‘Kooza’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco
On Black Imagination at the 2022 San Francisco Aerial Arts Festival
'Dear San Francisco' at Club Fugazi is a Love Letter Written for Everyone
Here’s How Performing Artists Stay Afloat Six Months into the Pandemic
Teatro Zinzanni to Return to SF Waterfront—Permanently
The Do List: Listen to Our Weekend Picks for Aug. 15–22
High Thrills, Bonkers Aesthetics at Cirque du Soleil's 'Volta'
Jazz Mafia Soundtrack The Soiled Dove's Acrobatic Magic
Bay Brilliant: India Sky Davis
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It’s consistently jaw-dropping what Cirque du Soleil acrobats can do with their bodies and balance and flexibility. Just had to get that out of the way.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i>, \u003ca href=\"https://www.cirquedusoleil.com/usa/san-francisco/kooza/buy-tickets?sc_campname=&gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RgRDRdHkHZ1sPGGQeKxsj0YBnxEFuxY1Ka3orRdi8bU13ApORBAbXEaAo_0EALw_wcB\">now playing\u003c/a> in San Francisco through March 17 before heading to San Jose in April, is a classic Cirque du Soleil show in all the good ways: dazzling tricks and feats of strength, accompanied by a live band performing world music mashups, and interwoven with some old-fashioned clowning.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i> was the first Cirque du Soleil show I ever attended. It was 2009, and I used my grad student discount (speaking of discounts, if you’re not picky about seat selection, you can almost always find \u003ca href=\"https://www.travelzoo.com/entertainment/san-francisco-northern-california/Save-25-Starting-this-week-Cirque-du-Soleil-in-Bay-Area-3071704/\">discounted tickets\u003c/a> on Travelzoo for select Cirque du Soleil dates). I remember the excitement, even before the show started, of being in a big-top tent.\u003c/p>\n\u003cfigure id=\"attachment_13950966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg\" alt=\"Three clowns in colorful clothes make funny faces.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Clowns of Cirque du Soleil’s ‘Kooza.’ \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cirque du Soleil and I go way back, to before that first live show. I first saw their acts on TV, when they aired as HBO specials in the late ’80s and early ’90s, before they became the massive, world-touring extravaganza of today. Today, they give me all the nostalgic feels; my sister and I collect show experiences like my nephew collects Pokémon cards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So I was happy to revisit \u003ci>Kooza\u003c/i> 15 years later, and brought my 8-year old nephew along for his first Cirque experience. His favorite segment — mine too — was “The Wheel of Death,” which opened the second half of the show under red lighting, accompanied by ominous music. It was just the right amount of eerie-creepy.\u003c/p>\n\u003cfigure id=\"attachment_13950965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950965\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg\" alt=\"A costumed man leaps in the air above a cylinder contraption.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers Jimmy Ibarra Zapata and Angelo Lyezkysky Rodriguez of Colombia in ‘The Wheel of Death’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The clowns of \u003ci>Kooza\u003c/i> are another standout, a Three Stooges-style trio that kept my nephew laughing. There’s a moment where they pull an audience member on stage, and next thing you know, you’re cheerleading a miming improv session. (Thankfully, the person selected on the night I went was a great sport, with a good sense of humor.)\u003c/p>\n\u003cp>And if you’re wondering if Cirque is truly a place where any and all creativity can run free, just look at \u003ci>Kooza\u003c/i>’s costumes, designed by Marie Chantale Vaillancourt. A costume that’s part devil, jester and merman all at once? Why not? How about Día de los Muertos-meets-Beetlejuice-meets carnaval? Sure! It’s wacky, it’s the circus, it’s the vibe.\u003c/p>\n\u003cfigure id=\"attachment_13950968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950968\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg\" alt=\"Performers in skeleton costumes with feather headdresses stand on stage.