Rainin Fellowship Awards $100,000 Grants to Four Bay Area Artists
How Larry Arrington Integrated Astrology and Dance to Confront Cosmic Tumult
Ed Mock, Late San Francisco Dance Legend, Lives on in Documentary
Bay Brilliant: Amara Tabor-Smith
On the Air: Cy and Ariana's Do List Picks for Jan. 26, 2018
Dance and Theater Join in a Healing Ritual
Sponsored
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The Rainin Fellowship awards four unrestricted grants of $100,000 to help artists maintain their lives and practices in the San Francisco Bay Area. The inaugural recipients are \u003ca href=\"http://www.deepwatersdance.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Amara Tabor-Smith\u003c/a>, \u003ca href=\"https://www.margohall.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Margo Hall\u003c/a>, \u003ca href=\"http://peopleskitchencollective.com/\" rel=\"noopener noreferrer\" target=\"_blank\">People’s Kitchen Collective\u003c/a> (Sita Kuratomi Bhaumik, Jocelyn Jackson and Saqib Keval), and \u003ca href=\"https://rrcinema.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Rodrigo Reyes\u003c/a>. \u003c/p>\n\u003cp>The fellows, whose work includes deeply vulnerable performance experiences, theater by and for people of color, food-centered art and activism, and creative approaches to documentary film, are described by the Rainin Foundation in today’s announcement as artists “who push the boundaries of creative expression, anchor local communities, and advance the field.” \u003c/p>\n\u003cfigure id=\"attachment_13894796\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RaininFellows_1200.jpg\" alt=\"\" width=\"1200\" height=\"300\" class=\"size-full wp-image-13894796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-800x200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-1020x255.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-160x40.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-768x192.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The 2021 Rainin Fellows Amara Tabor-Smith, Margo Hall, Rodrigo Reyes and People’s Kitchen Collective (Saqib Keval, Sita Kuratomi Bhaumik and Jocelyn Jackson). \u003ccite>(L to R photos by Jean Melesaine, Lisa Keating, Jennifer Duran, and Molly DeCoudreaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Hall, whose many roles in the Bay Area theater world include actor, director, playwright and educator—and as of last year, \u003ca href=\"https://www.kqed.org/arts/13889584/margo-hall-set-to-lead-the-lorraine-hansberry-theatre-into-an-exciting-new-future\" rel=\"noopener noreferrer\" target=\"_blank\">artistic director\u003c/a> of San Francisco’s Lorraine Hansberry Theatre—this fellowship provides a sense of validation. \u003c/p>\n\u003cp>“It solidified the fact that all the work I’ve done is paying off,” she says. “And not just because of the financial award of the fellowship, but because of the true recognition for the work I’ve done in the Bay Area.”\u003c/p>\n\u003cp>“I decided long ago that this was my home and I wanted to dedicate my energy and time to a community I believe in,” she continues. “I’m so happy that I did because I have built relationships that have carried me through my career and will carry me through my lifetime.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID=\"arts_13890207\"]Rainin Foundation Chief Program Officer Shelley Trott says plans for the fellowship, which was administered by the national arts funding nonprofit \u003ca href=\"https://www.unitedstatesartists.org/\" rel=\"noopener noreferrer\" target=\"_blank\">United States Artists\u003c/a>, predate the coronavirus pandemic and its toll on the local arts sector. While working on a strategic plan in 2017, she says, the foundation turned its attention to helping Bay Area artists thrive. It was clear just how many people were leaving the region, often forced to choose between their practices and affordability.\u003c/p>\n\u003cp>“We felt that it would be really important to have a program that provided direct support to individual artists at a level that would help them maintain a life and a living in the Bay Area given all the economic pressures,” Trott says.\u003c/p>\n\u003cp>Surveying other fellowships across the country and taking into account the Bay Area’s high cost of living, Rainin landed on $100,000 based on a year’s worth of living expenses. Because the grant is unrestricted, the fellows have complete freedom in their spending. They can even draw down on the total grant amount over a period of years, based on their needs and the tax implications of the added income. The fellowship also offers recipients help with financial planning, communications, marketing and legal services.\u003c/p>\n\u003cp>The fellowship is guaranteed to run annually for three years, but the Rainin Foundation anticipates it will continue beyond that term. \u003c/p>\n\u003cp>While the funding goes to just one artist (or in the case of People’s Kitchen Collective, a collaborative of three artists), the Rainin Fellowship is geared towards the enrichment of the entire Bay Area arts community. “We thought a lot about this concept of an anchor artist,” Trott says. “That’s an artist who’s deeply rooted in this community and in this region, who reflects the diverse communities of the Bay Area. And their practice also tends to uplift other artists as well, to influence and inspire.”\u003c/p>\n\u003cfigure id=\"attachment_13894799\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200.jpg\" alt=\"\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13894799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Rodrigo Reyes’ film ‘499,’ 2020. \u003ccite>(Alejandro Mejía/AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes, a Mexican director based in Oakland, says he moved to the Bay Area in search of that artistic community. His latest film, \u003ci>\u003ca href=\"https://rrcinema.com/films-499/\" rel=\"noopener noreferrer\" target=\"_blank\">499\u003c/a>\u003c/i>, follows a reawakened conquistador as he interacts with people in contemporary Mexico, and pinpoints the brutal legacy of colonialism in today’s humanitarian crises. \u003c/p>\n\u003cp>“I recently joined the Bay Area Video Coalition as the co-director for their \u003ca href=\"https://bavc.org/mediamaker\" rel=\"noopener noreferrer\" target=\"_blank\">MediaMaker Fellowship\u003c/a>, which is a wonderful program that mentors filmmakers working on their first feature documentaries,” he says. “And being part of that has just really helped me to dig into a lot of the things that I love about Bay, which is the collaborative, open-to-dialogue experience, and the nourishing diversity of our space here.”\u003c/p>\n\u003cp>Another part of the Rainin Fellowship’s goal is to raise the profile of Bay Area artists—including those who don’t ultimately receive the grant. Trott says over 100 artists nominated by local experts in their fields were invited to submit applications, which were read by national reviewers and then a panel of local jurors, a process that introduced Bay Area artists to arts professionals across the country.\u003c/p>\n\u003cp>“I think it’s going to mean the world to the Bay Area,” says Hall of the Rainin Fellowship’s potential long-term impact. “Just the thought of having that kind of financial foundation will help you want to stay in the Bay.” Knowing that someone is keeping an eye on Bay Area artists’ work makes all the difference. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s nothing like feeling like your community supports you and gets you,” Hall says.\u003c/p>\n\n","blocks":[],"excerpt":"Amara Tabor-Smith, Margo Hall, People’s Kitchen Collective and Rodrigo Reyes are the first recipients of an annual unrestricted award. ","status":"publish","parent":0,"modified":1705019261,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":940},"headData":{"title":"Rainin Fellowship Awards $100,000 Grants to Four Bay Area Artists | KQED","description":"Amara Tabor-Smith, Margo Hall, People’s Kitchen Collective and Rodrigo Reyes are the first recipients of an annual unrestricted award. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13894782/rainin-fellowship-awards-100000-grants-to-four-bay-area-artists","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Kenneth Rainin Foundation announced today the launch of a \u003ca href=\"https://krfoundation.org/inaugural-rainin-fellowship-announced/\" rel=\"noopener noreferrer\" target=\"_blank\">new fellowship\u003c/a> for artists working in dance, film, public space and theater. The Rainin Fellowship awards four unrestricted grants of $100,000 to help artists maintain their lives and practices in the San Francisco Bay Area. The inaugural recipients are \u003ca href=\"http://www.deepwatersdance.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Amara Tabor-Smith\u003c/a>, \u003ca href=\"https://www.margohall.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Margo Hall\u003c/a>, \u003ca href=\"http://peopleskitchencollective.com/\" rel=\"noopener noreferrer\" target=\"_blank\">People’s Kitchen Collective\u003c/a> (Sita Kuratomi Bhaumik, Jocelyn Jackson and Saqib Keval), and \u003ca href=\"https://rrcinema.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Rodrigo Reyes\u003c/a>. \u003c/p>\n\u003cp>The fellows, whose work includes deeply vulnerable performance experiences, theater by and for people of color, food-centered art and activism, and creative approaches to documentary film, are described by the Rainin Foundation in today’s announcement as artists “who push the boundaries of creative expression, anchor local communities, and advance the field.” \u003c/p>\n\u003cfigure id=\"attachment_13894796\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RaininFellows_1200.jpg\" alt=\"\" width=\"1200\" height=\"300\" class=\"size-full wp-image-13894796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-800x200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-1020x255.