Ballerina Misty Copeland to Premiere ‘Flower’ in Oakland
2022 Was a Big Year For Dance Books: Here Are 5 to Check Out
Explore a Dramatic Dance Display Inside Grace Cathedral
Dance Coach's Molestation Case Headed to Retrial Following Hung Jury
The Next Stage: How Young Venezuelan Artists Continue Their Studies In The U.S.
How One Company Navigates the Messy Ballet World
A Ballet About Homelessness Wants You to See People, Not Look Away
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FM","link":"/"}},"arts_13935225":{"type":"posts","id":"arts_13935225","meta":{"index":"posts_1591205157","site":"arts","id":"13935225","score":null,"sort":[1695387625000]},"guestAuthors":[],"slug":"ballerina-misty-copeland-to-premiere-flower-in-oakland","title":"Ballerina Misty Copeland to Premiere ‘Flower’ in Oakland","publishDate":1695387625,"format":"standard","headTitle":"Ballerina Misty Copeland to Premiere ‘Flower’ in Oakland | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The only voices heard in \u003cem>Flower\u003c/em>, a 28-minute film produced by world-renowned ballet dancer \u003ca href=\"https://mistycopeland.com/\">Misty Copeland\u003c/a>, belong to three unhoused residents of an RV encampment in West Oakland.\u003c/p>\n\u003cp>The choice was very much intentional — Copeland herself experienced housing and food insecurity for much of her childhood. “It can happen to anyone,” she says in an interview. “So many Americans are one paycheck away from losing their home.”\u003c/p>\n\u003cp>A film about a woman struggling to hang on to the family home she shares with her dementia-stricken mother, \u003cem>Flower\u003c/em> screens on Friday, Sept. 29, as part of Oakland Ballet’s season opener at the Paramount Theatre. Copeland will be on stage to present.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FuiMrxuSR2o\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Copeland hopes \u003cem>Flower\u003c/em> not only highlights the housing affordability crisis, but challenges the tropes of what homelessness looks like.\u003c/p>\n\u003cp>The film is the first for Copeland’s production company, \u003ca href=\"https://www.instagram.com/lifeinmotionproductions/\">Life in Motion\u003c/a>, which she co-founded with ballerina Leyla Fayyaz, an Emmy-winning producer. Also behind the scenes of \u003cem>Flower\u003c/em> is a who’s-who of Bay Area-bred stars. Grammy-winning artist Raphael Saadiq composed the score, with a stirring, repeated refrain of “I’m heeeeere now” that won’t soon leave the viewer’s memory.\u003c/p>\n\u003cp>Street dancers-turned-choreographers to the stars Rich and Tone Talauega, aka \u003ca href=\"https://www.richandtoneproductions.com/\">Rich + Tone\u003c/a>, contribute their moves. Raised in Richmond, the brothers were discovered by one of Michael Jackson’s choreographers while freestyling at an Oakland club in the early ’90s. And \u003ca href=\"https://linesballet.org/lines-ballet-mission-and-purpose/alonzo-king/\">Alonzo King\u003c/a> (of San Francisco’s Alonzo King LINES Ballet), who’s known Copeland since she was a teen, also choreographs.\u003c/p>\n\u003cfigure id=\"attachment_13935226\" class=\"wp-caption aligncenter\" style=\"max-width: 980px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935226\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Untitled-2.jpg\" alt=\"A man and woman float in repose against a black background\" width=\"980\" height=\"410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2.jpg 980w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-768x321.jpg 768w\" sizes=\"(max-width: 980px) 100vw, 980px\">\u003cfigcaption class=\"wp-caption-text\">Misty Copeland with co-star Babatunji Johnson in the short film ‘Flower.’ \u003ccite>(Courtesy of Life in Motion Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local talent shines on screen, as well. Bay Area dancer \u003ca href=\"https://babatunjijohnson.com/\">Babatunji Johnson\u003c/a> co-stars with Copeland; turf dancers – including Algerion “Krow” Bryant – perform in the film; and Oakland Ballet youth appear as students in a scene where Copeland’s character teaches a ballet class.\u003c/p>\n\u003cp>“It was important that we had people [who] are from the community,” says Copeland, whose husband, Olu Evans, was born and raised in Oakland. “Not necessarily for the world, but for that community to say, ‘we know that person,’ [or] ‘there’s that place – Mama’s Royal Café.’ That’s our community. That’s really us. It’s not this Hollywood facade.”\u003c/p>\n\u003cfigure id=\"attachment_13935227\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935227\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Untitled-1.jpg\" alt=\"A woman in a black top and hair pulled back looks up as older houses stand in the background\" width=\"1600\" height=\"670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-1536x643.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Misty Copeland in ‘Flower.’ \u003ccite>(Courtesy of Life in Motion Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same intention also went into incorporating the real experiences of the three unhoused community members in the West Oakland RV encampment.\u003c/p>\n\u003cp>“It made sense to use that one opportunity where people speak, to give that opportunity to people who are often voiceless or overlooked,” Copeland says. “I feel like it really is the glue that brings the story together in a powerful way.”\u003c/p>\n\u003cp>[aside postID='arts_11230644']The Sept. 29 event at the Paramount Theatre also features live dance performances by Johnson, Krow, turf dancers, \u003ca href=\"https://destinyarts.org/\">Destiny Arts\u003c/a> youth and ballerina \u003ca href=\"https://www.sfballet.org/artist/angela-watson-2/\">Angela Watson\u003c/a> from Oakland. Highlights from the Oakland Ballet Company shows Luna Mexicana, Dancing Moons Festival and The Nutcracker round out the program.\u003c/p>\n\u003cp>“It’s super exciting,” Copeland says of the long-awaited Oakland premiere. “We hope that we did the community justice.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Flower,’ starring Misty Copeland, premieres at the Paramount Theatre in Oakland on Sept. 29 at 7 p.m. The film premiere is accompanied by live performances by Oakland Ballet and others. \u003ca href=\"https://oaklandballet.org/flower/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"With a 28-minute film addressing housing insecurity, Copeland kicks off Oakland Ballet’s new season. \r\n","status":"publish","parent":0,"modified":1705003336,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":626},"headData":{"title":"Ballerina Misty Copeland to Premiere ‘Flower’ in Oakland | KQED","description":"With a 28-minute film addressing housing insecurity, Copeland kicks off Oakland Ballet’s new season. \r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Ballerina Misty Copeland to Premiere ‘Flower’ in Oakland","datePublished":"2023-09-22T13:00:25.000Z","dateModified":"2024-01-11T20:02:16.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/7bf58925-6050-4602-8d1c-b08c014d45d6/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13935225/ballerina-misty-copeland-to-premiere-flower-in-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The only voices heard in \u003cem>Flower\u003c/em>, a 28-minute film produced by world-renowned ballet dancer \u003ca href=\"https://mistycopeland.com/\">Misty Copeland\u003c/a>, belong to three unhoused residents of an RV encampment in West Oakland.\u003c/p>\n\u003cp>The choice was very much intentional — Copeland herself experienced housing and food insecurity for much of her childhood. “It can happen to anyone,” she says in an interview. “So many Americans are one paycheck away from losing their home.”\u003c/p>\n\u003cp>A film about a woman struggling to hang on to the family home she shares with her dementia-stricken mother, \u003cem>Flower\u003c/em> screens on Friday, Sept. 29, as part of Oakland Ballet’s season opener at the Paramount Theatre. Copeland will be on stage to present.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FuiMrxuSR2o'\n title='//www.youtube.com/embed/FuiMrxuSR2o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>\n\u003cp>Copeland hopes \u003cem>Flower\u003c/em> not only highlights the housing affordability crisis, but challenges the tropes of what homelessness looks like.\u003c/p>\n\u003cp>The film is the first for Copeland’s production company, \u003ca href=\"https://www.instagram.com/lifeinmotionproductions/\">Life in Motion\u003c/a>, which she co-founded with ballerina Leyla Fayyaz, an Emmy-winning producer. Also behind the scenes of \u003cem>Flower\u003c/em> is a who’s-who of Bay Area-bred stars. Grammy-winning artist Raphael Saadiq composed the score, with a stirring, repeated refrain of “I’m heeeeere now” that won’t soon leave the viewer’s memory.\u003c/p>\n\u003cp>Street dancers-turned-choreographers to the stars Rich and Tone Talauega, aka \u003ca href=\"https://www.richandtoneproductions.com/\">Rich + Tone\u003c/a>, contribute their moves. Raised in Richmond, the brothers were discovered by one of Michael Jackson’s choreographers while freestyling at an Oakland club in the early ’90s. And \u003ca href=\"https://linesballet.org/lines-ballet-mission-and-purpose/alonzo-king/\">Alonzo King\u003c/a> (of San Francisco’s Alonzo King LINES Ballet), who’s known Copeland since she was a teen, also choreographs.\u003c/p>\n\u003cfigure id=\"attachment_13935226\" class=\"wp-caption aligncenter\" style=\"max-width: 980px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935226\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Untitled-2.jpg\" alt=\"A man and woman float in repose against a black background\" width=\"980\" height=\"410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2.jpg 980w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-2-768x321.jpg 768w\" sizes=\"(max-width: 980px) 100vw, 980px\">\u003cfigcaption class=\"wp-caption-text\">Misty Copeland with co-star Babatunji Johnson in the short film ‘Flower.’ \u003ccite>(Courtesy of Life in Motion Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local talent shines on screen, as well. Bay Area dancer \u003ca href=\"https://babatunjijohnson.com/\">Babatunji Johnson\u003c/a> co-stars with Copeland; turf dancers – including Algerion “Krow” Bryant – perform in the film; and Oakland Ballet youth appear as students in a scene where Copeland’s character teaches a ballet class.