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the ‘Skeleton Dance’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not exactly notable in \u003ci>Kooza\u003c/i> are \u003ca href=\"https://open.spotify.com/album/7v5jSXpqcRMSTbospRZX8q\">the soundtrack\u003c/a> and the story, which centers on a sweet, naive clown looking for his place in the world. I’ve seen better, more cohesive storylines (the dreamy \u003ca href=\"https://www.cirquedusoleil.com/corteo\">\u003ci>Corteo\u003c/i>\u003c/a>, which ran last year at Oakland Arena, comes to mind). But do you go to a Cirque du Soleil show for the plot? Of course not.\u003c/p>\n\u003cp>So where does \u003ci>Kooza\u003c/i> rank among the handful of Cirque productions I’ve seen? It’s in the middle of the pack, but still worth a visit. Cirque du Soleil remains a solid brand that consistently produces moments where you think to yourself, “Oh, I know they’re not about to do\u003cem> that\u003c/em>…” Yet, indeed, they proceed to do \u003cem>that\u003c/em>. And it’s stunning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kooza’ plays now through March 17 under the big top next to Oracle Park in San Francisco, and in San Jose from April 18–May 26. \u003ca href=\"https://www.cirquedusoleil.com//kooza?gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RjzhemjVv_xzevc6GNpdLkbn-EdKl8-K7U6--Dka68mWNxR8h3L8PwaAvylEALw_wcB&gclsrc=aw.ds\">Details and ticket info here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Revisiting 'Kooza' at San Francisco's Oracle Park, with its dazzling tricks and feats of strength.","status":"publish","parent":0,"modified":1706549311,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":658},"headData":{"title":"Review: Cirque du Soleil's ‘Kooza’ in San Francisco Offers Classic Thrills | KQED","description":"Revisiting 'Kooza' at San Francisco's Oracle Park, with its dazzling tricks and feats of strength.","ogTitle":"‘Kooza,’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco","ogDescription":"","ogImgId":"","twTitle":"‘Kooza,’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco","twDescription":"","twImgId":"","socialTitle":"Review: Cirque du Soleil's ‘Kooza’ in San Francisco Offers Classic Thrills %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Kooza’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco","datePublished":"2024-01-25T20:07:29.000Z","dateModified":"2024-01-29T17:28:31.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13950961/review-cirque-du-soliel-kooza-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>First of all: \u003cem>the core strength\u003c/em>.\u003c/p>\n\u003cp>My goodness. It’s consistently jaw-dropping what Cirque du Soleil acrobats can do with their bodies and balance and flexibility. Just had to get that out of the way.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i>, \u003ca href=\"https://www.cirquedusoleil.com/usa/san-francisco/kooza/buy-tickets?sc_campname=&gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RgRDRdHkHZ1sPGGQeKxsj0YBnxEFuxY1Ka3orRdi8bU13ApORBAbXEaAo_0EALw_wcB\">now playing\u003c/a> in San Francisco through March 17 before heading to San Jose in April, is a classic Cirque du Soleil show in all the good ways: dazzling tricks and feats of strength, accompanied by a live band performing world music mashups, and interwoven with some old-fashioned clowning.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i> was the first Cirque du Soleil show I ever attended. It was 2009, and I used my grad student discount (speaking of discounts, if you’re not picky about seat selection, you can almost always find \u003ca href=\"https://www.travelzoo.com/entertainment/san-francisco-northern-california/Save-25-Starting-this-week-Cirque-du-Soleil-in-Bay-Area-3071704/\">discounted tickets\u003c/a> on Travelzoo for select Cirque du Soleil dates). I remember the excitement, even before the show started, of being in a big-top tent.\u003c/p>\n\u003cfigure id=\"attachment_13950966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg\" alt=\"Three clowns in colorful clothes make funny faces.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Clowns of Cirque du Soleil’s ‘Kooza.’ \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cirque du Soleil and I go way back, to before that first live show. I first saw their acts on TV, when they aired as HBO specials in the late ’80s and early ’90s, before they became the massive, world-touring extravaganza of today. Today, they give me all the nostalgic feels; my sister and I collect show experiences like my nephew collects Pokémon cards.