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-160x40.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RaininFellows_1200-768x192.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The 2021 Rainin Fellows Amara Tabor-Smith, Margo Hall, Rodrigo Reyes and People’s Kitchen Collective (Saqib Keval, Sita Kuratomi Bhaumik and Jocelyn Jackson). \u003ccite>(L to R photos by Jean Melesaine, Lisa Keating, Jennifer Duran, and Molly DeCoudreaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Hall, whose many roles in the Bay Area theater world include actor, director, playwright and educator—and as of last year, \u003ca href=\"https://www.kqed.org/arts/13889584/margo-hall-set-to-lead-the-lorraine-hansberry-theatre-into-an-exciting-new-future\" rel=\"noopener noreferrer\" target=\"_blank\">artistic director\u003c/a> of San Francisco’s Lorraine Hansberry Theatre—this fellowship provides a sense of validation. \u003c/p>\n\u003cp>“It solidified the fact that all the work I’ve done is paying off,” she says. “And not just because of the financial award of the fellowship, but because of the true recognition for the work I’ve done in the Bay Area.”\u003c/p>\n\u003cp>“I decided long ago that this was my home and I wanted to dedicate my energy and time to a community I believe in,” she continues. “I’m so happy that I did because I have built relationships that have carried me through my career and will carry me through my lifetime.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13890207","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Rainin Foundation Chief Program Officer Shelley Trott says plans for the fellowship, which was administered by the national arts funding nonprofit \u003ca href=\"https://www.unitedstatesartists.org/\" rel=\"noopener noreferrer\" target=\"_blank\">United States Artists\u003c/a>, predate the coronavirus pandemic and its toll on the local arts sector. While working on a strategic plan in 2017, she says, the foundation turned its attention to helping Bay Area artists thrive. It was clear just how many people were leaving the region, often forced to choose between their practices and affordability.\u003c/p>\n\u003cp>“We felt that it would be really important to have a program that provided direct support to individual artists at a level that would help them maintain a life and a living in the Bay Area given all the economic pressures,” Trott says.\u003c/p>\n\u003cp>Surveying other fellowships across the country and taking into account the Bay Area’s high cost of living, Rainin landed on $100,000 based on a year’s worth of living expenses. Because the grant is unrestricted, the fellows have complete freedom in their spending. They can even draw down on the total grant amount over a period of years, based on their needs and the tax implications of the added income. The fellowship also offers recipients help with financial planning, communications, marketing and legal services.\u003c/p>\n\u003cp>The fellowship is guaranteed to run annually for three years, but the Rainin Foundation anticipates it will continue beyond that term. \u003c/p>\n\u003cp>While the funding goes to just one artist (or in the case of People’s Kitchen Collective, a collaborative of three artists), the Rainin Fellowship is geared towards the enrichment of the entire Bay Area arts community. “We thought a lot about this concept of an anchor artist,” Trott says. “That’s an artist who’s deeply rooted in this community and in this region, who reflects the diverse communities of the Bay Area. And their practice also tends to uplift other artists as well, to influence and inspire.”\u003c/p>\n\u003cfigure id=\"attachment_13894799\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200.jpg\" alt=\"\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13894799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Rodrigo Reyes’ film ‘499,’ 2020. \u003ccite>(Alejandro Mejía/AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes, a Mexican director based in Oakland, says he moved to the Bay Area in search of that artistic community. His latest film, \u003ci>\u003ca href=\"https://rrcinema.com/films-499/\" rel=\"noopener noreferrer\" target=\"_blank\">499\u003c/a>\u003c/i>, follows a reawakened conquistador as he interacts with people in contemporary Mexico, and pinpoints the brutal legacy of colonialism in today’s humanitarian crises. \u003c/p>\n\u003cp>“I recently joined the Bay Area Video Coalition as the co-director for their \u003ca href=\"https://bavc.org/mediamaker\" rel=\"noopener noreferrer\" target=\"_blank\">MediaMaker Fellowship\u003c/a>, which is a wonderful program that mentors filmmakers working on their first feature documentaries,” he says. “And being part of that has just really helped me to dig into a lot of the things that I love about Bay, which is the collaborative, open-to-dialogue experience, and the nourishing diversity of our space here.”\u003c/p>\n\u003cp>Another part of the Rainin Fellowship’s goal is to raise the profile of Bay Area artists—including those who don’t ultimately receive the grant. Trott says over 100 artists nominated by local experts in their fields were invited to submit applications, which were read by national reviewers and then a panel of local jurors, a process that introduced Bay Area artists to arts professionals across the country.\u003c/p>\n\u003cp>“I think it’s going to mean the world to the Bay Area,” says Hall of the Rainin Fellowship’s potential long-term impact. “Just the thought of having that kind of financial foundation will help you want to stay in the Bay.” Knowing that someone is keeping an eye on Bay Area artists’ work makes all the difference. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s nothing like feeling like your community supports you and gets you,” Hall says.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13894782/rainin-fellowship-awards-100000-grants-to-four-bay-area-artists","authors":["61"],"categories":["arts_1","arts_235"],"tags":["arts_3713","arts_10278","arts_977","arts_2335","arts_5264"],"featImg":"arts_13894797","label":"arts"},"arts_13872290":{"type":"posts","id":"arts_13872290","meta":{"index":"posts_1591205157","site":"arts","id":"13872290","score":null,"sort":[1577995237000]},"guestAuthors":[],"slug":"how-larry-arrington-integrated-astrology-and-dance-to-confront-cosmic-tumult","title":"How Larry Arrington Integrated Astrology and Dance to Confront Cosmic Tumult","publishDate":1577995237,"format":"standard","headTitle":"How Larry Arrington Integrated Astrology and Dance to Confront Cosmic Tumult | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>One recent afternoon, dancer and choreographer \u003ca href=\"https://www.astrologywithlarry.com/dance\">Larry Arrington\u003c/a> crawled beneath a green, furry sheet in San Francisco’s ODC Theater. It was a rehearsal for \u003cem>No Quarter\u003c/em>, her latest work, and flower petals and a large garment covered the stage while a boombox played arrhythmic electronic music. Performers Chelsea Reichert and Jose Abad were already under the fabric, and Sherwood Chen would momentarily lay atop the mounds, intimating their arched bodies. \u003c/p>\n\u003cp>“I told them to get closer to each other,” said Arrington, clad in a dark tank top and shorts, during a break. “As a sort of joke, I call it a solo.” The theme of hybridity or blending runs throughout \u003cem>No Quarter\u003c/em> in strikingly mirrored duets. “Sharing bodies,” in Arrington’s parlance, also references the alignment of Saturn and Pluto in what astrologers such as herself call a conjunction. “Really I’m an astrologer who uses dance in my astrological practice,” she said. “Dance is the mouth I use to chew things.” \u003c/p>\n\u003cp>\u003cem>No Quarter\u003c/em> shows Arrington integrating her astrology with live performance more closely than ever. Her first piece created entirely in alignment with planetary cycles, Arrington started developing \u003cem>No Quarter\u003c/em> in December 2017, when Saturn entered Capricorn. It runs Jan. 9–11, at \u003ca href=\"https://www.odc.dance/NoQuarter\">ODC Theater\u003c/a> in the Mission District, where she’s a resident artist, as Saturn begins to conjunct Pluto—a rare cosmic event that, Arrington and other astrologers believe, augurs global tumult. \u003c/p>\n\u003cp>“The Saturn-Pluto cycles are all about crises of power,” Arrington said, mentioning Richard Tarnas’ book \u003cem>Cosmos and Psyche\u003c/em>, which charts the major historical events of modernity along with planetary cycles. “It’s very out there, very woo-woo,” she said. “I actually don’t talk a lot about this publicly. But the idea is I do art in alignment with these cycles, as petitions to them.” \u003c/p>\n\u003cfigure id=\"attachment_13872292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/arrington-seated-800x450.jpg\" alt=\"Larry Arrington is a San Francisco dancer-choreographer and astrologer. 'No Quarter,' her latest work, runs January 9-11 at ODC Theater.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13872292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Larry Arrington is a San Francisco dancer-choreographer and astrologer. ‘No Quarter,’ her latest work, runs January 9-11 at ODC Theater. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>No Quarter\u003c/em> partly resembles a symposium. It begins with the performers still, surrounded by petals, while Arrington uses a chalkboard to digress, in a declarative-yet-elliptical style familiar from astrology, between ancient myth, modern geopolitics and the solar system. Attendees go on stage, intone phrases and learn to tell “daemon” from “demon.” Not that Arrington is too didactic: She stokes ambiguity and confusion, wondering what the planets portend for herself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The last Saturn-Pluto conjunction was in 1982,” Arrington said. “And I was born in 1982.” \u003c/p>\n\u003cp>Arrington, 37, grew up in Louisiana and moved from New York to San Francisco more than a decade ago. At the time, she was leery of dancing professionally, but felt energized by the city’s climate of experimentation, drawing inspiration from collaborators Amara Tabor-Smith, Jesse Hewitt and Keith Hennessy. She landed residencies at Headlands Center for the Arts and CounterPULSE, and was invited to the closely-watched American Realness Festival in New York in 2012. \u003c/p>\n\u003cp>In the early 2010s, Arrington also created SQUART (Spontaneous Queer Art). For the performance series, often hosted at the Lab or SOMArts in San Francisco, with installments in Berlin and Portland, Oregon, artists convened in random groups to build performances around loose, winking prompts. “Celebrity judges” assessed the results, game show-style, in a satire of art-world workshops and competition that conveyed her misgivings about dance-as-vocation.\u003c/p>\n\u003cp>In 2015, her work pivoted towards its present forms and concerns. Rising cost-of-living had diminished her roster of collaborators; instead of large ensembles Arrington turned to duets and solos. Around the same time, a series of injuries left her temporarily unable to teach. “That made me panic,” she said. “All of the money I’d ever made was about being able to move.” So Arrington began charging money for the astrological insights she’d previously shared for free.\u003c/p>\n\u003cfigure id=\"attachment_13872295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Jose-Abad-good-800x450.jpg\" alt=\"Jose Abad, seen here rehearsing at ODC Theater, is a performer in Larry Arrington's 'No Quarter.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13872295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jose Abad, seen here rehearsing at ODC Theater, is a performer in Larry Arrington’s ‘No Quarter.’ \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arrington, who’s also a Rhythm & Motion dance teacher, offers group and individual astrology readings, plus regular horoscopes and related writings, and recently launched a \u003ca href=\"https://www.patreon.com/join/larryarrington\">Patreon\u003c/a>. On \u003ca href=\"https://www.instagram.com/larrylarryarrington/?hl=en\">Instagram\u003c/a>, she posts video collages involving interpretive dance of planetary movements: Instead of the oracular neutrality of a written horoscope, Arrington’s head emerges from a fur blanket and spins like a top to represent a “trine” creating fertile conditions for personal growth. \u003c/p>\n\u003cp>A typical comment reads, “This is the perfect representation of my inner experience.” \u003c/p>\n\u003cp>Diversifying income sources lessens the pressures of wooing arts funders. “I was at this talk and someone said, ‘Be careful how you write your grant, you might start to believe yourself,’” she recalled, explaining how artists self-limit by tailoring narrow theses to funders instead of capturing what arises unbidden from the creative process. The distance from institutions also helps protect her work’s accessibility; admission to \u003cem>No Quarter\u003c/em>, for instance, is sliding scale. \u003c/p>\n\u003cp>Arrington explores ideas in an open-ended way, carrying questions from one piece to the next as if each project is a swatch of the same borderless latticework. \u003cem>Quarter\u003c/em>, a prelude to \u003cem>No Quarter\u003c/em>, created as a part of Hope Mohr Dance’s Bridge Project in 2016 (in response to Trisha Brown’s cube-based 1975 piece \u003cem>Locus\u003c/em>), found Arrington critically examining how neatly delineated space—think maps, crosses—undergirds monotheism, patriarchy and colonialism. \u003c/p>\n\u003cfigure id=\"attachment_13872296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/sherwood-800x450.jpg\" alt=\"Sherwood Chen is a performer in Larry Arrington's 'No Quarter.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13872296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sherwood Chen is a performer in Larry Arrington’s ‘No Quarter.’ \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a global resurgence of far-right nationalism, Arrington sees those forces of division intensifying, and the planetary conjunction at the core of \u003cem>No Quarter\u003c/em> threatens to pronounce them further. She also believes it’s a time of turning inward and facing shadows. “Buried things announce themselves, the past/dead speak,” reads her astrology workbook for 2020. “We are asked to take necessary and challenging looks at power, paternity, structure and the past.” \u003c/p>\n\u003cp>In \u003cem>No Quarter\u003c/em>, Arrington takes her own advice. At a work-in-progress preview in August, Arrington recited Rainer Maria Rilke’s poem “You, Darkness,” and performed a series of duets between stories drawn from her distant patrilineage and Greco-Roman mythology—like Saturn eating his children and castrating his father. On a chalkboard she drew a gun and a wagon wheel, “problematic inventions,” she said, that figured in the deaths of her great-grandfathers. \u003c/p>\n\u003cp>Arrington describes No Quarter as tracking the shift “from the many to the one” in the past 2,000 years or so. It is a vast subject, and she seems to savor the risk of an audience left unmoored. In one of two chalkboard columns, Arrington wrote “YIKES,” “DEAD” and “HISTORY,” and drew a circle around them before adding arrows pointing to other gnomic words. “Yes?” Arrington said, nodding wide-eyed at the crowd. She wrote “transcendence,” adding the letters from right to left, drew two clocks at the top (linear and circular time), and at the bottom scrawled “#1DAD.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“This make sense?” she said, prompting nervous laughter. Arrington entertained questions, and someone asked about two symbols that turned out to be glyphs for Saturn and Pluto. With enough mythological fluency, the chalkboard cohered. But Arrington also seemed content to let it sit like a poem, enigmatic to the point of provocation, and move along. “Should we keep dancing?” She continued, “Okay, I’m not going to give you a ton of context for this next one.”\u003c/p>\n\n","blocks":[],"excerpt":"‘No Quarter’ is the San Francisco artist’s first piece created entirely in alignment with planetary cycles. ","status":"publish","parent":0,"modified":1705021588,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1332},"headData":{"title":"How Larry Arrington Integrated Astrology and Dance to Confront Cosmic Tumult | KQED","description":"‘No Quarter’ is the San Francisco artist’s first piece created entirely in alignment with planetary cycles. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13872290/how-larry-arrington-integrated-astrology-and-dance-to-confront-cosmic-tumult","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>One recent afternoon, dancer and choreographer \u003ca href=\"https://www.astrologywithlarry.com/dance\">Larry Arrington\u003c/a> crawled beneath a green, furry sheet in San Francisco’s ODC Theater. It was a rehearsal for \u003cem>No Quarter\u003c/em>, her latest work, and flower petals and a large garment covered the stage while a boombox played arrhythmic electronic music. Performers Chelsea Reichert and Jose Abad were already under the fabric, and Sherwood Chen would momentarily lay atop the mounds, intimating their arched bodies. \u003c/p>\n\u003cp>“I told them to get closer to each other,” said Arrington, clad in a dark tank top and shorts, during a break. “As a sort of joke, I call it a solo.” The theme of hybridity or blending runs throughout \u003cem>No Quarter\u003c/em> in strikingly mirrored duets. “Sharing bodies,” in Arrington’s parlance, also references the alignment of Saturn and Pluto in what astrologers such as herself call a conjunction. “Really I’m an astrologer who uses dance in my astrological practice,” she said. “Dance is the mouth I use to chew things.” \u003c/p>\n\u003cp>\u003cem>No Quarter\u003c/em> shows Arrington integrating her astrology with live performance more closely than ever. Her first piece created entirely in alignment with planetary cycles, Arrington started developing \u003cem>No Quarter\u003c/em> in December 2017, when Saturn entered Capricorn. It runs Jan. 9–11, at \u003ca href=\"https://www.odc.dance/NoQuarter\">ODC Theater\u003c/a> in the Mission District, where she’s a resident artist, as Saturn begins to conjunct Pluto—a rare cosmic event that, Arrington and other astrologers believe, augurs global tumult. \u003c/p>\n\u003cp>“The Saturn-Pluto cycles are all about crises of power,” Arrington said, mentioning Richard Tarnas’ book \u003cem>Cosmos and Psyche\u003c/em>, which charts the major historical events of modernity along with planetary cycles. “It’s very out there, very woo-woo,” she said. “I actually don’t talk a lot about this publicly. But the idea is I do art in alignment with these cycles, as petitions to them.” \u003c/p>\n\u003cfigure id=\"attachment_13872292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/arrington-seated-800x450.jpg\" alt=\"Larry Arrington is a San Francisco dancer-choreographer and astrologer. 'No Quarter,' her latest work, runs January 9-11 at ODC Theater.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13872292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/arrington-seated.