is taking this year’s theme of ‘Holding Our Ground’ seriously.","status":"publish","parent":0,"modified":1705031083,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":901},"headData":{"title":"‘D.I.R.T Festival’ Resists Land Grab and Trump Agenda | KQED","description":"With Dance Mission Theater losing its current home to gentrification, the third annual 'D.I.R.T. Festival of Dance in Revolt(ing) Times' is taking this year’s theme of ‘Holding Our Ground’ seriously.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘D.I.R.T Festival’ Resists Land Grab and Trump Agenda","datePublished":"2017-03-30T19:00:30.000Z","dateModified":"2024-01-12T03:44:43.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12967933/d-i-r-t-festival-resists-land-grab-and-trump-agenda","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>With Dance Mission Theater losing its longstanding home on 24th Street as the inexorable gentrification of the Mission district marches on, the third annual \u003ca href=\"http://www.dancemission.com/programs/down_and_dirty.html\" target=\"_blank\" rel=\"noopener\">\u003cem>D.I.R.T. Festival of Dance in Revolt(ing) Times\u003c/em>\u003c/a>, a political dance festival hosted by Dance Mission, is taking its theme of “Holding Our Ground” seriously.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The theme speaks eloquently not just to the issue of real estate, but also to that of political resistance. If the performance I attended last weekend — barely 24 hours after the defeat of the Trump Administration’s bid to “repeal and replace” Obamacare, and the same day a “Make America Great Again” (MAGA) rally in southern California turned violent — is anything to go by, the mood at \u003cem>D.I.R.T.\u003c/em> this coming weekend will be equally strident and feisty.\u003c/p>\n\u003cp>The diverse artists assembled for \u003cem>D.I.R.T.\u003c/em> channel their own anger, fears, frustrations and joys into physical acts – some of provocative beauty. These deserve a life beyond that afforded by the brief, small-scale festival. Though much of the program would very likely make the MAGA crowd see red.\u003c/p>\n\u003cfigure id=\"attachment_12967939\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12967939 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-800x484.jpg\" alt=\"Dexandro "D" Montalvo's 'Repealed' \" width=\"800\" height=\"484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-800x484.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-768x464.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-1020x616.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-1920x1160.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-1180x713.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-960x580.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354-520x314.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/DM-Shoot-MArch-26th-2016-Dexandro-2017_0427-e1490732920354.jpg 2007w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dexandro “D” Montalvo’s ‘Repealed’ \u003ccite>(Photo: Andy Mogg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a work titled \u003cem>Repealed\u003c/em>, choreographer Dexandro “D” Montalvo plunges into the healthcare fracas, to the sonorities of industrial techno interspersed with recent soundbytes from the likes of senators Elizabeth Warren and Bernie Sanders denouncing the Republicans’ travesty of a healthcare proposal.\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>Montalvo’s dancers enact a community struggling to care for each other as, one by one, they fall ill. Remarkably, even when racked with consumption, they manage the most physically heroic moves – whipping pirouettes and nervy group lifts. The community is decimated at the end. The outcome suggests that the lifeline furnished by the Trump Administration’s failure to repeal and replace is tenuous, and that what Americans have now by way of healthcare coverage remains broken.\u003c/p>\n\u003cp>Environmental issues and tribal rights are at the heart of a couple of other works in this year’s festival. In \u003cem>In the Name of Her\u003c/em>, choreographer and dancer Natalie Aceves responds to President Trump’s signing of an executive order clearing the way for the Dakota Access oil pipeline. The fiery piece which Aceves created for herself, Kaley Isabella and Jillian Hibbert, unspools against the potent backdrop of video clips documenting the struggles of indigenous populations. The work elegantly weaves in shards of poetry read by Aimee Suzara, tying the destruction of Philippine watersheds to American colonization and militarization from the turn of the 20th century.