\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>So I was happy to revisit \u003ci>Kooza\u003c/i> 15 years later, and brought my 8-year old nephew along for his first Cirque experience. His favorite segment — mine too — was “The Wheel of Death,” which opened the second half of the show under red lighting, accompanied by ominous music. It was just the right amount of eerie-creepy.\u003c/p>\n\u003cfigure id=\"attachment_13950965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950965\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg\" alt=\"A costumed man leaps in the air above a cylinder contraption.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers Jimmy Ibarra Zapata and Angelo Lyezkysky Rodriguez of Colombia in ‘The Wheel of Death’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The clowns of \u003ci>Kooza\u003c/i> are another standout, a Three Stooges-style trio that kept my nephew laughing. There’s a moment where they pull an audience member on stage, and next thing you know, you’re cheerleading a miming improv session. (Thankfully, the person selected on the night I went was a great sport, with a good sense of humor.)\u003c/p>\n\u003cp>And if you’re wondering if Cirque is truly a place where any and all creativity can run free, just look at \u003ci>Kooza\u003c/i>’s costumes, designed by Marie Chantale Vaillancourt. A costume that’s part devil, jester and merman all at once? Why not? How about Día de los Muertos-meets-Beetlejuice-meets carnaval? Sure! It’s wacky, it’s the circus, it’s the vibe.\u003c/p>\n\u003cfigure id=\"attachment_13950968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950968\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg\" alt=\"Performers in skeleton costumes with feather headdresses stand on stage.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the ‘Skeleton Dance’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not exactly notable in \u003ci>Kooza\u003c/i> are \u003ca href=\"https://open.spotify.com/album/7v5jSXpqcRMSTbospRZX8q\">the soundtrack\u003c/a> and the story, which centers on a sweet, naive clown looking for his place in the world. I’ve seen better, more cohesive storylines (the dreamy \u003ca href=\"https://www.cirquedusoleil.com/corteo\">\u003ci>Corteo\u003c/i>\u003c/a>, which ran last year at Oakland Arena, comes to mind). But do you go to a Cirque du Soleil show for the plot? Of course not.\u003c/p>\n\u003cp>So where does \u003ci>Kooza\u003c/i> rank among the handful of Cirque productions I’ve seen? It’s in the middle of the pack, but still worth a visit. Cirque du Soleil remains a solid brand that consistently produces moments where you think to yourself, “Oh, I know they’re not about to do\u003cem> that\u003c/em>…” Yet, indeed, they proceed to do \u003cem>that\u003c/em>. And it’s stunning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kooza’ plays now through March 17 under the big top next to Oracle Park in San Francisco, and in San Jose from April 18–May 26. \u003ca href=\"https://www.cirquedusoleil.com//kooza?gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RjzhemjVv_xzevc6GNpdLkbn-EdKl8-K7U6--Dka68mWNxR8h3L8PwaAvylEALw_wcB&gclsrc=aw.ds\">Details and ticket info here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950961/review-cirque-du-soliel-kooza-san-francisco","authors":["11296"],"programs":["arts_140"],"categories":["arts_1","arts_966","arts_76","arts_967"],"tags":["arts_1707","arts_21894","arts_769","arts_1146","arts_585"],"featImg":"arts_13950969","label":"arts_140"},"arts_13917513":{"type":"posts","id":"arts_13917513","meta":{"index":"posts_1591205157","site":"arts","id":"13917513","score":null,"sort":[1660318146000]},"guestAuthors":[],"slug":"on-black-imagination-at-the-2022-san-francisco-aerial-arts-festival","title":"On Black Imagination at the 2022 San Francisco Aerial Arts Festival","publishDate":1660318146,"format":"standard","headTitle":"On Black Imagination at the 2022 San Francisco Aerial Arts Festival | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When I interviewed San Francisco dance choreographer Robert Moses, I expected to use the recording to write a preview about his upcoming show. I didn’t expect that he would ask to incorporate the audio from our interview into a rehearsal for that very show. But Moses is big on challenging expectations.\u003c/p>\n\u003cp>Moses is the founder and artistic director of the San Francisco dance company Robert Moses’ Kin. His first aerial arts work will be performed at the \u003ca href=\"https://fortmason.org/event/the-san-francisco-aerial-arts-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Aerial Arts Festival\u003c/a> (SFAAF), taking place Aug. 19–21 at Fort Mason Center for Arts & Culture and CounterPulse.