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San Jose Quilter Stitches Message of Peace and Hope
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'Street Requiem' Inspires Choir to Tackle Homeless Problem
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Among the competitors will be a local dance teacher to developmentally disabled adults.\u003c/p>\n\u003cp>\u003ca href=\"https://www.latizmohiphop.com\" target=\"_blank\" rel=\"noopener\">Izabella Jay Torres\u003c/a> calls her style “Latizmo.” She explains, “it has a lot of attitude, popping, locking, salsa, merengue, a little Aztec in it. Also, break dancing.”\u003c/p>\n\u003cp>This is no average dance class, but not just because the style of dance is unique.\u003c/p>\n\u003cp>https://instagram.com/p/BeJw6xXB_7U/\u003c/p>\n\u003cp>Some of the students can talk. Some can’t. Some can walk. Some can’t. The students at the \u003ca href=\"http://www.collegeofadaptivearts.org\" target=\"_blank\" rel=\"noopener\">College of Adaptive Arts\u003c/a> all struggle with physical challenges like autism and Down syndrome. The non-profit, operating out of a modest office space in San Jose, has been offering arts classes to developmentally disabled adults since 2009.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But whatever their individual stories, every single dancer can respond to music — and to Torres. “They have no fear. They have no stereotypes. They have unconditional love,” says Torres.\u003c/p>\n\u003cfigure id=\"attachment_13819085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819085\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-800x450.jpg\" alt=\"Izabella Torres holds the mic for Carlos Solorzano while Robert Tafoya looks on.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2.jpg 1564w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Izabella Torres holds the mic for Carlos Solorzano while Robert Tafoya looks on. \u003ccite>(Photo: Courtesy of Sridhar Pursai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That means a lot to Torres, who says she was sexually abused by an older brother when she was five years old in Hollister. Dancing helped to heal those psychological wounds, as does teaching at the college.\u003c/p>\n\u003cp>“What are the three Ps?” she calls out to the class. “Patience, passion, perserverance!” they yell back. “What are the three Rs?” “Respect, respect, respect!”\u003c/p>\n\u003cp>Torres doesn’t talk much during the class. She dances, and the students follow as best they can. “I put my hand out and most of the time, they’ll put their hand in my hand,” Torres says. “People have a really hard time communicating with each other, expressing our pain, expressing our passion. What Latizmo does, for me and my students, is that it releases the language of the soul.”\u003c/p>\n\u003cp>The class also gets out into the community for performances and competitions. Watch them impress the crowd at the \u003ca href=\"http://stanforddm.org\" target=\"_blank\" rel=\"noopener\">Stanford University Dance Marathon\u003c/a> back in February of this year.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=J4CIO4uPpMw]\u003c/p>\n\u003cp>“I love to be with my friends and follow the steps,” says Jenni Pencer of San Jose, who’s been coming to the Latizmo classes since they started.\u003c/p>\n\u003cp>Pencer’s calendar is packed with physical activities. She’s big into a variety of sports, including swimming and basketball. She’s a “Hall of Famer” in \u003ca href=\"http://www.specialolympics.org\" target=\"_blank\" rel=\"noopener\">Special Olympics\u003c/a>. But many people, with special needs or without, struggle to get off the couch.\u003c/p>\n\u003cp>College co-founder and executive director Deanna Pursai notes many people who can’t be convinced to exercise jump at the chance to bust a move on the dance floor. “You’re focusing on something you love, and you’re dancing with people who are your friends.”\u003c/p>\n\u003cp>“Isby teaches us never to be afraid to try,” says Rachel Henderson, who attends the class together with Lisa, her mother. Lisa waves one arm in the air while the other swings Rachel’s wheelchair around. Rachel has cerebral palsy, but she’s fully cognitive and can talk through her computer. “I am so thankful for my teacher. Because of her, I will never give up on myself or never will stop dancing,” Rachael Henderson says.\u003c/p>\n\u003cfigure id=\"attachment_13819097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/IMG_3633-800x450.jpg\" alt=\"Rachel and Lisa Henderson both say they've gained confidence and improved coordination on the dance floor with Izabella Torres.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel and Lisa Henderson both say they’ve gained confidence and improved coordination on the dance floor with Izabella Torres. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Torres faces fierce competition with America’s Got Talent next week, but the class knows: any excuse to get out on the dance floor and strut your stuff is a good one.\u003c/p>\n\n","blocks":[],"excerpt":"San Jose dance teacher gives and gets love from differently abled students at the College of Adaptive Arts.","status":"publish","parent":0,"modified":1705028775,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":658},"headData":{"title":"San Jose Hip Hop Dance Class Inspires Teacher to Reach for the Stars | KQED","description":"San Jose dance teacher gives and gets love from differently abled students at the College of Adaptive Arts.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Jose Hip Hop Dance Class Inspires Teacher to Reach for the Stars","datePublished":"2018-01-13T22:47:55.000Z","dateModified":"2024-01-12T03:06:15.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2018/01/MyrowHipHopDance.mp3","sticky":false,"path":"/arts/13819076/san-jose-hip-hop-dance-class-inspires-teacher-to-reach-for-the-stars","audioDuration":105000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On January 19th, 2018, “America’s Got Talent” \u003ca href=\"http://www.americasgottalentauditions.com/audition-cities/san-jose/\" target=\"_blank\" rel=\"noopener\">holds auditions\u003c/a> in San Jose. Among the competitors will be a local dance teacher to developmentally disabled adults.\u003c/p>\n\u003cp>\u003ca href=\"https://www.latizmohiphop.com\" target=\"_blank\" rel=\"noopener\">Izabella Jay Torres\u003c/a> calls her style “Latizmo.” She explains, “it has a lot of attitude, popping, locking, salsa, merengue, a little Aztec in it. Also, break dancing.”\u003c/p>\n\u003cp>This is no average dance class, but not just because the style of dance is unique.\u003c/p>\n\u003cp>https://instagram.com/p/BeJw6xXB_7U/\u003c/p>\n\u003cp>Some of the students can talk. Some can’t. Some can walk. Some can’t. The students at the \u003ca href=\"http://www.collegeofadaptivearts.org\" target=\"_blank\" rel=\"noopener\">College of Adaptive Arts\u003c/a> all struggle with physical challenges like autism and Down syndrome. The non-profit, operating out of a modest office space in San Jose, has been offering arts classes to developmentally disabled adults since 2009.\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>But whatever their individual stories, every single dancer can respond to music — and to Torres. “They have no fear. They have no stereotypes. They have unconditional love,” says Torres.\u003c/p>\n\u003cfigure id=\"attachment_13819085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819085\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-800x450.jpg\" alt=\"Izabella Torres holds the mic for Carlos Solorzano while Robert Tafoya looks on.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2.jpg 1564w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Izabella Torres holds the mic for Carlos Solorzano while Robert Tafoya looks on. \u003ccite>(Photo: Courtesy of Sridhar Pursai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That means a lot to Torres, who says she was sexually abused by an older brother when she was five years old in Hollister. Dancing helped to heal those psychological wounds, as does teaching at the college.\u003c/p>\n\u003cp>“What are the three Ps?” she calls out to the class. “Patience, passion, perserverance!” they yell back. “What are the three Rs?” “Respect, respect, respect!”\u003c/p>\n\u003cp>Torres doesn’t talk much during the class. She dances, and the students follow as best they can. “I put my hand out and most of the time, they’ll put their hand in my hand,” Torres says. “People have a really hard time communicating with each other, expressing our pain, expressing our passion. What Latizmo does, for me and my students, is that it releases the language of the soul.”\u003c/p>\n\u003cp>The class also gets out into the community for performances and competitions. Watch them impress the crowd at the \u003ca href=\"http://stanforddm.org\" target=\"_blank\" rel=\"noopener\">Stanford University Dance Marathon\u003c/a> back in February of this year.\u003c/p>\n\u003cp>\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/J4CIO4uPpMw'\n title='//www.youtube.com/embed/J4CIO4uPpMw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I love to be with my friends and follow the steps,” says Jenni Pencer of San Jose, who’s been coming to the Latizmo classes since they started.\u003c/p>\n\u003cp>Pencer’s calendar is packed with physical activities. She’s big into a variety of sports, including swimming and basketball. She’s a “Hall of Famer” in \u003ca href=\"http://www.specialolympics.org\" target=\"_blank\" rel=\"noopener\">Special Olympics\u003c/a>. But many people, with special needs or without, struggle to get off the couch.\u003c/p>\n\u003cp>College co-founder and executive director Deanna Pursai notes many people who can’t be convinced to exercise jump at the chance to bust a move on the dance floor. “You’re focusing on something you love, and you’re dancing with people who are your friends.”\u003c/p>\n\u003cp>“Isby teaches us never to be afraid to try,” says Rachel Henderson, who attends the class together with Lisa, her mother. Lisa waves one arm in the air while the other swings Rachel’s wheelchair around. Rachel has cerebral palsy, but she’s fully cognitive and can talk through her computer. “I am so thankful for my teacher. Because of her, I will never give up on myself or never will stop dancing,” Rachael Henderson says.\u003c/p>\n\u003cfigure id=\"attachment_13819097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/IMG_3633-800x450.jpg\" alt=\"Rachel and Lisa Henderson both say they've gained confidence and improved coordination on the dance floor with Izabella Torres.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel and Lisa Henderson both say they’ve gained confidence and improved coordination on the dance floor with Izabella Torres. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Torres faces fierce competition with America’s Got Talent next week, but the class knows: any excuse to get out on the dance floor and strut your stuff is a good one.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13819076/san-jose-hip-hop-dance-class-inspires-teacher-to-reach-for-the-stars","authors":["251"],"series":["arts_1357"],"categories":["arts_966","arts_235"],"tags":["arts_831","arts_1084"],"featImg":"arts_13819080","label":"arts_1357"},"arts_13810966":{"type":"posts","id":"arts_13810966","meta":{"index":"posts_1591205157","site":"arts","id":"13810966","score":null,"sort":[1508936415000]},"guestAuthors":[],"slug":"former-foster-youth-change-narrative","title":"What's Foster Care Like? Learn From Youth Who Lived Through It.","publishDate":1508936415,"format":"audio","headTitle":"What’s Foster Care Like? Learn From Youth Who Lived Through It. | KQED","labelTerm":{"term":1357,"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">A San Francisco Bay Area museum is taking an unusual tack with an exhibition about foster youth in California. The \u003ca href=\"https://santacruzmah.org\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a> invited a team of former foster youth and advocates to help put the show together.\u003c/span>\u003c/p>\n\u003cp>Five months before the show \u003ca href=\"https://santacruzmah.org/2016/lost-childhoods-july-7-2017-december-31-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lost Childhoods\u003c/em>\u003c/a> went up, around a hundred former foster youth and advocates began meeting at the Santa Cruz Museum of Art & History to talk about what the exhibition would look like.\u003c/p>\n\u003cp>Community engagement director Stacey Garcia explains, “We are not experts in what foster youth have gone through, what they want to share. We know how to make an exhibition, but we don’t know how to tell their story. They do.”\u003c/p>\n\u003cp>Jess Prudent works as an outreach assistant with \u003ca href=\"https://santacruzgives.org/nonprofit/court-appointed-special-advocates-for-children-of-santa-cruz-county/\" target=\"_blank\" rel=\"noopener noreferrer\">Court Appointed Special Advocates of Santa Cruz County\u003c/a>, which supports children in foster care.\u003c/p>\n\u003cp>Prudent was skeptical at first that the museum wanted anything more than superficial advice from the \u003ca href=\"http://c3.santacruzmah.org/category/blog/\" target=\"_blank\" rel=\"noopener noreferrer\">Creative Community Committee (C3)\u003c/a>, but was soon won over by the hands-on curatorial process.\u003c/p>\n\u003cfigure id=\"attachment_13812516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812516\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-800x625.jpg\" alt=\""Sophia," (2014) by Ray Bussolari. It's no secret older foster children are less likely to be adopted. What may be less known is the fact siblings are split when a family decides to adopt one but not the other(s). \" width=\"800\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-800x625.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-768x600.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-1020x797.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-1180x922.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-960x751.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Sophia,” (2014) by Ray Bussolari. It’s no secret older foster children are less likely to be adopted. What may be less known is the fact siblings are split when a family decides to adopt one but not the other(s). \u003ccite>(Photo: Courtesy of Ray Bussolari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We were making every decision: like, the layout of this place, the art pieces that we included, the artists, even what the collaborating artists were going to focus on,” Prudent says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the core of the exhibition is a collection of photographic portraits by \u003ca href=\"http://ray-bussolari.squarespace.com\" target=\"_blank\" rel=\"noopener noreferrer\">Ray Bussolari\u003c/a>, as well as artifacts from Oakland’s \u003ca href=\"https://fosteryouthmuseum.org\" target=\"_blank\" rel=\"noopener noreferrer\">Foster Youth Museum\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Garcia says the Santa Cruz Museum of Art & History added works by former foster youth who are on the museum’s advisory committee, as well as by local artists they got to choose.\u003c/span> “We really chose artists based on how willing they were to collaborate, and how much they wanted the youths’ voices to shine versus their own,” Garcia says.\u003c/p>\n\u003cp>Take “Interwoven Voices,” by Santa Cruz artist \u003ca href=\"https://www.melodyoverstreet.com\" target=\"_blank\" rel=\"noopener noreferrer\">Melody Overstreet\u003c/a>. It’s is a tapestry of messages from committee members, written on paper strips. This is one written by Prudent: “We’re not troubled kids. We’re kids with troubles.”\u003c/p>\n\u003cfigure id=\"attachment_13810987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810987 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-800x450.jpg\" alt=\"“Interwoven Voices,” by Santa Cruz artist Melody Overstreet is a tapestry of messages from Creative Community Committee members, written on paper strips.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\u003cstrong>“Interwoven Voices,” by Santa Cruz artist \u003ca href=\"https://www.melodyoverstreet.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Melody Overstreet\u003c/a> is a tapestry of messages from Creative Community Committee members, written on paper strips.\u003c/strong> \u003ccite>(Photo: Courtesy of Meghan Puich/Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jamie Lee Evans is the founder of the Foster Youth Museum. “There is no other exhibit like this,” Evans says. “This is the largest and probably only exhibition of artifacts, art and culture demonstrating the experience of foster care from a youth’s perspective.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s something\u003cem> Lost Childhoods\u003c/em> makes plain with personal mementos that highlight statistical truths. A college diploma and a photograph of a foster youth living in a dorm room at University of San Francisco is accompanied by a caption explaining that close to half of those who survive foster care will never graduate from high school, let alone university. A disproportionate number will instead become unemployed or even homeless when they “age out.” \u003c/span>\u003c/p>\n\u003cp>“I’ve been told from plenty of people that I know that coming here, they relate to things that they couldn’t before, whether or not they were in the foster care system,” says\u003cb> \u003c/b>Chad Platt, a transition age youth advocate at \u003ca href=\"http://www.encompasscs.org\" target=\"_blank\" rel=\"noopener noreferrer\">Encompass Community Services\u003c/a> and a former foster youth himself.\u003c/p>\n\u003cfigure id=\"attachment_13810992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810992 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-800x450.jpg\" alt=\"The local half of “Lost Childhoods” includes video interviews of former foster youth, paintings by them, and personal journals anyone can sit down and read. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The local half of “Lost Childhoods” includes video interviews of former foster youth, paintings by them, and personal journals anyone can sit down and read. \u003ccite>(Photo: Courtesy of Meghan Puich/Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Museum visitor Diane Lamott from Aptos was moved by the show. “Heart wrenching. Emotional,” she said choking back tears. “Makes you wish you could have done something more to help.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But the show’s organizers want to do more than elicit sympathy from visitors. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Right at the entrance of the gallery, there’s a massive display of multi-colored “action cards.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Each one suggests one way to help foster youth. Bake a cake. Donate a pair of pajamas. Teach a teen to write a resume. Or, if you’re really inspired, volunteer as a court appointed special advocate.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13811071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-800x450.jpg\" alt=\"Pick a card, any card.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pick a card, any card. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Lost Childhoods is on view at the Santa Cruz Museum of Art & History through December 31, 2017. More info \u003ca href=\"https://santacruzmah.org/2016/lost-childhoods-july-7-2017-december-31-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://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":"Santa Cruz version of \"Lost Childhoods\" the largest show about foster care from the youths' perspective.","status":"publish","parent":0,"modified":1705029258,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":795},"headData":{"title":"What's Foster Care Like? Learn From Youth Who Lived Through It. | KQED","description":"Santa Cruz version of "Lost Childhoods" the largest show about foster care from the youths' perspective.