Margo Hall Set to Lead the Lorraine Hansberry Theatre Into an Exciting New Future
In the Mission, Performers Marga Gomez and Campo Santo Stay Resilient
On the Air: Cy and Gabe's Do List Picks for May 4, 2018
A Festival of Transformative Art at YBCA
Campo Santo Channels Banksy and Descartes in 'Ethos de Masquerade'
Dressing Up to Honor Ancestors and the Black Lives Matter Movement
Sponsored
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Enrolled from a young age in “every dance class” and “every choir,” she says, and influenced by her Motown-employed stepfather and his circle of musician friends, Hall gained a strong foundation in the arts—even before she knew that she’d wind up dedicating her life to them.\u003c/p>\n\u003cp>Recently announced as the new artistic director for the Lorraine Hansberry Theatre, Hall brings a lifetime of learning, skill, and dedication to the role. And as the first woman to hold the position in the company, she’s ready to implement her vision of a program dedicated to nurturing the voices of young, Black female and non-binary playwrights, a welcome homage to the theater’s namesake.\u003c/p>\n\u003cfigure id=\"attachment_13889585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli.jpg 1933w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast of ‘Barbeque’ by Robert O’Hara at SF Playhouse. Margo Hall in red. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Described by biographers as a “force of nature,” Lorraine Hansberry’s legacy lives on, despite the playwright and activist’s tragically early death from pancreatic cancer at the age of 34. One of those legacies has been carried forward in the form of the Lorraine Hansberry Theatre, founded in 1981 by Stanley Williams and Quentin Easter, who were determined to build to build an artistic home for Black theater-makers. And while the theater has experienced a series of material setbacks over the years—losing its Sutter Street space in 2007, and its founders within weeks of each other in 2010—its influence as an incubator for Black artists has remained intact.\u003c/p>\n\u003cp>One such artist is Hall, the Bay Area’s own force of nature. Although this will be her first time in the role of artistic director, it’s certainly not her first time creating and holding artistic space, a talent she’s cultivated over the course of many years—particularly with the long-running theater collective, Campo Santo.\u003c/p>\n\u003cfigure id=\"attachment_13889588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889588\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x591.jpg\" alt=\"\" width=\"800\" height=\"591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1536x1135.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-2048x1513.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1920x1418.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall as Fe in ‘Stairway to Heaven,’ by Jessica Hagedorn, with Campo Santo. \u003ccite>(Jeff Fohl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s with Campo Santo that Hall first made the leap from acting to directing, in a 1998 co-production with Word for Word. Although she was initially reluctant, her fellow company members (“my brothers,” she remarks fondly) talked her into it by telling her, “You tell us what to do all the time anyway, so you might as well just direct this play.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saying “yes” to unexpected opportunity—whether it’s been directing, teaching, or mentoring a new generation of artistic voices—has been a trademark of Hall’s multi-faceted career.\u003c/p>\n\u003cp>After the success of her directorial debut, Hall was determined to learn more about the craft, which she knew involved a lot more than the “hanging out,” as she refers to the process, with her Campo Santo family. This took the form of shadowing directors she admired, and learning the vocabulary of time management, and working with designers and production staff in bigger theaters.\u003c/p>\n\u003cp>“A lot of my directing aesthetic comes from being an actor and understanding how to work with actors,” she reflects. “I feel my strength is really pulling the work out of actors in a way that they feel appreciated.” Over the years she’s cultivated her skills in both, and her work has appeared in one capacity or another on pretty much every major Bay Area stage (as well as films like 2016’s \u003cem>Blindspotting\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_11841768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg\" alt=\"Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall and Aldo Billingslea star in ‘Fences’ at California Shakespeare Theater. \u003ccite>(Photo: Kevin Berne/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s common to refer to actors who also sing and dance as “triple threats,” and by extension, Hall could be considered a sextuple threat, at minimum: she also directs, teaches and writes. But artistic directorship has been one role she’s put off, even though this isn’t the first time over the past ten years that the Lorraine Hansberry has invited her to take it on. For one reason or another, she never felt the time was right.\u003c/p>\n\u003cp>“Even this time around, if you asked me six months ago if I thought I would be the artistic director of Lorraine Hansberry I would tell you no, that wasn’t my plan,” she admits. But her perspective shifted during the pandemic, causing her to reevaluate where she wanted to channel her energies. And so, this time when the company’s executive director Stephanie Shoffner offered her the position, she was ready to “once again…say yes to something I had no idea of what to do!”\u003c/p>\n\u003cp>While she’s still navigating the specifics of fundraising and day-to-day operations, she’s not short on artistic ideas. She hopes that the New Black Voices initiative for playwrights will eventually include full productions, and she’s eager to see a return to producing Black classics as well as contemporary, multi-disciplinary work, a particular strength of Campo Santo.\u003c/p>\n\u003cfigure id=\"attachment_13889587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889587\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall in ‘Fe in the Desert,’ by Jessica Hagedorn, with Campo Santo. \u003ccite>(Jeff Fohl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a mentor and a leader, Hall exudes a self-possession instilled in her from a young age and honed over her long career.\u003c/p>\n\u003cp>“I grew up in a household where…being Black was the best thing ever,” she reminisces. “Not that we were better than anyone else, but that we were these powerful beings.” Learning to keep hold of her power, and “show up as herself” on every project has been a lifelong pursuit, and one with many levels and lessons. But now, she admits, she doesn’t know any other way.\u003c/p>\n\u003cp>“Just imagine if we all were confident in ourselves, and we came into a room together to create art in a collaborative way, with all of this confident powerful energy,” she enthuses. Having the opportunity to implement this vision of collaborative confidence at the Lorraine Hansberry Theatre is sure to be an inspiring legacy all its own.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More information about the Lorraine Hansberry Theatre and Margo Hall can be found \u003ca href=\"https://www.lhtsf.org\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A veteran of the Bay Area stage, Margo Hall will serve as the company's first female artistic director. ","status":"publish","parent":0,"modified":1705019809,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1063},"headData":{"title":"Margo Hall Set to Lead the Lorraine Hansberry Theatre Into an Exciting New Future | KQED","description":"A veteran of the Bay Area stage, Margo Hall will serve as the company's first female artistic director. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Margo Hall Set to Lead the Lorraine Hansberry Theatre Into an Exciting New Future","datePublished":"2020-11-24T23:00:42.000Z","dateModified":"2024-01-12T00:36:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13889584/margo-hall-set-to-lead-the-lorraine-hansberry-theatre-into-an-exciting-new-future","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Margo Hall, growing up in Detroit, Michigan meant an early exposure to the arts. Enrolled from a young age in “every dance class” and “every choir,” she says, and influenced by her Motown-employed stepfather and his circle of musician friends, Hall gained a strong foundation in the arts—even before she knew that she’d wind up dedicating her life to them.