\u003c/p>\n\u003cp>“I said yes to this because it’s a risk,” Moses tells me about taking his choreography aloft. The festival, first held in 2014, commissions new work from Black choreographers, circus and aerial artists and centers their stories in what SFAAF founder Joanna Haigood calls a historically racist yet rapidly evolving field.\u003c/p>\n\u003cfigure id=\"attachment_13917528\" class=\"wp-caption alignnone\" style=\"max-width: 625px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917528\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Robert-Moses-and-Crystaldawn-Bell-in-Rehearsal-by-Steven-Disenhof.jpg\" alt=\"Man in rehearsal with dancing woman\" width=\"625\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Robert-Moses-and-Crystaldawn-Bell-in-Rehearsal-by-Steven-Disenhof.jpg 625w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Robert-Moses-and-Crystaldawn-Bell-in-Rehearsal-by-Steven-Disenhof-160x77.jpg 160w\" sizes=\"(max-width: 625px) 100vw, 625px\">\u003cfigcaption class=\"wp-caption-text\">Robert Moses and dancer Crystaldawn Bell in Rehearsal \u003ccite>(Steven Disenhof.jpg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moses’ work for the festival was originally conceived as “an oral history of God’s disappointment in man’s spiritual decline,” according to its press release. He began to dream a narrative of being on top of the world and speaking with God—with aerial artists challenging a higher deity.\u003c/p>\n\u003cp>“We assume that being heavenly is somewhat elevated,” Moses explains about the original vision for his work. “Off the ground, everything changes, right? And what does that represent? What if I put God on the ground?” he adds. “What is it like to talk down to God?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In our conversation, it became clear his work was constantly evolving and inspired by the world around him—including our interview.\u003c/p>\n\u003cp>In a sense, this is another story about Black artists reclaiming a historically-exclusionary art form. Yet Moses implores us to envisage beyond the platitude of what it means to be a Black artist in a historically white space. “Fuck the new area,” says Moses. “This is the old area that we’re claiming a right to.”\u003c/p>\n\u003ch2>\u003cb>Diversifying the field\u003c/b>\u003c/h2>\n\u003cp>Joanna Haigood, the artistic director of San Francisco’s Zaccho Dance Theatre and the founder and curator of SFAAF (which is supported by the Gerbode Foundation and San Francisco Arts Commission), says Black artists have been historically barred from entering the fields of circus and contemporary dance\u003cb>. \u003c/b>\u003c/p>\n\u003cp>There’s been “a fair amount of racism” in circus, says Haigood. “So it’s been difficult to break in for reasons of, you know, ‘Your skin’s too dark,’ or whatever ideas of what the perfect body is.” Aerial arts is a relatively new art form, she says, where the prejudice is perhaps less explicit—but there are fewer productions and therefore fewer artist opportunities.\u003c/p>\n\u003cp>Haigood is proud of the genre-defying artists who are actively diversifying the field and making work for the festival, which, beyond Moses, includes artists like Veronica Blair, Susan Voytickyand and the young aerialists of the SFAAF Youth Revelry.\u003c/p>\n\u003cfigure id=\"attachment_13917526\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917526\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-800x533.jpg\" alt=\"Aerial artists are suspended on building\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Aerial Arts Festival commissions new work from artists who seamlessly merge contemporary dance with circus and aerial arts, like BANDALOOP \u003ccite>(Austin Forbord)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m bringing all these people together because they inspire me,” Haigood says. “These artists are not only calling out racism but celebrating their differences and finding voice in their cultural lives and personal experiences.”\u003c/p>\n\u003cp>Aerialists Veronica Blair and Susan Voyticky’s offering to SFAAF plays homage to a classic Black story. Seven stories, in fact.\u003c/p>\n\u003cp>Their project, \u003ci>The Rainbow is Enuf\u003c/i>, reimagines Ntozake Shange’s acclaimed choreopoem \u003ci>for colored girls who have considered suicide/ when the rainbow is enuf\u003c/i>. The 1975 source material peers into the lives of seven women of African descent, telling their individual stories and shared experiences in a world shaped by patriarchy, sexism and racism.