\u003c/p>\n\u003cfigure id=\"attachment_12967937\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12967937 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-800x451.jpg\" alt=\"Stephanie Bastos in Millicent Johnnie's 'Spoken Once' \" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Stephanie-Bastos-by-Robbie-Sweeney-e1490732993961.jpg 2017w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephanie Bastos in Millicent Johnnie’s ‘Spoken Once’ \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Threats to Mother Earth also appear in Millicent Johnnie’s \u003cem>Spoken Once\u003c/em>, a solo for Stephanie Bastos, who swoops impetuously across the floor, her arms like an eagle’s wings as she hovers over sacred spaces. The dancer is missing the lower part of one leg, but that merely keeps her flight patterns low to the ground. At the wistful close, she examines her hands gravely, as if counting her fingers.\u003c/p>\n\u003cp>A third political theme at this year’s festival is women’s rights. Lisa Kusanagi’s \u003cem>16 Day Return Policy\u003c/em> is an indictment of misogyny by way of a strip-tease gone terribly wrong. Draped in a gold poncho and plowing through an inventory of flirtatious poses and facial expressions, Kusanagi jams her middle finger into her mouth, then her big toe. She turns her back on the audience and shimmies out of her panties from under the poncho.\u003c/p>\n\u003cfigure id=\"attachment_12967936\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12967936 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-800x451.jpg\" alt=\"Chris Evans and Byb Chanel Bibene \" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Evans-Bibene_DIRT-by-Kimara-Dixon-e1490733084634.jpg 1149w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Evans and Byb Chanel Bibene \u003ccite>(Photo: Kimara Dixon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With many winks over her shoulder, she blithely traipses upstage, continuing to shed more panties along the way in a steady rhythm, leaving a trail of rainbow-colored underwear in her wake. This extraordinary performance takes a grim turn when Kusanagi cowers under the poncho and creeps and stumbles forward, her hair draped over her face. The performer’s undulating finger continues to beckon potential customers, like an aged street beggar.\u003c/p>\n\u003cp>When Kusanagi finally uncovers her face, only the whites of her eyes are visible, and the lighting lends her an inhuman pallor. The “show” over, she emerges naked from the poncho, dignified and erect, and walks slowly upstage into the deepening gloom. She’s just another woman used, discarded, and forgotten.\u003c/p>\n\u003cp>Next weekend’s audience can look forward to a slew of equally prescient work, ranging from Maurya Kerr and tinypistol’s \u003cem>anthem : two\u003c/em>, described as a “defiant and sorrowful refutation of America’s ‘national’ anthem” to Jory Horn’s focus on issues around cultural assimilation and the lives of children of refugees. (Horn’s parents fled the Khmer Rouge.)\u003c/p>\n\u003cfigure id=\"attachment_12967938\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12967938 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-800x451.jpg\" alt=\"Rachel Hernandez of Viver Brasil \" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Viver-Brasil-by-Linda-Udin-e1490733141155.jpg 1996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Hernandez of Viver Brasil \u003ccite>(Photo: Linda Udin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ground may be shifting under Dance Mission Theater’s feet. But the venue’s audience has a passionate following for \u003cem>D.I.R.T.\u003c/em> and a myriad other programs that nurture the varied artistic voices of the Bay Area’s resistance.\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=\"Q.Logo.Break\" 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>D.I.R.T. Festival of Dance in Revolt(ing) Times\u003c/em> runs through Sunday, Apr. 2 at Dance Mission Theater in San Francisco. For tickets and information, please click \u003ca href=\"http://www.dancemission.com/programs/down_and_dirty.