\u003c/p>\n\u003cp>Recently announced as the new artistic director for the Lorraine Hansberry Theatre, Hall brings a lifetime of learning, skill, and dedication to the role. And as the first woman to hold the position in the company, she’s ready to implement her vision of a program dedicated to nurturing the voices of young, Black female and non-binary playwrights, a welcome homage to the theater’s namesake.\u003c/p>\n\u003cfigure id=\"attachment_13889585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli.jpg 1933w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast of ‘Barbeque’ by Robert O’Hara at SF Playhouse. Margo Hall in red. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Described by biographers as a “force of nature,” Lorraine Hansberry’s legacy lives on, despite the playwright and activist’s tragically early death from pancreatic cancer at the age of 34. One of those legacies has been carried forward in the form of the Lorraine Hansberry Theatre, founded in 1981 by Stanley Williams and Quentin Easter, who were determined to build to build an artistic home for Black theater-makers. And while the theater has experienced a series of material setbacks over the years—losing its Sutter Street space in 2007, and its founders within weeks of each other in 2010—its influence as an incubator for Black artists has remained intact.\u003c/p>\n\u003cp>One such artist is Hall, the Bay Area’s own force of nature. Although this will be her first time in the role of artistic director, it’s certainly not her first time creating and holding artistic space, a talent she’s cultivated over the course of many years—particularly with the long-running theater collective, Campo Santo.\u003c/p>\n\u003cfigure id=\"attachment_13889588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889588\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x591.jpg\" alt=\"\" width=\"800\" height=\"591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1536x1135.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-2048x1513.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1920x1418.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall as Fe in ‘Stairway to Heaven,’ by Jessica Hagedorn, with Campo Santo. \u003ccite>(Jeff Fohl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s with Campo Santo that Hall first made the leap from acting to directing, in a 1998 co-production with Word for Word. Although she was initially reluctant, her fellow company members (“my brothers,” she remarks fondly) talked her into it by telling her, “You tell us what to do all the time anyway, so you might as well just direct this play.”\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>Saying “yes” to unexpected opportunity—whether it’s been directing, teaching, or mentoring a new generation of artistic voices—has been a trademark of Hall’s multi-faceted career.\u003c/p>\n\u003cp>After the success of her directorial debut, Hall was determined to learn more about the craft, which she knew involved a lot more than the “hanging out,” as she refers to the process, with her Campo Santo family. This took the form of shadowing directors she admired, and learning the vocabulary of time management, and working with designers and production staff in bigger theaters.\u003c/p>\n\u003cp>“A lot of my directing aesthetic comes from being an actor and understanding how to work with actors,” she reflects. “I feel my strength is really pulling the work out of actors in a way that they feel appreciated.” Over the years she’s cultivated her skills in both, and her work has appeared in one capacity or another on pretty much every major Bay Area stage (as well as films like 2016’s \u003cem>Blindspotting\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_11841768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg\" alt=\"Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall and Aldo Billingslea star in ‘Fences’ at California Shakespeare Theater. \u003ccite>(Photo: Kevin Berne/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s common to refer to actors who also sing and dance as “triple threats,” and by extension, Hall could be considered a sextuple threat, at minimum: she also directs, teaches and writes. But artistic directorship has been one role she’s put off, even though this isn’t the first time over the past ten years that the Lorraine Hansberry has invited her to take it on. For one reason or another, she never felt the time was right.\u003c/p>\n\u003cp>“Even this time around, if you asked me six months ago if I thought I would be the artistic director of Lorraine Hansberry I would tell you no, that wasn’t my plan,” she admits. But her perspective shifted during the pandemic, causing her to reevaluate where she wanted to channel her energies. And so, this time when the company’s executive director Stephanie Shoffner offered her the position, she was ready to “once again…say yes to something I had no idea of what to do!”\u003c/p>\n\u003cp>While she’s still navigating the specifics of fundraising and day-to-day operations, she’s not short on artistic ideas. She hopes that the New Black Voices initiative for playwrights will eventually include full productions, and she’s eager to see a return to producing Black classics as well as contemporary, multi-disciplinary work, a particular strength of Campo Santo.\u003c/p>\n\u003cfigure id=\"attachment_13889587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889587\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall in ‘Fe in the Desert,’ by Jessica Hagedorn, with Campo Santo. \u003ccite>(Jeff Fohl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a mentor and a leader, Hall exudes a self-possession instilled in her from a young age and honed over her long career.\u003c/p>\n\u003cp>“I grew up in a household where…being Black was the best thing ever,” she reminisces. “Not that we were better than anyone else, but that we were these powerful beings.” Learning to keep hold of her power, and “show up as herself” on every project has been a lifelong pursuit, and one with many levels and lessons. But now, she admits, she doesn’t know any other way.\u003c/p>\n\u003cp>“Just imagine if we all were confident in ourselves, and we came into a room together to create art in a collaborative way, with all of this confident powerful energy,” she enthuses. Having the opportunity to implement this vision of collaborative confidence at the Lorraine Hansberry Theatre is sure to be an inspiring legacy all its own.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More information about the Lorraine Hansberry Theatre and Margo Hall can be found \u003ca href=\"https://www.lhtsf.org\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13889584/margo-hall-set-to-lead-the-lorraine-hansberry-theatre-into-an-exciting-new-future","authors":["11497"],"categories":["arts_1","arts_967"],"tags":["arts_2139","arts_2335","arts_1146","arts_1072"],"featImg":"arts_13889586","label":"arts"},"arts_13883619":{"type":"posts","id":"arts_13883619","meta":{"index":"posts_1591205157","site":"arts","id":"13883619","score":null,"sort":[1595430046000]},"guestAuthors":[],"slug":"in-the-mission-performers-marga-gomez-and-campo-santo-stay-resilient","title":"In the Mission, Performers Marga Gomez and Campo Santo Stay Resilient","publishDate":1595430046,"format":"standard","headTitle":"In the Mission, Performers Marga Gomez and Campo Santo Stay Resilient | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n challenging times, it’s tales of resilience that resonate most. And the tellers of those tales shine all the brighter, as inspiring beacons against the gloom.\u003c/p>\n\u003cp>In San Francisco, some of our most consistently resilient performers are those who built their reputations not in the “traditional” performance spaces downtown, but in their own neighborhoods, creating work by, for, and of the communities that inspired them and called them their own. One neighborhood that’s long been a bastion for these community-rooted artists is the Mission District, and two of its long-term survivors—Marga Gomez and Campo Santo—are not letting the pandemic slow them down.\u003c/p>\n\u003cp>One part comedian, one part solo performer, one part consummate host and all parts wholly original, Marga Gomez is resilience personified. Holding it down in a liminal space straddling the Castro and the Mission District since the early 1980s, her resume is a wild ride through some of San Francisco’s most memorable cultural highlights. From taking the stage at the first-ever Folsom Street Fair (then called “Megahood”) to working with the long-running San Francisco Mime Troupe, and then being pulled into the first incarnation of Latinx comedy supergroup Culture Clash by Rene Yanez, Gomez has continued to make her mark by always evolving her craft to fit the circumstances.