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Larry Arrington is a San Francisco dancer-choreographer and astrologer. ‘No Quarter,’ her latest work, runs January 9-11 at ODC Theater. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>No Quarter\u003c/em> partly resembles a symposium. It begins with the performers still, surrounded by petals, while Arrington uses a chalkboard to digress, in a declarative-yet-elliptical style familiar from astrology, between ancient myth, modern geopolitics and the solar system. Attendees go on stage, intone phrases and learn to tell “daemon” from “demon.” Not that Arrington is too didactic: She stokes ambiguity and confusion, wondering what the planets portend for herself.\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 last Saturn-Pluto conjunction was in 1982,” Arrington said. “And I was born in 1982.” \u003c/p>\n\u003cp>Arrington, 37, grew up in Louisiana and moved from New York to San Francisco more than a decade ago. At the time, she was leery of dancing professionally, but felt energized by the city’s climate of experimentation, drawing inspiration from collaborators Amara Tabor-Smith, Jesse Hewitt and Keith Hennessy. She landed residencies at Headlands Center for the Arts and CounterPULSE, and was invited to the closely-watched American Realness Festival in New York in 2012. \u003c/p>\n\u003cp>In the early 2010s, Arrington also created SQUART (Spontaneous Queer Art). For the performance series, often hosted at the Lab or SOMArts in San Francisco, with installments in Berlin and Portland, Oregon, artists convened in random groups to build performances around loose, winking prompts. “Celebrity judges” assessed the results, game show-style, in a satire of art-world workshops and competition that conveyed her misgivings about dance-as-vocation.\u003c/p>\n\u003cp>In 2015, her work pivoted towards its present forms and concerns. Rising cost-of-living had diminished her roster of collaborators; instead of large ensembles Arrington turned to duets and solos. Around the same time, a series of injuries left her temporarily unable to teach. “That made me panic,” she said. “All of the money I’d ever made was about being able to move.” So Arrington began charging money for the astrological insights she’d previously shared for free.\u003c/p>\n\u003cfigure id=\"attachment_13872295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Jose-Abad-good-800x450.jpg\" alt=\"Jose Abad, seen here rehearsing at ODC Theater, is a performer in Larry Arrington's 'No Quarter.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13872295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Jose-Abad-good.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jose Abad, seen here rehearsing at ODC Theater, is a performer in Larry Arrington’s ‘No Quarter.’ \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arrington, who’s also a Rhythm & Motion dance teacher, offers group and individual astrology readings, plus regular horoscopes and related writings, and recently launched a \u003ca href=\"https://www.patreon.com/join/larryarrington\">Patreon\u003c/a>. On \u003ca href=\"https://www.instagram.com/larrylarryarrington/?hl=en\">Instagram\u003c/a>, she posts video collages involving interpretive dance of planetary movements: Instead of the oracular neutrality of a written horoscope, Arrington’s head emerges from a fur blanket and spins like a top to represent a “trine” creating fertile conditions for personal growth. \u003c/p>\n\u003cp>A typical comment reads, “This is the perfect representation of my inner experience.” \u003c/p>\n\u003cp>Diversifying income sources lessens the pressures of wooing arts funders. “I was at this talk and someone said, ‘Be careful how you write your grant, you might start to believe yourself,’” she recalled, explaining how artists self-limit by tailoring narrow theses to funders instead of capturing what arises unbidden from the creative process. The distance from institutions also helps protect her work’s accessibility; admission to \u003cem>No Quarter\u003c/em>, for instance, is sliding scale. \u003c/p>\n\u003cp>Arrington explores ideas in an open-ended way, carrying questions from one piece to the next as if each project is a swatch of the same borderless latticework. \u003cem>Quarter\u003c/em>, a prelude to \u003cem>No Quarter\u003c/em>, created as a part of Hope Mohr Dance’s Bridge Project in 2016 (in response to Trisha Brown’s cube-based 1975 piece \u003cem>Locus\u003c/em>), found Arrington critically examining how neatly delineated space—think maps, crosses—undergirds monotheism, patriarchy and colonialism. \u003c/p>\n\u003cfigure id=\"attachment_13872296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/sherwood-800x450.jpg\" alt=\"Sherwood Chen is a performer in Larry Arrington's 'No Quarter.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13872296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/sherwood.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sherwood Chen is a performer in Larry Arrington’s ‘No Quarter.’ \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a global resurgence of far-right nationalism, Arrington sees those forces of division intensifying, and the planetary conjunction at the core of \u003cem>No Quarter\u003c/em> threatens to pronounce them further. She also believes it’s a time of turning inward and facing shadows. “Buried things announce themselves, the past/dead speak,” reads her astrology workbook for 2020. “We are asked to take necessary and challenging looks at power, paternity, structure and the past.” \u003c/p>\n\u003cp>In \u003cem>No Quarter\u003c/em>, Arrington takes her own advice. At a work-in-progress preview in August, Arrington recited Rainer Maria Rilke’s poem “You, Darkness,” and performed a series of duets between stories drawn from her distant patrilineage and Greco-Roman mythology—like Saturn eating his children and castrating his father. On a chalkboard she drew a gun and a wagon wheel, “problematic inventions,” she said, that figured in the deaths of her great-grandfathers. \u003c/p>\n\u003cp>Arrington describes No Quarter as tracking the shift “from the many to the one” in the past 2,000 years or so. It is a vast subject, and she seems to savor the risk of an audience left unmoored. In one of two chalkboard columns, Arrington wrote “YIKES,” “DEAD” and “HISTORY,” and drew a circle around them before adding arrows pointing to other gnomic words. “Yes?” Arrington said, nodding wide-eyed at the crowd. She wrote “transcendence,” adding the letters from right to left, drew two clocks at the top (linear and circular time), and at the bottom scrawled “#1DAD.” \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>“This make sense?” she said, prompting nervous laughter. Arrington entertained questions, and someone asked about two symbols that turned out to be glyphs for Saturn and Pluto. With enough mythological fluency, the chalkboard cohered. But Arrington also seemed content to let it sit like a poem, enigmatic to the point of provocation, and move along. “Should we keep dancing?” She continued, “Okay, I’m not going to give you a ton of context for this next one.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13872290/how-larry-arrington-integrated-astrology-and-dance-to-confront-cosmic-tumult","authors":["11091"],"categories":["arts_1","arts_835","arts_966","arts_1003"],"tags":["arts_3713","arts_9548","arts_879","arts_1118","arts_596","arts_1146","arts_1072"],"featImg":"arts_13872294","label":"arts"},"arts_13844417":{"type":"posts","id":"arts_13844417","meta":{"index":"posts_1591205157","site":"arts","id":"13844417","score":null,"sort":[1541692844000]},"guestAuthors":[],"slug":"ed-mock-late-san-francisco-dance-legend-lives-on-in-documentary","title":"Ed Mock, Late San Francisco Dance Legend, Lives on in Documentary","publishDate":1541692844,"format":"standard","headTitle":"Ed Mock, Late San Francisco Dance Legend, Lives on in Documentary | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In 2013, Amara Tabor-Smith organized a site-specific performance series honoring her late mentor, the San Francisco dancer and instructor Ed Mock. One of the participants was the artist and writer Brontez Purnell, who was awed to learn of another gay, black man with a bold vision of movement and performance who’d thrived and toiled in the Bay Area until his untimely death of AIDS-related illness in 1986. Purnell decided to continue Tabor-Smith’s campaign highlighting Mock’s legacy with a documentary, \u003ci>Unstoppable Feat: The Dances of Ed Mock\u003c/i>. Part biography and part tribute, with archival footage, reminiscences from collaborators and new realizations of Mock’s work, the film also became a personal journey for Purnell, exemplifying the unique perspective artists bring to the secret histories of their predecessors. \u003c/p>\n\u003cp>“As a gay man, as a black man, it was really comforting to know that I had an ancestor,” Purnell says in the trailer to his film, which screens Thursday, Nov. 15 at the Landmark Piedmont Theatre in Oakland. “We’re still looking for maps, we’re still trying to map out our history, our present, and so many of our stories were lost with the AIDS epidemic.”\u003c/p>\n\u003cp>Billed as a free encore to the \u003ca href=\"https://www.frameline.org/festival\">Frameline\u003c/a> LGBTQ film festival, admission to the screening is first come, first served.