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12967933/d-i-r-t-festival-resists-land-grab-and-trump-agenda","authors":["11206"],"programs":["arts_140"],"series":["arts_610","arts_1259"],"categories":["arts_966"],"tags":["arts_1642","arts_1118","arts_596","arts_769"],"featImg":"arts_12973698","label":"arts_140"},"arts_12708718":{"type":"posts","id":"arts_12708718","meta":{"index":"posts_1591205157","site":"arts","id":"12708718","score":null,"sort":[1485999160000]},"guestAuthors":[],"slug":"black-history-month-art-removed-after-parents-complain","title":"Black History Month Art Removed After Parents Complain","publishDate":1485999160,"format":"standard","headTitle":"Black History Month Art Removed After Parents Complain | KQED","labelTerm":{"term":610,"site":"arts"},"content":"\u003cp>The assignment seemed simple enough. Reverend Jeff Moore, president of the \u003ca href=\"http://www.sanjosenaacp.org/\" target=\"_blank\" rel=\"noopener\">San Jose/Silicon Valley Branch\u003c/a> of the NAACP, approached visual artist \u003ca href=\"http://www.markharrisstudiosf.com/\" target=\"_blank\" rel=\"noopener\">Mark Harris\u003c/a> and asked him to pull together a small collection of his artwork to show in the lobby of the administrative offices of the \u003ca href=\"http://www.esuhsd.org/\" target=\"_blank\" rel=\"noopener\">East Side Union High School District\u003c/a> in San Jose for Black History Month in February.\u003c/p>\n\u003cp>That’s exactly what Harris did, curating together 11 paintings, in consultation with Moore, who works at the district’s Independence High School as a counselor.\u003c/p>\n\u003cp>“I would say it’s agitprop,” says Harris of the selection of works, done in mixed media, collage, acrylic and egg tempera. “It’s definitely something thought-provoking. It’s not something you’re going to walk by and not have a second thought about.”\u003c/p>\n\u003cp>A few hours after the artist’s paintings went up on display, they were taken down. Harris heard the news about the removal second-hand from Moore.\u003c/p>\n\u003cp>“Some parents who’d come into the administration offices were offended by the work.” Moore also said the district superintendent, Chris Funk said a school district shouldn’t take a political stance, “which I think is ridiculous,” Harris says. “The fact that the superintendent was uncomfortable with the exhibit was disappointing also.”\u003c/p>\n\u003cfigure id=\"attachment_12709112\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12709112\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-800x450.jpg\" alt=\"Detail of "Den of Iniquity" by San Francisco visual artist Mark Harris. "Whenever you tell a cultural group that they can't tell their own story, that's how things get whitewashed," Harris says.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Den of Iniquity” by San Francisco visual artist Mark Harris. “Whenever you tell a cultural group that they can’t tell their own story, that’s how things get whitewashed,” Harris says. \u003ccite>(Photo: Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Art has gone up on display to celebrate African American History Month at the offices for the past three years. Funk says that to date, there had been no concerns in part because the displays had been made up of historical artifacts like books, quilts, and representations of famous African Americans.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I had no intention to embarrass or harm Mr. Harris,” Funk says. “He seems to be a very talented artist. I’m sorry he got caught up in a situation where Mr. Moore was not upfront about what his motives were and what his expectations were. I didn’t approve the art. I didn’t approve the artist. I didn’t have a chance to review the art beforehand. It was just — smack, hit you in the face — when you walked in. That’s why I took it down.”\u003c/p>\n\u003cp>Funk says there is a time and place for political expression, such as at the recent March on Washington or at last weekend’s airport protests. “But we’re not here to advocate one position or another as a public institution,” Funk says about his decision to remove Harris’ works. “I have Republicans and Democrats on my board, among my teachers.”\u003c/p>\n\u003cp>Moore says he did not intend to surprise Funk and his colleagues. He says he visited the offices to talk to the superintendent at one point before the exhibition went up, but that Funk was in a meeting when he arrived. Past displays, Moore says, have in fact included content that could be deemed as political, ranging, subject-wise, from African culture to figures like Frederick Douglass, Malcolm X and President Barack Obama.\u003c/p>\n\u003cp>Much of the material for those exhibitions was pulled from Moore’s own home, as well as the homes of other people involved with \u003ca href=\"http://www.esuhsd.org/Students--Parents/Student--Parent-Groups/African-American-Student-Advocates/\" target=\"_blank\" rel=\"noopener\">African American Student Advocates\u003c/a>, a district stakeholder group made up largely of adults.