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"What's Foster Care Like? Learn From Youth Who Lived Through It.","datePublished":"2017-10-25T13:00:15.000Z","dateModified":"2024-01-12T03:14:18.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/tcr/2017/10/LostChildhoodsMyrow.mp3","sticky":false,"path":"/arts/13810966/former-foster-youth-change-narrative","audioDuration":168000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">A San Francisco Bay Area museum is taking an unusual tack with an exhibition about foster youth in California. The \u003ca href=\"https://santacruzmah.org\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a> invited a team of former foster youth and advocates to help put the show together.\u003c/span>\u003c/p>\n\u003cp>Five months before the show \u003ca href=\"https://santacruzmah.org/2016/lost-childhoods-july-7-2017-december-31-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lost Childhoods\u003c/em>\u003c/a> went up, around a hundred former foster youth and advocates began meeting at the Santa Cruz Museum of Art & History to talk about what the exhibition would look like.\u003c/p>\n\u003cp>Community engagement director Stacey Garcia explains, “We are not experts in what foster youth have gone through, what they want to share. We know how to make an exhibition, but we don’t know how to tell their story. They do.”\u003c/p>\n\u003cp>Jess Prudent works as an outreach assistant with \u003ca href=\"https://santacruzgives.org/nonprofit/court-appointed-special-advocates-for-children-of-santa-cruz-county/\" target=\"_blank\" rel=\"noopener noreferrer\">Court Appointed Special Advocates of Santa Cruz County\u003c/a>, which supports children in foster care.\u003c/p>\n\u003cp>Prudent was skeptical at first that the museum wanted anything more than superficial advice from the \u003ca href=\"http://c3.santacruzmah.org/category/blog/\" target=\"_blank\" rel=\"noopener noreferrer\">Creative Community Committee (C3)\u003c/a>, but was soon won over by the hands-on curatorial process.\u003c/p>\n\u003cfigure id=\"attachment_13812516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812516\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-800x625.jpg\" alt=\""Sophia," (2014) by Ray Bussolari. It's no secret older foster children are less likely to be adopted. What may be less known is the fact siblings are split when a family decides to adopt one but not the other(s). \" width=\"800\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-800x625.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-768x600.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-1020x797.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-1180x922.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-960x751.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Sophia,” (2014) by Ray Bussolari. It’s no secret older foster children are less likely to be adopted. What may be less known is the fact siblings are split when a family decides to adopt one but not the other(s). \u003ccite>(Photo: Courtesy of Ray Bussolari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We were making every decision: like, the layout of this place, the art pieces that we included, the artists, even what the collaborating artists were going to focus on,” Prudent says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the core of the exhibition is a collection of photographic portraits by \u003ca href=\"http://ray-bussolari.squarespace.com\" target=\"_blank\" rel=\"noopener noreferrer\">Ray Bussolari\u003c/a>, as well as artifacts from Oakland’s \u003ca href=\"https://fosteryouthmuseum.org\" target=\"_blank\" rel=\"noopener noreferrer\">Foster Youth Museum\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Garcia says the Santa Cruz Museum of Art & History added works by former foster youth who are on the museum’s advisory committee, as well as by local artists they got to choose.\u003c/span> “We really chose artists based on how willing they were to collaborate, and how much they wanted the youths’ voices to shine versus their own,” Garcia says.\u003c/p>\n\u003cp>Take “Interwoven Voices,” by Santa Cruz artist \u003ca href=\"https://www.melodyoverstreet.com\" target=\"_blank\" rel=\"noopener noreferrer\">Melody Overstreet\u003c/a>. It’s is a tapestry of messages from committee members, written on paper strips. This is one written by Prudent: “We’re not troubled kids. We’re kids with troubles.”\u003c/p>\n\u003cfigure id=\"attachment_13810987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810987 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-800x450.jpg\" alt=\"“Interwoven Voices,” by Santa Cruz artist Melody Overstreet is a tapestry of messages from Creative Community Committee members, written on paper strips.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\u003cstrong>“Interwoven Voices,” by Santa Cruz artist \u003ca href=\"https://www.melodyoverstreet.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Melody Overstreet\u003c/a> is a tapestry of messages from Creative Community Committee members, written on paper strips.\u003c/strong> \u003ccite>(Photo: Courtesy of Meghan Puich/Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jamie Lee Evans is the founder of the Foster Youth Museum. “There is no other exhibit like this,” Evans says. “This is the largest and probably only exhibition of artifacts, art and culture demonstrating the experience of foster care from a youth’s perspective.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s something\u003cem> Lost Childhoods\u003c/em> makes plain with personal mementos that highlight statistical truths. A college diploma and a photograph of a foster youth living in a dorm room at University of San Francisco is accompanied by a caption explaining that close to half of those who survive foster care will never graduate from high school, let alone university. A disproportionate number will instead become unemployed or even homeless when they “age out.” \u003c/span>\u003c/p>\n\u003cp>“I’ve been told from plenty of people that I know that coming here, they relate to things that they couldn’t before, whether or not they were in the foster care system,” says\u003cb> \u003c/b>Chad Platt, a transition age youth advocate at \u003ca href=\"http://www.encompasscs.org\" target=\"_blank\" rel=\"noopener noreferrer\">Encompass Community Services\u003c/a> and a former foster youth himself.\u003c/p>\n\u003cfigure id=\"attachment_13810992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810992 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-800x450.jpg\" alt=\"The local half of “Lost Childhoods” includes video interviews of former foster youth, paintings by them, and personal journals anyone can sit down and read. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The local half of “Lost Childhoods” includes video interviews of former foster youth, paintings by them, and personal journals anyone can sit down and read. \u003ccite>(Photo: Courtesy of Meghan Puich/Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Museum visitor Diane Lamott from Aptos was moved by the show. “Heart wrenching. Emotional,” she said choking back tears. “Makes you wish you could have done something more to help.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But the show’s organizers want to do more than elicit sympathy from visitors. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Right at the entrance of the gallery, there’s a massive display of multi-colored “action cards.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Each one suggests one way to help foster youth. Bake a cake. Donate a pair of pajamas. Teach a teen to write a resume. Or, if you’re really inspired, volunteer as a court appointed special advocate.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13811071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-800x450.jpg\" alt=\"Pick a card, any card.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pick a card, any card. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Lost Childhoods is on view at the Santa Cruz Museum of Art & History through December 31, 2017. More info \u003ca href=\"https://santacruzmah.org/2016/lost-childhoods-july-7-2017-december-31-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://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/13810966/former-foster-youth-change-narrative","authors":["251"],"series":["arts_1357"],"categories":["arts_235","arts_70"],"tags":["arts_3648","arts_1028"],"featImg":"arts_13810984","label":"arts_1357"},"arts_13732071":{"type":"posts","id":"arts_13732071","meta":{"index":"posts_1591205157","site":"arts","id":"13732071","score":null,"sort":[1501095634000]},"guestAuthors":[],"slug":"blacklisted-cuban-artist-brings-extreme-political-art-to-bay","title":"Blacklisted Cuban Artist Brings Extreme Political Art to Bay","publishDate":1501095634,"format":"standard","headTitle":"Blacklisted Cuban Artist Brings Extreme Political Art to Bay | KQED","labelTerm":{"term":1357,"site":"arts"},"content":"\u003cp>The first day of school can be boring. Usually it’s the teacher going over the syllabus, setting ground rules and taking attendance.\u003c/p>\n\u003cp>But \u003cem>\u003ca href=\"https://ybca.org/whats-on/escuela-de-arte-util\" target=\"_blank\" rel=\"noopener noreferrer\">Escuela de Arte Útil\u003c/a>\u003c/em> isn’t your typical school.\u003c/p>\n\u003cp>Held in a big gallery space at the Yerba Buena Center for the Arts, the Escuela is part of a retrospective exhibit of the work of Cuban political artist Tania Bruguera, called \u003cem>Talking to Power/Hablándolé al Poder\u003c/em>.\u003c/p>\n\u003cp>While regular museum-goers explore the past 30 years of Bruguera’s work, more than 50 art students sit on a bright orange carpet in the middle of the gallery to learn about Bruguera’s unique brand of political art: \u003cem>arte útil\u003c/em> or “useful art.”\u003cbr>\n[audio src=\"http://www.kqed.org/.stream/anon/radio/RDnews/2017/07/TaniaBrugueraFeature.mp3\" Image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS26068_Tania-6-qut-e1500931524463.jpg\" Title=\"Blacklisted Cuban Artist Brings Extreme Political Art to Bay\" program=\"pARTicipate\"]\u003c/p>\n\u003cp>“It’s not art to make things work better,” Bruguera tells the class. “We don’t want to improve the way things are. We actually want to change what is going on.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Think of it like political art on steroids. Unlike a lot of political art, which seeks to raise awareness about issues, Bruguera says true \u003cem>arte útil\u003c/em> projects actually create new realities for the communities they serve.\u003c/p>\n\u003cp>For instance, Bruguera created an alternative Cuban newspaper in the early 1990s in opposition to Cuba’s state-controlled media. A few years ago, she \u003ca href=\"http://www.nytimes.com/2011/05/19/nyregion/as-art-tania-bruguera-lives-like-a-poor-immigrant.html\" target=\"_blank\" rel=\"noopener noreferrer\">spent a year\u003c/a> living on minimum wage in a tiny apartment in New York with undocumented immigrants, working with other artists to provide services to immigrants from across the city.\u003c/p>\n\u003cp>“We don’t want to just create conversations,” Bruguera says after class. “We also want to create a parallel institution that works differently so people can see, ‘Oh, actually things do not have to be this way.’”\u003c/p>\n\u003cfigure id=\"attachment_13733151\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13733151\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">More than 50 students gather in the middle of a YBCA gallery to learn about “arte útil” from Cuban artist Tania Bruguera. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But some students in class are confused as to why an artist would be doing work usually handled by journalists or social service providers.\u003c/p>\n\u003cp>“Why do we need art at all if the whole point is operational?” one student asks from the back of the class. “If you’re going to make houses for homeless people, why is it even \u003cem>arte útil\u003c/em>? Why not just \u003cem>útil\u003c/em>?”\u003c/p>\n\u003cp>Bruguera answers by comparing herself to a hypothetical engineer who has discovered the perfect energy source that’s clean, cheap and plentiful. The engineer shares his discovery with the world to make everyone’s lives better.\u003c/p>\n\u003cp>Bruguera says no one would expect the engineer to stop calling himself an engineer as a result of these game-changing efforts. “Why do I have to stop calling myself an artist?” she says.\u003c/p>\n\u003ch3>Political art as an extreme sport\u003c/h3>\n\u003cp>Bruguera’s views have gotten her into trouble with the authorities.\u003c/p>\n\u003cp>In late 2014, she was \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-cm-tania-brugueras-cuba-20150108-column.html#page=1\" target=\"_blank\" rel=\"noopener noreferrer\">arrested \u003c/a>by Cuban police for trying to stage a performance in Havana’s Plaza de la Revolución. It was a few weeks after the U.S. and Cuba had announced the two countries were opening up relations, and Bruguera wanted to see if this meant greater freedom of speech would be coming to Cuba.\u003c/p>\n\u003cp>The idea was to set up a microphone in the Plaza de la Revolución and give members of the public one minute to say whatever they wanted. She was denied a permit to use the plaza but planned to go ahead anyway. At 5 a.m. on the day the performance was set to occur, she was arrested.\u003c/p>\n\u003cfigure id=\"attachment_13733168\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13733168\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tania Bruguera lectures about “arte útil” at the Yerba Buena Center for the Arts. In late 2014, she was arrested and detained for trying to hold a free speech performance in Havana’s Revolution Plaza. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They want you to feel completely crushed by something so insignificant that you don’t even dare to imagine something bigger,” Bruguera says of the Cuban government. “Just by putting a microphone out there, they took away my passport for eight months.”\u003c/p>\n\u003cp>During those months, Bruguera says she was repeatedly taken in by Cuban police and subjected to \u003ca href=\"https://www.theguardian.com/artanddesign/2015/oct/13/frieze-tania-bruguera-artist-cuba-torture-interview\" target=\"_blank\" rel=\"noopener noreferrer\">intense interrogations\u003c/a>. She says they interrogated her more than 30 times, sometimes several times in a single week.\u003c/p>\n\u003cp>“It is very tiring, and it’s scary,” she says of the repeated interrogations. “Even if they give you water, you don’t want to drink it. It’s extremely hard.”\u003c/p>\n\u003cp>Bruguera says as a result of that experience, she has been forbidden to show her work or even enter any cultural institution in Cuba.\u003c/p>\n\u003cp>But that hasn’t stopped the artist from continuing to play a role in the political conversation. Last year, she nominated herself for president of Cuba in 2018, even though it’s a communist one-party state.\u003c/p>\n\u003cp>“I think a successful artist is a stubborn artist,” she says. “A stubborn person who pushes back against unjust laws.”\u003c/p>\n\u003cp>https://youtu.be/dRtTH7fHjEk\u003c/p>\n\u003ch3>Arte Útil in the Bay\u003c/h3>\n\u003cp>Bruguera may take political art to its extremes, but she’s not the only person who has embraced \u003cem>arte útil\u003c/em> and the idea that art can affect real change for real people.\u003c/p>\n\u003cp>Four years ago, she founded the \u003cem>\u003ca href=\"http://www.arte-util.org/about/activities/\" target=\"_blank\" rel=\"noopener noreferrer\">Asociación de Arte Útil\u003c/a>\u003c/em>, an international association dedicated to connecting \u003cem>arte útil\u003c/em> practitioners and sharing their work. The association maintains \u003ca href=\"http://www.arte-util.org/projects/\" target=\"_blank\" rel=\"noopener noreferrer\">an archive\u003c/a> with hundreds of \u003cem>arte útil\u003c/em> projects dating back more than 100 years.\u003c/p>\n\u003cp>Many of those projects have come out of the Bay Area, like the \u003ca href=\"http://www.arte-util.org/projects/anti-eviction-mapping-project/\" target=\"_blank\" rel=\"noopener noreferrer\">Anti-Eviction Mapping Project\u003c/a> and several projects from \u003ca href=\"http://www.arte-util.org/?s=sherk&x=0&y=0\" target=\"_blank\" rel=\"noopener noreferrer\">Bonnie Ora Sherk\u003c/a>.\u003c/p>\n\u003cp>In 1974, Sherk began work on \u003cem>Crossroads Community (The Farm)\u003c/em>, which became a community farm full of animals, gardens and educational programming for kids built around the Chavez/Highway 101 interchange in San Francisco. She’s also the force behind \u003cem>A Living Library\u003c/em>, an ongoing project where Sherk transforms blighted public areas across the city into eco-friendly community spaces.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BC12cyynH1g\u003c/p>\n\u003cp>“I have dug up lots of asphalt and concrete and planted thousands of trees and made beautiful learning’s zones and gardens that have transformed acres of very sterile barren land,” Sherk says of her own \u003cem>arte útil\u003c/em> projects.\u003c/p>\n\u003cp>Sherk says it’s actually getting harder to do some of these kinds of projects in the Bay Area because of bureaucratic roadblocks.\u003c/p>\n\u003cp>That makes Bruguera’s \u003cem>Escuela de Arte Útil\u003c/em> at the Yerba Buena Center for the Arts even more important for people who want to see this kind of work continue to thrive.\u003c/p>\n\u003cp>Bruguera expects her students to complete their own Bay Area \u003cem>arte útil\u003c/em> project at the end of the summer. At least one group is looking at trying to make an impact with the area’s homeless population.\u003c/p>\n\u003cp>“Hopefully these people won’t just disappear and say, ‘Oh, I had a class in 2017, and it was interesting,’” Bruguera says of her students. “Hopefully they will start practicing \u003cem>arte útil\u003c/em> and putting their knowledge into practice.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Maybe they’ll even get arrested for their art one day, too.\u003c/p>\n\n","blocks":[],"excerpt":"Internationally renowned Cuban artist Tania Bruguera says political art shouldn't just spark conversation. It should make actual social change.","status":"publish","parent":0,"modified":1705029939,"stats":{"hasAudio":true,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":33,"wordCount":1305},"headData":{"title":"Blacklisted Cuban Artist Brings Extreme Political Art to Bay | KQED","description":"Internationally renowned Cuban artist Tania Bruguera says political art shouldn't just spark conversation. It should make actual social change.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Blacklisted Cuban Artist Brings Extreme Political Art to Bay","datePublished":"2017-07-26T19:00:34.000Z","dateModified":"2024-01-12T03:25:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"http://www.kqed.org/.stream/anon/radio/RDnews/2017/07/TaniaBrugueraFeature.mp3","guestFields":"0","sticky":false,"path":"/arts/13732071/blacklisted-cuban-artist-brings-extreme-political-art-to-bay","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first day of school can be boring. Usually it’s the teacher going over the syllabus, setting ground rules and taking attendance.\u003c/p>\n\u003cp>But \u003cem>\u003ca href=\"https://ybca.org/whats-on/escuela-de-arte-util\" target=\"_blank\" rel=\"noopener noreferrer\">Escuela de Arte Útil\u003c/a>\u003c/em> isn’t your typical school.\u003c/p>\n\u003cp>Held in a big gallery space at the Yerba Buena Center for the Arts, the Escuela is part of a retrospective exhibit of the work of Cuban political artist Tania Bruguera, called \u003cem>Talking to Power/Hablándolé al Poder\u003c/em>.\u003c/p>\n\u003cp>While regular museum-goers explore the past 30 years of Bruguera’s work, more than 50 art students sit on a bright orange carpet in the middle of the gallery to learn about Bruguera’s unique brand of political art: \u003cem>arte útil\u003c/em> or “useful art.”