\u003c/p>\n\u003cp>“A lot of my career has been accidents…opportunities…that I adapted to,” she admits with her signature, gap-toothed smile.\u003c/p>\n\u003cfigure id=\"attachment_13883622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883622\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez performs in her 12th solo show, ‘Latin Standards.’ \u003ccite>(Fabian Echevarria)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even being shut down on opening night for her 13th solo show—\u003cem>The Spanking Machine\u003c/em>, at Brava Theater Center—couldn’t dim Gomez’ creative spark. Within two weeks of the shutdown, Gomez had already launched the first of many virtual comedy shows, the format of which she’s tweaked with each subsequent edition. First there were midday comedy brunches, then afternoon “high tea,” a Cinco de Mayo bash, a birthday party doubling as a political fundraiser, and, most recently, 30-minute “queer quickies” with co-host, the fabulous Jesús U. BettaWork. And finally, at long last, live-streamed performances of \u003cem>The Spanking Machine\u003c/em>, running through July 25.\u003c/p>\n\u003cfigure id=\"attachment_13883623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez and her signature smile. \u003ccite>(Courtesy of Marga Gomez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reminiscing about her truncated run at Brava, Gomez ruefully recalls wishing that she wouldn’t “have to perform on Friday the 13th,” a wish that came all too true with the shutdown. Now scheduled as part of Dixon Place’s long-running LQBTQ+ HOT! Festival, Gomez takes the virtual stage from home. Combining clips from her invited dress rehearsal at Brava with live performance, telling a story of a long-lost friend, and a dark secret from the past. Like her other solo shows, it’s intensely personal, often hilarious, and paints a vivid picture of Gomez’ particular experience: an out-gay, Latinx comic, living a life brimming with equal measures of serendipity and struggle. And though she longs to perform in public spaces again, for the moment, Gomez is glad to be able to innovate from home.\u003c/p>\n\u003cp>“These projects are keeping me sane! I’ll do the show, and if the camera freezes for a minute, guess what? This is a pleasure, this is a\u003cem> respite\u003c/em>,” she emphasizes. Resilience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>ar from a solo act, the incomparable Campo Santo, a company prioritizing Bay Area-born voices and people of color, has created work as a tight-knit ensemble since 1996. More than a “writers” theater, Campo Santo has nonetheless cultivated a pantheon of great writers, from Luís Saguar to Luis Alfaro, Chinaka Hodge to Star Finch. More than an “actors” theater, Campo Santo has embraced the plurality of its community, and created opportunities for first-time performers and professionals alike. To be a member of Campo Santo might take years of exploring where you fit in, the ability to transform and grow in new directions. A journey embodied by ten-year veteran of the company A.M. Smiley, whose artistic evolution from production manager to featured playwright can be tied specifically to the support offered by the Campo Santo \u003cem>familia.\u003c/em>\u003c/p>\n\u003cp>While the company experiments with ways to create on digital platforms—promising more information on new shows soon—they’ve programmed a series of screenings of past shows for an enthusiastic online audience. At a recent showing of \u003cem>Ethos de Masquerade\u003c/em>—a work that combined powerful text mourning black lives lost to violence with the ceremonial power of a modern-day Masquerade dance ritual—the audience participation via chat was hundreds of messages long by the end of the show.\u003c/p>\n\u003cfigure id=\"attachment_13883624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883624\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-800x446.jpg\" alt=\"\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1536x856.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1920x1069.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricky Saenz, Britney Frazier and Delina Patrice Brooks in ‘Superheroes,’ by Sean San Jose. \u003ccite>(Joan Osato)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even in a Zoom interview with several core members of the company, the chat box continued to light up throughout with affirmations, such as when resident playwright Star Finch spoke to the ongoing reckoning at many theater institutions in regards to distribution of power, and pervasive racial inequities encoded in policy and practice.\u003c/p>\n\u003cp>“BOOM!” wrote Margo Hall, followed immediately by a “say that shit!” from Sean San Jose, who also punctuated the interview with snaps and hand signals whenever someone landed a particularly powerful point.\u003c/p>\n\u003cp>What comes through most indelibly is each member’s passion for their artistic home, and their recognition of its significance in their own practice.\u003c/p>\n\u003cp>“A big shock for me…is when I started doing shows outside of Campo Santo and I didn’t know that actors could do shows that they didn’t love,” actor and DJ (as Wonway Posibul) Juan Amador interjected at one point.\u003c/p>\n\u003cp>“Campo Santo gave me foundation that I would never be able to get anywhere else,” reflected co-founder Margo Hall. “Everything I learned in Campo Santo fueled me to be able to be the best and be myself at these other theaters. I learned to be able to walk in the door with myself, 100% authentic.”\u003c/p>\n\u003cfigure id=\"attachment_13883625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883625\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jasmine Milan Williams (foreground) and Michael Wayne Turner III in Star Finch’s ‘H.O.M.E.’ \u003ccite>(D'wana Stewart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still writing new chapters in their decades-long saga, Campo Santo has been long accustomed to making do with limited resources. For them, the shift from physical space to a digital one has been no more abrupt than their earlier shifts from Valencia Street to the Chronicle Building downtown to traveling, unrooted, from space to space. Times are hard and the current conditions are challenging, but when all is said and done, the fact that they have each other’s backs is a blessing and a boon. Resilience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Marga Gomez’ \u003cem>The Spanking Machine\u003c/em> runs through July 25. \u003ca href=\"http://dixonplace.org/performances/spanking-machine-2020/\">Details here.\u003c/a> Campo Santo’s virtual throwback series and show announcements are \u003ca href=\"http://www.facebook.com/camposantosf/\">available here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Two of the Mission District's long-term survivors refuse to the pandemic slow them down.","status":"publish","parent":0,"modified":1705020395,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1186},"headData":{"title":"In the Mission, Performers Marga Gomez and Campo Santo Stay Resilient | KQED","description":"Two of the Mission District's long-term survivors refuse to the pandemic slow them down.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"In the Mission, Performers Marga Gomez and Campo Santo Stay Resilient","datePublished":"2020-07-22T15:00:46.000Z","dateModified":"2024-01-12T00:46:35.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13883619/in-the-mission-performers-marga-gomez-and-campo-santo-stay-resilient","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n challenging times, it’s tales of resilience that resonate most. And the tellers of those tales shine all the brighter, as inspiring beacons against the gloom.\u003c/p>\n\u003cp>In San Francisco, some of our most consistently resilient performers are those who built their reputations not in the “traditional” performance spaces downtown, but in their own neighborhoods, creating work by, for, and of the communities that inspired them and called them their own. One neighborhood that’s long been a bastion for these community-rooted artists is the Mission District, and two of its long-term survivors—Marga Gomez and Campo Santo—are not letting the pandemic slow them down.\u003c/p>\n\u003cp>One part comedian, one part solo performer, one part consummate host and all parts wholly original, Marga Gomez is resilience personified. Holding it down in a liminal space straddling the Castro and the Mission District since the early 1980s, her resume is a wild ride through some of San Francisco’s most memorable cultural highlights. From taking the stage at the first-ever Folsom Street Fair (then called “Megahood”) to working with the long-running San Francisco Mime Troupe, and then being pulled into the first incarnation of Latinx comedy supergroup Culture Clash by Rene Yanez, Gomez has continued to make her mark by always evolving her craft to fit the circumstances.