\u003c/p>\n\u003cp>“How many people were offended? How many people were upset?” Moore says. “White supremacy is a topic of conversation right now. I thought this was timely.”\u003c/p>\n\u003cfigure id=\"attachment_12709115\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12709115 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-800x1016.jpg\" alt=\""To Be Young Gifted and Criminalized" by San Francisco visual artist Mark Harris, who also teaches. "I want to inspire students to use their voices and be involved in this new movement that's happening. It's their future. If I can inspire them to use their voices, that's me doing my job."\" width=\"800\" height=\"1016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-1920x2438.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-1180x1498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-960x1219.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-240x305.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-375x476.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-520x660.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut.jpg 1613w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“To Be Young Gifted and Criminalized” by San Francisco visual artist Mark Harris, who also teaches. “I want to inspire students to use their voices and be involved in this new movement that’s happening. It’s their future. If I can inspire them to use their voices, that’s me doing my job.” \u003ccite>(Photo: Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moore says the African American Student Advocates had a previously scheduled meeting Thursday night at which Harris was to speak about his art work at the administrative offices. Now, he will be talking about the fact it was taken down, and retrieving the paintings to bring them home.\u003c/p>\n\u003cp>“My artwork expresses the real visceral outrage that a lot of African Americans have about the violence we’re still subjected to in the 21st century,” Harris says. “For centuries, we have been told not to speak out about it. You don’t have to like it. It’s not only my history. This is American history.”\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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":"Visual artist Mark Harris' political-themed paintings were removed from the walls of the administrative offices of the East Side Union High School District in San Jose on Wednesday.","status":"publish","parent":0,"modified":1705031693,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":828},"headData":{"title":"Black History Month Art Removed After Parents Complain | KQED","description":"Visual artist Mark Harris' political-themed paintings were removed from the walls of the administrative offices of the East Side Union High School District in San Jose on Wednesday.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Black History Month Art Removed After Parents Complain","datePublished":"2017-02-02T01:32:40.000Z","dateModified":"2024-01-12T03:54:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12708718/black-history-month-art-removed-after-parents-complain","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The assignment seemed simple enough. Reverend Jeff Moore, president of the \u003ca href=\"http://www.sanjosenaacp.org/\" target=\"_blank\" rel=\"noopener\">San Jose/Silicon Valley Branch\u003c/a> of the NAACP, approached visual artist \u003ca href=\"http://www.markharrisstudiosf.com/\" target=\"_blank\" rel=\"noopener\">Mark Harris\u003c/a> and asked him to pull together a small collection of his artwork to show in the lobby of the administrative offices of the \u003ca href=\"http://www.esuhsd.org/\" target=\"_blank\" rel=\"noopener\">East Side Union High School District\u003c/a> in San Jose for Black History Month in February.\u003c/p>\n\u003cp>That’s exactly what Harris did, curating together 11 paintings, in consultation with Moore, who works at the district’s Independence High School as a counselor.\u003c/p>\n\u003cp>“I would say it’s agitprop,” says Harris of the selection of works, done in mixed media, collage, acrylic and egg tempera. “It’s definitely something thought-provoking. It’s not something you’re going to walk by and not have a second thought about.”\u003c/p>\n\u003cp>A few hours after the artist’s paintings went up on display, they were taken down. Harris heard the news about the removal second-hand from Moore.