\u003cbr>\n\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"audio","attributes":{"named":{"src":"http://www.kqed.org/.stream/anon/radio/RDnews/2017/07/TaniaBrugueraFeature.mp3","image":"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS26068_Tania-6-qut-e1500931524463.jpg","title":"Blacklisted Cuban Artist Brings Extreme Political Art to Bay","program":"pARTicipate","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s not art to make things work better,” Bruguera tells the class. “We don’t want to improve the way things are. We actually want to change what is going on.”\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>Think of it like political art on steroids. Unlike a lot of political art, which seeks to raise awareness about issues, Bruguera says true \u003cem>arte útil\u003c/em> projects actually create new realities for the communities they serve.\u003c/p>\n\u003cp>For instance, Bruguera created an alternative Cuban newspaper in the early 1990s in opposition to Cuba’s state-controlled media. A few years ago, she \u003ca href=\"http://www.nytimes.com/2011/05/19/nyregion/as-art-tania-bruguera-lives-like-a-poor-immigrant.html\" target=\"_blank\" rel=\"noopener noreferrer\">spent a year\u003c/a> living on minimum wage in a tiny apartment in New York with undocumented immigrants, working with other artists to provide services to immigrants from across the city.\u003c/p>\n\u003cp>“We don’t want to just create conversations,” Bruguera says after class. “We also want to create a parallel institution that works differently so people can see, ‘Oh, actually things do not have to be this way.’”\u003c/p>\n\u003cfigure id=\"attachment_13733151\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13733151\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26071_Tania-3-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">More than 50 students gather in the middle of a YBCA gallery to learn about “arte útil” from Cuban artist Tania Bruguera. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But some students in class are confused as to why an artist would be doing work usually handled by journalists or social service providers.\u003c/p>\n\u003cp>“Why do we need art at all if the whole point is operational?” one student asks from the back of the class. “If you’re going to make houses for homeless people, why is it even \u003cem>arte útil\u003c/em>? Why not just \u003cem>útil\u003c/em>?”\u003c/p>\n\u003cp>Bruguera answers by comparing herself to a hypothetical engineer who has discovered the perfect energy source that’s clean, cheap and plentiful. The engineer shares his discovery with the world to make everyone’s lives better.\u003c/p>\n\u003cp>Bruguera says no one would expect the engineer to stop calling himself an engineer as a result of these game-changing efforts. “Why do I have to stop calling myself an artist?” she says.\u003c/p>\n\u003ch3>Political art as an extreme sport\u003c/h3>\n\u003cp>Bruguera’s views have gotten her into trouble with the authorities.\u003c/p>\n\u003cp>In late 2014, she was \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-cm-tania-brugueras-cuba-20150108-column.html#page=1\" target=\"_blank\" rel=\"noopener noreferrer\">arrested \u003c/a>by Cuban police for trying to stage a performance in Havana’s Plaza de la Revolución. It was a few weeks after the U.S. and Cuba had announced the two countries were opening up relations, and Bruguera wanted to see if this meant greater freedom of speech would be coming to Cuba.\u003c/p>\n\u003cp>The idea was to set up a microphone in the Plaza de la Revolución and give members of the public one minute to say whatever they wanted. She was denied a permit to use the plaza but planned to go ahead anyway. At 5 a.m. on the day the performance was set to occur, she was arrested.\u003c/p>\n\u003cfigure id=\"attachment_13733168\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13733168\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RS26062_Tania-1-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tania Bruguera lectures about “arte útil” at the Yerba Buena Center for the Arts. In late 2014, she was arrested and detained for trying to hold a free speech performance in Havana’s Revolution Plaza. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They want you to feel completely crushed by something so insignificant that you don’t even dare to imagine something bigger,” Bruguera says of the Cuban government. “Just by putting a microphone out there, they took away my passport for eight months.”\u003c/p>\n\u003cp>During those months, Bruguera says she was repeatedly taken in by Cuban police and subjected to \u003ca href=\"https://www.theguardian.com/artanddesign/2015/oct/13/frieze-tania-bruguera-artist-cuba-torture-interview\" target=\"_blank\" rel=\"noopener noreferrer\">intense interrogations\u003c/a>. She says they interrogated her more than 30 times, sometimes several times in a single week.\u003c/p>\n\u003cp>“It is very tiring, and it’s scary,” she says of the repeated interrogations. “Even if they give you water, you don’t want to drink it. It’s extremely hard.”\u003c/p>\n\u003cp>Bruguera says as a result of that experience, she has been forbidden to show her work or even enter any cultural institution in Cuba.\u003c/p>\n\u003cp>But that hasn’t stopped the artist from continuing to play a role in the political conversation. Last year, she nominated herself for president of Cuba in 2018, even though it’s a communist one-party state.\u003c/p>\n\u003cp>“I think a successful artist is a stubborn artist,” she says. “A stubborn person who pushes back against unjust laws.”\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/dRtTH7fHjEk'\n title='//www.youtube.com/embed/dRtTH7fHjEk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Arte Útil in the Bay\u003c/h3>\n\u003cp>Bruguera may take political art to its extremes, but she’s not the only person who has embraced \u003cem>arte útil\u003c/em> and the idea that art can affect real change for real people.\u003c/p>\n\u003cp>Four years ago, she founded the \u003cem>\u003ca href=\"http://www.arte-util.org/about/activities/\" target=\"_blank\" rel=\"noopener noreferrer\">Asociación de Arte Útil\u003c/a>\u003c/em>, an international association dedicated to connecting \u003cem>arte útil\u003c/em> practitioners and sharing their work. The association maintains \u003ca href=\"http://www.arte-util.org/projects/\" target=\"_blank\" rel=\"noopener noreferrer\">an archive\u003c/a> with hundreds of \u003cem>arte útil\u003c/em> projects dating back more than 100 years.\u003c/p>\n\u003cp>Many of those projects have come out of the Bay Area, like the \u003ca href=\"http://www.arte-util.org/projects/anti-eviction-mapping-project/\" target=\"_blank\" rel=\"noopener noreferrer\">Anti-Eviction Mapping Project\u003c/a> and several projects from \u003ca href=\"http://www.arte-util.org/?s=sherk&x=0&y=0\" target=\"_blank\" rel=\"noopener noreferrer\">Bonnie Ora Sherk\u003c/a>.\u003c/p>\n\u003cp>In 1974, Sherk began work on \u003cem>Crossroads Community (The Farm)\u003c/em>, which became a community farm full of animals, gardens and educational programming for kids built around the Chavez/Highway 101 interchange in San Francisco. She’s also the force behind \u003cem>A Living Library\u003c/em>, an ongoing project where Sherk transforms blighted public areas across the city into eco-friendly community spaces.\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/BC12cyynH1g'\n title='//www.youtube.com/embed/BC12cyynH1g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I have dug up lots of asphalt and concrete and planted thousands of trees and made beautiful learning’s zones and gardens that have transformed acres of very sterile barren land,” Sherk says of her own \u003cem>arte útil\u003c/em> projects.\u003c/p>\n\u003cp>Sherk says it’s actually getting harder to do some of these kinds of projects in the Bay Area because of bureaucratic roadblocks.\u003c/p>\n\u003cp>That makes Bruguera’s \u003cem>Escuela de Arte Útil\u003c/em> at the Yerba Buena Center for the Arts even more important for people who want to see this kind of work continue to thrive.\u003c/p>\n\u003cp>Bruguera expects her students to complete their own Bay Area \u003cem>arte útil\u003c/em> project at the end of the summer. At least one group is looking at trying to make an impact with the area’s homeless population.\u003c/p>\n\u003cp>“Hopefully these people won’t just disappear and say, ‘Oh, I had a class in 2017, and it was interesting,’” Bruguera says of her students. “Hopefully they will start practicing \u003cem>arte útil\u003c/em> and putting their knowledge into practice.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maybe they’ll even get arrested for their art one day, too.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13732071/blacklisted-cuban-artist-brings-extreme-political-art-to-bay","authors":["11260"],"series":["arts_1357"],"categories":["arts_1","arts_235","arts_1003","arts_70"],"tags":["arts_1037","arts_1119","arts_1118","arts_596"],"featImg":"arts_13733147","label":"arts_1357"},"arts_12983542":{"type":"posts","id":"arts_12983542","meta":{"index":"posts_1591205157","site":"arts","id":"12983542","score":null,"sort":[1492095655000]},"guestAuthors":[],"slug":"tree-bursting-with-mosaic-leaves-sends-political-message","title":"Tree Bursting with Mosaic Leaves Sends Political Message","publishDate":1492095655,"format":"standard","headTitle":"Tree Bursting with Mosaic Leaves Sends Political Message | KQED","labelTerm":{"term":1357,"site":"arts"},"content":"\u003cp>Santa Cruz mosaic artist Christine Evans was profoundly affected when Donald Trump won the presidential election.\u003c/p>\n\u003cp>“There’s so much divisiveness and serious concerns that people have, I thought I would like to do a community piece that makes it possible for people to come together and create something that they care about together,” Evans says.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\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>That’s why Evans came up with the idea of a collectively created mosaic tree. “Mosaic is a really easy medium for anybody to feel like they’ve created something beautiful.” she says.\u003c/p>\n\u003cp>So for the past four months, Evans and fellow mosaic artist Julie Norton have organized monthly mosaic tree-making sessions, where anybody is welcome to design and put together a leaf.\u003c/p>\n\u003cfigure id=\"attachment_13038361\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13038361\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24912_Early-Overview-of-183-leaves-001-qut-800x450.jpg\" alt=\"The basic concept.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24912_Early-Overview-of-183-leaves-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24912_Early-Overview-of-183-leaves-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24912_Early-Overview-of-183-leaves-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24912_Early-Overview-of-183-leaves-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24912_Early-Overview-of-183-leaves-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24912_Early-Overview-of-183-leaves-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24912_Early-Overview-of-183-leaves-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24912_Early-Overview-of-183-leaves-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24912_Early-Overview-of-183-leaves-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24912_Early-Overview-of-183-leaves-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The basic concept. \u003ccite>(Photo: Courtesy of Christine Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Evans created a template for the tree. Individuals who attend the workshops get to create their own leaf designs. Some people have made political symbols like a #BlackLivesMatter fist or a planet symbolizing environmental values. Evans and Norton encourage people to talk while they make their leaves, and especially want to inspire discussions around the meaning of what they’re creating.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One eight year-old artist made a leaf he calls “Escaping the Wall,” referring to the wall on the Mexican border President Trump is keen to build. Another mosaic-maker who voted for Trump made a leaf to express the importance of love and connection with her family.\u003c/p>\n\u003cfigure id=\"attachment_13038204\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13038204 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24914_Jigsaw_tree_-Cynthia-Gingerich-IMG_3447-001-qut-800x450.jpg\" alt=\"Christine Evans and Julie Norton carve out the backer board for the mosaic tree. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24914_Jigsaw_tree_-Cynthia-Gingerich-IMG_3447-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24914_Jigsaw_tree_-Cynthia-Gingerich-IMG_3447-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24914_Jigsaw_tree_-Cynthia-Gingerich-IMG_3447-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24914_Jigsaw_tree_-Cynthia-Gingerich-IMG_3447-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24914_Jigsaw_tree_-Cynthia-Gingerich-IMG_3447-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24914_Jigsaw_tree_-Cynthia-Gingerich-IMG_3447-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24914_Jigsaw_tree_-Cynthia-Gingerich-IMG_3447-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24914_Jigsaw_tree_-Cynthia-Gingerich-IMG_3447-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24914_Jigsaw_tree_-Cynthia-Gingerich-IMG_3447-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24914_Jigsaw_tree_-Cynthia-Gingerich-IMG_3447-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christine Evans and Julie Norton carve out the backer board for the mosaic tree. \u003ccite>(Photo: Courtesy of Cynthia Gingerich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two cupped hands made of tiles that reflect the diversity of skin color will go at the top of the trunk. Built of tiles that reflect the diversity of hair color, the trunk will feature prominently in the finished work, Evans says.\u003c/p>\n\u003cp>“I want to create a space where we can come together with respect for one another,” Evans says. “And maybe if there are differences of opinion, we can influence each other. Everyone has been very willing to share.”\u003c/p>\n\u003cfigure id=\"attachment_13038363\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13038363 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24917_Scale-of-Justice-Leaf-IMG_0010_2-001-qut-800x450.jpg\" alt=\""Scale of Justice," by Eve Eden. She says "I grew up hearing the expression, 'the wheels of justice move exceedingly slow and exceedingly fine.' She didn't come to a mosaic making session with a set idea, "but after sitting with my feelings, I realized that my hope was in the power of the law - just law. So my tile had the scale of justice at the bottom, with many colored tiles above representing all the peoples of this country - in community, being held in a just system."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24917_Scale-of-Justice-Leaf-IMG_0010_2-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24917_Scale-of-Justice-Leaf-IMG_0010_2-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24917_Scale-of-Justice-Leaf-IMG_0010_2-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24917_Scale-of-Justice-Leaf-IMG_0010_2-001-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24917_Scale-of-Justice-Leaf-IMG_0010_2-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24917_Scale-of-Justice-Leaf-IMG_0010_2-001-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24917_Scale-of-Justice-Leaf-IMG_0010_2-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24917_Scale-of-Justice-Leaf-IMG_0010_2-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24917_Scale-of-Justice-Leaf-IMG_0010_2-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24917_Scale-of-Justice-Leaf-IMG_0010_2-001-qut-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Scale of Justice,” by Eve Eden. \u003ccite>(Photo: Courtesy of Julie Norton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Evans anticipates the end product will be roughly 10 feet across and six feet high and will be finished sometime before the end of the year. There is no permanent display location established yet, though Evans hopes the artwork will go on show somewhere in Santa Cruz County. “I’d love it to be on or in a public building that isn’t going to be removed anytime soon,” she says.\u003c/p>\n\u003cp> \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\">\u003cem>The next scheduled mosaic making event is on Sunday, Apr. 23. More info\u003c/em> \u003cstrong>\u003ca href=\"http://mosaicswithmeaning.blogspot.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>here\u003c/em>\u003c/a>.\u003c/strong>\u003c/p>\n\n","blocks":[],"excerpt":"Santa Cruz mosaic artist Christine Evans' 'Mosaic Tree' project offers Santa Cruz locals the opportunity to express their thoughts in a collective effort.","status":"publish","parent":0,"modified":1705030967,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":458},"headData":{"title":"Tree Bursting with Mosaic Leaves Sends Political Message | KQED","description":"Santa Cruz mosaic artist Christine Evans' 'Mosaic Tree' project offers Santa Cruz locals the opportunity to express their thoughts in a collective effort.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Tree Bursting with Mosaic Leaves Sends Political Message","datePublished":"2017-04-13T15:00:55.000Z","dateModified":"2024-01-12T03:42:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12983542/tree-bursting-with-mosaic-leaves-sends-political-message","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Santa Cruz mosaic artist Christine Evans was profoundly affected when Donald Trump won the presidential election.\u003c/p>\n\u003cp>“There’s so much divisiveness and serious concerns that people have, I thought I would like to do a community piece that makes it possible for people to come together and create something that they care about together,” Evans says.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\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>That’s why Evans came up with the idea of a collectively created mosaic tree. “Mosaic is a really easy medium for anybody to feel like they’ve created something beautiful.” she says.\u003c/p>\n\u003cp>So for the past four months, Evans and fellow mosaic artist Julie Norton have organized monthly mosaic tree-making sessions, where anybody is welcome to design and put together a leaf.\u003c/p>\n\u003cfigure id=\"attachment_13038361\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13038361\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24912_Early-Overview-of-183-leaves-001-qut-800x450.jpg\" alt=\"The basic concept.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24912_Early-Overview-of-183-leaves-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24912_Early-Overview-of-183-leaves-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24912_Early-Overview-of-183-leaves-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24912_Early-Overview-of-183-leaves-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24912_Early-Overview-of-183-leaves-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24912_Early-Overview-of-183-leaves-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24912_Early-Overview-of-183-leaves-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24912_Early-Overview-of-183-leaves-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24912_Early-Overview-of-183-leaves-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24912_Early-Overview-of-183-leaves-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The basic concept. \u003ccite>(Photo: Courtesy of Christine Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Evans created a template for the tree. Individuals who attend the workshops get to create their own leaf designs. Some people have made political symbols like a #BlackLivesMatter fist or a planet symbolizing environmental values. Evans and Norton encourage people to talk while they make their leaves, and especially want to inspire discussions around the meaning of what they’re creating.