\u003c/p>\n\u003cp>Blair and Voyticky connect the text to modern-day circus by channeling the contemporary experiences of the six women of color in the ensemble. “With our bodies, we’re able to interpret the work and ask … what does it mean to be a woman of color in 2022?” Blair asks. “What kind of things are we facing as a demographic, as individuals, generationally, ancestrally?”\u003c/p>\n\u003cfigure id=\"attachment_13917530\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-800x1067.jpeg\" alt=\"Aerial dancer suspended in fabric\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Veronica Blair and Susan Voytick’s work for SFAAF reimagines Ntozake Shange’s acclaimed choreopoem ‘for colored girls who have considered suicide/ when the rainbow is enuf’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Veronica is trying to tell a uniquely Black story through the lens of circus,” says Haigood. “I think that’s fantastic.”\u003c/p>\n\u003cp>While the festival centers artists who seamlessly merge contemporary dance with circus and aerial arts, it’s only recently that these fields have become less fragmented. “For a long while they were very separate, circus and dance. And that’s changing,” says Haigood. “I really wanted to help facilitate finding new ways to be in conversation.”\u003c/p>\n\u003ch2>‘This is a new kind of clay for me’\u003c/h2>\n\u003cp>Moses, for his part, doesn’t seem interested in creating cohesion or diversifying the field. He envisions Black futures from a higher plane of existence, an “intergalactic universe” that literally elevates Black people from the ground. Hence, aerial art.\u003c/p>\n\u003cp>“This is a new kind of clay for me … you’re unhinged from the things you have known,” Moses says of working in aerial choreography for the first time, describing the experience as disorienting. “The use of weights, how you manage rhythm and quality … the poetry and aesthetic is reconfigured.”\u003c/p>\n\u003cp>Moses references Afrofuturism when describing his work, a paradigm where the African American experience and ancestry is carried into limitless visions of an alternative or future universe—yes, beyond arts diversity and inclusion. “There’s a whole intergalactic empire,” he says. “That stretch of the imagination is what this [work] is, in a way.”\u003c/p>\n\u003cp>The festival can be seen as part of an encouraging recent trend in fiscal support in the Bay Area contemporary arts world for work that supports Black artists in visionary ways, such as SOMArts’ 2019 exhibition \u003ca href=\"https://somarts.org/event/foreveramoment/\">\u003ci>Forever, A Moment: Black Meditations on Time and Space\u003c/i>\u003c/a>. Haigood feels “blessed” SFAAF artists are receiving recent grant support to “really let their imaginations stretch.” Blair, too, describes such recent fiscal support as a “dramatic turn” in the kinds of aerial projects supported by the industry.\u003c/p>\n\u003cp>Indeed, if the arts ecology is making strides to expand its lens beyond identity politics into more imaginative territory, so should arts coverage. In reflecting on our conversation after Moses asked to use it in rehearsal, I realized that asking a Black choreographer about creating dance in a historically white space is reductionist at best.\u003c/p>\n\u003cp>“You asked that kind of question because you know what the answer is gonna be,” Moses told me in response to a question on race and art. And maybe he was right.\u003c/p>\n\u003cp>“If I’m thinking about the work in being an African American then I want to do that in a place of control,” Moses says. “And if I’m directing this conversation, then I’m in control of God. And that’s heresy, because how the fuck can a Black man be more in important and powerful than God?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>The 2022 San Francisco Aerial Arts Festival takes place Aug. 19–21 at Fort Mason Center for Arts & Culture and CounterPulse. \u003c/i>\u003ca href=\"https://fortmason.org/event/sf-aerial-arts-festival-2022/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Details here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The San Francisco Aerial Arts Festival runs Aug. 19–21 at Fort Mason Center for Arts & Culture and CounterPulse.","status":"publish","parent":0,"modified":1705006500,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1307},"headData":{"title":"On Black Imagination at the 2022 San Francisco Aerial Arts Festival | KQED","description":"The San Francisco Aerial Arts Festival runs Aug. 19–21 at Fort Mason Center for Arts & Culture and CounterPulse.