\u003c/p>\n\u003cp>“Some parents who’d come into the administration offices were offended by the work.” Moore also said the district superintendent, Chris Funk said a school district shouldn’t take a political stance, “which I think is ridiculous,” Harris says. “The fact that the superintendent was uncomfortable with the exhibit was disappointing also.”\u003c/p>\n\u003cfigure id=\"attachment_12709112\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12709112\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-800x450.jpg\" alt=\"Detail of "Den of Iniquity" by San Francisco visual artist Mark Harris. "Whenever you tell a cultural group that they can't tell their own story, that's how things get whitewashed," Harris says.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23971_Den-of-Iniquity-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Den of Iniquity” by San Francisco visual artist Mark Harris. “Whenever you tell a cultural group that they can’t tell their own story, that’s how things get whitewashed,” Harris says. \u003ccite>(Photo: Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Art has gone up on display to celebrate African American History Month at the offices for the past three years. Funk says that to date, there had been no concerns in part because the displays had been made up of historical artifacts like books, quilts, and representations of famous African Americans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had no intention to embarrass or harm Mr. Harris,” Funk says. “He seems to be a very talented artist. I’m sorry he got caught up in a situation where Mr. Moore was not upfront about what his motives were and what his expectations were. I didn’t approve the art. I didn’t approve the artist. I didn’t have a chance to review the art beforehand. It was just — smack, hit you in the face — when you walked in. That’s why I took it down.”\u003c/p>\n\u003cp>Funk says there is a time and place for political expression, such as at the recent March on Washington or at last weekend’s airport protests. “But we’re not here to advocate one position or another as a public institution,” Funk says about his decision to remove Harris’ works. “I have Republicans and Democrats on my board, among my teachers.”\u003c/p>\n\u003cp>Moore says he did not intend to surprise Funk and his colleagues. He says he visited the offices to talk to the superintendent at one point before the exhibition went up, but that Funk was in a meeting when he arrived. Past displays, Moore says, have in fact included content that could be deemed as political, ranging, subject-wise, from African culture to figures like Frederick Douglass, Malcolm X and President Barack Obama.\u003c/p>\n\u003cp>Much of the material for those exhibitions was pulled from Moore’s own home, as well as the homes of other people involved with \u003ca href=\"http://www.esuhsd.org/Students--Parents/Student--Parent-Groups/African-American-Student-Advocates/\" target=\"_blank\" rel=\"noopener\">African American Student Advocates\u003c/a>, a district stakeholder group made up largely of adults.\u003c/p>\n\u003cp>“How many people were offended? How many people were upset?” Moore says. “White supremacy is a topic of conversation right now. I thought this was timely.”\u003c/p>\n\u003cfigure id=\"attachment_12709115\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12709115 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-800x1016.jpg\" alt=\""To Be Young Gifted and Criminalized" by San Francisco visual artist Mark Harris, who also teaches. "I want to inspire students to use their voices and be involved in this new movement that's happening. It's their future. If I can inspire them to use their voices, that's me doing my job."\" width=\"800\" height=\"1016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-1920x2438.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-1180x1498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-960x1219.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-240x305.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-375x476.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut-520x660.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23972_To-Be-Young-Gifted-and-Criminalized-qut.jpg 1613w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“To Be Young Gifted and Criminalized” by San Francisco visual artist Mark Harris, who also teaches. “I want to inspire students to use their voices and be involved in this new movement that’s happening. It’s their future. If I can inspire them to use their voices, that’s me doing my job.” \u003ccite>(Photo: Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moore says the African American Student Advocates had a previously scheduled meeting Thursday night at which Harris was to speak about his art work at the administrative offices. Now, he will be talking about the fact it was taken down, and retrieving the paintings to bring them home.