\u003c/p>\n\u003cp>“A lot of my career has been accidents…opportunities…that I adapted to,” she admits with her signature, gap-toothed smile.\u003c/p>\n\u003cfigure id=\"attachment_13883622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883622\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez performs in her 12th solo show, ‘Latin Standards.’ \u003ccite>(Fabian Echevarria)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even being shut down on opening night for her 13th solo show—\u003cem>The Spanking Machine\u003c/em>, at Brava Theater Center—couldn’t dim Gomez’ creative spark. Within two weeks of the shutdown, Gomez had already launched the first of many virtual comedy shows, the format of which she’s tweaked with each subsequent edition. First there were midday comedy brunches, then afternoon “high tea,” a Cinco de Mayo bash, a birthday party doubling as a political fundraiser, and, most recently, 30-minute “queer quickies” with co-host, the fabulous Jesús U. BettaWork. And finally, at long last, live-streamed performances of \u003cem>The Spanking Machine\u003c/em>, running through July 25.\u003c/p>\n\u003cfigure id=\"attachment_13883623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez and her signature smile. \u003ccite>(Courtesy of Marga Gomez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reminiscing about her truncated run at Brava, Gomez ruefully recalls wishing that she wouldn’t “have to perform on Friday the 13th,” a wish that came all too true with the shutdown. Now scheduled as part of Dixon Place’s long-running LQBTQ+ HOT! Festival, Gomez takes the virtual stage from home. Combining clips from her invited dress rehearsal at Brava with live performance, telling a story of a long-lost friend, and a dark secret from the past. Like her other solo shows, it’s intensely personal, often hilarious, and paints a vivid picture of Gomez’ particular experience: an out-gay, Latinx comic, living a life brimming with equal measures of serendipity and struggle. And though she longs to perform in public spaces again, for the moment, Gomez is glad to be able to innovate from home.\u003c/p>\n\u003cp>“These projects are keeping me sane! I’ll do the show, and if the camera freezes for a minute, guess what? This is a pleasure, this is a\u003cem> respite\u003c/em>,” she emphasizes. Resilience.\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-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>ar from a solo act, the incomparable Campo Santo, a company prioritizing Bay Area-born voices and people of color, has created work as a tight-knit ensemble since 1996. More than a “writers” theater, Campo Santo has nonetheless cultivated a pantheon of great writers, from Luís Saguar to Luis Alfaro, Chinaka Hodge to Star Finch. More than an “actors” theater, Campo Santo has embraced the plurality of its community, and created opportunities for first-time performers and professionals alike. To be a member of Campo Santo might take years of exploring where you fit in, the ability to transform and grow in new directions. A journey embodied by ten-year veteran of the company A.M. Smiley, whose artistic evolution from production manager to featured playwright can be tied specifically to the support offered by the Campo Santo \u003cem>familia.\u003c/em>\u003c/p>\n\u003cp>While the company experiments with ways to create on digital platforms—promising more information on new shows soon—they’ve programmed a series of screenings of past shows for an enthusiastic online audience. At a recent showing of \u003cem>Ethos de Masquerade\u003c/em>—a work that combined powerful text mourning black lives lost to violence with the ceremonial power of a modern-day Masquerade dance ritual—the audience participation via chat was hundreds of messages long by the end of the show.\u003c/p>\n\u003cfigure id=\"attachment_13883624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883624\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-800x446.jpg\" alt=\"\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1536x856.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1920x1069.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricky Saenz, Britney Frazier and Delina Patrice Brooks in ‘Superheroes,’ by Sean San Jose. \u003ccite>(Joan Osato)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even in a Zoom interview with several core members of the company, the chat box continued to light up throughout with affirmations, such as when resident playwright Star Finch spoke to the ongoing reckoning at many theater institutions in regards to distribution of power, and pervasive racial inequities encoded in policy and practice.\u003c/p>\n\u003cp>“BOOM!” wrote Margo Hall, followed immediately by a “say that shit!” from Sean San Jose, who also punctuated the interview with snaps and hand signals whenever someone landed a particularly powerful point.\u003c/p>\n\u003cp>What comes through most indelibly is each member’s passion for their artistic home, and their recognition of its significance in their own practice.\u003c/p>\n\u003cp>“A big shock for me…is when I started doing shows outside of Campo Santo and I didn’t know that actors could do shows that they didn’t love,” actor and DJ (as Wonway Posibul) Juan Amador interjected at one point.\u003c/p>\n\u003cp>“Campo Santo gave me foundation that I would never be able to get anywhere else,” reflected co-founder Margo Hall. “Everything I learned in Campo Santo fueled me to be able to be the best and be myself at these other theaters. I learned to be able to walk in the door with myself, 100% authentic.”\u003c/p>\n\u003cfigure id=\"attachment_13883625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883625\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jasmine Milan Williams (foreground) and Michael Wayne Turner III in Star Finch’s ‘H.O.M.E.’ \u003ccite>(D'wana Stewart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still writing new chapters in their decades-long saga, Campo Santo has been long accustomed to making do with limited resources. For them, the shift from physical space to a digital one has been no more abrupt than their earlier shifts from Valencia Street to the Chronicle Building downtown to traveling, unrooted, from space to space. Times are hard and the current conditions are challenging, but when all is said and done, the fact that they have each other’s backs is a blessing and a boon. Resilience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Marga Gomez’ \u003cem>The Spanking Machine\u003c/em> runs through July 25. \u003ca href=\"http://dixonplace.org/performances/spanking-machine-2020/\">Details here.\u003c/a> Campo Santo’s virtual throwback series and show announcements are \u003ca href=\"http://www.facebook.com/camposantosf/\">available here\u003c/a>.\u003c/em>\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13883619/in-the-mission-performers-marga-gomez-and-campo-santo-stay-resilient","authors":["11497"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_967"],"tags":["arts_1252","arts_2139","arts_549","arts_10278","arts_2335","arts_1257","arts_1072","arts_585"],"featImg":"arts_13883621","label":"arts_140"},"arts_13830950":{"type":"posts","id":"arts_13830950","meta":{"index":"posts_1591205157","site":"arts","id":"13830950","score":null,"sort":[1525307072000]},"guestAuthors":[],"slug":"on-the-air-cy-and-gabes-do-list-picks-for-may-4-2018","title":"On the Air: Cy and Gabe's Do List Picks for May 4, 2018","publishDate":1525307072,"format":"audio","headTitle":"On the Air: Cy and Gabe’s Do List Picks for May 4, 2018 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>We had terrible news this week. San Francisco Chronicle Assistant Managing Editor David Wiegand, my founding co-anchor on The Do List, was found dead in his home on Tuesday. He was omnivorous in his approach to the arts, and together we crafted The Do List out of that ideal, embracing everything from classical to rap, from Shakespeare to the weirdest performance piece, from veteran to young talent. David would have wanted the show to go on, and this week’s episode is dedicated to him, and his memory.