\u003c/p>\n\u003cp>“It was important that we had people [who] are from the community,” says Copeland, whose husband, Olu Evans, was born and raised in Oakland. “Not necessarily for the world, but for that community to say, ‘we know that person,’ [or] ‘there’s that place – Mama’s Royal Café.’ That’s our community. That’s really us. It’s not this Hollywood facade.”\u003c/p>\n\u003cfigure id=\"attachment_13935227\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935227\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Untitled-1.jpg\" alt=\"A woman in a black top and hair pulled back looks up as older houses stand in the background\" width=\"1600\" height=\"670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Untitled-1-1536x643.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Misty Copeland in ‘Flower.’ \u003ccite>(Courtesy of Life in Motion Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same intention also went into incorporating the real experiences of the three unhoused community members in the West Oakland RV encampment.\u003c/p>\n\u003cp>“It made sense to use that one opportunity where people speak, to give that opportunity to people who are often voiceless or overlooked,” Copeland says. “I feel like it really is the glue that brings the story together in a powerful way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_11230644","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The Sept. 29 event at the Paramount Theatre also features live dance performances by Johnson, Krow, turf dancers, \u003ca href=\"https://destinyarts.org/\">Destiny Arts\u003c/a> youth and ballerina \u003ca href=\"https://www.sfballet.org/artist/angela-watson-2/\">Angela Watson\u003c/a> from Oakland. Highlights from the Oakland Ballet Company shows Luna Mexicana, Dancing Moons Festival and The Nutcracker round out the program.\u003c/p>\n\u003cp>“It’s super exciting,” Copeland says of the long-awaited Oakland premiere. “We hope that we did the community justice.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Flower,’ starring Misty Copeland, premieres at the Paramount Theatre in Oakland on Sept. 29 at 7 p.m. The film premiere is accompanied by live performances by Oakland Ballet and others. \u003ca href=\"https://oaklandballet.org/flower/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13935225/ballerina-misty-copeland-to-premiere-flower-in-oakland","authors":["11296"],"programs":["arts_140"],"categories":["arts_1","arts_966","arts_74"],"tags":["arts_3245","arts_10278","arts_1355","arts_7321","arts_19306","arts_6387","arts_1143","arts_924","arts_585"],"featImg":"arts_13935228","label":"arts_140"},"arts_13923117":{"type":"posts","id":"arts_13923117","meta":{"index":"posts_1591205157","site":"arts","id":"13923117","score":null,"sort":[1672345526000]},"guestAuthors":[],"slug":"2022-was-a-big-year-for-dance-books-here-are-5-to-check-out","title":"2022 Was a Big Year For Dance Books: Here Are 5 to Check Out","publishDate":1672345526,"format":"standard","headTitle":"2022 Was a Big Year For Dance Books: Here Are 5 to Check Out | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>It’s not often you find whole sections of bookstores or libraries devoted to books on dance. But this doesn’t mean that there’s a shortage of good books on the topic — especially this year.\u003c/p>\n\u003cp>2022 was particularly prosperous for books about ballet, with many notable memoirs, biographies, and works of fiction making their debuts. So, we’re taking a moment to highlight some of those. Our selection of titles sheds light not only on some of the form’s most iconic figures, but also provides a glimpse into the state of ballet culture today — and the direction it will be heading next year and for years to come.\u003c/p>\n\u003ch3>\u003cem>The Wind at My Back\u003c/em>\u003c/h3>\n\u003cp>[aside postid='arts_11295559']When all eyes were on Misty Copeland in advance of her promotion to principal dancer at American Ballet Theatre — which made her the first Black woman to achieve the highest rank in the iconic company — audiences saw an inspirational woman, a beautiful dancer, and a watershed event for the overwhelmingly white art form. What they didn’t see however, were Copeland’s private struggles with imposter syndrome, internalized trauma, and the still present systemic racism in the ballet world.\u003c/p>\n\u003cp>In her latest book, Copeland (writing with with Susan Fales-Hill) candidly recounts these experiences with the same grace and strength that imbue her dancing, all while paying homage to her mentor, Raven Wilkinson, and the many other Black ballerinas that laid the foundation for Copeland to soar. Part memoir, part tribute to the late Wilkinson, who toured the country with the Ballet Russe de Monte-Carlo during the height of the Civil Rights Movement, \u003cem>The Wind at My Back\u003c/em> chronicles Copeland’s relationship with her mentor, draws parallels between their paths in dance, and ends with a call to action. Through Wilkinson, Copeland taps into her deeper purpose of being a role model for other ballet dancers of color, and her words tell readers exactly what it will take to continue to move the form forward and ensure bright futures for these young artists.\u003c/p>\n\u003ch3>\u003cem>They’re Going to Love You\u003c/em>\u003c/h3>\n\u003cp>In this novel by Meg Howrey, Carlisle Martin — born to a ballerina mother and a balletomane father — dreams of dancing with the New York City Ballet. After her parent’s separation, the NYC home her father shares with his partner, James, becomes a place of wonder — and someplace she wants to belong, but doesn’t quite feel at home. After her above-average height dashes her hopes of ballet stardom, and a betrayal estranges her from her father and James, Carlisle charts her own path, moves to Los Angeles, and starts her career as a choreographer. When she receives the news that her father is dying, she is forced to reckon with her past, all while preparing for the biggest commission of her career.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>They’re Going to Love You\u003c/em> oscillates between present-day reflections and flashbacks to Carlisle’s life as an adolescent and young adult, ultimately emerging as a beautiful and relatable portrait of a woman, her regrets, and her successes. As Howrey unflinchingly and honestly dives into the intricacies of relationships and the inevitable growing pains that come with life, she also mines her history as a ballet dancer to deliver an honest portrayal of the dance world, the realities of working artists, and the obstacles facing female choreographers, revealing real-world truths through a fictional setting.\u003c/p>\n\u003ch3>\u003cem>La Nijinska \u003c/em>\u003c/h3>\n\u003cp>[aside postid='arts_13920190']Most balletomanes are familiar with Vaslav Nijinsky, the famous 20th-century dancer and choreographer who was widely hailed for his virtuosity and who made waves with his original works. Fewer though, are intimately familiar with his sister, Bronislava Nijinska, despite the fact that, as author and dance historian Lynn Garafola asserts, her myriad contributions far outweighed Nijinsky’s comparatively brief foray into the limelight.\u003c/p>\n\u003cp>\u003cem>La Nijinska \u003c/em>is the first biography written about the female choreographer, who created nearly 80 original ballets and was a guiding force for the development of 20th-century modernism. The book mines interviews, archival reviews, reflections of the dancers who worked with Nijinska, and the choreographer’s own letters and diaries to paint a picture of the prolific dancemaker. Nijinska is wholly deserving of the nearly 500-page opus, which, given today’s movement to foster and support women choreographers, comes at just the right time.\u003c/p>\n\u003ch3>\u003cem>Three Muses\u003c/em>\u003c/h3>\n\u003cp>Author Martha Anne Toll’s first novel uses a post-WWII ballet world as the backdrop to weave an intimate portrait of romance and heartbreak. \u003cem>Three Muses \u003c/em>follows prima ballerina Katya Symanova, who is immersed in an abusive yet creatively generative relationship with choreographer Boris Yanakov, as she meets and falls in love with John Curtin, a young psychiatrist and Holocaust survivor.\u003c/p>\n\u003cp>Toll’s novel is not only notable for its poignant prose, clever foreshadowing, and deeply moving ending, it also comments on many of the harsher truths present in the ballet world, acknowledging the reality without glamorizing it. The author, a freelance book critic who has written reviews for NPR, not only uses a true-to-life version of the 1950s dance world as her stage, she uses choreography as a key element of the plot, with the dances she creates for her characters perfectly echoing their inner lives.\u003c/p>\n\u003ch3>\u003cem>Serenade\u003c/em>\u003c/h3>\n\u003cp>[aside postid='arts_13909322']In the ballet world, George Balanchine, the co-founder of the New York City Ballet, has almost been raised to superhuman status. His signature modern, plotless approach to dancemaking is still widely lauded, his choreography is performed by some of the most successful dancers and companies, and words like “legend,” “icon” and “seminal” are often used to describe him. Hearing about Balanchine from someone who actually knew him and danced for him — like author Toni Bentley — is a breath of fresh air, revealing the human behind the history.\u003c/p>\n\u003cp>Bentley’s \u003cem>Serenade \u003c/em>is grounded by a minute-by-minute recollection of Balanchine’s 1934 masterpiece of the same name, interspersed with the author’s own memories of the choreographer, stories from his past, as well as forays into topics like the development of the pointe shoe, the life and work of composer Pyotr Ilyich Tchaikovsky, and the choreography of Marius Petipa. Bentley’s words not only illuminate Balanchine, they also unveil the lifelong devotion, love and unending fascination that come along with a career in ballet.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sophie Bress is a dance writer and former dancer based in Utah. She holds a master’s degree in arts journalism from the University of Southern California and writes for ‘Dance Magazine,’ ‘Fjord Review,’ ‘Pointe’ and others. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=2022+was+a+big+year+for+dance+books%3A+Here+are+5+to+check+out&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"These books shed light on some of dance's most iconic figures and provide a glimpse into the state of ballet culture today — and the direction it's heading next year and for years to come.","status":"publish","parent":0,"modified":1705006025,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1147},"headData":{"title":"2022 Was a Big Year For Dance Books: Here Are 5 to Check Out | KQED","description":"These books shed light on some of dance's most iconic figures and provide a glimpse into the state of ballet culture today — and the direction it's heading next year and for years to come.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"2022 Was a Big Year For Dance Books: Here Are 5 to Check Out","datePublished":"2022-12-29T20:25:26.000Z","dateModified":"2024-01-11T20:47:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Meghan Collins Sullivan","nprByline":"Sophie Bress","nprImageAgency":"NPR","nprStoryId":"1145320605","nprApiLink":"http://api.npr.org/query?id=1145320605&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/12/24/1145320605/2022-was-a-big-year-for-dance-books-here-are-5-to-check-out?ft=nprml&f=1145320605","nprRetrievedStory":"1","nprPubDate":"Sat, 24 Dec 2022 06:00:00 -0500","nprStoryDate":"Sat, 24 Dec 2022 06:00:09 -0500","nprLastModifiedDate":"Sat, 24 Dec 2022 06:00:09 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13923117/2022-was-a-big-year-for-dance-books-here-are-5-to-check-out","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not often you find whole sections of bookstores or libraries devoted to books on dance. But this doesn’t mean that there’s a shortage of good books on the topic — especially this year.\u003c/p>\n\u003cp>2022 was particularly prosperous for books about ballet, with many notable memoirs, biographies, and works of fiction making their debuts. So, we’re taking a moment to highlight some of those. Our selection of titles sheds light not only on some of the form’s most iconic figures, but also provides a glimpse into the state of ballet culture today — and the direction it will be heading next year and for years to come.\u003c/p>\n\u003ch3>\u003cem>The Wind at My Back\u003c/em>\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_11295559","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>When all eyes were on Misty Copeland in advance of her promotion to principal dancer at American Ballet Theatre — which made her the first Black woman to achieve the highest rank in the iconic company — audiences saw an inspirational woman, a beautiful dancer, and a watershed event for the overwhelmingly white art form. What they didn’t see however, were Copeland’s private struggles with imposter syndrome, internalized trauma, and the still present systemic racism in the ballet world.\u003c/p>\n\u003cp>In her latest book, Copeland (writing with with Susan Fales-Hill) candidly recounts these experiences with the same grace and strength that imbue her dancing, all while paying homage to her mentor, Raven Wilkinson, and the many other Black ballerinas that laid the foundation for Copeland to soar. Part memoir, part tribute to the late Wilkinson, who toured the country with the Ballet Russe de Monte-Carlo during the height of the Civil Rights Movement, \u003cem>The Wind at My Back\u003c/em> chronicles Copeland’s relationship with her mentor, draws parallels between their paths in dance, and ends with a call to action. Through Wilkinson, Copeland taps into her deeper purpose of being a role model for other ballet dancers of color, and her words tell readers exactly what it will take to continue to move the form forward and ensure bright futures for these young artists.\u003c/p>\n\u003ch3>\u003cem>They’re Going to Love You\u003c/em>\u003c/h3>\n\u003cp>In this novel by Meg Howrey, Carlisle Martin — born to a ballerina mother and a balletomane father — dreams of dancing with the New York City Ballet. After her parent’s separation, the NYC home her father shares with his partner, James, becomes a place of wonder — and someplace she wants to belong, but doesn’t quite feel at home. After her above-average height dashes her hopes of ballet stardom, and a betrayal estranges her from her father and James, Carlisle charts her own path, moves to Los Angeles, and starts her career as a choreographer. When she receives the news that her father is dying, she is forced to reckon with her past, all while preparing for the biggest commission of her career.\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>\u003cem>They’re Going to Love You\u003c/em> oscillates between present-day reflections and flashbacks to Carlisle’s life as an adolescent and young adult, ultimately emerging as a beautiful and relatable portrait of a woman, her regrets, and her successes. As Howrey unflinchingly and honestly dives into the intricacies of relationships and the inevitable growing pains that come with life, she also mines her history as a ballet dancer to deliver an honest portrayal of the dance world, the realities of working artists, and the obstacles facing female choreographers, revealing real-world truths through a fictional setting.\u003c/p>\n\u003ch3>\u003cem>La Nijinska \u003c/em>\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13920190","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Most balletomanes are familiar with Vaslav Nijinsky, the famous 20th-century dancer and choreographer who was widely hailed for his virtuosity and who made waves with his original works. Fewer though, are intimately familiar with his sister, Bronislava Nijinska, despite the fact that, as author and dance historian Lynn Garafola asserts, her myriad contributions far outweighed Nijinsky’s comparatively brief foray into the limelight.\u003c/p>\n\u003cp>\u003cem>La Nijinska \u003c/em>is the first biography written about the female choreographer, who created nearly 80 original ballets and was a guiding force for the development of 20th-century modernism. The book mines interviews, archival reviews, reflections of the dancers who worked with Nijinska, and the choreographer’s own letters and diaries to paint a picture of the prolific dancemaker. Nijinska is wholly deserving of the nearly 500-page opus, which, given today’s movement to foster and support women choreographers, comes at just the right time.\u003c/p>\n\u003ch3>\u003cem>Three Muses\u003c/em>\u003c/h3>\n\u003cp>Author Martha Anne Toll’s first novel uses a post-WWII ballet world as the backdrop to weave an intimate portrait of romance and heartbreak. \u003cem>Three Muses \u003c/em>follows prima ballerina Katya Symanova, who is immersed in an abusive yet creatively generative relationship with choreographer Boris Yanakov, as she meets and falls in love with John Curtin, a young psychiatrist and Holocaust survivor.\u003c/p>\n\u003cp>Toll’s novel is not only notable for its poignant prose, clever foreshadowing, and deeply moving ending, it also comments on many of the harsher truths present in the ballet world, acknowledging the reality without glamorizing it. The author, a freelance book critic who has written reviews for NPR, not only uses a true-to-life version of the 1950s dance world as her stage, she uses choreography as a key element of the plot, with the dances she creates for her characters perfectly echoing their inner lives.\u003c/p>\n\u003ch3>\u003cem>Serenade\u003c/em>\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13909322","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In the ballet world, George Balanchine, the co-founder of the New York City Ballet, has almost been raised to superhuman status. His signature modern, plotless approach to dancemaking is still widely lauded, his choreography is performed by some of the most successful dancers and companies, and words like “legend,” “icon” and “seminal” are often used to describe him. Hearing about Balanchine from someone who actually knew him and danced for him — like author Toni Bentley — is a breath of fresh air, revealing the human behind the history.\u003c/p>\n\u003cp>Bentley’s \u003cem>Serenade \u003c/em>is grounded by a minute-by-minute recollection of Balanchine’s 1934 masterpiece of the same name, interspersed with the author’s own memories of the choreographer, stories from his past, as well as forays into topics like the development of the pointe shoe, the life and work of composer Pyotr Ilyich Tchaikovsky, and the choreography of Marius Petipa. Bentley’s words not only illuminate Balanchine, they also unveil the lifelong devotion, love and unending fascination that come along with a career in ballet.\u003c/p>\n\u003chr>\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>Sophie Bress is a dance writer and former dancer based in Utah. She holds a master’s degree in arts journalism from the University of Southern California and writes for ‘Dance Magazine,’ ‘Fjord Review,’ ‘Pointe’ and others. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=2022+was+a+big+year+for+dance+books%3A+Here+are+5+to+check+out&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13923117/2022-was-a-big-year-for-dance-books-here-are-5-to-check-out","authors":["byline_arts_13923117"],"categories":["arts_1","arts_73","arts_966"],"tags":["arts_3245","arts_879","arts_19306"],"affiliates":["arts_137"],"featImg":"arts_13923118","label":"arts_137"},"arts_13872219":{"type":"posts","id":"arts_13872219","meta":{"index":"posts_1591205157","site":"arts","id":"13872219","score":null,"sort":[1577839242000]},"guestAuthors":[],"slug":"explore-a-dramatic-dance-display-inside-grace-cathedral","title":"Explore a Dramatic Dance Display Inside Grace Cathedral","publishDate":1577839242,"format":"standard","headTitle":"Explore a Dramatic Dance Display Inside Grace Cathedral | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>What happens when you take the resplendent stillness of Grace Cathedral and fill every corner of it with contemporary dancers?