\u003c/p>\n\u003cp>“My artwork expresses the real visceral outrage that a lot of African Americans have about the violence we’re still subjected to in the 21st century,” Harris says. “For centuries, we have been told not to speak out about it. You don’t have to like it. It’s not only my history. This is American history.”\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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/12708718/black-history-month-art-removed-after-parents-complain","authors":["251"],"series":["arts_610"],"categories":["arts_835","arts_235","arts_70"],"tags":["arts_1448","arts_746","arts_596"],"featImg":"arts_12709109","label":"arts_610"},"arts_12704362":{"type":"posts","id":"arts_12704362","meta":{"index":"posts_1591205157","site":"arts","id":"12704362","score":null,"sort":[1485979233000]},"guestAuthors":[],"slug":"alphabet-rockers-now-making-childrens-songs-about-social-issues","title":"Alphabet Rockers Shift Their Children's Songs Toward Social Issues","publishDate":1485979233,"format":"standard","headTitle":"Alphabet Rockers Shift Their Children’s Songs Toward Social Issues | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>For children’s hip-hop group the \u003ca href=\"http://alphabetrockers.com/\" target=\"_blank\" rel=\"noopener\">Alphabet Rockers\u003c/a>, 2017 is the year to get real.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The band’s two main songwriters, Kaitlin McGaw and Tommy Shepherd, have worked together since 2008, releasing three albums of children’s songs with traditional subjects like eating right, going to school and learning the alphabet. This year, their release \u003ci>Playground Zone\u003c/i> (featuring the single “Player’s Life”) was included on the Association for Library Service to Children’s \u003ca href=\"http://www.ala.org/alsc/awardsgrants/notalists/ncr\" target=\"_blank\" rel=\"noopener\">2017 list of notable recordings\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SbjKCKnYjFg\u003c/p>\n\u003cp>Last summer — when it looked like Hillary Clinton would be president — McGaw and Shepherd decided to work on an album of deeper topics, such as bias and inclusivity. The artists hoped the new release would help answer certain questions, like “Are parents ready to talk to their kids about skin color and the world around them?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Is childhood about protecting our kids?” McGaw says. “Or is it allowing them to imagine the influence they can have on the world?”\u003c/p>\n\u003cp>After the election of Donald Trump, McGaw and Shepherd’s mission went from asking questions to providing opportunities and tools for family conversations around social issues. At their December show at Berkeley’s Freight and Salvage, the artists unveiled two new songs, both of which are about embracing diversity and fighting prejudice.\u003c/p>\n\u003cp>“I have a dream / I have a dream / Yes I float like a butterfly and sting like a bee,” go the lyrics to one of the songs, “Rise,” which draws inspiration from Muhammad Ali, Maya Angelou, Martin Luther King, Jr., and other notable figures. \u003c/p>\n\u003cp>“We wanted to frame our show around the fact you the have the opportunity to look around and be seen for who you are,” McGaw says. “For us to know your name, and that it comes from a beautiful place.”\u003c/p>\n\u003cp>Here are the full lyrics for “Rise” by the Alphabet Rockers (Kaitlin McGaw, Tommy Shepherd):\u003c/p>\n\u003cp>\u003cem>If you can’t fly, what can you do? RUN\u003c/em>\u003cbr>\n\u003cem> If you can’t run, what can you do? WALK\u003c/em>\u003cbr>\n\u003cem> If you can’t walk, what can you do? CRAWL\u003c/em>\u003cbr>\n\u003cem> If you can’t crawl what can you do? ROLL\u003c/em>\u003cbr>\n\u003cem> Whatever it is we got to keep it moving\u003c/em>\u003c/p>\n\u003cp>\u003cem>I have a dream\u003c/em>\u003cbr>\n\u003cem> I have a dream\u003c/em>\u003cbr>\n\u003cem> Yes I float like a butterfly and sting like a bee —\u003c/em>\u003cbr>\n\u003cem> Gonna be the change in the world that we gotta see…\u003c/em>\u003cbr>\n\u003cem> Yes I fall down, time and time again I Fall down time and time again I fall\u003c/em>\u003c/p>\n\u003cp>\u003cem>But