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On Black Imagination at the 2022 San Francisco Aerial Arts Festival","datePublished":"2022-08-12T15:29:06.000Z","dateModified":"2024-01-11T20:55:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13917513/on-black-imagination-at-the-2022-san-francisco-aerial-arts-festival","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I interviewed San Francisco dance choreographer Robert Moses, I expected to use the recording to write a preview about his upcoming show. I didn’t expect that he would ask to incorporate the audio from our interview into a rehearsal for that very show. But Moses is big on challenging expectations.\u003c/p>\n\u003cp>Moses is the founder and artistic director of the San Francisco dance company Robert Moses’ Kin. His first aerial arts work will be performed at the \u003ca href=\"https://fortmason.org/event/the-san-francisco-aerial-arts-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Aerial Arts Festival\u003c/a> (SFAAF), taking place Aug. 19–21 at Fort Mason Center for Arts & Culture and CounterPulse.\u003c/p>\n\u003cp>“I said yes to this because it’s a risk,” Moses tells me about taking his choreography aloft. The festival, first held in 2014, commissions new work from Black choreographers, circus and aerial artists and centers their stories in what SFAAF founder Joanna Haigood calls a historically racist yet rapidly evolving field.\u003c/p>\n\u003cfigure id=\"attachment_13917528\" class=\"wp-caption alignnone\" style=\"max-width: 625px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917528\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Robert-Moses-and-Crystaldawn-Bell-in-Rehearsal-by-Steven-Disenhof.jpg\" alt=\"Man in rehearsal with dancing woman\" width=\"625\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Robert-Moses-and-Crystaldawn-Bell-in-Rehearsal-by-Steven-Disenhof.jpg 625w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Robert-Moses-and-Crystaldawn-Bell-in-Rehearsal-by-Steven-Disenhof-160x77.jpg 160w\" sizes=\"(max-width: 625px) 100vw, 625px\">\u003cfigcaption class=\"wp-caption-text\">Robert Moses and dancer Crystaldawn Bell in Rehearsal \u003ccite>(Steven Disenhof.jpg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moses’ work for the festival was originally conceived as “an oral history of God’s disappointment in man’s spiritual decline,” according to its press release. He began to dream a narrative of being on top of the world and speaking with God—with aerial artists challenging a higher deity.\u003c/p>\n\u003cp>“We assume that being heavenly is somewhat elevated,” Moses explains about the original vision for his work. “Off the ground, everything changes, right? And what does that represent? What if I put God on the ground?” he adds. “What is it like to talk down to God?”\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>In our conversation, it became clear his work was constantly evolving and inspired by the world around him—including our interview.\u003c/p>\n\u003cp>In a sense, this is another story about Black artists reclaiming a historically-exclusionary art form. Yet Moses implores us to envisage beyond the platitude of what it means to be a Black artist in a historically white space. “Fuck the new area,” says Moses. “This is the old area that we’re claiming a right to.”\u003c/p>\n\u003ch2>\u003cb>Diversifying the field\u003c/b>\u003c/h2>\n\u003cp>Joanna Haigood, the artistic director of San Francisco’s Zaccho Dance Theatre and the founder and curator of SFAAF (which is supported by the Gerbode Foundation and San Francisco Arts Commission), says Black artists have been historically barred from entering the fields of circus and contemporary dance\u003cb>. \u003c/b>\u003c/p>\n\u003cp>There’s been “a fair amount of racism” in circus, says Haigood. “So it’s been difficult to break in for reasons of, you know, ‘Your skin’s too dark,’ or whatever ideas of what the perfect body is.” Aerial arts is a relatively new art form, she says, where the prejudice is perhaps less explicit—but there are fewer productions and therefore fewer artist opportunities.\u003c/p>\n\u003cp>Haigood is proud of the genre-defying artists who are actively diversifying the field and making work for the festival, which, beyond Moses, includes artists like Veronica Blair, Susan Voytickyand and the young aerialists of the SFAAF Youth Revelry.