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=omlWtPvfzsk]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1705027042,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":241},"headData":{"title":"Ed Mock, Late San Francisco Dance Legend, Lives on in Documentary | KQED","description":"In 2013, Amara Tabor-Smith organized a site-specific performance series honoring her late mentor, the San Francisco dancer and instructor Ed Mock. One of the participants was the artist and writer Brontez Purnell, who was awed to learn of another gay, black man with a bold vision of movement and performance who'd thrived and toiled in","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13844417/ed-mock-late-san-francisco-dance-legend-lives-on-in-documentary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2013, Amara Tabor-Smith organized a site-specific performance series honoring her late mentor, the San Francisco dancer and instructor Ed Mock. One of the participants was the artist and writer Brontez Purnell, who was awed to learn of another gay, black man with a bold vision of movement and performance who’d thrived and toiled in the Bay Area until his untimely death of AIDS-related illness in 1986. Purnell decided to continue Tabor-Smith’s campaign highlighting Mock’s legacy with a documentary, \u003ci>Unstoppable Feat: The Dances of Ed Mock\u003c/i>. Part biography and part tribute, with archival footage, reminiscences from collaborators and new realizations of Mock’s work, the film also became a personal journey for Purnell, exemplifying the unique perspective artists bring to the secret histories of their predecessors. \u003c/p>\n\u003cp>“As a gay man, as a black man, it was really comforting to know that I had an ancestor,” Purnell says in the trailer to his film, which screens Thursday, Nov. 15 at the Landmark Piedmont Theatre in Oakland. “We’re still looking for maps, we’re still trying to map out our history, our present, and so many of our stories were lost with the AIDS epidemic.”\u003c/p>\n\u003cp>Billed as a free encore to the \u003ca href=\"https://www.frameline.org/festival\">Frameline\u003c/a> LGBTQ film festival, admission to the screening is first come, first served.\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/omlWtPvfzsk'\n title='//www.youtube.com/embed/omlWtPvfzsk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13844417/ed-mock-late-san-francisco-dance-legend-lives-on-in-documentary","authors":["11091"],"programs":["arts_140"],"categories":["arts_1","arts_966"],"tags":["arts_3713","arts_1831","arts_879","arts_977"],"featImg":"arts_13844419","label":"arts_140"},"arts_13839514":{"type":"posts","id":"arts_13839514","meta":{"index":"posts_1591205157","site":"arts","id":"13839514","score":null,"sort":[1535050853000]},"guestAuthors":[],"slug":"bay-brilliant-amara-tabor-smith","title":"Bay Brilliant: Amara Tabor-Smith","publishDate":1535050853,"format":"image","headTitle":"Bay Brilliant: Amara Tabor-Smith | KQED","labelTerm":{"term":5448,"site":"arts"},"content":"\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives and makers who are pushing boundaries in 2018. Driven by passion for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>One evening last March, dozens of black women sat in a circle in a downtown Oakland gallery to be blessed and encouraged to rest. Some wept, while others deeply exhaled. Onlookers hummed in unison. Then the women went to a private boarding house outfitted for further relaxation. \u003c/p>\n\u003cp>The scene was one part of “Black Women Dreaming: A Ritual Rest,” the 11th “episode” in multi-site performance series \u003cem>House/Full of BlackWomen\u003c/em>, which Ellen Sebastian Chang created with local dancer-choreographer Amara Tabor-Smith. The series, intended to address displacement, well-being, and sex trafficking of black women and girls in Oakland, exemplifies what Smith calls her politically pointed, spiritually infused “afro-futurist conjure art.” \u003c/p>\n\u003cp>Smith, 53, leads \u003ca href=\"http://www.deepwatersdance.com/\">Deep Waters Dance Theater\u003c/a>, a performance art ensemble centering ritual and folklore in its examination of issues facing people of color and the environment. In recent years, the Oakland artist and UC Berkeley lecturer’s work has increasingly foregrounded her spiritual practice as a Yoruba priest.\u003c/p>\n\u003cp>Read on as Tabor-Smith discusses collaboration as cultivation, preferring grocery stores to dance studios, and the enduring influence of her early mentor and teacher, the late dancer-choreographer Ed Mock. \u003c/p>\n\u003cfigure id=\"attachment_13839494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-800x571.jpg\" alt=\"Amara Tabor Smith.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-13839494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The politically charged dancer-choreographer discusses her ‘afro-futurist conjecture art.’ \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How was \u003cem>House/Full of BlackWomen\u003c/em> like or unlike any other project in your career?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>First what I’ll say is that it isn’t behind me. It moved from being a two-year project to a five-year project. Whether due to grants, funding, or project goals, as artists we’re often dictated by the calendar, the clock. I really wanted to give myself and the women I would be collaborating with time to explore, discover, to be in process, and to cultivate larger community and trust. \u003c/p>\n\u003cp>The more that I got to know folks, and the issues, and delved deeper into the issues facing black women, not just myself and collaborators, but a larger community of black women, the more I realized, “Oh, this is gonna take time.” I say “cultivate” and not “build” because cultivation, like farming, like anything, needs attention, needs time, and needs seasons. My work is rooted in ritual, and something doesn’t become ritual without time, and without practice and dedication.\u003c/p>\n\u003cp>\u003cstrong>To a lot of artists, the prospect of a five- or even two-year project probably sounds luxurious. What advice do you have for artists attempting projects of that scope?\u003c/strong>\u003c/p>\n\u003cp>It’s about cultivating relationships, and that directly contradicts the ways we get socialized as artists, where we’re in competition with each other for resources, and therefore we’re alienated from each other. We’ll talk about wanting to make connection, but we’re also being really guarded because we’re under this idea of there’s only a few resources for a few people. But if we say, “No, it’s more important that I take time with this work,” and believe in it—it may not be easy, and the hustle is the hustle, but you help shift the culture that says five years is luxurious.\u003c/p>\n\u003cfigure id=\"attachment_13839498\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-800x1120.jpg\" alt=\"Amara Tabor Smith.\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13839498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amara Tabor Smith. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You grew up in San Francisco. Can you talk about your early life, and how you discovered dance and choreography?\u003c/strong>\u003c/p>\n\u003cp>I was born and raised in San Francisco. I started dancing as a teenager, a really young teenager. I studied with a very beloved dance figure whose name was Ed Mock. I’ve always credited him for why I became a dancer and dance maker. Ed was this phenomenal dancer, improviser, and really a Griot movement artist. I would say he raised me. I always say he was like my father in dance. \u003c/p>\n\u003cp>I remember walking into his studio, which was on 32 Page Street, and going into this room full of dancers all stretching on the floor—brick wall, wood floor—and I felt magic in the room. Then when he walked into the room to start class, I had this experience where, just being in his presence, I felt like I was seeing God. That’s how I felt, and I was never one to idolize anyone.\u003c/p>\n\u003cp>Then I started studying with him. I was in awe of him. I was afraid of him. I had such reverence and respect for him. The way that he would conjure the spirit of a character that he was dancing was much more the way of an improviser. Even though he choreographed movement on his dancers, he never choreographed movement for himself. Those two things really stuck with me.\u003c/p>\n\u003cp>\u003cstrong>Your \u003ca href=\"http://www.deepwatersdance.com/portfolio/hemovedswiftly/\">series conjuring Ed Mock\u003c/a> gave his legacy a lot more visibility, and it inspired Brontez Purnell to continue this project of honoring and remembering him. What would you say to other artists who’d like their work to similarly highlight secret histories of local culture?\u003c/strong> \u003c/p>\n\u003cp>That’s such an interesting question. I would say listen to the streets. If you’re not from the Bay, get to know people who’ve been here. Ask yourself why. So there’s a hidden history in San Francisco—what is it about that history that calls you? What is it about that energy that’s calling you? Listen to that, and be guided by it. Making that piece for Ed was the first time that I integrated my spiritual practice more profoundly into my artwork. It was really about listening. I prayed to Ed, and I said, “Tell me the piece you want me to make.” I just listened, and I trusted. \u003c/p>\n\u003cp>So I say that there are the obvious histories that will be in the forefront, that have to do with the people that had more visibility, for whatever reason. But I say for someone who really wants to look at the hidden history, listen. Go to the places. Go to the places and scratch the surface. And give yourself time that’s not just about the research where you go into the libraries and you go into the archives, but also when you go sit in the cafes where said histories took place, or where said people visited. If you go and sit in with the people and listen to the concrete, they’ll talk. \u003c/p>\n\u003cfigure id=\"attachment_13839493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-800x571.jpg\" alt=\"Amara Tabor Smith.