\u003c/p>\n\u003cp>\u003cstrong>May 16-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830999/a-new-concerto-from-philip-glass-for-the-new-century-chamber-orchestra\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra offers the West Coast debut of Philip Glass’ new piano concerto\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 10-24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831011/caam-fest-mixes-film-music-and-theater-for-its-36th-edition\" target=\"_blank\" rel=\"noopener\">The Center for Asian American Media’s film festival includes a documentary on former San Jose Mayor Norm Mineta.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 9-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830976/a-festival-of-transformative-art-at-ybca\" target=\"_blank\" rel=\"noopener\">The Yerba Buena Center for the Arts Transform Festival asks “where is our public imagination?”\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 5-7:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830967/khalid-not-so-dumb-not-so-broke\" target=\"_blank\" rel=\"noopener\">Khalid plays the Bay Area, taking a satiric jab at our attitudes toward millennials\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>May 4: \u003c/strong>\u003ca href=\"https://www.oakarts.org/about/227-a-front-page-cat/1163-vocal-music-s-spring-concert-fox-theatre-5-4\" target=\"_blank\" rel=\"noopener\">The kids are really, really talented at The Oakland School for the Arts in a concert at the Fox in Oakland\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 4-July 20:\u003c/strong> \u003ca href=\"https://bettiono.com/2018/04/22/betti-ono-presents-signify-a-solo-exhibition-by-kierra-johnson-may-4-july-20-2018/\" target=\"_blank\" rel=\"noopener\">The Betti Ono Gallery in Oakland offers a photography show with intimate, detailed portraits of working-class African Americans.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13830891/david-wiegand-longtime-co-host-of-kqeds-the-do-list-dies-at-70\" target=\"_blank\" rel=\"noopener\">\u003cem>A fond goodbye to former Do List co-anchor David Wiegand\u003c/em> \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13830917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830917\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg\" alt=\"The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015\" width=\"800\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-160x92.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-768x442.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-960x552.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-240x138.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-375x216.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-520x299.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015 \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"We dedicate This edition of The Do List to the memory of former co-host David Wiegand who died early this week","status":"publish","parent":0,"modified":1705027952,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":251},"headData":{"title":"On the Air: Cy and Gabe's Do List Picks for May 4, 2018 | KQED","description":"We dedicate This edition of The Do List to the memory of former co-host David Wiegand who died early this week","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On the Air: Cy and Gabe's Do List Picks for May 4, 2018","datePublished":"2018-05-03T00:24:32.000Z","dateModified":"2024-01-12T02:52:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/thedolist/2018/05/TDL20180504.mp3","sticky":false,"path":"/arts/13830950/on-the-air-cy-and-gabes-do-list-picks-for-may-4-2018","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>We had terrible news this week. San Francisco Chronicle Assistant Managing Editor David Wiegand, my founding co-anchor on The Do List, was found dead in his home on Tuesday. He was omnivorous in his approach to the arts, and together we crafted The Do List out of that ideal, embracing everything from classical to rap, from Shakespeare to the weirdest performance piece, from veteran to young talent. David would have wanted the show to go on, and this week’s episode is dedicated to him, and his memory.\u003c/p>\n\u003cp>\u003cstrong>May 16-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830999/a-new-concerto-from-philip-glass-for-the-new-century-chamber-orchestra\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra offers the West Coast debut of Philip Glass’ new piano concerto\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 10-24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831011/caam-fest-mixes-film-music-and-theater-for-its-36th-edition\" target=\"_blank\" rel=\"noopener\">The Center for Asian American Media’s film festival includes a documentary on former San Jose Mayor Norm Mineta.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 9-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830976/a-festival-of-transformative-art-at-ybca\" target=\"_blank\" rel=\"noopener\">The Yerba Buena Center for the Arts Transform Festival asks “where is our public imagination?”\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 5-7:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830967/khalid-not-so-dumb-not-so-broke\" target=\"_blank\" rel=\"noopener\">Khalid plays the Bay Area, taking a satiric jab at our attitudes toward millennials\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>May 4: \u003c/strong>\u003ca href=\"https://www.oakarts.org/about/227-a-front-page-cat/1163-vocal-music-s-spring-concert-fox-theatre-5-4\" target=\"_blank\" rel=\"noopener\">The kids are really, really talented at The Oakland School for the Arts in a concert at the Fox in Oakland\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 4-July 20:\u003c/strong> \u003ca href=\"https://bettiono.com/2018/04/22/betti-ono-presents-signify-a-solo-exhibition-by-kierra-johnson-may-4-july-20-2018/\" target=\"_blank\" rel=\"noopener\">The Betti Ono Gallery in Oakland offers a photography show with intimate, detailed portraits of working-class African Americans.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13830891/david-wiegand-longtime-co-host-of-kqeds-the-do-list-dies-at-70\" target=\"_blank\" rel=\"noopener\">\u003cem>A fond goodbye to former Do List co-anchor David Wiegand\u003c/em> \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13830917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830917\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg\" alt=\"The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015\" width=\"800\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-160x92.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-768x442.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-960x552.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-240x138.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-375x216.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-520x299.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015 \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13830950/on-the-air-cy-and-gabes-do-list-picks-for-may-4-2018","authors":["32"],"programs":["arts_140"],"categories":["arts_69","arts_1003","arts_967","arts_70"],"tags":["arts_2139","arts_15393","arts_1118","arts_1806","arts_977","arts_3649","arts_1006","arts_4696","arts_4693","arts_905","arts_626","arts_1072","arts_1040","arts_1955"],"featImg":"arts_13830959","label":"arts_140"},"arts_13830976":{"type":"posts","id":"arts_13830976","meta":{"index":"posts_1591205157","site":"arts","id":"13830976","score":null,"sort":[1525299893000]},"guestAuthors":[],"slug":"a-festival-of-transformative-art-at-ybca","title":"A Festival of Transformative Art at YBCA","publishDate":1525299893,"format":"standard","headTitle":"A Festival of Transformative Art at YBCA | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Marc Bamuthi Joseph, the Yerba Buena Center for the Art’s chief of pedagogy, says he was thinking recently about President John F. Kennedy’s call for the U.S. to send a man to the moon.\u003c/p>\n\u003cp>“Kennedy reminds us that the future is made of stumbles, hubris, and innovators who are humble enough to pursue it,” Joseph says.\u003c/p>\n\u003cp>Kennedy sparked the public imagination with the moonshot. And now Joseph and the YBCA have invited a group of artists for Transform Fest, a festival focused on the question, “where is our public imagination?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MfYQkiVMncQ\u003c/p>\n\u003cp>“How does creativity and forethought show up in public space,” Joseph told me by phone. “In my mind, it’s scientists, artists, it’s folks that are looking towards where we might go if we put down our dogmatic swords and look to a cultural horizon.