\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfmaf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Movement Arts Festival\u003c/a> has been answering that question for six years now; it returns this January with over 300 dancers and performers. An unconventionally arranged array of disciplines will be on display in every corner of the cathedral, including ballet, contemporary and aerial. A live soundtrack promises to enhance the displays.\u003c/p>\n\u003cp>With 90 percent of scheduled performers being Bay Area-based (others hail from Texas, Arizona, New York and Southern California), the festival also offers a compact glimpse into local dance talent and trends, as well as showcasing rising stars in the community.\u003c/p>\n\u003cp>Take a stroll through last summer’s event in the video below. \u003cem>–Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=62&v=E5LU4xBJDwU&feature=emb_logo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The San Francisco Movement Arts Festival offers dance and live music performances from over 300 mostly local artists.","status":"publish","parent":0,"modified":1705021596,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":150},"headData":{"title":"Explore a Dramatic Dance Display Inside Grace Cathedral | KQED","description":"The San Francisco Movement Arts Festival offers dance and live music performances from over 300 mostly local artists.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Explore a Dramatic Dance Display Inside Grace Cathedral","datePublished":"2020-01-01T00:40:42.000Z","dateModified":"2024-01-12T01:06:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"event","featuredImageType":"standard","startTime":1579917600,"endTime":1579928400,"startTimeString":"Jan. 24, 6–9pm","venueName":"Grace Cathedral","venueAddress":"1100 California St., San Francisco","eventLink":"https://www.sfmaf.org/","path":"/arts/13872219/explore-a-dramatic-dance-display-inside-grace-cathedral","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>What happens when you take the resplendent stillness of Grace Cathedral and fill every corner of it with contemporary dancers?\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfmaf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Movement Arts Festival\u003c/a> has been answering that question for six years now; it returns this January with over 300 dancers and performers. An unconventionally arranged array of disciplines will be on display in every corner of the cathedral, including ballet, contemporary and aerial. A live soundtrack promises to enhance the displays.\u003c/p>\n\u003cp>With 90 percent of scheduled performers being Bay Area-based (others hail from Texas, Arizona, New York and Southern California), the festival also offers a compact glimpse into local dance talent and trends, as well as showcasing rising stars in the community.\u003c/p>\n\u003cp>Take a stroll through last summer’s event in the video below. \u003cem>–Rae Alexandra\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/E5LU4xBJDwU'\n title='//www.youtube.com/embed/E5LU4xBJDwU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13872219/explore-a-dramatic-dance-display-inside-grace-cathedral","authors":["11242"],"programs":["arts_140"],"categories":["arts_966"],"tags":["arts_3245","arts_4523","arts_879","arts_1626","arts_1334"],"featImg":"arts_13872222","label":"arts_140"},"arts_13868687":{"type":"posts","id":"arts_13868687","meta":{"index":"posts_1591205157","site":"arts","id":"13868687","score":null,"sort":[1571857846000]},"guestAuthors":[],"slug":"dance-coachs-molestation-case-headed-to-retrial-following-hung-jury","title":"Dance Coach's Molestation Case Headed to Retrial Following Hung Jury","publishDate":1571857846,"format":"audio","headTitle":"Dance Coach’s Molestation Case Headed to Retrial Following Hung Jury | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>A sexual assault case against a renowned ballet coach is heading to retrial in an East Bay Court after the jury couldn’t reach a decision following two days of deliberations.\u003c/p>\n\u003cp>Three of Viktor Kabaniaev’s ex-students testified against their former coach, who was arrested in January 2018 and charged with 14 counts involving sex crimes against minors.\u003c/p>\n\u003cp>One woman said he raped her for the first time when she was only 12 years old, and forced her to have sex with him dozens of times thereafter. The other two accused Kabaniaev of molesting them.\u003c/p>\n\u003cp>Among these people was a new, third alleged victim, who came forward publicly for the first time as the trial unfolded to give her testimony.\u003c/p>\n\u003cp>Additional witnesses for the prosecution also took the stand during the two-week trial in Martinez, including the father of the alleged rape victim.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My daughter was assaulted over a long period of time,” the man said on the witness stand. He broke down a couple of times during his testimony.\u003c/span>\u003c/p>\n\u003cp>Despite the government’s case against the 56-year-old Kabaniaev, six of the 12 jurors remained unconvinced.\u003c/p>\n\u003cp>“My client\u003cb>\u003c/b> is delighted that six jurors believed his version of the facts,” said defense attorney Kenneth Wine in a phone interview. “He’s ready to fight on.”\u003c/p>\n\u003cp>The trial will now start over with a new jury.\u003c/p>\n\u003cp>“I am a bit disappointed with the jury’s decision,” said Miko Fogarty, a former student of Kabaniaev’s who shared her testimony during the trial, alleging that\u003cspan style=\"font-weight: 400\"> Kabaniaev molested her when she was 13. “But I am still hopeful for the retrial.”\u003c/span>\u003c/p>\n\u003cp>Scott Alonso, a spokesman for the Contra Costa County District Attorney’s Office, said his office expects a date for the retrial to be set next week.\u003c/p>\n\u003cp>“We are deeply concerned with the jury’s outcome,” Alonso said in a written statement. “The women that came forward, including a new, third victim on the record, demonstrated immense courage in speaking publicly about these horrible crimes. Sexual assault victims deserve justice in this case. We will proceed with a new trial.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Kabaniaev has been behind bars since his arrest nearly two years ago. If found guilty, he could face up to a life sentence. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to KQED’s 28-minute audio documentary about the long and complex journey of one of Kabaniaev’s alleged victims \u003ca href=\"https://www.kqed.org/news/11696615/ballet-star-moves-past-pain-for-a-new-stage-science\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Three of Viktor Kabaniaev’s ex-students testified against their former coach, but the jury remained unconvinced.","status":"publish","parent":0,"modified":1705021930,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":427},"headData":{"title":"Dance Coach's Molestation Case Headed to Retrial Following Hung Jury | KQED","description":"Three of Viktor Kabaniaev’s ex-students testified against their former coach, but the jury remained unconvinced.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Dance Coach's Molestation Case Headed to Retrial Following Hung Jury","datePublished":"2019-10-23T19:10:46.000Z","dateModified":"2024-01-12T01:12:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2019/10/VeltmanHungJury.mp3","sticky":false,"audioTrackLength":55,"templateType":"standard","featuredImageType":"standard","path":"/arts/13868687/dance-coachs-molestation-case-headed-to-retrial-following-hung-jury","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A sexual assault case against a renowned ballet coach is heading to retrial in an East Bay Court after the jury couldn’t reach a decision following two days of deliberations.\u003c/p>\n\u003cp>Three of Viktor Kabaniaev’s ex-students testified against their former coach, who was arrested in January 2018 and charged with 14 counts involving sex crimes against minors.\u003c/p>\n\u003cp>One woman said he raped her for the first time when she was only 12 years old, and forced her to have sex with him dozens of times thereafter. The other two accused Kabaniaev of molesting them.\u003c/p>\n\u003cp>Among these people was a new, third alleged victim, who came forward publicly for the first time as the trial unfolded to give her testimony.\u003c/p>\n\u003cp>Additional witnesses for the prosecution also took the stand during the two-week trial in Martinez, including the father of the alleged rape victim.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My daughter was assaulted over a long period of time,” the man said on the witness stand. He broke down a couple of times during his testimony.\u003c/span>\u003c/p>\n\u003cp>Despite the government’s case against the 56-year-old Kabaniaev, six of the 12 jurors remained unconvinced.\u003c/p>\n\u003cp>“My client\u003cb>\u003c/b> is delighted that six jurors believed his version of the facts,” said defense attorney Kenneth Wine in a phone interview. “He’s ready to fight on.”\u003c/p>\n\u003cp>The trial will now start over with a new jury.\u003c/p>\n\u003cp>“I am a bit disappointed with the jury’s decision,” said Miko Fogarty, a former student of Kabaniaev’s who shared her testimony during the trial, alleging that\u003cspan style=\"font-weight: 400\"> Kabaniaev molested her when she was 13. “But I am still hopeful for the retrial.”\u003c/span>\u003c/p>\n\u003cp>Scott Alonso, a spokesman for the Contra Costa County District Attorney’s Office, said his office expects a date for the retrial to be set next week.\u003c/p>\n\u003cp>“We are deeply concerned with the jury’s outcome,” Alonso said in a written statement. “The women that came forward, including a new, third victim on the record, demonstrated immense courage in speaking publicly about these horrible crimes. Sexual assault victims deserve justice in this case. We will proceed with a new trial.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Kabaniaev has been behind bars since his arrest nearly two years ago. If found guilty, he could face up to a life sentence. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to KQED’s 28-minute audio documentary about the long and complex journey of one of Kabaniaev’s alleged victims \u003ca href=\"https://www.kqed.org/news/11696615/ballet-star-moves-past-pain-for-a-new-stage-science\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13868687/dance-coachs-molestation-case-headed-to-retrial-following-hung-jury","authors":["8608"],"categories":["arts_1","arts_966","arts_235"],"tags":["arts_3245","arts_1118"],"featImg":"arts_13868695","label":"arts"},"arts_13866459":{"type":"posts","id":"arts_13866459","meta":{"index":"posts_1591205157","site":"arts","id":"13866459","score":null,"sort":[1568667270000]},"guestAuthors":[],"slug":"the-next-stage-how-young-venezuelan-artists-continue-their-studies-in-the-u-s","title":"The Next Stage: How Young Venezuelan Artists Continue Their Studies In The U.S.","publishDate":1568667270,"format":"standard","headTitle":"The Next Stage: How Young Venezuelan Artists Continue Their Studies In The U.S. | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>María Fernanda Papa was 4 years old when she and her family arrived in Miami. She’d begun dancing back home in Venezuela, and when she and her parents settled in the U.S., she asked if she could continue practicing ballet. Eventually, they found a spot for her in an “amazing school,” says María, now 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.classicalballetschool.com/\">That amazing school,\u003c/a> run by the Arts Ballet Theatre of Florida, is in a strip mall in North Miami Beach. Many of the dancers are Venezuelan. In recent years, more than 200,000 Venezuelans fleeing political and economic upheaval have settled in South Florida.\u003c/p>\n\u003cp>Many of the children are continuing artistic studies they began in their home country. \u003ca href=\"https://www.artsballettheatre.org/\">Arts Ballet Theatre\u003c/a> and its associated school is run by Ruby Romero-Issaev and her husband, ballet master \u003ca href=\"https://www.artsballettheatre.org/director-1\">Vladimir Issaev\u003c/a>. They came to Miami from Venezuela in 1997, a couple of years before Hugo Chávez came to power. Over the next two decades, under Chávez and his successor Nicolás Maduro, the country became more authoritarian and basic goods and services became harder to get. So, many other Venezuelans followed, including families with children.\u003c/p>\n\u003cp>[aside tag='if-cities-could-dance' label='WATCH: If Cities Could Dance']\u003c/p>\n\u003cp>“Although they knew they were going to struggle, they didn’t want the children’s lives to change,” Romero-Issaev says. “If they were doing tennis, they wanted to do tennis. If they were doing soccer, they wanted to do soccer. If they were doing ballet, they needed to do ballet.”\u003c/p>\n\u003cp>With help from Miami’s \u003ca href=\"https://www.thechildrenstrust.org/\">Children’s Trust,\u003c/a> a quasi-governmental agency, Arts Ballet Theatre and the school are able to provide scholarships to students from low-income families, including many newly arrived from Venezuela.\u003c/p>\n\u003cp>\u003ca href=\"https://www.artsballettheatre.org/lusian-hernandez\">Lusian Hernández,\u003c/a> 25, is a soloist who dances with Arts Ballet Theatre’s professional company. She came to Miami when she was 16, determined to continue her studies and launch a career. In Venezuela now, she says there are few opportunities for dancers.\u003c/p>\n\u003cp>“Many schools had to close,” Hernández explains. Students didn’t have the money to pay tuition, and without tuition, the schools couldn’t pay rent. “It’s very insecure,” she says. “So [dancers] have to leave the country and the schools start closing.”\u003c/p>\n\u003cp>There used to be three professional ballet companies in Caracas. Now there’s just one, Hernández says, and it’s small. She remembers point shoes were already expensive and hard to find a decade ago — her parents, who are still back at home in Venezuela — say it’s now all but impossible to get a pair.\u003c/p>\n\u003cp>Hernandez considers herself lucky to be in the U.S. where she can continue her studies with the hopes of one day becoming a professional dancer. With help from Arts Ballet Theatre, Hernández collects used point shoes from the company’s dancers which she sends to a dance school in her hometown.\u003c/p>\n\u003cp>Other arts programs in Miami are also working to help young Venezuelans adjust to life in a new country. On a recent afternoon, at a church in the Miami neighborhood of Coconut Grove, a dozen beginners on violins and cellos are playing scales and simple tunes. They’re part of \u003ca href=\"https://www.musicall.org/\">Musicall\u003c/a>, another arts program offering scholarships. About a quarter of the program’s 300 students are from Venezuela.\u003c/p>\n\u003cp>Venezuela is “a very musical country,” says opera singer and Musicall teacher Carlos Silva. He began his vocal studies at a school that was part of El Sistema — the renowned Venezuelan music education program founded more than 40 years ago. Its graduates include \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2017/05/04/526897569/gustavo-dudamel-addresses-venezuelas-leaders-enough-is-enough\">conductor Gustavo Dudamel, \u003c/a>who now leads the Los Angeles Philharmonic.\u003c/p>\n\u003cp>But under the Chávez and Muduro regimes, music education programs suffered and many teachers left the country, Silva explains, and now “those who couldn’t travel outside of the country are stuck there and they are facing a lot of problems.”\u003c/p>\n\u003cp>[aside tag='immigration' label='Stories For You']\u003c/p>\n\u003cp>In today’s Venezuela, Silva says, there are more pressing needs than music education. People are starving, he says: “It’s difficult to find a place for music. There are priorities and the priority there is to find something to eat.” Silva wants to someday go back to Venezuela to teach, but he doesn’t know when that might become possible.\u003c/p>\n\u003cp>Ruby Romero-Issaev, with Arts Ballet Theatre, is ready to help rebuild Venezuela, too — but in the meantime, she has work to do here. “We were lucky at a certain point to be here, to have a visa, to be able to work, to be able to establish our lives here,” she says. “We think it’s our responsibility to try to help other Venezuelan families that are bringing the kids.”\u003c/p>\n\u003cp>Knowing what their families and friends are going through in Venezuela is hard for her students, Romero-Issaev says: “You see their sadness, but once they get into the studio, and the music starts to play … their minds, their hearts open and they feel they’re in another world.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"More than 200,000 Venezuelans have fled to South Florida in recent years. Now, with the help of Miami arts programs, young dancers and musicians are getting scholarships to keep doing what they love.","status":"publish","parent":0,"modified":1705022144,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":905},"headData":{"title":"The Next Stage: How Young Venezuelan Artists Continue Their Studies In The U.S. | KQED","description":"More than 200,000 Venezuelans have fled to South Florida in recent years. Now, with the help of Miami arts programs, young dancers and musicians are getting scholarships to keep doing what they love.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Next Stage: How Young Venezuelan Artists Continue Their Studies In The U.S.","datePublished":"2019-09-16T20:54:30.000Z","dateModified":"2024-01-12T01:15:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Patricia Laine Romero","nprByline":"Greg Allen","nprImageAgency":"Arts Ballet Theatre of Florida","nprStoryId":"757974088","nprApiLink":"http://api.npr.org/query?id=757974088&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/09/14/757974088/the-next-stage-how-young-venezuelan-artists-continue-their-studies-in-the-u-s?ft=nprml&f=757974088","nprRetrievedStory":"1","nprPubDate":"Sat, 14 Sep 2019 07:59:00 -0400","nprStoryDate":"Sat, 14 Sep 2019 07:59:00 -0400","nprLastModifiedDate":"Sat, 14 Sep 2019 09:04:05 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/wesat/2019/09/20190914_wesat_the_next_stage_how_young_venezuelan_artists_continue_their_studies_in_the_us.mp3?orgId=1&topicId=1145&d=291&p=7&story=757974088&ft=nprml&f=757974088","nprAudioM3u":"http://api.npr.org/m3u/1760780896-bbd5d6.m3u?orgId=1&topicId=1145&d=291&p=7&story=757974088&ft=nprml&f=757974088","audioTrackLength":292,"templateType":"standard","featuredImageType":"standard","path":"/arts/13866459/the-next-stage-how-young-venezuelan-artists-continue-their-studies-in-the-u-s","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/wesat/2019/09/20190914_wesat_the_next_stage_how_young_venezuelan_artists_continue_their_studies_in_the_us.mp3?orgId=1&topicId=1145&d=291&p=7&story=757974088&ft=nprml&f=757974088","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>María Fernanda Papa was 4 years old when she and her family arrived in Miami. She’d begun dancing back home in Venezuela, and when she and her parents settled in the U.S., she asked if she could continue practicing ballet. Eventually, they found a spot for her in an “amazing school,” says María, now 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.classicalballetschool.com/\">That amazing school,\u003c/a> run by the Arts Ballet Theatre of Florida, is in a strip mall in North Miami Beach. Many of the dancers are Venezuelan. In recent years, more than 200,000 Venezuelans fleeing political and economic upheaval have settled in South Florida.\u003c/p>\n\u003cp>Many of the children are continuing artistic studies they began in their home country. \u003ca href=\"https://www.artsballettheatre.org/\">Arts Ballet Theatre\u003c/a> and its associated school is run by Ruby Romero-Issaev and her husband, ballet master \u003ca href=\"https://www.artsballettheatre.org/director-1\">Vladimir Issaev\u003c/a>. They came to Miami from Venezuela in 1997, a couple of years before Hugo Chávez came to power. Over the next two decades, under Chávez and his successor Nicolás Maduro, the country became more authoritarian and basic goods and services became harder to get. So, many other Venezuelans followed, including families with children.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"tag":"if-cities-could-dance","label":"WATCH: If Cities Could Dance "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Although they knew they were going to struggle, they didn’t want the children’s lives to change,” Romero-Issaev says. “If they were doing tennis, they wanted to do tennis. If they were doing soccer, they wanted to do soccer. If they were doing ballet, they needed to do ballet.”