\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>One eight year-old artist made a leaf he calls “Escaping the Wall,” referring to the wall on the Mexican border President Trump is keen to build. Another mosaic-maker who voted for Trump made a leaf to express the importance of love and connection with her family.\u003c/p>\n\u003cfigure id=\"attachment_13038204\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13038204 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24914_Jigsaw_tree_-Cynthia-Gingerich-IMG_3447-001-qut-800x450.jpg\" alt=\"Christine Evans and Julie Norton carve out the backer board for the mosaic tree. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24914_Jigsaw_tree_-Cynthia-Gingerich-IMG_3447-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24914_Jigsaw_tree_-Cynthia-Gingerich-IMG_3447-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24914_Jigsaw_tree_-Cynthia-Gingerich-IMG_3447-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24914_Jigsaw_tree_-Cynthia-Gingerich-IMG_3447-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24914_Jigsaw_tree_-Cynthia-Gingerich-IMG_3447-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24914_Jigsaw_tree_-Cynthia-Gingerich-IMG_3447-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24914_Jigsaw_tree_-Cynthia-Gingerich-IMG_3447-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24914_Jigsaw_tree_-Cynthia-Gingerich-IMG_3447-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24914_Jigsaw_tree_-Cynthia-Gingerich-IMG_3447-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24914_Jigsaw_tree_-Cynthia-Gingerich-IMG_3447-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christine Evans and Julie Norton carve out the backer board for the mosaic tree. \u003ccite>(Photo: Courtesy of Cynthia Gingerich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two cupped hands made of tiles that reflect the diversity of skin color will go at the top of the trunk. Built of tiles that reflect the diversity of hair color, the trunk will feature prominently in the finished work, Evans says.\u003c/p>\n\u003cp>“I want to create a space where we can come together with respect for one another,” Evans says. “And maybe if there are differences of opinion, we can influence each other. Everyone has been very willing to share.”\u003c/p>\n\u003cfigure id=\"attachment_13038363\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13038363 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24917_Scale-of-Justice-Leaf-IMG_0010_2-001-qut-800x450.jpg\" alt=\""Scale of Justice," by Eve Eden. She says "I grew up hearing the expression, 'the wheels of justice move exceedingly slow and exceedingly fine.' She didn't come to a mosaic making session with a set idea, "but after sitting with my feelings, I realized that my hope was in the power of the law - just law. So my tile had the scale of justice at the bottom, with many colored tiles above representing all the peoples of this country - in community, being held in a just system."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24917_Scale-of-Justice-Leaf-IMG_0010_2-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24917_Scale-of-Justice-Leaf-IMG_0010_2-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24917_Scale-of-Justice-Leaf-IMG_0010_2-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24917_Scale-of-Justice-Leaf-IMG_0010_2-001-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24917_Scale-of-Justice-Leaf-IMG_0010_2-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24917_Scale-of-Justice-Leaf-IMG_0010_2-001-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24917_Scale-of-Justice-Leaf-IMG_0010_2-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24917_Scale-of-Justice-Leaf-IMG_0010_2-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24917_Scale-of-Justice-Leaf-IMG_0010_2-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24917_Scale-of-Justice-Leaf-IMG_0010_2-001-qut-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Scale of Justice,” by Eve Eden. \u003ccite>(Photo: Courtesy of Julie Norton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Evans anticipates the end product will be roughly 10 feet across and six feet high and will be finished sometime before the end of the year. There is no permanent display location established yet, though Evans hopes the artwork will go on show somewhere in Santa Cruz County. “I’d love it to be on or in a public building that isn’t going to be removed anytime soon,” she says.\u003c/p>\n\u003cp> \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\">\u003cem>The next scheduled mosaic making event is on Sunday, Apr. 23. More info\u003c/em> \u003cstrong>\u003ca href=\"http://mosaicswithmeaning.blogspot.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>here\u003c/em>\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12983542/tree-bursting-with-mosaic-leaves-sends-political-message","authors":["251"],"series":["arts_1357"],"categories":["arts_70"],"tags":["arts_1642","arts_1119","arts_1118","arts_1621"],"featImg":"arts_13038154","label":"arts_1357"},"arts_12982698":{"type":"posts","id":"arts_12982698","meta":{"index":"posts_1591205157","site":"arts","id":"12982698","score":null,"sort":[1492009223000]},"guestAuthors":[],"slug":"san-jose-quilter-stitches-message-of-peace-and-hope","title":"San Jose Quilter Stitches Message of Peace and Hope","publishDate":1492009223,"format":"standard","headTitle":"San Jose Quilter Stitches Message of Peace and Hope | KQED","labelTerm":{"term":1357,"site":"arts"},"content":"\u003cp>\u003ca href=\"http://www.melbeachquilts.com\" target=\"_blank\" rel=\"noopener\">Mel Beach\u003c/a> created her “Peace of Mind” quilt last November, directly in response to the election of Donald Trump as U.S. President. The San Jose-based artist says the piece was specifically inspired by “the growing tensions, hostility and violence directed towards immigrants, LGBTQA people, women, minorities, and individuals with disabilities.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\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>Beach says she wanted to come up with something that would provide a sense of hope for people. “Most Americans are compassionate, peaceful and respectful of diversity,” she says. And as Beach sifted through her fabric scraps, she fixed on one of the most iconic symbols of hope: the “peace” sign.\u003c/p>\n\u003cp>What began with a simple, taped outline evolved into a large, rainbow-colored emblem, surrounded by floating triangles that symbolize a fractured nation.\u003c/p>\n\u003cfigure id=\"attachment_13032693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13032693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24899_Peace-Quilt-3-001-qut-800x450.jpg\" alt=\"The basic idea begins to take shape.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24899_Peace-Quilt-3-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24899_Peace-Quilt-3-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24899_Peace-Quilt-3-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24899_Peace-Quilt-3-001-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24899_Peace-Quilt-3-001-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24899_Peace-Quilt-3-001-qut-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24899_Peace-Quilt-3-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24899_Peace-Quilt-3-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24899_Peace-Quilt-3-001-qut-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24899_Peace-Quilt-3-001-qut.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The basic idea begins to take shape. \u003ccite>(Photo: Courtesy of Mel Beach)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The confetti print background is intentionally bright and cheerful. Beach filled the outline with five-inch charms she crowd-sourced from 60-plus quilters living around the country.\u003c/p>\n\u003cp>“In my darker stages, I had considered incorporating fear, hate and harm,” Beach writes in a \u003ca href=\"https://pieceloveandhappiness.blogspot.com/2016/12/peace-of-mind.html\" target=\"_blank\" rel=\"noopener\">blog post\u003c/a> detailing her process. “But as I found peace, I chose to focus on the positive messages which I would free motion stitch into the background.”\u003c/p>\n\u003cfigure id=\"attachment_13032694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13032694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24901_Peace-Quilt2-qut-800x533.jpg\" alt=\"The process photos.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24901_Peace-Quilt2-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24901_Peace-Quilt2-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24901_Peace-Quilt2-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24901_Peace-Quilt2-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24901_Peace-Quilt2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24901_Peace-Quilt2-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24901_Peace-Quilt2-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24901_Peace-Quilt2-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24901_Peace-Quilt2-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24901_Peace-Quilt2-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The process photos. \u003ccite>(Photo: Courtesy of Mel Beach)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those messages came from more than 25 of Beach’s Facebook friends and family members, and included words like “advocate,” “community,” “integrity,” and “listen,” among others. Beach also stitched in 30 translations of the word “peace,” such as “amani” (Swahili), “fred” (Danish, Norwegian, Swedish), “heping” (Chinese) and “paix” (French).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Beach is hardly alone marrying her love for quilting with her concern for the larger community. She’s one of numerous quilters who are submitting pieces for consideration in an upcoming exhibition titled \u003ca href=\"http://threadsofresistance.blogspot.com/p/call-for-entry.html\" target=\"_blank\" rel=\"noopener\">Threads of Resistance\u003c/a>, scheduled to open in July at the\u003ca href=\"http://nequiltmuseum.org/index.html\" target=\"_blank\" rel=\"noopener\"> New England Quilt Museum\u003c/a> in Lowell, Mass.\u003c/p>\n\u003cfigure id=\"attachment_13032695\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13032695 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-800x803.jpg\" alt=\"In its full glory.\" width=\"800\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-800x803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-768x771.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-1020x1024.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-1180x1185.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-960x964.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-520x522.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In its full glory. \u003ccite>(Photo: Courtesy of Mel Beach)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>“I felt so incredibly happy and at peace as I worked on this quilt,” Beach says. “I hope you, too, will celebrate its joy and peace. ” \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":"As part of the design process for her 'Peace of Mind' quilt, San Jose artist Mel Beach's crowd-sourced messages and charms from around the country.","status":"publish","parent":0,"modified":1705030978,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":402},"headData":{"title":"San Jose Quilter Stitches Message of Peace and Hope | KQED","description":"As part of the design process for her 'Peace of Mind' quilt, San Jose artist Mel Beach's crowd-sourced messages and charms from around the country.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Jose Quilter Stitches Message of Peace and Hope","datePublished":"2017-04-12T15:00:23.000Z","dateModified":"2024-01-12T03:42:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12982698/san-jose-quilter-stitches-message-of-peace-and-hope","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.melbeachquilts.com\" target=\"_blank\" rel=\"noopener\">Mel Beach\u003c/a> created her “Peace of Mind” quilt last November, directly in response to the election of Donald Trump as U.S. President. The San Jose-based artist says the piece was specifically inspired by “the growing tensions, hostility and violence directed towards immigrants, LGBTQA people, women, minorities, and individuals with disabilities.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\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>Beach says she wanted to come up with something that would provide a sense of hope for people. “Most Americans are compassionate, peaceful and respectful of diversity,” she says. And as Beach sifted through her fabric scraps, she fixed on one of the most iconic symbols of hope: the “peace” sign.\u003c/p>\n\u003cp>What began with a simple, taped outline evolved into a large, rainbow-colored emblem, surrounded by floating triangles that symbolize a fractured nation.\u003c/p>\n\u003cfigure id=\"attachment_13032693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13032693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24899_Peace-Quilt-3-001-qut-800x450.jpg\" alt=\"The basic idea begins to take shape.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24899_Peace-Quilt-3-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24899_Peace-Quilt-3-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24899_Peace-Quilt-3-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24899_Peace-Quilt-3-001-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24899_Peace-Quilt-3-001-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24899_Peace-Quilt-3-001-qut-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24899_Peace-Quilt-3-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24899_Peace-Quilt-3-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24899_Peace-Quilt-3-001-qut-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24899_Peace-Quilt-3-001-qut.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The basic idea begins to take shape. \u003ccite>(Photo: Courtesy of Mel Beach)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The confetti print background is intentionally bright and cheerful. Beach filled the outline with five-inch charms she crowd-sourced from 60-plus quilters living around the country.\u003c/p>\n\u003cp>“In my darker stages, I had considered incorporating fear, hate and harm,” Beach writes in a \u003ca href=\"https://pieceloveandhappiness.blogspot.com/2016/12/peace-of-mind.html\" target=\"_blank\" rel=\"noopener\">blog post\u003c/a> detailing her process. “But as I found peace, I chose to focus on the positive messages which I would free motion stitch into the background.”\u003c/p>\n\u003cfigure id=\"attachment_13032694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13032694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24901_Peace-Quilt2-qut-800x533.jpg\" alt=\"The process photos.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24901_Peace-Quilt2-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24901_Peace-Quilt2-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24901_Peace-Quilt2-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24901_Peace-Quilt2-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24901_Peace-Quilt2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24901_Peace-Quilt2-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24901_Peace-Quilt2-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24901_Peace-Quilt2-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24901_Peace-Quilt2-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24901_Peace-Quilt2-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The process photos. \u003ccite>(Photo: Courtesy of Mel Beach)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those messages came from more than 25 of Beach’s Facebook friends and family members, and included words like “advocate,” “community,” “integrity,” and “listen,” among others. Beach also stitched in 30 translations of the word “peace,” such as “amani” (Swahili), “fred” (Danish, Norwegian, Swedish), “heping” (Chinese) and “paix” (French).\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>Beach is hardly alone marrying her love for quilting with her concern for the larger community. She’s one of numerous quilters who are submitting pieces for consideration in an upcoming exhibition titled \u003ca href=\"http://threadsofresistance.blogspot.com/p/call-for-entry.html\" target=\"_blank\" rel=\"noopener\">Threads of Resistance\u003c/a>, scheduled to open in July at the\u003ca href=\"http://nequiltmuseum.org/index.html\" target=\"_blank\" rel=\"noopener\"> New England Quilt Museum\u003c/a> in Lowell, Mass.\u003c/p>\n\u003cfigure id=\"attachment_13032695\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13032695 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-800x803.jpg\" alt=\"In its full glory.\" width=\"800\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-800x803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-768x771.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-1020x1024.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-1180x1185.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-960x964.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-520x522.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/RS24902_MBeach_Peace-of-Mind_Full-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In its full glory. \u003ccite>(Photo: Courtesy of Mel Beach)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>“I felt so incredibly happy and at peace as I worked on this quilt,” Beach says. “I hope you, too, will celebrate its joy and peace. ” \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/12982698/san-jose-quilter-stitches-message-of-peace-and-hope","authors":["251"],"series":["arts_1357"],"categories":["arts_70"],"tags":["arts_1642","arts_1119","arts_1118","arts_596"],"featImg":"arts_13032692","label":"arts_1357"},"arts_12808325":{"type":"posts","id":"arts_12808325","meta":{"index":"posts_1591205157","site":"arts","id":"12808325","score":null,"sort":[1488729601000]},"guestAuthors":[],"slug":"the-unlikely-marriage-of-crochet-and-climate-change","title":"The Unlikely Marriage of Crochet and Climate Change","publishDate":1488729601,"format":"image","headTitle":"The Unlikely Marriage of Crochet and Climate Change | KQED","labelTerm":{"term":1357,"site":"arts"},"content":"\u003cp>All hail the Pussy Hat, the charming, knitted-or-crocheted pink cap,\u003ca href=\"https://ww2.kqed.org/news/2017/01/17/l-a-s-pussyhat-project-crafts-a-political-statement/\" target=\"_blank\" rel=\"noopener\"> designed\u003c/a> to raise awareness of women’s rights.\u003c/p>\n\u003cp>It’s hard to point to anything that has so captured the global imagination and sung the praises of needlecraft at the same time. An exception may be \u003ca href=\"http://ias.ucsc.edu/content/2017/crochet-coral-reef-co2ca-co2la-mary-porter-sesnon-art-gallery\" target=\"_blank\" rel=\"noopener\">\u003cem>Crochet Coral Reef: CO2CA-CO2LA Ocean\u003c/em>\u003c/a>, an exhibition by twin sisters which runs through May 6 at the University of California, Santa Cruz (UCSC).\u003c/p>\n\u003cp>Margaret Wertheim is a science writer. Her sister Christine Wertheim teaches at the \u003ca href=\"https://directory.calarts.edu/directory/christine-wertheim\" target=\"_blank\" rel=\"noopener\">California Institute for the Arts\u003c/a>. They both grew up in Queensland, Australia, home of the the Great Barrier Reef.