still – I – rise\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Still I rise\u003c/em>\u003c/p>\n\u003cp>\u003cem>You may get me with your words\u003c/em>\u003cbr>\n\u003cem> You may cut me with your eyes\u003c/em>\u003cbr>\n\u003cem> You may hurt me with your hatefulness\u003c/em>\u003cbr>\n\u003cem> Nonetheless just like air still I rise\u003c/em>\u003c/p>\n\u003cp>\u003cem>Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003c/p>\n\u003cp>\u003cem>People say amazing things\u003c/em>\u003cbr>\n\u003cem> People do amazing things\u003c/em>\u003cbr>\n\u003cem> People are amazing beings\u003c/em>\u003cbr>\n\u003cem> You are what amazing is\u003c/em>\u003c/p>\n\u003cp>\u003cem>POEM – Tatyana Fazlalizadeh\u003c/em>\u003cbr>\n\u003cem> America is black\u003c/em>\u003cbr>\n\u003cem> It is native\u003c/em>\u003cbr>\n\u003cem> It wears a hijab\u003c/em>\u003cbr>\n\u003cem> It is a Spanish speaking tongue\u003c/em>\u003cbr>\n\u003cem> It is migrant\u003c/em>\u003cbr>\n\u003cem> It is a woman\u003c/em>\u003cbr>\n\u003cem> It is here — has been here\u003c/em>\u003cbr>\n\u003cem> And it’s not going anywhere\u003c/em>\u003c/p>\n\u003cp>\u003cem>YOU ARE BORN TO TOUCH THE SKY\u003c/em>\u003cbr>\n\u003cem> YOU ARE HERE TO LIVE THAT LIFE\u003c/em>\u003cbr>\n\u003cem> DREAM HIGH – DREAM WITH ALL YOUR MIGHT\u003c/em>\u003cbr>\n\u003cem> CUZ YOU ARE BORN TO TOUCH THE SKY\u003c/em>\u003c/p>\n\u003cp>\u003cem>If they call us bad names – look them in the eye\u003c/em>\u003cbr>\n\u003cem> If they push us down – be a true ally\u003c/em>\u003cbr>\n\u003cem> If they try to build a wall, we won’t comply\u003c/em>\u003cbr>\n\u003cem> Cuz when they go low — we go high\u003c/em>\u003c/p>\n\u003cp>\u003cem>If you can’t fly, what can you do? RUN\u003c/em>\u003cbr>\n\u003cem> If you can’t run, what can you do? WALK\u003c/em>\u003cbr>\n\u003cem> If you can’t walk, what can you do? CRAWL\u003c/em>\u003cbr>\n\u003cem> If you can’t crawl what can you do? ROLL\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>\u003cb>The Alphabet Rockers\u003c/b> play Ashkenaz in Berkeley on Sunday, Feb. 26 at 3pm. Tickets are $8. For more information, \u003ca href=\"https://www.eventbrite.com/e/alphabet-rockers-tickets-31165699446?ref=ebtnebtckt\" target=\"_blank\" rel=\"noopener\">visit the event page\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The Bay Area duo that makes hip-hop albums for kids has a new message: encourage them to do what's right.","status":"publish","parent":0,"modified":1705031700,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":698},"headData":{"title":"Alphabet Rockers Shift Their Children's Songs Toward Social Issues | KQED","description":"The Bay Area duo that makes hip-hop albums for kids has a new message: encourage them to do what's right.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Alphabet Rockers Shift Their Children's Songs Toward Social Issues","datePublished":"2017-02-01T20:00:33.000Z","dateModified":"2024-01-12T03:55:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12704362/alphabet-rockers-now-making-childrens-songs-about-social-issues","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For children’s hip-hop group the \u003ca href=\"http://alphabetrockers.com/\" target=\"_blank\" rel=\"noopener\">Alphabet Rockers\u003c/a>, 2017 is the year to get real.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The band’s two main songwriters, Kaitlin McGaw and Tommy Shepherd, have worked together since 2008, releasing three albums of children’s songs with traditional subjects like eating right, going to school and learning the alphabet. This year, their release \u003ci>Playground Zone\u003c/i> (featuring the single “Player’s Life”) was included on the Association for Library Service to Children’s \u003ca href=\"http://www.ala.org/alsc/awardsgrants/notalists/ncr\" target=\"_blank\" rel=\"noopener\">2017 list of notable recordings\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SbjKCKnYjFg'\n title='//www.youtube.com/embed/SbjKCKnYjFg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Last summer — when it looked like Hillary Clinton would be president — McGaw and Shepherd decided to work on an album of deeper topics, such as bias and inclusivity. The artists hoped the new release would help answer certain questions, like “Are parents ready to talk to their kids about skin color and the world around them?”\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>“Is childhood about protecting our kids?” McGaw says. “Or is it allowing them to imagine the influence they can have on the world?”