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-13839493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amara Tabor Smith. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You mentioned your spiritual practice—how did you begin incorporating that into your work, particularly the Yoruba tradition? \u003c/strong>\u003c/p>\n\u003cp>I am a priest in the Yoruba tradition, and my spiritual practice has always been the underpinning of my work. Icons and figures have always presented themselves in my work, but more subversively, not necessarily on the surface. Partly that was because I felt like I didn’t want my spirituality to be seen as a dogma guiding my art. I wanted to keep that separate, and did so for a long time. But that felt disingenuous. There came a point where I felt like there was something missing. I didn’t know what it was, and then the opportunity came to make the piece for Ed. \u003c/p>\n\u003cp>I remember thinking, “You know, if I’m gonna do this, I really need to conjure him. And If I’m gonna conjure him, I’ve gotta use techniques that I use in my spiritual practice, which are about sitting with the dead.” You know, being in what you might call a séance. Kind of having rehearsals function as a kind of séance, and that requires that the performers participate. It was like I recognized through the making of the work that this was the piece that was missing in my work all these years, the need to incorporate spiritual ritual more prominently in my work. \u003c/p>\n\u003cp>\u003cstrong>It sounds like you’re saying there was sort of a stigma attached to spiritually centered art.\u003c/strong>\u003c/p>\n\u003cp>Totally. It’s only been recently that people who are actually engaging in ritual in their art-making practices have become more accepted. Before, people would be like, “What? What are you doing?” And there would be questions about this idea of, again, it coming from a sort of stereotypical Christian perspective of putting spirituality in your work, meaning that it’s religious.\u003c/p>\n\u003cfigure id=\"attachment_13839501\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-800x1205.jpg\" alt=\"Amara Tabor Smith.\" width=\"800\" height=\"1205\" class=\"size-medium wp-image-13839501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-797x1200.jpg 797w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-960x1446.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-375x565.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-520x783.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5.jpg 1004w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amara Tabor-Smith. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A lot of your work is site-specific or outdoors. How and why did you get interested in moving dance away from the theater and the stage? \u003c/strong>\u003c/p>\n\u003cp>I feel more at home in environments outside of the theater. It’s not that I don’t make work in the theater at all, but I feel like the site work has given me more inspiration. Part of it is that my approach to site-based work is that your site is a character. Your site is a part of the story, is a character, an active environment. So I don’t use a street as if it’s a stage. It’s a collaborator.\u003c/p>\n\u003cp>I can go into a studio to make choreography and feel completely blank. Whereas I can be in the aisle of a supermarket and be more inspired to move my body because I’m stimulated by the energies, the people, the vegetables, the story that’s in that space. That’s just what feeds me.\u003c/p>\n\u003cp>\u003cstrong>To circle back to House/Full of BlackWomen, what’s next for that project? \u003c/strong>\u003c/p>\n\u003cp>Part of the reason that I wanted to continue this work is that we do ritual processions, and the procession work is rooted in sort of shifting the vibration of the topics that we are dealing with: displacement and the sex trafficking of black women and girls in Oakland. I’m less interested in educating people through the work, and more in shifting the vibration of the issues.\u003c/p>\n\u003cp>One of the ways we’ve done that is to do ritual processions down the streets of Oakland. Each time we’ve done one there’s been a shift. The hope is that the women who’ve been collaborating on the processions will continue them. To think of founding a society of black women who are dedicated to these processions to end trafficking and displacement, it becomes ritual, a neo-folk tradition. What might it look like for these processions to occur in Oakland for 30, 40, 100 years? \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Learn more about Amara Tabor-Smith \u003ca href=\"http://www.deepwatersdance.com/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A master of what she calls 'afro-futurist conjecture art,' Amara Tabor-Smith discusses her spiritual approach to dance-making and choreography.","status":"publish","parent":0,"modified":1705027336,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1832},"headData":{"title":"Bay Brilliant: Amara Tabor-Smith | KQED","description":"A master of what she calls 'afro-futurist conjecture art,' Amara Tabor-Smith discusses her spiritual approach to dance-making and choreography.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13839514/bay-brilliant-amara-tabor-smith","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives and makers who are pushing boundaries in 2018. Driven by passion for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>One evening last March, dozens of black women sat in a circle in a downtown Oakland gallery to be blessed and encouraged to rest. Some wept, while others deeply exhaled. Onlookers hummed in unison. Then the women went to a private boarding house outfitted for further relaxation. \u003c/p>\n\u003cp>The scene was one part of “Black Women Dreaming: A Ritual Rest,” the 11th “episode” in multi-site performance series \u003cem>House/Full of BlackWomen\u003c/em>, which Ellen Sebastian Chang created with local dancer-choreographer Amara Tabor-Smith. The series, intended to address displacement, well-being, and sex trafficking of black women and girls in Oakland, exemplifies what Smith calls her politically pointed, spiritually infused “afro-futurist conjure art.” \u003c/p>\n\u003cp>Smith, 53, leads \u003ca href=\"http://www.deepwatersdance.com/\">Deep Waters Dance Theater\u003c/a>, a performance art ensemble centering ritual and folklore in its examination of issues facing people of color and the environment. In recent years, the Oakland artist and UC Berkeley lecturer’s work has increasingly foregrounded her spiritual practice as a Yoruba priest.\u003c/p>\n\u003cp>Read on as Tabor-Smith discusses collaboration as cultivation, preferring grocery stores to dance studios, and the enduring influence of her early mentor and teacher, the late dancer-choreographer Ed Mock. \u003c/p>\n\u003cfigure id=\"attachment_13839494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-800x571.jpg\" alt=\"Amara Tabor Smith.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-13839494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The politically charged dancer-choreographer discusses her ‘afro-futurist conjecture art.’ \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How was \u003cem>House/Full of BlackWomen\u003c/em> like or unlike any other project in your career?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>First what I’ll say is that it isn’t behind me. It moved from being a two-year project to a five-year project. Whether due to grants, funding, or project goals, as artists we’re often dictated by the calendar, the clock. I really wanted to give myself and the women I would be collaborating with time to explore, discover, to be in process, and to cultivate larger community and trust. \u003c/p>\n\u003cp>The more that I got to know folks, and the issues, and delved deeper into the issues facing black women, not just myself and collaborators, but a larger community of black women, the more I realized, “Oh, this is gonna take time.” I say “cultivate” and not “build” because cultivation, like farming, like anything, needs attention, needs time, and needs seasons. My work is rooted in ritual, and something doesn’t become ritual without time, and without practice and dedication.\u003c/p>\n\u003cp>\u003cstrong>To a lot of artists, the prospect of a five- or even two-year project probably sounds luxurious. What advice do you have for artists attempting projects of that scope?\u003c/strong>\u003c/p>\n\u003cp>It’s about cultivating relationships, and that directly contradicts the ways we get socialized as artists, where we’re in competition with each other for resources, and therefore we’re alienated from each other. We’ll talk about wanting to make connection, but we’re also being really guarded because we’re under this idea of there’s only a few resources for a few people. But if we say, “No, it’s more important that I take time with this work,” and believe in it—it may not be easy, and the hustle is the hustle, but you help shift the culture that says five years is luxurious.\u003c/p>\n\u003cfigure id=\"attachment_13839498\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-800x1120.jpg\" alt=\"Amara Tabor Smith.\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13839498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amara Tabor Smith. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You grew up in San Francisco. Can you talk about your early life, and how you discovered dance and choreography?