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=soxS8VtMi9E]\u003c/p>\n\u003cp>\u003cem>Crochet Coral Reef\u003c/em> is a massive collection of individual works of art: corals, anemones, sponges, and other colorful sea-life forms. The artists crocheted the pieces not just from yarn and thread, but also from a cornucopia of flotsam — plastic bags, ties, can flip-tops, videotape, ribbon, and tinsel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003cem>Crochet Coral Reef\u003c/em> project has been exhibited all around the world over the past 10 years, at places like the the \u003ca href=\"https://naturalhistory.si.edu/\" target=\"_blank\" rel=\"noopener\">Smithsonian National Museum of Natural History\u003c/a> in Washington, D.C., the \u003ca href=\"https://www.cooperhewitt.org/\" target=\"_blank\" rel=\"noopener\">Cooper-Hewitt National Design Museum\u003c/a> in New York, and the\u003ca href=\"https://www.southbankcentre.co.uk/venues/hayward-gallery\" target=\"_blank\" rel=\"noopener\"> Hayward Gallery\u003c/a> in London.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\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 materials the artists use to create the work may be soft in feel, but the reef sends out a strong activist message. “My sister and I started the project with the direct intention of bringing attention to the plight of coral reefs, which have been devastated by global warming,” Margaret Wertheim says. “You do get to have a conversation about what’s happening.”\u003c/p>\n\u003cp>Crochet may not seem like the most obvious medium to make a point about the devastating effects of climate change on reefs. But “\u003ca href=\"http://crochetcoralreef.org/contributors/daina_taimina.php\" target=\"_blank\" rel=\"noopener\">hyperbolic crochet\u003c/a>,” as discovered by Cornell University mathematician Daina Taimina, is a remarkably effective way to demonstrate mathematics as it appears in nature. Loopy “kelps,” fringed “anemones,” crenelated “sea slugs,” and curlicued “corals” all model algorithms.\u003c/p>\n\u003cfigure id=\"attachment_12812404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12812404 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-800x450.jpg\" alt=\"The Crochet Coral Reef, by Margaret & Christine Wertheim and the Institute For Figuring, as installed at UC Santa Cruz, sponsored by the Institute of the Arts and Sciences in partnership with the Mary Porter Sesnon Art Gallery.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut.jpg 1279w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crochet Coral Reef, by Margaret & Christine Wertheim and the Institute For Figuring, as installed at UC Santa Cruz, sponsored by the Institute of the Arts and Sciences in partnership with the Mary Porter Sesnon Art Gallery. \u003ccite>(Photo: Courtesy of Steve Kurtz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A Collective Project\u003c/h3>\n\u003cp>Part of the project’s continuing appeal is the community aspect. Wherever the \u003cem>Crochet Coral Reef\u003c/em> travels, exhibition organizers wrangle members of the local community to crochet an auxiliary reef of their own. This includes Santa Cruz, where the exhibition is a co-production of the \u003ca href=\"http://art.ucsc.edu/galleries/sesnon/current\" target=\"_blank\" rel=\"noopener\">Mary Porter Sesnon Art Gallery\u003c/a> and UCSC’s \u003ca href=\"http://ias.ucsc.edu/\" target=\"_blank\" rel=\"noopener\">Institute of the Arts and Sciences\u003c/a>.\u003c/p>\n\u003cp>The gallery hosts a selection of what’s been created before in each city. The Institute is coordinating crocheting circles on campus, in downtown Santa Cruz and at the \u003ca href=\"http://seymourcenter.ucsc.edu/\" target=\"_blank\" rel=\"noopener\">Seymour Marine Discovery Center\u003c/a>, where UC Santa Cruz’s “satellite reef” will be presented in May.\u003c/p>\n\u003cp>Almost 300 people have gotten involved so far, including the \u003ca href=\"https://santacruzknittingguild.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Santa Cruz Knitting Guild\u003c/a>, \u003ca href=\"https://thefabrica.org/\" target=\"_blank\" rel=\"noopener\">The Fábrica\u003c/a>, and Rachel Nelson, curator and program manager of the Institute. \u003cspan style=\"color: #000000\">There are monthly workshops at the Seymour Marine Discovery Center, and weekly workshops on campus.\u003c/span>\u003cb> \u003c/b>“I quickly had to learn, so I could help teach people how to crochet,” Nelson says, adding that community members have mostly relieved her of her teaching duties. “This is the first project I’ve been on that has had this level of community engagement.”\u003c/p>\n\u003cfigure id=\"attachment_12809316\" class=\"wp-caption aligncenter\" style=\"max-width: 639px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12809316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut.jpg\" alt=\"Detail of The Crochet Coral Reef, on view the Mary Porter Sesnon Art Gallery at UC Santa Cruz. The Crochet Coral Reef is a massive collection of individual works of art: corals, anemones, kelps, sponges, nudibranchs, flatworms and slugs, crocheted not just from yarn and thread, but from plastic bags, ties, can flip tops, videotape, ribbon, and tinsel. \" width=\"639\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut.jpg 639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-520x293.jpg 520w\" sizes=\"(max-width: 639px) 100vw, 639px\">\u003cfigcaption class=\"wp-caption-text\">Detail of The Crochet Coral Reef, on view the Mary Porter Sesnon Art Gallery at UC Santa Cruz. The Crochet Coral Reef is a massive collection of individual works of art: corals, anemones, kelps, sponges — crocheted not just from yarn and thread, but from plastic bags, ties, videotape, ribbon, and tinsel. \u003ccite>(Photo: Courtesy of Steve Kurtz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Mimicking Mother Nature\u003c/h3>\n\u003cp>Besides fostering community and conversation, the “many hands” approach is meant to make a statement about Mother Nature. “It takes hundreds, sometimes thousands of people to build these community reefs,” Margaret Wertheim says. “That’s exactly how corals work. Each polyp alone has no power on its own. But collectively, they can build the great barrier reef. When we act together, we can really do extraordinary things.”\u003c/p>\n\u003cp>Margaret Wertheim says the Mary Porter Sesnon Gallery is much smaller than the other spaces the Wertheims have worked with in the past. This forced the sisters to get creative. “How can we make something fabulous for this particular space?” Marget Wertheim says.\u003c/p>\n\u003cp>One idea the Wertheim sisters came up with was to use the aerial space in the gallery. Suspended from the ceiling, “The Midden” is a fishing net filled with four years’ worth of domestic trash. “Every bottle, every piece of wrapping that we used in our daily lives,” Margaret Wertheim says. The work is meant to be a reflection of the \u003ca href=\"http://www.nationalgeographic.org/encyclopedia/great-pacific-garbage-patch/\" target=\"_blank\" rel=\"noopener\">Great Pacific Garbage Patch\u003c/a>, seen from a “fish’s eye view.” \u003cstrong> \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12809902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12809902 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-800x450.jpg\" alt=\"Visitors explore an “undersea grove” of miniature coral “Pod Worlds” featuring plastic bottle anemones by Nadia Severns and Vanessa Garcia. These sculptures are sitting on a bed of plastic “sand” from the Great Pacific Garbage Patch, gathered on Kamillo Beach Hawaii by Captain Charles Moore of the Algalita Foundation.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut.jpg 1279w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors explore an ‘undersea grove’ of miniature coral ‘Pod Worlds’ featuring plastic bottle anemones by Nadia Severns and Vanessa Garcia. These sculptures are sitting on a bed of plastic ‘sand’ from the Great Pacific Garbage Patch, gathered on Kamillo Beach Hawaii by Captain Charles Moore of the Algalita Foundation. \u003ccite>(Photo: Courtesy of Steve Kurtz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As global warming accelerates, “It’s now very, very clear that we are in deep trouble,” Margaret Wertheim says. “What’s needed is to keep on pushing, whether gently or aggressively, the notion that climate change is caused by humans. I think our project has done it, in a way that’s gentle and accessible to people.”\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>\u003cem>‘Crochet Coral Reef: CO2CA-CO2LA Ocean’ runs through Saturday, May 6, 2017 at the Mary Porter Sesnon Gallery on the UC Santa Cruz campus. More info \u003cstrong>\u003ca href=\"http://art.ucsc.edu/galleries/sesnon/current\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To join one or more of the crocheting workshops, check out the schedule \u003cstrong>\u003ca href=\"http://ias.ucsc.edu/events/2017/uc-santa-cruz-satellite-reef-crocheting-workshops-winter-schedule\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Needlecraft-obsessed artist siblings Margaret and Christine Wertheim bring their 'Crochet Coral Reef' project to UC Santa Cruz. ","status":"publish","parent":0,"modified":1705031347,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1042},"headData":{"title":"The Unlikely Marriage of Crochet and Climate Change | KQED","description":"Needlecraft-obsessed artist siblings Margaret and Christine Wertheim bring their 'Crochet Coral Reef' project to UC Santa Cruz. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Unlikely Marriage of Crochet and Climate Change","datePublished":"2017-03-05T16:00:01.000Z","dateModified":"2024-01-12T03:49:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12808325/the-unlikely-marriage-of-crochet-and-climate-change","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>All hail the Pussy Hat, the charming, knitted-or-crocheted pink cap,\u003ca href=\"https://ww2.kqed.org/news/2017/01/17/l-a-s-pussyhat-project-crafts-a-political-statement/\" target=\"_blank\" rel=\"noopener\"> designed\u003c/a> to raise awareness of women’s rights.\u003c/p>\n\u003cp>It’s hard to point to anything that has so captured the global imagination and sung the praises of needlecraft at the same time. An exception may be \u003ca href=\"http://ias.ucsc.edu/content/2017/crochet-coral-reef-co2ca-co2la-mary-porter-sesnon-art-gallery\" target=\"_blank\" rel=\"noopener\">\u003cem>Crochet Coral Reef: CO2CA-CO2LA Ocean\u003c/em>\u003c/a>, an exhibition by twin sisters which runs through May 6 at the University of California, Santa Cruz (UCSC).\u003c/p>\n\u003cp>Margaret Wertheim is a science writer. Her sister Christine Wertheim teaches at the \u003ca href=\"https://directory.calarts.edu/directory/christine-wertheim\" target=\"_blank\" rel=\"noopener\">California Institute for the Arts\u003c/a>. They both grew up in Queensland, Australia, home of the the Great Barrier Reef.\u003c/p>\n\u003cp>\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/soxS8VtMi9E'\n title='//www.youtube.com/embed/soxS8VtMi9E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Crochet Coral Reef\u003c/em> is a massive collection of individual works of art: corals, anemones, sponges, and other colorful sea-life forms. The artists crocheted the pieces not just from yarn and thread, but also from a cornucopia of flotsam — plastic bags, ties, can flip-tops, videotape, ribbon, and tinsel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003cem>Crochet Coral Reef\u003c/em> project has been exhibited all around the world over the past 10 years, at places like the the \u003ca href=\"https://naturalhistory.si.edu/\" target=\"_blank\" rel=\"noopener\">Smithsonian National Museum of Natural History\u003c/a> in Washington, D.C., the \u003ca href=\"https://www.cooperhewitt.org/\" target=\"_blank\" rel=\"noopener\">Cooper-Hewitt National Design Museum\u003c/a> in New York, and the\u003ca href=\"https://www.southbankcentre.co.uk/venues/hayward-gallery\" target=\"_blank\" rel=\"noopener\"> Hayward Gallery\u003c/a> in London.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\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 materials the artists use to create the work may be soft in feel, but the reef sends out a strong activist message. “My sister and I started the project with the direct intention of bringing attention to the plight of coral reefs, which have been devastated by global warming,” Margaret Wertheim says. “You do get to have a conversation about what’s happening.”\u003c/p>\n\u003cp>Crochet may not seem like the most obvious medium to make a point about the devastating effects of climate change on reefs. But “\u003ca href=\"http://crochetcoralreef.org/contributors/daina_taimina.php\" target=\"_blank\" rel=\"noopener\">hyperbolic crochet\u003c/a>,” as discovered by Cornell University mathematician Daina Taimina, is a remarkably effective way to demonstrate mathematics as it appears in nature. Loopy “kelps,” fringed “anemones,” crenelated “sea slugs,” and curlicued “corals” all model algorithms.\u003c/p>\n\u003cfigure id=\"attachment_12812404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12812404 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-800x450.jpg\" alt=\"The Crochet Coral Reef, by Margaret & Christine Wertheim and the Institute For Figuring, as installed at UC Santa Cruz, sponsored by the Institute of the Arts and Sciences in partnership with the Mary Porter Sesnon Art Gallery.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24351_Crochet-Coral-Reef-UCSC-pano-shot-by-Steve-Kurtz-qut.jpg 1279w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crochet Coral Reef, by Margaret & Christine Wertheim and the Institute For Figuring, as installed at UC Santa Cruz, sponsored by the Institute of the Arts and Sciences in partnership with the Mary Porter Sesnon Art Gallery. \u003ccite>(Photo: Courtesy of Steve Kurtz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A Collective Project\u003c/h3>\n\u003cp>Part of the project’s continuing appeal is the community aspect. Wherever the \u003cem>Crochet Coral Reef\u003c/em> travels, exhibition organizers wrangle members of the local community to crochet an auxiliary reef of their own. This includes Santa Cruz, where the exhibition is a co-production of the \u003ca href=\"http://art.ucsc.edu/galleries/sesnon/current\" target=\"_blank\" rel=\"noopener\">Mary Porter Sesnon Art Gallery\u003c/a> and UCSC’s \u003ca href=\"http://ias.ucsc.edu/\" target=\"_blank\" rel=\"noopener\">Institute of the Arts and Sciences\u003c/a>.\u003c/p>\n\u003cp>The gallery hosts a selection of what’s been created before in each city. The Institute is coordinating crocheting circles on campus, in downtown Santa Cruz and at the \u003ca href=\"http://seymourcenter.ucsc.edu/\" target=\"_blank\" rel=\"noopener\">Seymour Marine Discovery Center\u003c/a>, where UC Santa Cruz’s “satellite reef” will be presented in May.\u003c/p>\n\u003cp>Almost 300 people have gotten involved so far, including the \u003ca href=\"https://santacruzknittingguild.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Santa Cruz Knitting Guild\u003c/a>, \u003ca href=\"https://thefabrica.org/\" target=\"_blank\" rel=\"noopener\">The Fábrica\u003c/a>, and Rachel Nelson, curator and program manager of the Institute. \u003cspan style=\"color: #000000\">There are monthly workshops at the Seymour Marine Discovery Center, and weekly workshops on campus.\u003c/span>\u003cb> \u003c/b>“I quickly had to learn, so I could help teach people how to crochet,” Nelson says, adding that community members have mostly relieved her of her teaching duties. “This is the first project I’ve been on that has had this level of community engagement.”\u003c/p>\n\u003cfigure id=\"attachment_12809316\" class=\"wp-caption aligncenter\" style=\"max-width: 639px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12809316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut.jpg\" alt=\"Detail of The Crochet Coral Reef, on view the Mary Porter Sesnon Art Gallery at UC Santa Cruz. The Crochet Coral Reef is a massive collection of individual works of art: corals, anemones, kelps, sponges, nudibranchs, flatworms and slugs, crocheted not just from yarn and thread, but from plastic bags, ties, can flip tops, videotape, ribbon, and tinsel. \" width=\"639\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut.jpg 639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24349_Crochet-Coral-Reef-UCSC-Detail-photo-by-Steve-Kurtz-qut-520x293.jpg 520w\" sizes=\"(max-width: 639px) 100vw, 639px\">\u003cfigcaption class=\"wp-caption-text\">Detail of The Crochet Coral Reef, on view the Mary Porter Sesnon Art Gallery at UC Santa Cruz. The Crochet Coral Reef is a massive collection of individual works of art: corals, anemones, kelps, sponges — crocheted not just from yarn and thread, but from plastic bags, ties, videotape, ribbon, and tinsel. \u003ccite>(Photo: Courtesy of Steve Kurtz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Mimicking Mother Nature\u003c/h3>\n\u003cp>Besides fostering community and conversation, the “many hands” approach is meant to make a statement about Mother Nature. “It takes hundreds, sometimes thousands of people to build these community reefs,” Margaret Wertheim says. “That’s exactly how corals work. Each polyp alone has no power on its own. But collectively, they can build the great barrier reef. When we act together, we can really do extraordinary things.”\u003c/p>\n\u003cp>Margaret Wertheim says the Mary Porter Sesnon Gallery is much smaller than the other spaces the Wertheims have worked with in the past. This forced the sisters to get creative. “How can we make something fabulous for this particular space?” Marget Wertheim says.\u003c/p>\n\u003cp>One idea the Wertheim sisters came up with was to use the aerial space in the gallery. Suspended from the ceiling, “The Midden” is a fishing net filled with four years’ worth of domestic trash. “Every bottle, every piece of wrapping that we used in our daily lives,” Margaret Wertheim says. The work is meant to be a reflection of the \u003ca href=\"http://www.nationalgeographic.org/encyclopedia/great-pacific-garbage-patch/\" target=\"_blank\" rel=\"noopener\">Great Pacific Garbage Patch\u003c/a>, seen from a “fish’s eye view.” \u003cstrong> \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12809902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12809902 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-800x450.jpg\" alt=\"Visitors explore an “undersea grove” of miniature coral “Pod Worlds” featuring plastic bottle anemones by Nadia Severns and Vanessa Garcia. These sculptures are sitting on a bed of plastic “sand” from the Great Pacific Garbage Patch, gathered on Kamillo Beach Hawaii by Captain Charles Moore of the Algalita Foundation.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24348_2_Crochet-Coral-Reef-UCSC-photo-by-Steve-Kurtz-qut.jpg 1279w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors explore an ‘undersea grove’ of miniature coral ‘Pod Worlds’ featuring plastic bottle anemones by Nadia Severns and Vanessa Garcia. These sculptures are sitting on a bed of plastic ‘sand’ from the Great Pacific Garbage Patch, gathered on Kamillo Beach Hawaii by Captain Charles Moore of the Algalita Foundation. \u003ccite>(Photo: Courtesy of Steve Kurtz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As global warming accelerates, “It’s now very, very clear that we are in deep trouble,” Margaret Wertheim says. “What’s needed is to keep on pushing, whether gently or aggressively, the notion that climate change is caused by humans. I think our project has done it, in a way that’s gentle and accessible to people.”