\u003c/p>\n\u003cp>With help from Miami’s \u003ca href=\"https://www.thechildrenstrust.org/\">Children’s Trust,\u003c/a> a quasi-governmental agency, Arts Ballet Theatre and the school are able to provide scholarships to students from low-income families, including many newly arrived from Venezuela.\u003c/p>\n\u003cp>\u003ca href=\"https://www.artsballettheatre.org/lusian-hernandez\">Lusian Hernández,\u003c/a> 25, is a soloist who dances with Arts Ballet Theatre’s professional company. She came to Miami when she was 16, determined to continue her studies and launch a career. In Venezuela now, she says there are few opportunities for dancers.\u003c/p>\n\u003cp>“Many schools had to close,” Hernández explains. Students didn’t have the money to pay tuition, and without tuition, the schools couldn’t pay rent. “It’s very insecure,” she says. “So [dancers] have to leave the country and the schools start closing.”\u003c/p>\n\u003cp>There used to be three professional ballet companies in Caracas. Now there’s just one, Hernández says, and it’s small. She remembers point shoes were already expensive and hard to find a decade ago — her parents, who are still back at home in Venezuela — say it’s now all but impossible to get a pair.\u003c/p>\n\u003cp>Hernandez considers herself lucky to be in the U.S. where she can continue her studies with the hopes of one day becoming a professional dancer. With help from Arts Ballet Theatre, Hernández collects used point shoes from the company’s dancers which she sends to a dance school in her hometown.\u003c/p>\n\u003cp>Other arts programs in Miami are also working to help young Venezuelans adjust to life in a new country. On a recent afternoon, at a church in the Miami neighborhood of Coconut Grove, a dozen beginners on violins and cellos are playing scales and simple tunes. They’re part of \u003ca href=\"https://www.musicall.org/\">Musicall\u003c/a>, another arts program offering scholarships. About a quarter of the program’s 300 students are from Venezuela.\u003c/p>\n\u003cp>Venezuela is “a very musical country,” says opera singer and Musicall teacher Carlos Silva. He began his vocal studies at a school that was part of El Sistema — the renowned Venezuelan music education program founded more than 40 years ago. Its graduates include \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2017/05/04/526897569/gustavo-dudamel-addresses-venezuelas-leaders-enough-is-enough\">conductor Gustavo Dudamel, \u003c/a>who now leads the Los Angeles Philharmonic.\u003c/p>\n\u003cp>But under the Chávez and Muduro regimes, music education programs suffered and many teachers left the country, Silva explains, and now “those who couldn’t travel outside of the country are stuck there and they are facing a lot of problems.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"tag":"immigration","label":"Stories For You "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In today’s Venezuela, Silva says, there are more pressing needs than music education. People are starving, he says: “It’s difficult to find a place for music. There are priorities and the priority there is to find something to eat.” Silva wants to someday go back to Venezuela to teach, but he doesn’t know when that might become possible.\u003c/p>\n\u003cp>Ruby Romero-Issaev, with Arts Ballet Theatre, is ready to help rebuild Venezuela, too — but in the meantime, she has work to do here. “We were lucky at a certain point to be here, to have a visa, to be able to work, to be able to establish our lives here,” she says. “We think it’s our responsibility to try to help other Venezuelan families that are bringing the kids.”\u003c/p>\n\u003cp>Knowing what their families and friends are going through in Venezuela is hard for her students, Romero-Issaev says: “You see their sadness, but once they get into the studio, and the music starts to play … their minds, their hearts open and they feel they’re in another world.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13866459/the-next-stage-how-young-venezuelan-artists-continue-their-studies-in-the-u-s","authors":["byline_arts_13866459"],"categories":["arts_835","arts_966","arts_235"],"tags":["arts_3245","arts_879","arts_1773","arts_596"],"affiliates":["arts_137"],"featImg":"arts_13866460","label":"arts_137"},"arts_13820235":{"type":"posts","id":"arts_13820235","meta":{"index":"posts_1591205157","site":"arts","id":"13820235","score":null,"sort":[1517353210000]},"guestAuthors":[],"slug":"how-one-company-has-navigated-the-messy-ballet-world","title":"How One Company Navigates the Messy Ballet World","publishDate":1517353210,"format":"standard","headTitle":"How One Company Navigates the Messy Ballet World | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Onstage, ballet appears to be a refined and noble art, yet offstage it has weathered myriad \u003ca href=\"https://www.newyorker.com/magazine/2013/03/18/danse-macabre\" target=\"_blank\" rel=\"noopener\">sordid\u003c/a> \u003ca href=\"https://www.theglobeandmail.com/arts/books-and-media/book-reviews/inside-the-hard-sad-and-beautiful-world-of-the-ballet-dancer/article4574273/\" target=\"_blank\" rel=\"noopener\">scandals\u003c/a> through the centuries. Today, a handful of the standard-bearing companies around the world are reeling from allegations of \u003ca href=\"https://www.nytimes.com/2018/01/02/arts/dance/peter-martins-ballet-harassment.html\" target=\"_blank\" rel=\"noopener\">harassment\u003c/a>, \u003ca href=\"https://www.nytimes.com/2017/05/15/arts/dance/no-more-gang-rape-scenes-in-ballets-please.html\" target=\"_blank\" rel=\"noopener\">misogyny\u003c/a>, \u003ca href=\"http://www.theartsdesk.com/dance/bolshois-controversial-nureyev-ballet-opens-%E2%80%93-ovations-and-bans\" target=\"_blank\" rel=\"noopener\">homophobia\u003c/a> and \u003ca href=\"http://www.dancemagazine.com/chase-johnsey-interview-trocks-allegations-2528105578.html\" target=\"_blank\" rel=\"noopener\">transphobia\u003c/a>. Dancers have long \u003ca href=\"http://www.nytimes.com/1986/11/15/arts/books-out-of-pain.html\" target=\"_blank\" rel=\"noopener\">chronicled\u003c/a> the peculiarly \u003ca href=\"http://www.dancemagazine.com/wilhelmina-frankfurt-peter-martins-investigation-2516966253.html\" target=\"_blank\" rel=\"noopener\">autocratic regimes\u003c/a> in the ballet world, but there’s been little impetus for change in an industry where careers are fleeting, competition is brutal, and ancient traditions are revered.\u003c/p>\n\u003cp>The ballet world is highly stratified, however, and there are small companies that quietly thrive — as if occupying a separate ecosystem. On the threshold of the 24th season of \u003ca href=\"https://diabloballet.org\" target=\"_blank\" rel=\"noopener\">Diablo Ballet\u003c/a>, I spoke with co-founder and artistic director Lauren Jonas about the phenomenon.\u003c/p>\n\u003cp>“When I hear these stories, they feel so foreign to me now,” she muses. “I did experience some of that authoritarianism when I was dancing professionally… I knew when I started Diablo Ballet, I wanted to provide an atmosphere that was different.”\u003c/p>\n\u003cfigure id=\"attachment_13820239\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820239\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Farris and Christian Squires in ‘Hamlet and Ophelia’ by Val Caniparoli. (Photo by Bilha Sperlin)\u003c/figcaption>\u003c/figure>\n\u003cp>Jonas points out: “Larger companies may have struggles with a director, but when the director is producing successful work, with strong ticket sales, the board may be reluctant to do anything. But I think there are definitely going to be changes in how some companies are run, not just who’s running them… This is a new movement. It’s fantastic that dancers have felt comfortable to come out and express their feelings.”\u003c/p>\n\u003cp>With just 10 dancers, Diablo presents top-flight classical and contemporary work at venues both large and intimate in Walnut Creek and farther afield. The company has survived a few economic downturns; today, grants from the California Arts Council and from private foundations and individuals augment ticket sales to the tune of about $780,000. (In comparison, mid-sized companies operate typically in the $5–$10 million range; the largest companies are pushing $50 million and up.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On this modest budget, Diablo continues to nurture young choreographers, as well as stage revivals of classic pieces by renowned choreographers like George Balanchine and Val Caniparoli. Performances consistently employ live music — an imperative that many larger companies jettison when money gets tight. And for the past 23 years it has run \u003ca href=\"https://diabloballet.org/peek-outreach/\" target=\"_blank\" rel=\"noopener\">outreach programs\u003c/a> at underserved schools and at juvenile hall.\u003c/p>\n\u003cfigure id=\"attachment_13820242\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio-.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Jonas in the Diablo Ballet studio, rehearsing dancers Jordan Tilton and Felipe Leon (Photo courtesy Diablo Ballet).\u003c/figcaption>\u003c/figure>\n\u003cp>Talking with Jonas, I looked for insight into how Jonas has steered her company.\u003c/p>\n\u003cp>\u003cstrong>Your dancers have all had experience at larger, established companies, including San Francisco Ballet, Atlanta Ballet, Oregon Ballet Theatre. What do you look for when you hire? \u003c/strong>\u003c/p>\n\u003cp>I’ve always wanted our dancers to look different and to come from different backgrounds — that was my aspiration from the beginning. In a larger company, you often get niched into certain types of ballets, like classical or contemporary, whereas at Diablo you have to dance everything.\u003c/p>\n\u003cp>I have always looked for mature, experienced dancers. With young dancers, you have more training to do… You still have to train these dancers, but it’s not emotional training.\u003c/p>\n\u003cp>Most important, I want a positive working environment with absolutely no drama in the studio. With only four weeks to put on a performance, I’m asking a lot of people! We’ve had a few situations many years ago where one person has brought that tension, and it was hard.