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The festival features a mix of the global and the local, including a musical tribute to funk pioneer Betty Davis, performed by poet Jessica Care Moore and her ensemble Black Women Rock!, with East Bay singer Zakiyah Harris joining in. San Francisco dance company Capacitor premieres a new piece. And my co-host Gabe Meline is also excited for another chance to see \u003cem>The Burden\u003c/em>, a terrific short film by Swedish director Niki Lindroth von Bahr. It’s the best representation of loneliness featuring singing fish heads you’ll ever find, and it’s part of a short film program on May 13.\u003c/p>\n\u003cfigure id=\"attachment_13830994\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830994\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-800x473.jpeg\" alt=\"Campo Santo featuring Britney Frazier, Delina Patrick Brooks\" width=\"800\" height=\"473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-800x473.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-160x95.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-768x455.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1020x604.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1200x710.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1920x1136.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1180x698.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-960x568.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-240x142.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-375x222.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-520x308.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Campo Santo featuring Britney Frazier, Delina Patrick Brooks \u003ccite>(Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Transform is also hosting the San Francisco theater company Campo Santo and its new project from writer and director Roger Guenveur Smith. Their show \u003cem>Casa de Spirits\u003c/em> is about gentrification and liquor stores in the Tenderloin. Campo Santo is always tapping into the beauty and sometimes the weirdness of the public imagination.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Transform Fest is at the Yerba Buena Center for the Arts in San Francisco from May 9 through May 20. \u003ca href=\"https://www.ybca.org/whats-on/transform-sp-2018\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n","blocks":[],"excerpt":"YBCA's Transform Fest asks artists to be as bold as JFK's call for the US to land a man on the moon.","status":"publish","parent":0,"modified":1705027958,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":351},"headData":{"title":"A Festival of Transformative Art at YBCA | KQED","description":"YBCA's Transform Fest asks artists to be as bold as JFK's call for the US to land a man on the moon.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Festival of Transformative Art at YBCA","datePublished":"2018-05-02T22:24:53.000Z","dateModified":"2024-01-12T02:52:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13830976/a-festival-of-transformative-art-at-ybca","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Marc Bamuthi Joseph, the Yerba Buena Center for the Art’s chief of pedagogy, says he was thinking recently about President John F. Kennedy’s call for the U.S. to send a man to the moon.\u003c/p>\n\u003cp>“Kennedy reminds us that the future is made of stumbles, hubris, and innovators who are humble enough to pursue it,” Joseph says.\u003c/p>\n\u003cp>Kennedy sparked the public imagination with the moonshot. And now Joseph and the YBCA have invited a group of artists for Transform Fest, a festival focused on the question, “where is our public imagination?”\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/MfYQkiVMncQ'\n title='//www.youtube.com/embed/MfYQkiVMncQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“How does creativity and forethought show up in public space,” Joseph told me by phone. “In my mind, it’s scientists, artists, it’s folks that are looking towards where we might go if we put down our dogmatic swords and look to a cultural horizon.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The festival features a mix of the global and the local, including a musical tribute to funk pioneer Betty Davis, performed by poet Jessica Care Moore and her ensemble Black Women Rock!, with East Bay singer Zakiyah Harris joining in. San Francisco dance company Capacitor premieres a new piece. And my co-host Gabe Meline is also excited for another chance to see \u003cem>The Burden\u003c/em>, a terrific short film by Swedish director Niki Lindroth von Bahr. It’s the best representation of loneliness featuring singing fish heads you’ll ever find, and it’s part of a short film program on May 13.\u003c/p>\n\u003cfigure id=\"attachment_13830994\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830994\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-800x473.jpeg\" alt=\"Campo Santo featuring Britney Frazier, Delina Patrick Brooks\" width=\"800\" height=\"473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-800x473.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-160x95.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-768x455.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1020x604.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1200x710.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1920x1136.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1180x698.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-960x568.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-240x142.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-375x222.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-520x308.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Campo Santo featuring Britney Frazier, Delina Patrick Brooks \u003ccite>(Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Transform is also hosting the San Francisco theater company Campo Santo and its new project from writer and director Roger Guenveur Smith. Their show \u003cem>Casa de Spirits\u003c/em> is about gentrification and liquor stores in the Tenderloin. Campo Santo is always tapping into the beauty and sometimes the weirdness of the public imagination.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Transform Fest is at the Yerba Buena Center for the Arts in San Francisco from May 9 through May 20. \u003ca href=\"https://www.ybca.org/whats-on/transform-sp-2018\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13830976/a-festival-of-transformative-art-at-ybca","authors":["32"],"programs":["arts_140"],"categories":["arts_966","arts_74","arts_69","arts_1003","arts_70"],"tags":["arts_2139","arts_1006","arts_905","arts_1040"],"featImg":"arts_13830991","label":"arts_140"},"arts_13806140":{"type":"posts","id":"arts_13806140","meta":{"index":"posts_1591205157","site":"arts","id":"13806140","score":null,"sort":[1503586804000]},"guestAuthors":[],"slug":"campo-santo-channels-banksy-and-descartes-in-ethos-de-masquerade","title":"Campo Santo Channels Banksy and Descartes in 'Ethos de Masquerade'","publishDate":1503586804,"format":"standard","headTitle":"Campo Santo Channels Banksy and Descartes in ‘Ethos de Masquerade’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Campo Santo’s beautiful, straightforward, and oblique performance piece \u003ca href=\"https://www.facebook.com/camposantosf/?hc_ref=ART40FT36mTKczAoR-BAgokIB_Bdz961OarpLzrJPVRVTHUIogF3T9T8M08k0lwxsrQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ethos de Masquerade\u003c/em>\u003c/a> begins with choreographer Rashad Pridgen slithering on stage in a costume that makes him resemble something between a street bum and the infamous graffiti artist and anarchist Banksy.\u003c/p>\n\u003cp>That Pridgen’s face is masked, that he seems full of bonhomie with a sly hint of outlaw danger — he’s got a cigar and offers swigs of alcohol to the audience — only adds to the allure. In a show that directly addresses contemporary, hot-button issues such as gentrification, feminism, racial inequality, and AIDS, the thing that dances before our eyes is a mystery.\u003c/p>\n\u003cp>Right from the start, there is a\u003cem> \u003c/em>serious tension between the symbolic and the singular facts of the street that gives \u003cem>Ethos de Masquerade\u003c/em> a strange realism.\u003c/p>\n\u003cfigure id=\"attachment_13806179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806179\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-800x449.jpg\" alt=\"Rashad Pridgen opens the show masked and armed with a cigar and liquor.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rashad Pridgen opens the show masked and armed with a cigar and liquor. \u003ccite>(Photo: Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You can feel it in the way the excellent six dancer-actors perform. They seem both an abstraction — dressed alike and almost militaristic in their precision and movements — and a group of friends just casually talking about the world as they stroll through the city. They point to all the ways the city around them has changed and we feel as if we are with them, that they are just friendly guides — “Look up: things are gone.”