\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>\u003cem>‘Crochet Coral Reef: CO2CA-CO2LA Ocean’ runs through Saturday, May 6, 2017 at the Mary Porter Sesnon Gallery on the UC Santa Cruz campus. More info \u003cstrong>\u003ca href=\"http://art.ucsc.edu/galleries/sesnon/current\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To join one or more of the crocheting workshops, check out the schedule \u003cstrong>\u003ca href=\"http://ias.ucsc.edu/events/2017/uc-santa-cruz-satellite-reef-crocheting-workshops-winter-schedule\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12808325/the-unlikely-marriage-of-crochet-and-climate-change","authors":["251"],"series":["arts_1259","arts_1357"],"categories":["arts_70"],"tags":["arts_1642","arts_5684","arts_1119","arts_1118","arts_596","arts_1028"],"featImg":"arts_12845738","label":"arts_1357"},"arts_12808122":{"type":"posts","id":"arts_12808122","meta":{"index":"posts_1591205157","site":"arts","id":"12808122","score":null,"sort":[1487966454000]},"guestAuthors":[],"slug":"silicon-valley-theatre-scene-bristles-with-political-edge-in-the-age-of-trump","title":"Silicon Valley Theatre Scene Bristles with Political Edge in the Age of Trump","publishDate":1487966454,"format":"audio","headTitle":"Silicon Valley Theatre Scene Bristles with Political Edge in the Age of Trump | KQED","labelTerm":{"term":1372,"site":"arts"},"content":"\u003cp>In 2011, Vikas Dhurka made a stupid mistake. The playwright and tech industry worker fell asleep in the Lufthansa business lounge at Frankfurt Airport — with his phone, wallet and all his travel documents sitting on the table next to him. When he woke up, they were all gone. What followed was a misadventure so dramatic, Dhurka decided to transform his experience into a new play, \u003cem>Airport Insecurity\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\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>Although the Silicon Valley-based Naatak theater company didn’t originally intend the play to have political consequences, artistic director Sujit Saraf says it now speaks to a visceral fear people have about their ability to travel in to and out of the United States. “Once you start coming for people for weird reasons which have to do with their race or religion or ethnic background, at some point, no one is safe,” Saraf says.\u003c/p>\n\u003ch3>A travel nightmare\u003c/h3>\n\u003cp>Dhurka is an Indian citizen, working in the United States on a green card as the senior director of product marketing at \u003ca href=\"https://www.pixelworks.com/\" target=\"_blank\" rel=\"noopener\">Pixelworks\u003c/a>, a semiconductor company. At the time of his misadventure, Dhurka had lived and worked in Silicon Valley for more than a decade. But without the documents proving he belonged in the U.S., he was told to book a flight to India and prepare for a long wait — up to two months. You can just imagine the phone call to his heavily pregnant wife in Fremont, about to give birth to their first child, alone.\u003c/p>\n\u003cfigure id=\"attachment_12812407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12812407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-800x450.jpg\" alt=\"Priya Kumar, played by Devika Ashok, waits impatiently by the phone as her husband struggles to get back home in Airport Insecurity, produced by the Santa Clara-based theater company Naatak.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Priya Kumar, played by Devika Ashok, waits impatiently by the phone as her husband struggles to get back home in ‘Airport Insecurity,’ produced by the Santa Clara-based theater company Naatak. \u003ccite>(Photo: Courtesy of Sharma Podila)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fortunately, after 48 harrowing hours in Frankfurt, a friendly agent from the U.S. Department of Homeland Security helped Dhurka make it back in time for the birth of his baby boy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But now, with President Trump’s administration targeting a growing list of people, as well as the \u003ca href=\"http://money.cnn.com/2017/02/05/technology/trump-h1b-visas-executive-order/\" target=\"_blank\" rel=\"noopener\">H-1B visa program\u003c/a> tech companies use to employ thousands of Indians, the Indian community in the San Francisco Bay Area is on edge. “A document becomes your identity in a land that you kinda don’t belong in,” Dhurka says. “And once that piece of paper goes away, you’re a nobody!”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/309428405″ 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\u003ch3>Silicon Valley theater takes stronger political edge\u003c/h3>\n\u003cp>Current events have made Naatak’s play feel politically prescient. But the \u003ca href=\"https://thepear.org/\" target=\"_blank\" rel=\"noopener\">Pear Theatre\u003c/a> in Mountain View was looking for something overtly political when it scheduled Arthur Miller’s \u003cem>A View From the Bridge\u003c/em> last November, during the run-up to the election.\u003c/p>\n\u003cp>In the below 1987 interview with the BBC, Arthur Miller describes the context of the Italian community depicted in the play, including a large number of illegal immigrants. “They felt themselves separated from the vast majority of Americans,” Miller says, “by language, by background, and on the waterfront, by the kind of work they did.” But their compatriots were starving in Italy. “America was all there was.”\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=45bMF3rKAh8]\u003c/p>\n\u003cp>\u003cem>A View From the Bridge\u003c/em> tells the story of Eddie, who provides safe haven to two illegal immigrants related to his wife until one takes a shine to his niece.\u003c/p>\n\u003cp>Director Ray Renati loves the way the themes in this classic reverberate with present-day politics, and not just on the issue of immigration. “Eddie’s a bully,” Renati says. “No one dares to go against anything that Eddie says, or he will make sure that you pay. Donald Trump does the same thing.”\u003c/p>\n\u003cp>With \u003cem>A View From the Bridge\u003c/em>, Arthur Miller’s politically astute storytelling feels as compelling today as it was in 1955, when the play was written.\u003c/p>\n\u003cp>In a similar vein, Ayad Ahktar’s Pulitzer Prize-winning \u003cem>Disgraced\u003c/em> feels ripped from the headlines. Though it was written long before Trump’s proposed Muslim ban, the drama bristles with rage and despair, as the progressive, liberal, well-to-do Muslim-American character at the play’s center buckles under the weight of prejudice. It’s not an accident \u003cem>Disgraced\u003c/em> is one of the country’s most produced plays, according to American Theatre Magazine’s annual \u003ca href=\"http://www.americantheatre.org/2015/09/16/the-top-10-most-produced-plays-of-the-2015-16-season/\" target=\"_blank\" rel=\"noopener\">Top 10 List\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12812600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12812600\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-800x449.jpg\" alt=\"A Manhattan dinner party starts off in a celebratory mood, before the conversation devolves into tribal politics, in Disgraced, finishing a run at the San Jose Stage Company.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Manhattan dinner party starts off in a celebratory mood, before the conversation devolves into tribal politics, in Disgraced, finishing a run at the San Jose Stage Company. \u003ccite>(Photo: Courtesy of Dave Lepori)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Disgraced\u003c/em> is currently finishing its run at the \u003ca href=\"https://www.thestage.org/\" target=\"_blank\" rel=\"noopener\">San Jose Stage Company\u003c/a>, where artistic director Randall King says American culture is at a critical boiling point, and the theater, because it’s nimble and visceral, is well-equipped to foster an enlightened political discussion. “We have to say something,” King says. “We have to do something. I don’t think I’ve felt this sense of urgency, ever.”\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>\u003cem>Naatak’s ‘Airport Insecurity’ runs through Saturday, Mar. 4, 2017 at the Cubberley Theatre in Palo Alto. More info \u003ca href=\"http://www.naatak.com/buy-tickets/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>‘A View From the Bridge’ runs through Sunday, Apr. 2, 2017 at the Pear Theatre in Mountain View. More info \u003ca href=\"https://thepear.org/boxoffice\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Disgraced’ runs through Sunday, Feb. 26, 2017 at The Stage in San Jose. More info \u003ca href=\"https://www.thestage.org/tickets/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Silicon Valley theater companies discover that plays scheduled months ago resonate with the current political moment.","status":"publish","parent":0,"modified":1705031439,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":955},"headData":{"title":"Silicon Valley Theatre Scene Bristles with Political Edge in the Age of Trump | KQED","description":"Silicon Valley theater companies discover that plays scheduled months ago resonate with the current political moment.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Silicon Valley Theatre Scene Bristles with Political Edge in the Age of Trump","datePublished":"2017-02-24T20:00:54.000Z","dateModified":"2024-01-12T03:50:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"http://www.kqed.org/.stream/anon/radio/tcrmag/2017/02/2017-02-24c-tcrmag.mp3","guestFields":"0","sticky":false,"path":"/arts/12808122/silicon-valley-theatre-scene-bristles-with-political-edge-in-the-age-of-trump","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2011, Vikas Dhurka made a stupid mistake. The playwright and tech industry worker fell asleep in the Lufthansa business lounge at Frankfurt Airport — with his phone, wallet and all his travel documents sitting on the table next to him. When he woke up, they were all gone. What followed was a misadventure so dramatic, Dhurka decided to transform his experience into a new play, \u003cem>Airport Insecurity\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\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>Although the Silicon Valley-based Naatak theater company didn’t originally intend the play to have political consequences, artistic director Sujit Saraf says it now speaks to a visceral fear people have about their ability to travel in to and out of the United States. “Once you start coming for people for weird reasons which have to do with their race or religion or ethnic background, at some point, no one is safe,” Saraf says.\u003c/p>\n\u003ch3>A travel nightmare\u003c/h3>\n\u003cp>Dhurka is an Indian citizen, working in the United States on a green card as the senior director of product marketing at \u003ca href=\"https://www.pixelworks.com/\" target=\"_blank\" rel=\"noopener\">Pixelworks\u003c/a>, a semiconductor company. At the time of his misadventure, Dhurka had lived and worked in Silicon Valley for more than a decade. But without the documents proving he belonged in the U.S., he was told to book a flight to India and prepare for a long wait — up to two months. You can just imagine the phone call to his heavily pregnant wife in Fremont, about to give birth to their first child, alone.\u003c/p>\n\u003cfigure id=\"attachment_12812407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12812407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-800x450.jpg\" alt=\"Priya Kumar, played by Devika Ashok, waits impatiently by the phone as her husband struggles to get back home in Airport Insecurity, produced by the Santa Clara-based theater company Naatak.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Priya Kumar, played by Devika Ashok, waits impatiently by the phone as her husband struggles to get back home in ‘Airport Insecurity,’ produced by the Santa Clara-based theater company Naatak. \u003ccite>(Photo: Courtesy of Sharma Podila)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fortunately, after 48 harrowing hours in Frankfurt, a friendly agent from the U.S. Department of Homeland Security helped Dhurka make it back in time for the birth of his baby boy.\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>But now, with President Trump’s administration targeting a growing list of people, as well as the \u003ca href=\"http://money.cnn.com/2017/02/05/technology/trump-h1b-visas-executive-order/\" target=\"_blank\" rel=\"noopener\">H-1B visa program\u003c/a> tech companies use to employ thousands of Indians, the Indian community in the San Francisco Bay Area is on edge. “A document becomes your identity in a land that you kinda don’t belong in,” Dhurka says. “And once that piece of paper goes away, you’re a nobody!”\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/309428405″&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/309428405″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>Silicon Valley theater takes stronger political edge\u003c/h3>\n\u003cp>Current events have made Naatak’s play feel politically prescient. But the \u003ca href=\"https://thepear.org/\" target=\"_blank\" rel=\"noopener\">Pear Theatre\u003c/a> in Mountain View was looking for something overtly political when it scheduled Arthur Miller’s \u003cem>A View From the Bridge\u003c/em> last November, during the run-up to the election.\u003c/p>\n\u003cp>In the below 1987 interview with the BBC, Arthur Miller describes the context of the Italian community depicted in the play, including a large number of illegal immigrants. “They felt themselves separated from the vast majority of Americans,” Miller says, “by language, by background, and on the waterfront, by the kind of work they did.” But their compatriots were starving in Italy. “America was all there was.”\u003c/p>\n\u003cp>\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/45bMF3rKAh8'\n title='//www.youtube.com/embed/45bMF3rKAh8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>A View From the Bridge\u003c/em> tells the story of Eddie, who provides safe haven to two illegal immigrants related to his wife until one takes a shine to his niece.\u003c/p>\n\u003cp>Director Ray Renati loves the way the themes in this classic reverberate with present-day politics, and not just on the issue of immigration. “Eddie’s a bully,” Renati says. “No one dares to go against anything that Eddie says, or he will make sure that you pay. Donald Trump does the same thing.”\u003c/p>\n\u003cp>With \u003cem>A View From the Bridge\u003c/em>, Arthur Miller’s politically astute storytelling feels as compelling today as it was in 1955, when the play was written.\u003c/p>\n\u003cp>In a similar vein, Ayad Ahktar’s Pulitzer Prize-winning \u003cem>Disgraced\u003c/em> feels ripped from the headlines. Though it was written long before Trump’s proposed Muslim ban, the drama bristles with rage and despair, as the progressive, liberal, well-to-do Muslim-American character at the play’s center buckles under the weight of prejudice. It’s not an accident \u003cem>Disgraced\u003c/em> is one of the country’s most produced plays, according to American Theatre Magazine’s annual \u003ca href=\"http://www.americantheatre.org/2015/09/16/the-top-10-most-produced-plays-of-the-2015-16-season/\" target=\"_blank\" rel=\"noopener\">Top 10 List\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12812600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12812600\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-800x449.jpg\" alt=\"A Manhattan dinner party starts off in a celebratory mood, before the conversation devolves into tribal politics, in Disgraced, finishing a run at the San Jose Stage Company.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Manhattan dinner party starts off in a celebratory mood, before the conversation devolves into tribal politics, in Disgraced, finishing a run at the San Jose Stage Company. \u003ccite>(Photo: Courtesy of Dave Lepori)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Disgraced\u003c/em> is currently finishing its run at the \u003ca href=\"https://www.thestage.org/\" target=\"_blank\" rel=\"noopener\">San Jose Stage Company\u003c/a>, where artistic director Randall King says American culture is at a critical boiling point, and the theater, because it’s nimble and visceral, is well-equipped to foster an enlightened political discussion. “We have to say something,” King says. “We have to do something. I don’t think I’ve felt this sense of urgency, ever.”\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>\u003cem>Naatak’s ‘Airport Insecurity’ runs through Saturday, Mar. 4, 2017 at the Cubberley Theatre in Palo Alto. More info \u003ca href=\"http://www.naatak.com/buy-tickets/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>‘A View From the Bridge’ runs through Sunday, Apr. 2, 2017 at the Pear Theatre in Mountain View. More info \u003ca href=\"https://thepear.org/boxoffice\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Disgraced’ runs through Sunday, Feb. 26, 2017 at The Stage in San Jose. More info \u003ca href=\"https://www.thestage.org/tickets/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12808122/silicon-valley-theatre-scene-bristles-with-political-edge-in-the-age-of-trump","authors":["251"],"series":["arts_1357","arts_1372"],"categories":["arts_1","arts_835","arts_235"],"tags":["arts_1642","arts_1119","arts_1118","arts_596"],"featImg":"arts_12812406","label":"arts_1372"},"arts_12682235":{"type":"posts","id":"arts_12682235","meta":{"index":"posts_1591205157","site":"arts","id":"12682235","score":null,"sort":[1485806411000]},"guestAuthors":[],"slug":"with-fabric-banners-stephanie-syjuco-shares-patterns-for-protest","title":"With Fabric Banners, Stephanie Syjuco Shares Patterns for Protest","publishDate":1485806411,"format":"standard","headTitle":"With Fabric Banners, Stephanie Syjuco Shares Patterns for Protest | KQED","labelTerm":{"term":1357,"site":"arts"},"content":"\u003cp>The day after Donald Trump won the electoral college, artist and UC Berkeley professor \u003ca href=\"http://www.stephaniesyjuco.com/index.html\" target=\"_blank\" rel=\"noopener\">Stephanie Syjuco\u003c/a> arrived on campus and realized that though the world felt irrevocably different, everything \u003ci>looked\u003c/i> the same.\u003c/p>\n\u003cp>\u003ca href=\"http://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>“It happened so quickly,” Syjuco says of Trump’s unexpected victory. “I realized there was no visual evidence of the anger and fear and the feelings of resistance.”\u003c/p>\n\u003cp>Before \u003ca href=\"http://news.berkeley.edu/2016/11/10/affirmation-rally-for-diversity-equity-and-inclusion-fills-sproul-plaza/\" target=\"_blank\" rel=\"noopener\">a campus rally\u003c/a> on Nov. 10, Syjuco quickly designed and printed hundreds of 8.5-by-11-inch flyers reading “Equity, Diversity, Inclusion,” the watchwords of UC Berkeley’s \u003ca href=\"http://diversity.berkeley.edu/\" target=\"_blank\" rel=\"noopener\">Division of Equity and Inclusion\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12682430\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12682430\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/equity_hulda_cenizachoy.jpg\" alt=\"Catherine Ceniza Choy, professor in the Department of Ethnic Studies holds the microphone, professor Stephanie Syjuco on the right.\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/equity_hulda_cenizachoy.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/equity_hulda_cenizachoy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/equity_hulda_cenizachoy-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/equity_hulda_cenizachoy-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/equity_hulda_cenizachoy-520x347.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Catherine Ceniza Choy, professor in the Department of Ethnic Studies holds the microphone; professor Stephanie Syjuco on the right. \u003ccite>(Photo: Hulda Nelson | © UC Regents)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was a simple way to create a sense of visual cohesion as faculty addressed the crowd of students, faculty and staff in Sproul Plaza, reassuring those assembled of the school’s commitment to its ideals. But the flyers were flimsy and temporary; thinking of the inevitable number of marches and rallies to come, Syjuco wanted to create something with more heft.