\u003c/p>\n\u003cp>After the election of Donald Trump, McGaw and Shepherd’s mission went from asking questions to providing opportunities and tools for family conversations around social issues. At their December show at Berkeley’s Freight and Salvage, the artists unveiled two new songs, both of which are about embracing diversity and fighting prejudice.\u003c/p>\n\u003cp>“I have a dream / I have a dream / Yes I float like a butterfly and sting like a bee,” go the lyrics to one of the songs, “Rise,” which draws inspiration from Muhammad Ali, Maya Angelou, Martin Luther King, Jr., and other notable figures. \u003c/p>\n\u003cp>“We wanted to frame our show around the fact you the have the opportunity to look around and be seen for who you are,” McGaw says. “For us to know your name, and that it comes from a beautiful place.”\u003c/p>\n\u003cp>Here are the full lyrics for “Rise” by the Alphabet Rockers (Kaitlin McGaw, Tommy Shepherd):\u003c/p>\n\u003cp>\u003cem>If you can’t fly, what can you do? RUN\u003c/em>\u003cbr>\n\u003cem> If you can’t run, what can you do? WALK\u003c/em>\u003cbr>\n\u003cem> If you can’t walk, what can you do? CRAWL\u003c/em>\u003cbr>\n\u003cem> If you can’t crawl what can you do? ROLL\u003c/em>\u003cbr>\n\u003cem> Whatever it is we got to keep it moving\u003c/em>\u003c/p>\n\u003cp>\u003cem>I have a dream\u003c/em>\u003cbr>\n\u003cem> I have a dream\u003c/em>\u003cbr>\n\u003cem> Yes I float like a butterfly and sting like a bee —\u003c/em>\u003cbr>\n\u003cem> Gonna be the change in the world that we gotta see…\u003c/em>\u003cbr>\n\u003cem> Yes I fall down, time and time again I Fall down time and time again I fall\u003c/em>\u003c/p>\n\u003cp>\u003cem>But still – I – rise\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Still I rise\u003c/em>\u003c/p>\n\u003cp>\u003cem>You may get me with your words\u003c/em>\u003cbr>\n\u003cem> You may cut me with your eyes\u003c/em>\u003cbr>\n\u003cem> You may hurt me with your hatefulness\u003c/em>\u003cbr>\n\u003cem> Nonetheless just like air still I rise\u003c/em>\u003c/p>\n\u003cp>\u003cem>Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003c/p>\n\u003cp>\u003cem>People say amazing things\u003c/em>\u003cbr>\n\u003cem> People do amazing things\u003c/em>\u003cbr>\n\u003cem> People are amazing beings\u003c/em>\u003cbr>\n\u003cem> You are what amazing is\u003c/em>\u003c/p>\n\u003cp>\u003cem>POEM – Tatyana Fazlalizadeh\u003c/em>\u003cbr>\n\u003cem> America is black\u003c/em>\u003cbr>\n\u003cem> It is native\u003c/em>\u003cbr>\n\u003cem> It wears a hijab\u003c/em>\u003cbr>\n\u003cem> It is a Spanish speaking tongue\u003c/em>\u003cbr>\n\u003cem> It is migrant\u003c/em>\u003cbr>\n\u003cem> It is a woman\u003c/em>\u003cbr>\n\u003cem> It is here — has been here\u003c/em>\u003cbr>\n\u003cem> And it’s not going anywhere\u003c/em>\u003c/p>\n\u003cp>\u003cem>YOU ARE BORN TO TOUCH THE SKY\u003c/em>\u003cbr>\n\u003cem> YOU ARE HERE TO LIVE THAT LIFE\u003c/em>\u003cbr>\n\u003cem> DREAM HIGH – DREAM WITH ALL YOUR MIGHT\u003c/em>\u003cbr>\n\u003cem> CUZ YOU ARE BORN TO TOUCH THE SKY\u003c/em>\u003c/p>\n\u003cp>\u003cem>If they call us bad names – look them in the eye\u003c/em>\u003cbr>\n\u003cem> If they push us down – be a true ally\u003c/em>\u003cbr>\n\u003cem> If they try to build a wall, we won’t comply\u003c/em>\u003cbr>\n\u003cem> Cuz when they go low — we go high\u003c/em>\u003c/p>\n\u003cp>\u003cem>If you can’t fly, what can you do? RUN\u003c/em>\u003cbr>\n\u003cem> If you can’t run, what can you do? WALK\u003c/em>\u003cbr>\n\u003cem> If you can’t walk, what can you do? CRAWL\u003c/em>\u003cbr>\n\u003cem> If you can’t crawl what can you do? ROLL\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>\u003cb>The Alphabet Rockers\u003c/b> play Ashkenaz in Berkeley on Sunday, Feb. 26 at 3pm. Tickets are $8. For more information, \u003ca href=\"https://www.eventbrite.com/e/alphabet-rockers-tickets-31165699446?ref=ebtnebtckt\" target=\"_blank\" rel=\"noopener\">visit the event page\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12704362/alphabet-rockers-now-making-childrens-songs-about-social-issues","authors":["93"],"programs":["arts_140"],"series":["arts_610","arts_838"],"categories":["arts_69","arts_235"],"tags":["arts_1642","arts_1119","arts_1118","arts_596"],"featImg":"arts_12704564","label":"arts_140"}},"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? 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You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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