\u003c/p>\n\u003cp>The performers’ lament isn’t so much an anti-gentrification screed as it is the wonder of a world ripped right out from under them. The delivery is stylized, but it has the feel of casual talk. And that tonal control allows the performers to get away with polemical lines like, “We don’t bury our dead, we build over them,” as well as references to Japanese internment camps and Jonestown.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Part of the pleasure of \u003cem>Ethos de Masquerade\u003c/em> is how it sneaks up on you, how you find yourself in conversation with the piece without the kind of windup you might have in a more traditional play.\u003c/p>\n\u003cp>Pridgen and co-directors Sean San José and Star Finch just let everything move along. And yet, from the performers to the choreography to the design, the production is so self-assured that it seems as if it isn’t happening. Or put another way, the subject matter of the show is one of extreme distress, but the aesthetic is as sly as a Bossa Nova tune.\u003c/p>\n\u003cfigure id=\"attachment_13806162\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806162\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-800x449.jpg\" alt=\"(L to R) Britney Frazier, Dezi Soley, and Delina Patrice Brooks.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Britney Frazier, Dezi Soléy, and Delina Patrice Brooks. \u003ccite>(Photo: Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Pridgen conceived of and choreographed the piece, the script is the product of what seems an army of authors — Luis Alfaro, Colman Domingo, co-directors Finch and San José, Chinaka Hodge, A.M. Smiley, and Pridgen. And that’s not even mentioning the fine videography (Joan Osato) and sound design (Juan Wonway Posibul Amador), as well as costumes (Pridgen and Mary Hougue) that literally seem to rise out of the set and the performers’ bodies. If there ever were a piece that challenges forms of authorship and authority, this is it. The collective speaking in concert is what shines here.\u003c/p>\n\u003cp>In the last section, San José tells a story about his mother’s death from AIDS that is as offhand and harrowing as you could imagine. I could devote an entire essay just to the intensity of San José’s eyes; I’m not sure his pupils ever moved. At first, the shift in focus is off-putting. What we’re hearing feels too specific, too much one man’s story. But that story soon encompasses others (patient zero, Sylvester, Reza Abdoh), just as the disease eventually made its way through to the whole of the world.\u003c/p>\n\u003cfigure id=\"attachment_13806182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-800x453.jpg\" alt=\"Britney Frazier clothed for a causal and unusual nightclub.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157.jpg 1984w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Britney Frazier clothed for a causal and unusual nightclub. \u003ccite>(Photo: Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then we’re invited to a giant nightclub in the sky. Pridgen, in the last of many unbelievable costumes, leads the way, followed and supported by the talented cast, and finally members of the audience. Audience participation is rarely natural. But the night I experienced the show, we weren’t even asked to join; people just spontaneously started dancing.\u003c/p>\n\u003cp>The almost classical construction of \u003cem>Ethos de Masquerade\u003c/em>, its balance of intellectual distance and in-the-moment heat, allows for the seemingly impossible — a nightclub of respect, order, and joy. It’s as if René Descartes had written a dance poem in the form of a beautiful equation: “We think therefore we are.”\u003c/p>\n\u003cp>And the thing that dances, that appears to be us, too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ethos de Masquerade’ runs Friday, Aug. 25 through Sunday, Aug. 27 at the Strand Theater in San Francisco. For tickets and information \u003ca href=\"http://ethosdemasquerade.brownpapertickets.com\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A serious tension between the symbolic and the singular facts of the street gives this brilliant show about gentrification and other hot-button issues a strange realism.","status":"publish","parent":0,"modified":1705029693,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":837},"headData":{"title":"Campo Santo Channels Banksy and Descartes in 'Ethos de Masquerade' | KQED","description":"A serious tension between the symbolic and the singular facts of the street gives this brilliant show about gentrification and other hot-button issues a strange realism.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Campo Santo Channels Banksy and Descartes in 'Ethos de Masquerade'","datePublished":"2017-08-24T15:00:04.000Z","dateModified":"2024-01-12T03:21:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13806140/campo-santo-channels-banksy-and-descartes-in-ethos-de-masquerade","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Campo Santo’s beautiful, straightforward, and oblique performance piece \u003ca href=\"https://www.facebook.com/camposantosf/?hc_ref=ART40FT36mTKczAoR-BAgokIB_Bdz961OarpLzrJPVRVTHUIogF3T9T8M08k0lwxsrQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ethos de Masquerade\u003c/em>\u003c/a> begins with choreographer Rashad Pridgen slithering on stage in a costume that makes him resemble something between a street bum and the infamous graffiti artist and anarchist Banksy.\u003c/p>\n\u003cp>That Pridgen’s face is masked, that he seems full of bonhomie with a sly hint of outlaw danger — he’s got a cigar and offers swigs of alcohol to the audience — only adds to the allure. In a show that directly addresses contemporary, hot-button issues such as gentrification, feminism, racial inequality, and AIDS, the thing that dances before our eyes is a mystery.\u003c/p>\n\u003cp>Right from the start, there is a\u003cem> \u003c/em>serious tension between the symbolic and the singular facts of the street that gives \u003cem>Ethos de Masquerade\u003c/em> a strange realism.\u003c/p>\n\u003cfigure id=\"attachment_13806179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806179\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-800x449.jpg\" alt=\"Rashad Pridgen opens the show masked and armed with a cigar and liquor.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9464-e1503364374412-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rashad Pridgen opens the show masked and armed with a cigar and liquor. \u003ccite>(Photo: Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You can feel it in the way the excellent six dancer-actors perform. They seem both an abstraction — dressed alike and almost militaristic in their precision and movements — and a group of friends just casually talking about the world as they stroll through the city. They point to all the ways the city around them has changed and we feel as if we are with them, that they are just friendly guides — “Look up: things are gone.”\u003c/p>\n\u003cp>The performers’ lament isn’t so much an anti-gentrification screed as it is the wonder of a world ripped right out from under them. The delivery is stylized, but it has the feel of casual talk. And that tonal control allows the performers to get away with polemical lines like, “We don’t bury our dead, we build over them,” as well as references to Japanese internment camps and Jonestown.\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>Part of the pleasure of \u003cem>Ethos de Masquerade\u003c/em> is how it sneaks up on you, how you find yourself in conversation with the piece without the kind of windup you might have in a more traditional play.\u003c/p>\n\u003cp>Pridgen and co-directors Sean San José and Star Finch just let everything move along. And yet, from the performers to the choreography to the design, the production is so self-assured that it seems as if it isn’t happening. Or put another way, the subject matter of the show is one of extreme distress, but the aesthetic is as sly as a Bossa Nova tune.\u003c/p>\n\u003cfigure id=\"attachment_13806162\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806162\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-800x449.jpg\" alt=\"(L to R) Britney Frazier, Dezi Soley, and Delina Patrice Brooks.