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She delved into the history of fabric banners, looking at the \u003ca href=\"https://www.vads.ac.uk/collections/FSB.html\" target=\"_blank\" rel=\"noopener\">women’s suffrage movement\u003c/a>, AIDS activists \u003ca href=\"https://en.wikipedia.org/wiki/ACT_UP\" target=\"_blank\" rel=\"noopener\">ACT UP\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Gran_Fury\" target=\"_blank\" rel=\"noopener\">Gran Fury\u003c/a>, as well as the visuals of the Occupy demonstrations. Syjuco found the images of fabric banners bearing powerful slogans at protests throughout history to be durable, easily transported and quickly compressed.\u003c/p>\n\u003cfigure id=\"attachment_12682449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12682449 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/BannerMaking1910-800x622.jpg\" alt=\"Making banners for a Women's Social & Political Union rally, 1910.\" width=\"800\" height=\"622\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BannerMaking1910-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BannerMaking1910-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BannerMaking1910-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BannerMaking1910-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BannerMaking1910-1180x917.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BannerMaking1910-960x746.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BannerMaking1910-240x187.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BannerMaking1910-375x292.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BannerMaking1910-520x404.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BannerMaking1910.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Making banners for a Women’s Social & Political Union rally, 1910. \u003ccite>(Photo: Courtesy of The Women's Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s something about making something to last,” the artist says. “It becomes visual evidence that holds history much longer.” Plus, Syjuco says, people do double-takes when they realize you put a significant amount of time and labor into creating a tangible statement of your convictions.\u003c/p>\n\u003cp>Much of Syjuco’s own artwork addresses authorship issues and the subversive benefits of freely sharing information online. Her \u003ci>\u003ca href=\"http://www.stephaniesyjuco.com/p_freetextsinstallation.html\" target=\"_blank\" rel=\"noopener\">FREE TEXTS\u003c/a>\u003c/i> project provides tear-off URLs for the dissemination of often radical texts. For the 2009 exhibition \u003ci>\u003ca href=\"http://www.stephaniesyjuco.com/cat_misproductions.html\" target=\"_blank\" rel=\"noopener\">Unsolicited Fabrications: Shareware Sculptures\u003c/a>\u003c/i>, she fabricated 15 sculptures based on 3-D designs uploaded to Google SketchUp’s open source database.\u003c/p>\n\u003cfigure id=\"attachment_12682432\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12682432 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/15826638_10154121344355969_7348171044718532813_n.jpg\" alt=\"Stephanie Syjuco's completed fabric banners.\" width=\"768\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/15826638_10154121344355969_7348171044718532813_n.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/15826638_10154121344355969_7348171044718532813_n-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/15826638_10154121344355969_7348171044718532813_n-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/15826638_10154121344355969_7348171044718532813_n-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/15826638_10154121344355969_7348171044718532813_n-520x650.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Stephanie Syjuco’s completed fabric banners. \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As she designed and tested out different methods of making banners, Syjuco didn’t want the skills she gained to stay with her alone. In the spirit of disseminating her own learned and gathered information, Syjuco created a \u003ca href=\"https://drive.google.com/open?id=0B6g_dTRVOZg6MjhublBhMHh6MFU\" target=\"_blank\" rel=\"noopener\">41-page how-to\u003c/a> on Google Docs. “I wanted to show how easy it can be,” she writes in the introduction. What follows is a step-by-step guide to making 11 different felt and fabric banners, all designed with simple clip art silhouettes, vibrant colors and catchy slogans.\u003c/p>\n\u003cp>“No bigotry, no racism, no hatred, no business as usual!” reads one. “Once divided, always conquered,” reads another.\u003c/p>\n\u003cp>“I really want these ideas to spread and be open-source and not be authored,” Syjuco says of her templates and instructions. “This is not my idea,” she adds, pointing back to the long history of artists’ involvement in protest movements.\u003c/p>\n\u003cp>Beyond the online sharing, Syjuco led banner-making workshops at Oakland’s Royal NoneSuch Gallery, San Francisco nonprofit Southern Exposure and the Oakland Museum of California in the days leading up to Trump’s inauguration. “For a lot of the folks in attendance, it was the first time they felt they could come together in productivity,” Syjuco says. “It became oddly festive, but also full of concern and anxiety.”\u003c/p>\n\u003cfigure id=\"attachment_12682505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12682505 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/16113476_10154142209110969_7383822564793703794_o-800x600.jpg\" alt=\"A giant scrap fabric pile, collectively donated by visitors and participants to the Reap What You Sew protest signage workshop at Southern Exposure.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/16113476_10154142209110969_7383822564793703794_o-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/16113476_10154142209110969_7383822564793703794_o-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/16113476_10154142209110969_7383822564793703794_o-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/16113476_10154142209110969_7383822564793703794_o-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/16113476_10154142209110969_7383822564793703794_o-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/16113476_10154142209110969_7383822564793703794_o-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/16113476_10154142209110969_7383822564793703794_o-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/16113476_10154142209110969_7383822564793703794_o-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/16113476_10154142209110969_7383822564793703794_o.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A giant scrap fabric pile, collectively donated by visitors and participants to the Reap What You Sew protest signage workshop at Southern Exposure. \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the large-scale protesting efforts of Inauguration Day and the Women’s March now over, Syjuco says she will alter her tactics going forward to embrace mass production and distribution, with the intention of spreading messages of resistance across the landscape in a markedly physical way. “You walk out on the streets and you see nothing,” she says. “We need bumper stickers, we need flags hanging out of windows and patches on backpacks.”\u003c/p>\n\u003cp>For now, Syjuco worries about protests becoming commonplace. Will they blend into the background? Will outrage succumb to normalization? “At some point there will be fatigue,” she says. “What I’m most concerned about is how to create an interruption in the idea of a protest as business as usual.”\u003c/p>\n\u003cp>“As artists, we are going to need to keep waking people up,” Syjuco says. “We’re going to have to work very hard.”\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>Additional Resources:\u003c/b>\u003cbr>\nAram Han Sifuentes, \u003ca href=\"http://www.aramhan.com/protest-banner-lending-library.html\" target=\"_blank\" rel=\"noopener\">Protest Banner Lending Library\u003c/a> (Chicago)\u003cbr>\nJustseeds, “\u003ca href=\"http://justseeds.org/art-build-techniques-for-protest/\" target=\"_blank\" rel=\"noopener\">Art Build Techniques for Protest\u003c/a>”\u003cbr>\nJustseeds, \u003ca href=\"http://justseeds.org/graphics/\" target=\"_blank\" rel=\"noopener\">Downloadable graphics\u003c/a>\u003cbr>\nRuckus Society, \u003ca href=\"http://ruckus.org/downloads/RS_ActionVisuals.pdf\" target=\"_blank\" rel=\"noopener\">Creative Direction Action Visuals\u003c/a>\u003cbr>\nStephanie Syjuco, \u003ca href=\"https://drive.google.com/open?id=0B6g_dTRVOZg6eHhTU0pvTHBDejQ\" target=\"_blank\" rel=\"noopener\">Complete set of banner images and templates\u003c/a>\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The artist and UC Berkeley professor draws on the history of protest movements to design, create and share powerful visual symbols of resistance.","status":"publish","parent":0,"modified":1705031732,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":851},"headData":{"title":"With Fabric Banners, Stephanie Syjuco Shares Patterns for Protest | KQED","description":"The artist and UC Berkeley professor draws on the history of protest movements to design, create and share powerful visual symbols of resistance.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"With Fabric Banners, Stephanie Syjuco Shares Patterns for Protest","datePublished":"2017-01-30T20:00:11.000Z","dateModified":"2024-01-12T03:55:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12682235/with-fabric-banners-stephanie-syjuco-shares-patterns-for-protest","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The day after Donald Trump won the electoral college, artist and UC Berkeley professor \u003ca href=\"http://www.stephaniesyjuco.com/index.html\" target=\"_blank\" rel=\"noopener\">Stephanie Syjuco\u003c/a> arrived on campus and realized that though the world felt irrevocably different, everything \u003ci>looked\u003c/i> the same.\u003c/p>\n\u003cp>\u003ca href=\"http://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>“It happened so quickly,” Syjuco says of Trump’s unexpected victory. “I realized there was no visual evidence of the anger and fear and the feelings of resistance.”\u003c/p>\n\u003cp>Before \u003ca href=\"http://news.berkeley.edu/2016/11/10/affirmation-rally-for-diversity-equity-and-inclusion-fills-sproul-plaza/\" target=\"_blank\" rel=\"noopener\">a campus rally\u003c/a> on Nov. 10, Syjuco quickly designed and printed hundreds of 8.5-by-11-inch flyers reading “Equity, Diversity, Inclusion,” the watchwords of UC Berkeley’s \u003ca href=\"http://diversity.berkeley.edu/\" target=\"_blank\" rel=\"noopener\">Division of Equity and Inclusion\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12682430\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12682430\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/equity_hulda_cenizachoy.jpg\" alt=\"Catherine Ceniza Choy, professor in the Department of Ethnic Studies holds the microphone, professor Stephanie Syjuco on the right.\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/equity_hulda_cenizachoy.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/equity_hulda_cenizachoy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/equity_hulda_cenizachoy-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/equity_hulda_cenizachoy-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/equity_hulda_cenizachoy-520x347.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Catherine Ceniza Choy, professor in the Department of Ethnic Studies holds the microphone; professor Stephanie Syjuco on the right. \u003ccite>(Photo: Hulda Nelson | © UC Regents)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was a simple way to create a sense of visual cohesion as faculty addressed the crowd of students, faculty and staff in Sproul Plaza, reassuring those assembled of the school’s commitment to its ideals. But the flyers were flimsy and temporary; thinking of the inevitable number of marches and rallies to come, Syjuco wanted to create something with more heft.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She delved into the history of fabric banners, looking at the \u003ca href=\"https://www.vads.ac.uk/collections/FSB.html\" target=\"_blank\" rel=\"noopener\">women’s suffrage movement\u003c/a>, AIDS activists \u003ca href=\"https://en.wikipedia.org/wiki/ACT_UP\" target=\"_blank\" rel=\"noopener\">ACT UP\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Gran_Fury\" target=\"_blank\" rel=\"noopener\">Gran Fury\u003c/a>, as well as the visuals of the Occupy demonstrations. Syjuco found the images of fabric banners bearing powerful slogans at protests throughout history to be durable, easily transported and quickly compressed.\u003c/p>\n\u003cfigure id=\"attachment_12682449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12682449 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/BannerMaking1910-800x622.jpg\" alt=\"Making banners for a Women's Social & Political Union rally, 1910.\" width=\"800\" height=\"622\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BannerMaking1910-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BannerMaking1910-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BannerMaking1910-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BannerMaking1910-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BannerMaking1910-1180x917.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BannerMaking1910-960x746.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BannerMaking1910-240x187.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BannerMaking1910-375x292.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BannerMaking1910-520x404.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BannerMaking1910.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Making banners for a Women’s Social & Political Union rally, 1910. \u003ccite>(Photo: Courtesy of The Women's Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s something about making something to last,” the artist says. “It becomes visual evidence that holds history much longer.” Plus, Syjuco says, people do double-takes when they realize you put a significant amount of time and labor into creating a tangible statement of your convictions.\u003c/p>\n\u003cp>Much of Syjuco’s own artwork addresses authorship issues and the subversive benefits of freely sharing information online. Her \u003ci>\u003ca href=\"http://www.stephaniesyjuco.com/p_freetextsinstallation.html\" target=\"_blank\" rel=\"noopener\">FREE TEXTS\u003c/a>\u003c/i> project provides tear-off URLs for the dissemination of often radical texts. For the 2009 exhibition \u003ci>\u003ca href=\"http://www.stephaniesyjuco.com/cat_misproductions.html\" target=\"_blank\" rel=\"noopener\">Unsolicited Fabrications: Shareware Sculptures\u003c/a>\u003c/i>, she fabricated 15 sculptures based on 3-D designs uploaded to Google SketchUp’s open source database.\u003c/p>\n\u003cfigure id=\"attachment_12682432\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12682432 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/15826638_10154121344355969_7348171044718532813_n.jpg\" alt=\"Stephanie Syjuco's completed fabric banners.\" width=\"768\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/15826638_10154121344355969_7348171044718532813_n.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/15826638_10154121344355969_7348171044718532813_n-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/15826638_10154121344355969_7348171044718532813_n-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/15826638_10154121344355969_7348171044718532813_n-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/15826638_10154121344355969_7348171044718532813_n-520x650.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Stephanie Syjuco’s completed fabric banners. \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As she designed and tested out different methods of making banners, Syjuco didn’t want the skills she gained to stay with her alone. In the spirit of disseminating her own learned and gathered information, Syjuco created a \u003ca href=\"https://drive.google.com/open?id=0B6g_dTRVOZg6MjhublBhMHh6MFU\" target=\"_blank\" rel=\"noopener\">41-page how-to\u003c/a> on Google Docs. “I wanted to show how easy it can be,” she writes in the introduction. What follows is a step-by-step guide to making 11 different felt and fabric banners, all designed with simple clip art silhouettes, vibrant colors and catchy slogans.\u003c/p>\n\u003cp>“No bigotry, no racism, no hatred, no business as usual!” reads one. “Once divided, always conquered,” reads another.\u003c/p>\n\u003cp>“I really want these ideas to spread and be open-source and not be authored,” Syjuco says of her templates and instructions. “This is not my idea,” she adds, pointing back to the long history of artists’ involvement in protest movements.\u003c/p>\n\u003cp>Beyond the online sharing, Syjuco led banner-making workshops at Oakland’s Royal NoneSuch Gallery, San Francisco nonprofit Southern Exposure and the Oakland Museum of California in the days leading up to Trump’s inauguration. “For a lot of the folks in attendance, it was the first time they felt they could come together in productivity,” Syjuco says. “It became oddly festive, but also full of concern and anxiety.”\u003c/p>\n\u003cfigure id=\"attachment_12682505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12682505 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/16113476_10154142209110969_7383822564793703794_o-800x600.jpg\" alt=\"A giant scrap fabric pile, collectively donated by visitors and participants to the Reap What You Sew protest signage workshop at Southern Exposure.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/16113476_10154142209110969_7383822564793703794_o-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/16113476_10154142209110969_7383822564793703794_o-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/16113476_10154142209110969_7383822564793703794_o-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/16113476_10154142209110969_7383822564793703794_o-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/16113476_10154142209110969_7383822564793703794_o-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/16113476_10154142209110969_7383822564793703794_o-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/16113476_10154142209110969_7383822564793703794_o-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/16113476_10154142209110969_7383822564793703794_o-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/16113476_10154142209110969_7383822564793703794_o.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A giant scrap fabric pile, collectively donated by visitors and participants to the Reap What You Sew protest signage workshop at Southern Exposure. \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the large-scale protesting efforts of Inauguration Day and the Women’s March now over, Syjuco says she will alter her tactics going forward to embrace mass production and distribution, with the intention of spreading messages of resistance across the landscape in a markedly physical way. “You walk out on the streets and you see nothing,” she says. “We need bumper stickers, we need flags hanging out of windows and patches on backpacks.”\u003c/p>\n\u003cp>For now, Syjuco worries about protests becoming commonplace. Will they blend into the background? Will outrage succumb to normalization? “At some point there will be fatigue,” she says. “What I’m most concerned about is how to create an interruption in the idea of a protest as business as usual.”\u003c/p>\n\u003cp>“As artists, we are going to need to keep waking people up,” Syjuco says. “We’re going to have to work very hard.”