\u003c/p>\n\u003cfigure id=\"attachment_13820244\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820244\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-800x452.jpg\" alt=\"\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers of Diablo Ballet in ‘Happy Ending’ by Robert Dekkers. (Photo by Bilha Sperling)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You went from being a dancer to a company founder. Did you have any role models?\u003c/strong>\u003c/p>\n\u003cp>I’d always had role models as a dancer, but not as a director. Our co-founder Ashraf Habibullah was really my mentor. He’s an industry giant in the field of earthquake engineering and founded a major international company. He not only gave me a business education, he also taught me how to get the most out of people and inspire them.\u003c/p>\n\u003cp>We raised funds and put everything in place step by step; we didn’t rush it. You have to really get to know your community. We don’t have a school, and we need to be a part of the community, so the arts education piece is extremely important. It’s not just about performing; with the educational outreach, you are becoming an investment in the community. When I hire dancers, I make sure that is something that is important to them as well.\u003c/p>\n\u003cfigure id=\"attachment_13820246\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820246\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-800x1112.jpg\" alt=\"\" width=\"800\" height=\"1112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-800x1112.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-768x1068.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-240x334.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-375x521.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-520x723.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color.jpg 863w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rosselyn Ramirez and Christian Squires in ‘Tears from Above’ by Val Caniparoli. (Photo by Bilha Sterling)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What is particularly exciting to you about this upcoming season?\u003c/strong>\u003c/p>\n\u003cp>I’m passionate about supporting the work of young choreographers, like Robert Dekkers, whose \u003cem>Red Shoes\u003c/em> premieres May 4.\u003c/p>\n\u003cp>While Robert in many ways represents our present and our future, I always try to bring back something from the past, and in March, I’m thrilled that Marina Eglevsky will return to the company to stage \u003cem>Solas\u003c/em> by Salvadore Aiello. It’s a solo, about a woman who has just had a major loss; it’s set to “Bachianas Brasileiras” No. 5, a haunting score by Villalobos, which will be performed live. Marina had coached me when I performed it in 1998. This time, she will set it on Rosselyn Ramirez.\u003c/p>\n\u003cp>When I danced this solo, I had just lost my grandfather. He and my parents together had raised me. You see the story evolve in this solo – it’s chilling. Marina’s process as a dancer and as a coach was so inspiring to me; she is very clear in every intention.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/252829391\u003cbr>\n\u003c/aside>\n\u003cp>\n\u003cstrong>The Bay Area has not been immune to ballet company woes. For instance, the messy \u003ca href=\"https://www.mercurynews.com/2016/03/08/silicon-valley-ballet-shutdown-the-writing-was-on-the-wall/\" target=\"_blank\" rel=\"noopener\">demise\u003c/a> of Silicon Valley Ballet — perhaps best known in its previous incarnation as Ballet San Jose and often considered the South Bay’s answer to San Francisco Ballet.\u003c/strong>\u003c/p>\n\u003cp>The loss of Ballet San Jose was devastating. I feel like, if it could happen to them, it could happen to anybody. For San Jose to not have a company is really sad — all that talent!\u003c/p>\n\u003cp>It’s tricky in San Jose because the tech industry is strong but I don’t know how interested they are in dance. Again, it ultimately comes down to knowing your community and what they want. And at the same time, trying to educate and develop audience tastes further, so you gain new audiences without losing the old.\u003c/p>\n\u003cp>\u003cstrong>Have you thought about your own succession at Diablo?\u003c/strong>\u003c/p>\n\u003cp>I think about succession all the time, in terms of management, artistic direction, and our outreach. An organization shouldn’t be dependent on one person, and it was always my desire from the beginning that the company continue beyond me. I’m trying to put the right people in the right seats – though of course it may not be my decision when the time comes.\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>Diablo Ballet’s 24th season kicks off Feb. 2 at the Del Valle Theatre in Walnut Creek. For more information, click \u003ca href=\"https://diabloballet.org/harmonious-beauty/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Diablo Ballet's artistic director Lauren Jonas explains how, amidst scandals and harassment charges in the dance world, she keeps her company thriving.","status":"publish","parent":0,"modified":1705028647,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1236},"headData":{"title":"How One Company Navigates the Messy Ballet World | KQED","description":"Diablo Ballet's artistic director Lauren Jonas explains how, amidst scandals and harassment charges in the dance world, she keeps her company thriving.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How One Company Navigates the Messy Ballet World","datePublished":"2018-01-30T23:00:10.000Z","dateModified":"2024-01-12T03:04:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13820235/how-one-company-has-navigated-the-messy-ballet-world","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Onstage, ballet appears to be a refined and noble art, yet offstage it has weathered myriad \u003ca href=\"https://www.newyorker.com/magazine/2013/03/18/danse-macabre\" target=\"_blank\" rel=\"noopener\">sordid\u003c/a> \u003ca href=\"https://www.theglobeandmail.com/arts/books-and-media/book-reviews/inside-the-hard-sad-and-beautiful-world-of-the-ballet-dancer/article4574273/\" target=\"_blank\" rel=\"noopener\">scandals\u003c/a> through the centuries. Today, a handful of the standard-bearing companies around the world are reeling from allegations of \u003ca href=\"https://www.nytimes.com/2018/01/02/arts/dance/peter-martins-ballet-harassment.html\" target=\"_blank\" rel=\"noopener\">harassment\u003c/a>, \u003ca href=\"https://www.nytimes.com/2017/05/15/arts/dance/no-more-gang-rape-scenes-in-ballets-please.html\" target=\"_blank\" rel=\"noopener\">misogyny\u003c/a>, \u003ca href=\"http://www.theartsdesk.com/dance/bolshois-controversial-nureyev-ballet-opens-%E2%80%93-ovations-and-bans\" target=\"_blank\" rel=\"noopener\">homophobia\u003c/a> and \u003ca href=\"http://www.dancemagazine.com/chase-johnsey-interview-trocks-allegations-2528105578.html\" target=\"_blank\" rel=\"noopener\">transphobia\u003c/a>. Dancers have long \u003ca href=\"http://www.nytimes.com/1986/11/15/arts/books-out-of-pain.html\" target=\"_blank\" rel=\"noopener\">chronicled\u003c/a> the peculiarly \u003ca href=\"http://www.dancemagazine.com/wilhelmina-frankfurt-peter-martins-investigation-2516966253.html\" target=\"_blank\" rel=\"noopener\">autocratic regimes\u003c/a> in the ballet world, but there’s been little impetus for change in an industry where careers are fleeting, competition is brutal, and ancient traditions are revered.\u003c/p>\n\u003cp>The ballet world is highly stratified, however, and there are small companies that quietly thrive — as if occupying a separate ecosystem. On the threshold of the 24th season of \u003ca href=\"https://diabloballet.org\" target=\"_blank\" rel=\"noopener\">Diablo Ballet\u003c/a>, I spoke with co-founder and artistic director Lauren Jonas about the phenomenon.\u003c/p>\n\u003cp>“When I hear these stories, they feel so foreign to me now,” she muses. “I did experience some of that authoritarianism when I was dancing professionally… I knew when I started Diablo Ballet, I wanted to provide an atmosphere that was different.”\u003c/p>\n\u003cfigure id=\"attachment_13820239\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820239\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Amanda-and-Christian_Hamlet_Ophelia.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Farris and Christian Squires in ‘Hamlet and Ophelia’ by Val Caniparoli. (Photo by Bilha Sperlin)\u003c/figcaption>\u003c/figure>\n\u003cp>Jonas points out: “Larger companies may have struggles with a director, but when the director is producing successful work, with strong ticket sales, the board may be reluctant to do anything. But I think there are definitely going to be changes in how some companies are run, not just who’s running them… This is a new movement. It’s fantastic that dancers have felt comfortable to come out and express their feelings.”\u003c/p>\n\u003cp>With just 10 dancers, Diablo presents top-flight classical and contemporary work at venues both large and intimate in Walnut Creek and farther afield. The company has survived a few economic downturns; today, grants from the California Arts Council and from private foundations and individuals augment ticket sales to the tune of about $780,000. (In comparison, mid-sized companies operate typically in the $5–$10 million range; the largest companies are pushing $50 million and up.)\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>On this modest budget, Diablo continues to nurture young choreographers, as well as stage revivals of classic pieces by renowned choreographers like George Balanchine and Val Caniparoli. Performances consistently employ live music — an imperative that many larger companies jettison when money gets tight. And for the past 23 years it has run \u003ca href=\"https://diabloballet.org/peek-outreach/\" target=\"_blank\" rel=\"noopener\">outreach programs\u003c/a> at underserved schools and at juvenile hall.\u003c/p>\n\u003cfigure id=\"attachment_13820242\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio--520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Lauren_in-studio-.