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9573-e1503356409394-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Britney Frazier, Dezi Soléy, and Delina Patrice Brooks. \u003ccite>(Photo: Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Pridgen conceived of and choreographed the piece, the script is the product of what seems an army of authors — Luis Alfaro, Colman Domingo, co-directors Finch and San José, Chinaka Hodge, A.M. Smiley, and Pridgen. And that’s not even mentioning the fine videography (Joan Osato) and sound design (Juan Wonway Posibul Amador), as well as costumes (Pridgen and Mary Hougue) that literally seem to rise out of the set and the performers’ bodies. If there ever were a piece that challenges forms of authorship and authority, this is it. The collective speaking in concert is what shines here.\u003c/p>\n\u003cp>In the last section, San José tells a story about his mother’s death from AIDS that is as offhand and harrowing as you could imagine. I could devote an entire essay just to the intensity of San José’s eyes; I’m not sure his pupils ever moved. At first, the shift in focus is off-putting. What we’re hearing feels too specific, too much one man’s story. But that story soon encompasses others (patient zero, Sylvester, Reza Abdoh), just as the disease eventually made its way through to the whole of the world.\u003c/p>\n\u003cfigure id=\"attachment_13806182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-800x453.jpg\" alt=\"Britney Frazier clothed for a causal and unusual nightclub.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_9918-e1503364704157.jpg 1984w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Britney Frazier clothed for a causal and unusual nightclub. \u003ccite>(Photo: Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then we’re invited to a giant nightclub in the sky. Pridgen, in the last of many unbelievable costumes, leads the way, followed and supported by the talented cast, and finally members of the audience. Audience participation is rarely natural. But the night I experienced the show, we weren’t even asked to join; people just spontaneously started dancing.\u003c/p>\n\u003cp>The almost classical construction of \u003cem>Ethos de Masquerade\u003c/em>, its balance of intellectual distance and in-the-moment heat, allows for the seemingly impossible — a nightclub of respect, order, and joy. It’s as if René Descartes had written a dance poem in the form of a beautiful equation: “We think therefore we are.”\u003c/p>\n\u003cp>And the thing that dances, that appears to be us, too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ethos de Masquerade’ runs Friday, Aug. 25 through Sunday, Aug. 27 at the Strand Theater in San Francisco. For tickets and information \u003ca href=\"http://ethosdemasquerade.brownpapertickets.com\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13806140/campo-santo-channels-banksy-and-descartes-in-ethos-de-masquerade","authors":["8668"],"categories":["arts_966","arts_967"],"tags":["arts_2139","arts_1118","arts_596","arts_769","arts_1072"],"featImg":"arts_13806160","label":"arts"},"arts_13805728":{"type":"posts","id":"arts_13805728","meta":{"index":"posts_1591205157","site":"arts","id":"13805728","score":null,"sort":[1502952157000]},"guestAuthors":[],"slug":"dressing-up-to-honor-ancestors-and-the-black-lives-matter-movement","title":"Dressing Up to Honor Ancestors and the Black Lives Matter Movement","publishDate":1502952157,"format":"standard","headTitle":"Dressing Up to Honor Ancestors and the Black Lives Matter Movement | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It’s hard to know exactly what to expect at Ethos de Masquerade, even after attending a rehearsal of this dance-theater piece. But one thing is sure: it will be beautifully colorful.\u003c/p>\n\u003cp>Ethos de Masquerade is a co-production of the theater group \u003ca href=\"https://www.camposanto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Campo Santo\u003c/a> and \u003ca href=\"http://www.somarts.org/exhibitions/globalstreetdancemasquerade/\" target=\"_blank\" rel=\"noopener noreferrer\">Global Street Dance Masquerade \u003c/a>about the Black Lives Matter movement, the taboos placed on women, and the AIDS epidemic. There are screen projections of starry nights and pulsing blood cells. There are monologues by Campo Santo members Sean San Jose and Starr Finch, playwright Luis Alfaro, poet Chinaka Hodge and others. And then there are dancers in elaborate full-body costumes that harken back to the ancient African masquerade tradition, designed by Global Dance Street Masquerade member Rashad Pridgen and Mary Hogue.\u003c/p>\n\u003cp>The costumes, Pridgen says, conjure the ancestors or call forth the elements: “The Ethos de Masquerade is us bringing back this traditional element into urban society,” Pridgen explains, “and telling stories to express what’s happening to the community that can’t be said with words.” This week’s Do List co-host Marc Bamuthi Joseph says the rich art of Campo Santo and Global Street Dance Masquerade marks them as civic leaders, “creating context for ritual, and helping us see how we can transform our lives through music, movement, and the magic of the mask.” Ethos de Masquerade runs Aug. 16–27 at The Strand in San Francisco; \u003ca href=\"https://www.facebook.com/events/1503434013028940/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>, and \u003ca href=\"http://ethosdemasquerade.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener noreferrer\">tickets here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Ethos de Masquerade is a theater and dance piece with elaborate costumes honoring African trditions ","status":"publish","parent":0,"modified":1705029748,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":260},"headData":{"title":"Dressing Up to Honor Ancestors and the Black Lives Matter Movement | KQED","description":"Ethos de Masquerade is a theater and dance piece with elaborate costumes honoring African trditions ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Dressing Up to Honor Ancestors and the Black Lives Matter Movement","datePublished":"2017-08-17T06:42:37.000Z","dateModified":"2024-01-12T03:22:28.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13805728/dressing-up-to-honor-ancestors-and-the-black-lives-matter-movement","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to know exactly what to expect at Ethos de Masquerade, even after attending a rehearsal of this dance-theater piece. But one thing is sure: it will be beautifully colorful.\u003c/p>\n\u003cp>Ethos de Masquerade is a co-production of the theater group \u003ca href=\"https://www.camposanto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Campo Santo\u003c/a> and \u003ca href=\"http://www.somarts.org/exhibitions/globalstreetdancemasquerade/\" target=\"_blank\" rel=\"noopener noreferrer\">Global Street Dance Masquerade \u003c/a>about the Black Lives Matter movement, the taboos placed on women, and the AIDS epidemic. There are screen projections of starry nights and pulsing blood cells. There are monologues by Campo Santo members Sean San Jose and Starr Finch, playwright Luis Alfaro, poet Chinaka Hodge and others. And then there are dancers in elaborate full-body costumes that harken back to the ancient African masquerade tradition, designed by Global Dance Street Masquerade member Rashad Pridgen and Mary Hogue.\u003c/p>\n\u003cp>The costumes, Pridgen says, conjure the ancestors or call forth the elements: “The Ethos de Masquerade is us bringing back this traditional element into urban society,” Pridgen explains, “and telling stories to express what’s happening to the community that can’t be said with words.” This week’s Do List co-host Marc Bamuthi Joseph says the rich art of Campo Santo and Global Street Dance Masquerade marks them as civic leaders, “creating context for ritual, and helping us see how we can transform our lives through music, movement, and the magic of the mask.” Ethos de Masquerade runs Aug. 16–27 at The Strand in San Francisco; \u003ca href=\"https://www.facebook.com/events/1503434013028940/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>, and \u003ca href=\"http://ethosdemasquerade.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener noreferrer\">tickets here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13805728/dressing-up-to-honor-ancestors-and-the-black-lives-matter-movement","authors":["32"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_966","arts_76","arts_69","arts_967"],"tags":["arts_2139","arts_879","arts_1334","arts_626"],"featImg":"arts_13805740","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. 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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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