\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>Additional Resources:\u003c/b>\u003cbr>\nAram Han Sifuentes, \u003ca href=\"http://www.aramhan.com/protest-banner-lending-library.html\" target=\"_blank\" rel=\"noopener\">Protest Banner Lending Library\u003c/a> (Chicago)\u003cbr>\nJustseeds, “\u003ca href=\"http://justseeds.org/art-build-techniques-for-protest/\" target=\"_blank\" rel=\"noopener\">Art Build Techniques for Protest\u003c/a>”\u003cbr>\nJustseeds, \u003ca href=\"http://justseeds.org/graphics/\" target=\"_blank\" rel=\"noopener\">Downloadable graphics\u003c/a>\u003cbr>\nRuckus Society, \u003ca href=\"http://ruckus.org/downloads/RS_ActionVisuals.pdf\" target=\"_blank\" rel=\"noopener\">Creative Direction Action Visuals\u003c/a>\u003cbr>\nStephanie Syjuco, \u003ca href=\"https://drive.google.com/open?id=0B6g_dTRVOZg6eHhTU0pvTHBDejQ\" target=\"_blank\" rel=\"noopener\">Complete set of banner images and templates\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12682235/with-fabric-banners-stephanie-syjuco-shares-patterns-for-protest","authors":["61"],"series":["arts_1357"],"categories":["arts_235","arts_70"],"tags":["arts_1642","arts_1119","arts_1118","arts_596"],"featImg":"arts_12682434","label":"arts_1357"},"arts_12685435":{"type":"posts","id":"arts_12685435","meta":{"index":"posts_1591205157","site":"arts","id":"12685435","score":null,"sort":[1485561903000]},"guestAuthors":[],"slug":"street-requiem-inspires-choir-to-tackle-homeless-problem","title":"'Street Requiem' Inspires Choir to Tackle Homeless Problem","publishDate":1485561903,"format":"standard","headTitle":"‘Street Requiem’ Inspires Choir to Tackle Homeless Problem | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Like most of us living in the Bay Area who are lucky enough to have a roof over our heads, Daniel Hughes says he has looked away when walking past homeless people.\u003c/p>\n\u003cp>“What I observed in my own behavior, as well as people on the street, was just how difficult it was to confront how someone has fallen so low,” says Hughes, who serves as the artistic director and conductor of \u003ca href=\"http://www.choralproject.org/\" target=\"_blank\" rel=\"noopener\">The Choral Project\u003c/a>, a community choir in San Jose. “The regular man’s reaction to that is to try to ignore it and pretend it’s not there, because it really does force us to confront our own humanity.”\u003c/p>\n\u003cp>That response, or lack thereof, is exactly what \u003cem>Street Requiem\u003c/em> is designed to confront. Choral groups around the world have performed the work since its debut in 2014 — and donated proceeds to support the homeless in cities from Melbourne, Australia to San Francisco.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/304880949″ 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>Now the Choral Project is performing \u003cem>Street Requiem\u003c/em> in San Jose and Santa Cruz, two Silicon Valley cities with \u003ca href=\"https://www.hudexchange.info/resources/documents/2016-AHAR-Part-1.pdf\" target=\"_blank\" rel=\"noopener\">substantial homeless populations\u003c/a>. 10 percent of the net proceeds from the choir’s shows will be donated to the Office of Social Ministry at the \u003ca href=\"http://www.stjosephcathedral.org/\" target=\"_blank\" rel=\"noopener\">Saint Joseph Cathedral Basilica\u003c/a> in downtown San Jose.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kathleen McGuire, one of the co-creators of \u003cem>Street Requiem\u003c/em>, spent 13 years in the San Francisco Bay Area. She led a number of high profile groups, including the \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus\u003c/a> and a homeless choir in San Francisco called \u003ca href=\"http://www.singersofthestreet.org/\" target=\"_blank\" rel=\"noopener\">Singers of the Street\u003c/a> (SOS).\u003c/p>\n\u003cp>McGuire was inspired to launch SOS by a fellow Australian choral conductor, \u003ca href=\"http://www.jonathonwelch.com/\" target=\"_blank\" rel=\"noopener\">Jonathon Welch\u003c/a>, who’s started two homeless choirs himself, in Australia. He also came up with the idea for \u003cem>Street Requiem\u003c/em>.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=nf_exeHB9JA?list=PLwHx0O0gnxuj3Vnf5RZBtImSqzAGvjQrK]”There are so many people who die on the streets every year, who nobody mourns, and nobody knows their name,” McGuire says. \u003cem>Street Requiem,\u003c/em> she says, “is really about the experience of the person on the street, and yes, trying to put the audience, as well as the performers, into a different mindset.”\u003c/p>\n\u003cp>\u003cem>Street Requiem\u003c/em> draws from multiple musical traditions, foremost among them Roman Catholic religious music. The “Requiem Æternam” movement, or “Eternal Rest” in Latin, for instance, is a prayer asking God to hasten the journey souls take from purgatory to heaven.\u003c/p>\n\u003cp>“We’ve taken some core elements of the traditional requiem, but we’ve put it into modern vernacular,” McGuire says. “We’ve also taken out some of the very overtly Christian language to try and make it more accessible to people of faith but not a specific religion.”\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>Excerpt from “Ubi Caritas – Charity and Love”\u003c/strong>\u003c/p>\n\u003cp>What is it that scares you when it’s change I’m looking for?\u003c/p>\n\u003cp>What is it that scares you that make you bar the door?\u003c/p>\n\u003cp>What is it that scares you when my hand’s stretched out this way?\u003c/p>\n\u003cp>What is it that scares you that makes you turn away?\u003c/p>\n\u003cp>Ubi caritas et amor deus ibi est.\u003c/p>\n\u003cp>\u003ci>(Where there is charity and love, there you will find the spirit of God.)\u003c/i>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>Street Requiem\u003c/em> also addresses the multiple ways people die on the street across the world every day — not just as a result of exposure to the elements, but also through crime and government oppression. One of the most touching movements, “Gloria,” includes a phrase from the Zulu language commonly sung at South African funerals and demonstrations.\u003c/p>\n\u003cp>“Senzeni na means ‘What have I done?’ or ‘What have we done?'” McGuire says. “It also means, ‘What have we done, as a society, to each other?'”\u003c/p>\n\u003cp>McGuire is not the only musician involved in the project who feels the homeless crisis applies to all of us. That’s why the Bay Area-based, internationally renowned mezzo-soprano Frederica von Stade is involved in the San Jose and Santa Cruz performances of \u003cem>Street Requiem\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12685633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12685633\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-800x450.jpg\" alt='\"The more you go back to [Street Requiem], the more you discover new levels of depth,\" says Daniel Hughes, artistic director and conductor of The Choral Project in San Jose. \"The depth of emotions I have to this music and the issues just continues to increase.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The more you go back to [Street Requiem], the more you discover new levels of depth,” says Daniel Hughes, artistic director and conductor of The Choral Project in San Jose. “The depth of emotions I have to this music and the issues just continues to increase.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s not very hard to end up on the street.” says von Stade, who has performed \u003cem>Street Requiem\u003c/em> in Dallas, San Mateo, San Francisco and with an Australian choir at Carnegie Hall. “Nobody’s that different than we are. They’ve just had unbelievably tragic circumstances and they’re circumstances that are beyond people’s control.” Over the years, she’s also worked with a couple of organizations that provide opportunities for poor children to learn music, including the \u003ca href=\"http://www.youngmusiciansco.org/\" target=\"_blank\" rel=\"noopener\">Young Musicians Choral Orchestra\u003c/a>.\u003c/p>\n\u003cp>With real estate prices as high as they are in Silicon Valley, choir members can’t help but resonate with the thought that we’re all potentially one crisis away from the streets, and that any one of us could fall prey to a layoff, a health crisis, crime, or indifference from friends and family.\u003c/p>\n\u003cp>It’s heavy stuff, acknowledges Choral Project baritone Wilfred Matthews. He’s been singing with the community choir for 13 years, commuting from as far away as Sacramento at one point to be a part of the group.\u003c/p>\n\u003cfigure id=\"attachment_12685634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12685634\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-800x453.jpg\" alt='The Choral Project rehearses Street Requiem at Willow Glen United Methodist Church in San Jose. \"It’s very moving,\" says alto Kathy Armstrong, \"but also uplifting at the same time. It’s great fun to sing.\"' width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-1020x578.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-1180x669.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-960x544.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-520x295.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Choral Project rehearses Street Requiem at Willow Glen United Methodist Church in San Jose. “It’s very moving,” says alto Kathy Armstrong, “but also uplifting at the same time. It’s great fun to sing.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matthews sang \u003cem>Street Requiem\u003c/em> two years ago when it was performed in San Francisco and San Mateo. “It was such a moving work,” Matthews says. “I felt like I could contribute in a little way, you know, even with my own small voice, to spreading the message of hope for the marginalized in our society.”\u003c/p>\n\u003cp>Matthews says the work has helped to change the way he interacts with people living on the streets. “I actually look at them in the eye,” he says. “I don’t walk away like I used to before.”\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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>The \u003cstrong>Choral Project\u003c/strong> performs \u003cstrong>Street Requiem\u003c/strong> on Wednesday, Feb. 15, at the \u003cem>Saint Joseph Cathedral Basilica\u003c/em> in San Jose; and Saturday, Feb. 18, 2017 at Peace United Church of Christ in Santa Cruz. \u003ca href=\"http://www.choralproject.org/categories/street-requiem/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"With its performances of the contemporary choral work in San Jose and Santa Cruz in mid February, the Choral Project of Silicon Valley aims to raise funds for local charities that help homeless people.","status":"publish","parent":0,"modified":1705031748,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1183},"headData":{"title":"'Street Requiem' Inspires Choir to Tackle Homeless Problem | KQED","description":"With its performances of the contemporary choral work in San Jose and Santa Cruz in mid February, the Choral Project of Silicon Valley aims to raise funds for local charities that help homeless people.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Street Requiem' Inspires Choir to Tackle Homeless Problem","datePublished":"2017-01-28T00:05:03.000Z","dateModified":"2024-01-12T03:55:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestFields":"0","sticky":false,"path":"/arts/12685435/street-requiem-inspires-choir-to-tackle-homeless-problem","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like most of us living in the Bay Area who are lucky enough to have a roof over our heads, Daniel Hughes says he has looked away when walking past homeless people.\u003c/p>\n\u003cp>“What I observed in my own behavior, as well as people on the street, was just how difficult it was to confront how someone has fallen so low,” says Hughes, who serves as the artistic director and conductor of \u003ca href=\"http://www.choralproject.org/\" target=\"_blank\" rel=\"noopener\">The Choral Project\u003c/a>, a community choir in San Jose. “The regular man’s reaction to that is to try to ignore it and pretend it’s not there, because it really does force us to confront our own humanity.”\u003c/p>\n\u003cp>That response, or lack thereof, is exactly what \u003cem>Street Requiem\u003c/em> is designed to confront. Choral groups around the world have performed the work since its debut in 2014 — and donated proceeds to support the homeless in cities from Melbourne, Australia to San Francisco.\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/304880949″&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/304880949″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Now the Choral Project is performing \u003cem>Street Requiem\u003c/em> in San Jose and Santa Cruz, two Silicon Valley cities with \u003ca href=\"https://www.hudexchange.info/resources/documents/2016-AHAR-Part-1.pdf\" target=\"_blank\" rel=\"noopener\">substantial homeless populations\u003c/a>. 10 percent of the net proceeds from the choir’s shows will be donated to the Office of Social Ministry at the \u003ca href=\"http://www.stjosephcathedral.org/\" target=\"_blank\" rel=\"noopener\">Saint Joseph Cathedral Basilica\u003c/a> in downtown San Jose.\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>Kathleen McGuire, one of the co-creators of \u003cem>Street Requiem\u003c/em>, spent 13 years in the San Francisco Bay Area. She led a number of high profile groups, including the \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus\u003c/a> and a homeless choir in San Francisco called \u003ca href=\"http://www.singersofthestreet.org/\" target=\"_blank\" rel=\"noopener\">Singers of the Street\u003c/a> (SOS).\u003c/p>\n\u003cp>McGuire was inspired to launch SOS by a fellow Australian choral conductor, \u003ca href=\"http://www.jonathonwelch.com/\" target=\"_blank\" rel=\"noopener\">Jonathon Welch\u003c/a>, who’s started two homeless choirs himself, in Australia. He also came up with the idea for \u003cem>Street Requiem\u003c/em>.\u003c/p>\n\u003cp>\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/nf_exeHB9JA?list=PLwHx0O0gnxuj3Vnf5RZBtImSqzAGvjQrK'\n title='//www.youtube.com/embed/nf_exeHB9JA?list=PLwHx0O0gnxuj3Vnf5RZBtImSqzAGvjQrK'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>”There are so many people who die on the streets every year, who nobody mourns, and nobody knows their name,” McGuire says. \u003cem>Street Requiem,\u003c/em> she says, “is really about the experience of the person on the street, and yes, trying to put the audience, as well as the performers, into a different mindset.”\u003c/p>\n\u003cp>\u003cem>Street Requiem\u003c/em> draws from multiple musical traditions, foremost among them Roman Catholic religious music. The “Requiem Æternam” movement, or “Eternal Rest” in Latin, for instance, is a prayer asking God to hasten the journey souls take from purgatory to heaven.\u003c/p>\n\u003cp>“We’ve taken some core elements of the traditional requiem, but we’ve put it into modern vernacular,” McGuire says. “We’ve also taken out some of the very overtly Christian language to try and make it more accessible to people of faith but not a specific religion.”\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>Excerpt from “Ubi Caritas – Charity and Love”\u003c/strong>\u003c/p>\n\u003cp>What is it that scares you when it’s change I’m looking for?\u003c/p>\n\u003cp>What is it that scares you that make you bar the door?\u003c/p>\n\u003cp>What is it that scares you when my hand’s stretched out this way?\u003c/p>\n\u003cp>What is it that scares you that makes you turn away?\u003c/p>\n\u003cp>Ubi caritas et amor deus ibi est.\u003c/p>\n\u003cp>\u003ci>(Where there is charity and love, there you will find the spirit of God.)\u003c/i>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>Street Requiem\u003c/em> also addresses the multiple ways people die on the street across the world every day — not just as a result of exposure to the elements, but also through crime and government oppression. One of the most touching movements, “Gloria,” includes a phrase from the Zulu language commonly sung at South African funerals and demonstrations.\u003c/p>\n\u003cp>“Senzeni na means ‘What have I done?’ or ‘What have we done?'” McGuire says. “It also means, ‘What have we done, as a society, to each other?'”\u003c/p>\n\u003cp>McGuire is not the only musician involved in the project who feels the homeless crisis applies to all of us. That’s why the Bay Area-based, internationally renowned mezzo-soprano Frederica von Stade is involved in the San Jose and Santa Cruz performances of \u003cem>Street Requiem\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12685633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12685633\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-800x450.jpg\" alt='\"The more you go back to [Street Requiem], the more you discover new levels of depth,\" says Daniel Hughes, artistic director and conductor of The Choral Project in San Jose. \"The depth of emotions I have to this music and the issues just continues to increase.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The more you go back to [Street Requiem], the more you discover new levels of depth,” says Daniel Hughes, artistic director and conductor of The Choral Project in San Jose. “The depth of emotions I have to this music and the issues just continues to increase.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s not very hard to end up on the street.” says von Stade, who has performed \u003cem>Street Requiem\u003c/em> in Dallas, San Mateo, San Francisco and with an Australian choir at Carnegie Hall. “Nobody’s that different than we are. They’ve just had unbelievably tragic circumstances and they’re circumstances that are beyond people’s control.” Over the years, she’s also worked with a couple of organizations that provide opportunities for poor children to learn music, including the \u003ca href=\"http://www.youngmusiciansco.org/\" target=\"_blank\" rel=\"noopener\">Young Musicians Choral Orchestra\u003c/a>.\u003c/p>\n\u003cp>With real estate prices as high as they are in Silicon Valley, choir members can’t help but resonate with the thought that we’re all potentially one crisis away from the streets, and that any one of us could fall prey to a layoff, a health crisis, crime, or indifference from friends and family.\u003c/p>\n\u003cp>It’s heavy stuff, acknowledges Choral Project baritone Wilfred Matthews. He’s been singing with the community choir for 13 years, commuting from as far away as Sacramento at one point to be a part of the group.\u003c/p>\n\u003cfigure id=\"attachment_12685634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12685634\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-800x453.jpg\" alt='The Choral Project rehearses Street Requiem at Willow Glen United Methodist Church in San Jose. \"It’s very moving,\" says alto Kathy Armstrong, \"but also uplifting at the same time. It’s great fun to sing.\"' width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-1020x578.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-1180x669.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-960x544.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-520x295.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Choral Project rehearses Street Requiem at Willow Glen United Methodist Church in San Jose. “It’s very moving,” says alto Kathy Armstrong, “but also uplifting at the same time. It’s great fun to sing.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matthews sang \u003cem>Street Requiem\u003c/em> two years ago when it was performed in San Francisco and San Mateo. “It was such a moving work,” Matthews says. “I felt like I could contribute in a little way, you know, even with my own small voice, to spreading the message of hope for the marginalized in our society.”\u003c/p>\n\u003cp>Matthews says the work has helped to change the way he interacts with people living on the streets. “I actually look at them in the eye,” he says. “I don’t walk away like I used to before.”\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003cstrong>Choral Project\u003c/strong> performs \u003cstrong>Street Requiem\u003c/strong> on Wednesday, Feb. 15, at the \u003cem>Saint Joseph Cathedral Basilica\u003c/em> in San Jose; and Saturday, Feb. 18, 2017 at Peace United Church of Christ in Santa Cruz. \u003ca href=\"http://www.choralproject.org/categories/street-requiem/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12685435/street-requiem-inspires-choir-to-tackle-homeless-problem","authors":["251"],"programs":["arts_140"],"series":["arts_610","arts_1357"],"categories":["arts_69","arts_235"],"tags":["arts_1119","arts_1118","arts_596"],"featImg":"arts_12686212","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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