\u003c/strong>\u003c/p>\n\u003cp>I was born and raised in San Francisco. I started dancing as a teenager, a really young teenager. I studied with a very beloved dance figure whose name was Ed Mock. I’ve always credited him for why I became a dancer and dance maker. Ed was this phenomenal dancer, improviser, and really a Griot movement artist. I would say he raised me. I always say he was like my father in dance. \u003c/p>\n\u003cp>I remember walking into his studio, which was on 32 Page Street, and going into this room full of dancers all stretching on the floor—brick wall, wood floor—and I felt magic in the room. Then when he walked into the room to start class, I had this experience where, just being in his presence, I felt like I was seeing God. That’s how I felt, and I was never one to idolize anyone.\u003c/p>\n\u003cp>Then I started studying with him. I was in awe of him. I was afraid of him. I had such reverence and respect for him. The way that he would conjure the spirit of a character that he was dancing was much more the way of an improviser. Even though he choreographed movement on his dancers, he never choreographed movement for himself. Those two things really stuck with me.\u003c/p>\n\u003cp>\u003cstrong>Your \u003ca href=\"http://www.deepwatersdance.com/portfolio/hemovedswiftly/\">series conjuring Ed Mock\u003c/a> gave his legacy a lot more visibility, and it inspired Brontez Purnell to continue this project of honoring and remembering him. What would you say to other artists who’d like their work to similarly highlight secret histories of local culture?\u003c/strong> \u003c/p>\n\u003cp>That’s such an interesting question. I would say listen to the streets. If you’re not from the Bay, get to know people who’ve been here. Ask yourself why. So there’s a hidden history in San Francisco—what is it about that history that calls you? What is it about that energy that’s calling you? Listen to that, and be guided by it. Making that piece for Ed was the first time that I integrated my spiritual practice more profoundly into my artwork. It was really about listening. I prayed to Ed, and I said, “Tell me the piece you want me to make.” I just listened, and I trusted. \u003c/p>\n\u003cp>So I say that there are the obvious histories that will be in the forefront, that have to do with the people that had more visibility, for whatever reason. But I say for someone who really wants to look at the hidden history, listen. Go to the places. Go to the places and scratch the surface. And give yourself time that’s not just about the research where you go into the libraries and you go into the archives, but also when you go sit in the cafes where said histories took place, or where said people visited. If you go and sit in with the people and listen to the concrete, they’ll talk. \u003c/p>\n\u003cfigure id=\"attachment_13839493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-800x571.jpg\" alt=\"Amara Tabor Smith.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-13839493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_horiz.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amara Tabor Smith. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You mentioned your spiritual practice—how did you begin incorporating that into your work, particularly the Yoruba tradition? \u003c/strong>\u003c/p>\n\u003cp>I am a priest in the Yoruba tradition, and my spiritual practice has always been the underpinning of my work. Icons and figures have always presented themselves in my work, but more subversively, not necessarily on the surface. Partly that was because I felt like I didn’t want my spirituality to be seen as a dogma guiding my art. I wanted to keep that separate, and did so for a long time. But that felt disingenuous. There came a point where I felt like there was something missing. I didn’t know what it was, and then the opportunity came to make the piece for Ed. \u003c/p>\n\u003cp>I remember thinking, “You know, if I’m gonna do this, I really need to conjure him. And If I’m gonna conjure him, I’ve gotta use techniques that I use in my spiritual practice, which are about sitting with the dead.” You know, being in what you might call a séance. Kind of having rehearsals function as a kind of séance, and that requires that the performers participate. It was like I recognized through the making of the work that this was the piece that was missing in my work all these years, the need to incorporate spiritual ritual more prominently in my work. \u003c/p>\n\u003cp>\u003cstrong>It sounds like you’re saying there was sort of a stigma attached to spiritually centered art.\u003c/strong>\u003c/p>\n\u003cp>Totally. It’s only been recently that people who are actually engaging in ritual in their art-making practices have become more accepted. Before, people would be like, “What? What are you doing?” And there would be questions about this idea of, again, it coming from a sort of stereotypical Christian perspective of putting spirituality in your work, meaning that it’s religious.\u003c/p>\n\u003cfigure id=\"attachment_13839501\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-800x1205.jpg\" alt=\"Amara Tabor Smith.\" width=\"800\" height=\"1205\" class=\"size-medium wp-image-13839501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-797x1200.jpg 797w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-960x1446.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-375x565.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5-520x783.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ATSmith_vert5.jpg 1004w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amara Tabor-Smith. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A lot of your work is site-specific or outdoors. How and why did you get interested in moving dance away from the theater and the stage? \u003c/strong>\u003c/p>\n\u003cp>I feel more at home in environments outside of the theater. It’s not that I don’t make work in the theater at all, but I feel like the site work has given me more inspiration. Part of it is that my approach to site-based work is that your site is a character. Your site is a part of the story, is a character, an active environment. So I don’t use a street as if it’s a stage. It’s a collaborator.\u003c/p>\n\u003cp>I can go into a studio to make choreography and feel completely blank. Whereas I can be in the aisle of a supermarket and be more inspired to move my body because I’m stimulated by the energies, the people, the vegetables, the story that’s in that space. That’s just what feeds me.\u003c/p>\n\u003cp>\u003cstrong>To circle back to House/Full of BlackWomen, what’s next for that project? \u003c/strong>\u003c/p>\n\u003cp>Part of the reason that I wanted to continue this work is that we do ritual processions, and the procession work is rooted in sort of shifting the vibration of the topics that we are dealing with: displacement and the sex trafficking of black women and girls in Oakland. I’m less interested in educating people through the work, and more in shifting the vibration of the issues.\u003c/p>\n\u003cp>One of the ways we’ve done that is to do ritual processions down the streets of Oakland. Each time we’ve done one there’s been a shift. The hope is that the women who’ve been collaborating on the processions will continue them. To think of founding a society of black women who are dedicated to these processions to end trafficking and displacement, it becomes ritual, a neo-folk tradition. What might it look like for these processions to occur in Oakland for 30, 40, 100 years? \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn more about Amara Tabor-Smith \u003ca href=\"http://www.deepwatersdance.com/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13839514/bay-brilliant-amara-tabor-smith","authors":["11091"],"series":["arts_5448"],"categories":["arts_835","arts_966","arts_1003"],"tags":["arts_3713","arts_5449","arts_879","arts_1118","arts_596"],"featImg":"arts_13839492","label":"arts_5448"},"arts_13819982":{"type":"posts","id":"arts_13819982","meta":{"index":"posts_1591205157","site":"arts","id":"13819982","score":null,"sort":[1516848614000]},"guestAuthors":[],"slug":"on-the-air-cy-and-arianas-do-list-picks-for-jan-26-2018","title":"On the Air: Cy and Ariana's Do List Picks for Jan. 26, 2018","publishDate":1516848614,"format":"audio","headTitle":"On the Air: Cy and Ariana’s Do List Picks for Jan. 26, 2018 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>KQED Youth Media Manager Ariana Proehl is back as co-host to bring some hipness to the Do List this week. The real challenge was pruning down the list! I can’t remember a late January with more enticing shows to choose from. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>Jan 26–31:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/whats-old-is-new-again-with-ladysmith-black-mambazo/\" target=\"_blank\" rel=\"noopener\">Ladysmith Black Mambazo high-kicks its way back to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 4–March 3:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/at-the-intersection-of-art-and-vinyl/\" target=\"_blank\" rel=\"noopener\">The Fraenkel Gallery hangs a show of artful record album covers — and it’s free\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26 and Feb. 3 and 4: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/circa-il-ritorno/\" target=\"_blank\" rel=\"noopener\">Circa melds daring circus, opera, and dance to tell a story about a refugee’s search for home\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/dance-and-theater-join-in-a-healing-ritual/\" target=\"_blank\" rel=\"noopener\">The next episode of a dance and theater series about sex trafficking and displacement in Oakland\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 25–Feb 18 and March 7–April 1: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/a-skeleton-crew-battles-for-a-future-in-a-detroit-auto-plant/\" target=\"_blank\" rel=\"noopener\">A skeleton crew tries to save their hopes for a future as Detroit’s last auto plant faces a shutdown\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/stew-develops-a-show-based-on-the-ideas-of-james-baldwin/\" target=\"_blank\" rel=\"noopener\">Stew invokes the ideas and memory of writer James Baldwin in a musical tribute\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 6–7: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/new-sounds-with-a-powerhouse-brittany-howard-at-the-mic/\" target=\"_blank\" rel=\"noopener\">Super folk-rock trio Bermuda Triangle make gorgeous harmonies seem effortless\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819995\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg\" alt=\"The Do List's Cy and Ariana check out the 'Art and Vinyl' show at the Freaenkel Gallery\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List’s Cy and Ariana check out the ‘Art and Vinyl’ show at the Freaenkel Gallery. \u003ccite>(Photo: Rebecca Robertson/Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"KQED's Cy Musiker and Do List co-host Ariana Proehl talk record album art, a play about auto workers, Brittany Howard's new band and more.","status":"publish","parent":0,"modified":1705028697,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":223},"headData":{"title":"On the Air: Cy and Ariana's Do List Picks for Jan. 26, 2018 | KQED","description":"KQED's Cy Musiker and Do List co-host Ariana Proehl talk record album art, a play about auto workers, Brittany Howard's new band and more.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://www.kqed.org/.stream/anon/radio/thedolist/2018/02/TDL20180126.mp3","sticky":false,"path":"/arts/13819982/on-the-air-cy-and-arianas-do-list-picks-for-jan-26-2018","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>KQED Youth Media Manager Ariana Proehl is back as co-host to bring some hipness to the Do List this week. The real challenge was pruning down the list! I can’t remember a late January with more enticing shows to choose from. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>Jan 26–31:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/whats-old-is-new-again-with-ladysmith-black-mambazo/\" target=\"_blank\" rel=\"noopener\">Ladysmith Black Mambazo high-kicks its way back to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 4–March 3:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/at-the-intersection-of-art-and-vinyl/\" target=\"_blank\" rel=\"noopener\">The Fraenkel Gallery hangs a show of artful record album covers — and it’s free\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26 and Feb. 3 and 4: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/circa-il-ritorno/\" target=\"_blank\" rel=\"noopener\">Circa melds daring circus, opera, and dance to tell a story about a refugee’s search for home\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/dance-and-theater-join-in-a-healing-ritual/\" target=\"_blank\" rel=\"noopener\">The next episode of a dance and theater series about sex trafficking and displacement in Oakland\u003c/a>.\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>\u003cstrong>Jan. 25–Feb 18 and March 7–April 1: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/a-skeleton-crew-battles-for-a-future-in-a-detroit-auto-plant/\" target=\"_blank\" rel=\"noopener\">A skeleton crew tries to save their hopes for a future as Detroit’s last auto plant faces a shutdown\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/stew-develops-a-show-based-on-the-ideas-of-james-baldwin/\" target=\"_blank\" rel=\"noopener\">Stew invokes the ideas and memory of writer James Baldwin in a musical tribute\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 6–7: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/new-sounds-with-a-powerhouse-brittany-howard-at-the-mic/\" target=\"_blank\" rel=\"noopener\">Super folk-rock trio Bermuda Triangle make gorgeous harmonies seem effortless\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819995\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg\" alt=\"The Do List's Cy and Ariana check out the 'Art and Vinyl' show at the Freaenkel Gallery\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List’s Cy and Ariana check out the ‘Art and Vinyl’ show at the Freaenkel Gallery. \u003ccite>(Photo: Rebecca Robertson/Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13819982/on-the-air-cy-and-arianas-do-list-picks-for-jan-26-2018","authors":["32"],"programs":["arts_140"],"categories":["arts_835","arts_966","arts_69","arts_1003","arts_75","arts_967","arts_70"],"tags":["arts_3713","arts_2991","arts_1118","arts_3740","arts_3649","arts_2520","arts_1006","arts_3716","arts_3727","arts_2335","arts_596","arts_1072","arts_2323","arts_20228"],"featImg":"arts_13819896","label":"arts_140"},"arts_13819888":{"type":"posts","id":"arts_13819888","meta":{"index":"posts_1591205157","site":"arts","id":"13819888","score":null,"sort":[1516845881000]},"guestAuthors":[],"slug":"dance-and-theater-join-in-a-healing-ritual","title":"Dance and Theater Join in a Healing Ritual","publishDate":1516845881,"format":"standard","headTitle":"Dance and Theater Join in a Healing Ritual | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Theater director Ellen Sebastian Chang and dance maker Amara Tabor Smith (Deep Water Dance Theater) have mixed theater, dance, ritual healing and a bit of social work in a series of shows called \u003cem>\u003ca href=\"http://www.deepwatersdance.com/portfolio/housefullofblackwomen-2/\" rel=\"noopener\" target=\"_blank\">House/Full of BlackWomen\u003c/a>\u003c/em>, addressing issues of displacement, oppression, and sex trafficking in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13819899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-800x539.jpg\" alt=\"A scene from a recent episode of 'House/Full of BlackWomen'\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727.jpg 1747w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from a recent episode of ‘House/Full of BlackWomen.’ \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This newest episode, \u003cem>passing/through/the great/middle\u003c/em>, invokes the Yoruba Orishas (a pantheon of gods from Africa who came to the new world with African slaves) as it tells a story about displacement and migration from Oakland. Ellen Sebastian Chang tells us that the show will take the audience on a journey too, from International Boulevard into the theater and back onto the street. “The audience is moving so they get this feeling also of being constantly in a state of migration of motion,” Chang said, “the difference between moving by choice and moving by force.”\u003c/p>\n\u003cp>\u003cem>passing/through/the great/middle\u003c/em> runs Feb 2 and 3 at the Eastside Cultural Center in Oakland. \u003ca href=\"http://www.deepwatersdance.com/portfolio/housefullofblackwomen-2/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Dance and theater combine for a moving healing ritual in another episode of 'House/Full of BlackWomen.'","status":"publish","parent":0,"modified":1705028702,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":187},"headData":{"title":"Dance and Theater Join in a Healing Ritual | KQED","description":"Dance and theater combine for a moving healing ritual in another episode of 'House/Full of BlackWomen.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13819888/dance-and-theater-join-in-a-healing-ritual","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Theater director Ellen Sebastian Chang and dance maker Amara Tabor Smith (Deep Water Dance Theater) have mixed theater, dance, ritual healing and a bit of social work in a series of shows called \u003cem>\u003ca href=\"http://www.deepwatersdance.com/portfolio/housefullofblackwomen-2/\" rel=\"noopener\" target=\"_blank\">House/Full of BlackWomen\u003c/a>\u003c/em>, addressing issues of displacement, oppression, and sex trafficking in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13819899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-800x539.jpg\" alt=\"A scene from a recent episode of 'House/Full of BlackWomen'\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727.jpg 1747w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from a recent episode of ‘House/Full of BlackWomen.’ \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This newest episode, \u003cem>passing/through/the great/middle\u003c/em>, invokes the Yoruba Orishas (a pantheon of gods from Africa who came to the new world with African slaves) as it tells a story about displacement and migration from Oakland. Ellen Sebastian Chang tells us that the show will take the audience on a journey too, from International Boulevard into the theater and back onto the street. “The audience is moving so they get this feeling also of being constantly in a state of migration of motion,” Chang said, “the difference between moving by choice and moving by force.”\u003c/p>\n\u003cp>\u003cem>passing/through/the great/middle\u003c/em> runs Feb 2 and 3 at the Eastside Cultural Center in Oakland. \u003ca href=\"http://www.deepwatersdance.com/portfolio/housefullofblackwomen-2/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13819888/dance-and-theater-join-in-a-healing-ritual","authors":["32"],"programs":["arts_140"],"categories":["arts_835","arts_966","arts_1003","arts_967"],"tags":["arts_3713","arts_879","arts_2991","arts_3649","arts_596"],"featImg":"arts_13819895","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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