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Jonas in the Diablo Ballet studio, rehearsing dancers Jordan Tilton and Felipe Leon (Photo courtesy Diablo Ballet).\u003c/figcaption>\u003c/figure>\n\u003cp>Talking with Jonas, I looked for insight into how Jonas has steered her company.\u003c/p>\n\u003cp>\u003cstrong>Your dancers have all had experience at larger, established companies, including San Francisco Ballet, Atlanta Ballet, Oregon Ballet Theatre. What do you look for when you hire? \u003c/strong>\u003c/p>\n\u003cp>I’ve always wanted our dancers to look different and to come from different backgrounds — that was my aspiration from the beginning. In a larger company, you often get niched into certain types of ballets, like classical or contemporary, whereas at Diablo you have to dance everything.\u003c/p>\n\u003cp>I have always looked for mature, experienced dancers. With young dancers, you have more training to do… You still have to train these dancers, but it’s not emotional training.\u003c/p>\n\u003cp>Most important, I want a positive working environment with absolutely no drama in the studio. With only four weeks to put on a performance, I’m asking a lot of people! We’ve had a few situations many years ago where one person has brought that tension, and it was hard.\u003c/p>\n\u003cfigure id=\"attachment_13820244\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820244\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-800x452.jpg\" alt=\"\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Happy-Ending-Wall-Pose.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers of Diablo Ballet in ‘Happy Ending’ by Robert Dekkers. (Photo by Bilha Sperling)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You went from being a dancer to a company founder. Did you have any role models?\u003c/strong>\u003c/p>\n\u003cp>I’d always had role models as a dancer, but not as a director. Our co-founder Ashraf Habibullah was really my mentor. He’s an industry giant in the field of earthquake engineering and founded a major international company. He not only gave me a business education, he also taught me how to get the most out of people and inspire them.\u003c/p>\n\u003cp>We raised funds and put everything in place step by step; we didn’t rush it. You have to really get to know your community. We don’t have a school, and we need to be a part of the community, so the arts education piece is extremely important. It’s not just about performing; with the educational outreach, you are becoming an investment in the community. When I hire dancers, I make sure that is something that is important to them as well.\u003c/p>\n\u003cfigure id=\"attachment_13820246\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820246\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-800x1112.jpg\" alt=\"\" width=\"800\" height=\"1112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-800x1112.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-768x1068.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-240x334.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-375x521.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color-520x723.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Ross_Christian_color.jpg 863w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rosselyn Ramirez and Christian Squires in ‘Tears from Above’ by Val Caniparoli. (Photo by Bilha Sterling)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What is particularly exciting to you about this upcoming season?\u003c/strong>\u003c/p>\n\u003cp>I’m passionate about supporting the work of young choreographers, like Robert Dekkers, whose \u003cem>Red Shoes\u003c/em> premieres May 4.\u003c/p>\n\u003cp>While Robert in many ways represents our present and our future, I always try to bring back something from the past, and in March, I’m thrilled that Marina Eglevsky will return to the company to stage \u003cem>Solas\u003c/em> by Salvadore Aiello. It’s a solo, about a woman who has just had a major loss; it’s set to “Bachianas Brasileiras” No. 5, a haunting score by Villalobos, which will be performed live. Marina had coached me when I performed it in 1998. This time, she will set it on Rosselyn Ramirez.\u003c/p>\n\u003cp>When I danced this solo, I had just lost my grandfather. He and my parents together had raised me. You see the story evolve in this solo – it’s chilling. Marina’s process as a dancer and as a coach was so inspiring to me; she is very clear in every intention.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/252829391\u003cbr>\n\u003c/aside>\n\u003cp>\n\u003cstrong>The Bay Area has not been immune to ballet company woes. For instance, the messy \u003ca href=\"https://www.mercurynews.com/2016/03/08/silicon-valley-ballet-shutdown-the-writing-was-on-the-wall/\" target=\"_blank\" rel=\"noopener\">demise\u003c/a> of Silicon Valley Ballet — perhaps best known in its previous incarnation as Ballet San Jose and often considered the South Bay’s answer to San Francisco Ballet.\u003c/strong>\u003c/p>\n\u003cp>The loss of Ballet San Jose was devastating. I feel like, if it could happen to them, it could happen to anybody. For San Jose to not have a company is really sad — all that talent!\u003c/p>\n\u003cp>It’s tricky in San Jose because the tech industry is strong but I don’t know how interested they are in dance. Again, it ultimately comes down to knowing your community and what they want. And at the same time, trying to educate and develop audience tastes further, so you gain new audiences without losing the old.\u003c/p>\n\u003cp>\u003cstrong>Have you thought about your own succession at Diablo?\u003c/strong>\u003c/p>\n\u003cp>I think about succession all the time, in terms of management, artistic direction, and our outreach. An organization shouldn’t be dependent on one person, and it was always my desire from the beginning that the company continue beyond me. I’m trying to put the right people in the right seats – though of course it may not be my decision when the time comes.\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>Diablo Ballet’s 24th season kicks off Feb. 2 at the Del Valle Theatre in Walnut Creek. For more information, click \u003ca href=\"https://diabloballet.org/harmonious-beauty/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13820235/how-one-company-has-navigated-the-messy-ballet-world","authors":["11206"],"categories":["arts_966"],"tags":["arts_3245","arts_879","arts_1118","arts_596"],"featImg":"arts_13823094","label":"arts"},"arts_13815934":{"type":"posts","id":"arts_13815934","meta":{"index":"posts_1591205157","site":"arts","id":"13815934","score":null,"sort":[1511910027000]},"guestAuthors":[],"slug":"a-ballet-about-homelessness-wants-you-to-see-people-not-look-away","title":"A Ballet About Homelessness Wants You to See People, Not Look Away","publishDate":1511910027,"format":"video","headTitle":"A Ballet About Homelessness Wants You to See People, Not Look Away | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Can a ballet make an audience more empathetic? San Francisco-based choreographer Marika Brussel hopes her new piece, \u003cem>From Shadows\u003c/em>, will do just that.\u003c/p>\n\u003cp>Brussel’s ballet tells the story of a family ripped apart by addiction — and of a young girl searching for her father in the faces of those who live on the streets. For Brussel the dance carries both local significance — she regularly passes homeless encampments on her way to and from the ODC dance studios — and personal weight. She, too, loved someone who lost several years of their life to homelessness.\u003c/p>\n\u003cp>“It’s much easier just to close down, and to not look at other people’s pain,” Brussel says. “I don’t want to \u003cem>not\u003c/em> have those feelings, so I made this dance.”\u003c/p>\n\u003cp>Watch dancers transform the pain of invisibility and neglect into a beautiful dance in \u003cem>From Shadows\u003c/em>. \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"SF Choreographer Marika Brussel tells the story of a young girl searching for her father in the faces of those who live on the streets.","status":"publish","parent":0,"modified":1705029029,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":164},"headData":{"title":"A Ballet About Homelessness Wants You to See People, Not Look Away | KQED","description":"SF Choreographer Marika Brussel tells the story of a young girl searching for her father in the faces of those who live on the streets.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Ballet About Homelessness Wants You to See People, Not Look Away","datePublished":"2017-11-28T23:00:27.000Z","dateModified":"2024-01-12T03:10:29.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://vimeo.com/244752238","sticky":false,"nprByline":"Peter Ruocco","path":"/arts/13815934/a-ballet-about-homelessness-wants-you-to-see-people-not-look-away","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Can a ballet make an audience more empathetic? San Francisco-based choreographer Marika Brussel hopes her new piece, \u003cem>From Shadows\u003c/em>, will do just that.\u003c/p>\n\u003cp>Brussel’s ballet tells the story of a family ripped apart by addiction — and of a young girl searching for her father in the faces of those who live on the streets. For Brussel the dance carries both local significance — she regularly passes homeless encampments on her way to and from the ODC dance studios — and personal weight. She, too, loved someone who lost several years of their life to homelessness.\u003c/p>\n\u003cp>“It’s much easier just to close down, and to not look at other people’s pain,” Brussel says. “I don’t want to \u003cem>not\u003c/em> have those feelings, so I made this dance.”\u003c/p>\n\u003cp>Watch dancers transform the pain of invisibility and neglect into a beautiful dance in \u003cem>From Shadows\u003c/em>. \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\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/13815934/a-ballet-about-homelessness-wants-you-to-see-people-not-look-away","authors":["byline_arts_13815934"],"categories":["arts_966"],"tags":["arts_3245","arts_3137","arts_1118","arts_1355","arts_596","arts_1007"],"featImg":"arts_13815959","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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