\u003c/p>\n\u003cfigure id=\"attachment_13917526\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917526\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-800x533.jpg\" alt=\"Aerial artists are suspended on building\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Zaccho_SFAAF-2016_Bandaloop_Photo-Austin-Forbord-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Aerial Arts Festival commissions new work from artists who seamlessly merge contemporary dance with circus and aerial arts, like BANDALOOP \u003ccite>(Austin Forbord)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m bringing all these people together because they inspire me,” Haigood says. “These artists are not only calling out racism but celebrating their differences and finding voice in their cultural lives and personal experiences.”\u003c/p>\n\u003cp>Aerialists Veronica Blair and Susan Voyticky’s offering to SFAAF plays homage to a classic Black story. Seven stories, in fact.\u003c/p>\n\u003cp>Their project, \u003ci>The Rainbow is Enuf\u003c/i>, reimagines Ntozake Shange’s acclaimed choreopoem \u003ci>for colored girls who have considered suicide/ when the rainbow is enuf\u003c/i>. The 1975 source material peers into the lives of seven women of African descent, telling their individual stories and shared experiences in a world shaped by patriarchy, sexism and racism.\u003c/p>\n\u003cp>Blair and Voyticky connect the text to modern-day circus by channeling the contemporary experiences of the six women of color in the ensemble. “With our bodies, we’re able to interpret the work and ask … what does it mean to be a woman of color in 2022?” Blair asks. “What kind of things are we facing as a demographic, as individuals, generationally, ancestrally?”\u003c/p>\n\u003cfigure id=\"attachment_13917530\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-800x1067.jpeg\" alt=\"Aerial dancer suspended in fabric\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Veronica-Blair-performs-in-SFAAF-photo-courtesy-of-the-artist.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Veronica Blair and Susan Voytick’s work for SFAAF reimagines Ntozake Shange’s acclaimed choreopoem ‘for colored girls who have considered suicide/ when the rainbow is enuf’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Veronica is trying to tell a uniquely Black story through the lens of circus,” says Haigood. “I think that’s fantastic.”\u003c/p>\n\u003cp>While the festival centers artists who seamlessly merge contemporary dance with circus and aerial arts, it’s only recently that these fields have become less fragmented. “For a long while they were very separate, circus and dance. And that’s changing,” says Haigood. “I really wanted to help facilitate finding new ways to be in conversation.”\u003c/p>\n\u003ch2>‘This is a new kind of clay for me’\u003c/h2>\n\u003cp>Moses, for his part, doesn’t seem interested in creating cohesion or diversifying the field. He envisions Black futures from a higher plane of existence, an “intergalactic universe” that literally elevates Black people from the ground. Hence, aerial art.\u003c/p>\n\u003cp>“This is a new kind of clay for me … you’re unhinged from the things you have known,” Moses says of working in aerial choreography for the first time, describing the experience as disorienting. “The use of weights, how you manage rhythm and quality … the poetry and aesthetic is reconfigured.”\u003c/p>\n\u003cp>Moses references Afrofuturism when describing his work, a paradigm where the African American experience and ancestry is carried into limitless visions of an alternative or future universe—yes, beyond arts diversity and inclusion. “There’s a whole intergalactic empire,” he says. “That stretch of the imagination is what this [work] is, in a way.”\u003c/p>\n\u003cp>The festival can be seen as part of an encouraging recent trend in fiscal support in the Bay Area contemporary arts world for work that supports Black artists in visionary ways, such as SOMArts’ 2019 exhibition \u003ca href=\"https://somarts.org/event/foreveramoment/\">\u003ci>Forever, A Moment: Black Meditations on Time and Space\u003c/i>\u003c/a>. Haigood feels “blessed” SFAAF artists are receiving recent grant support to “really let their imaginations stretch.” Blair, too, describes such recent fiscal support as a “dramatic turn” in the kinds of aerial projects supported by the industry.\u003c/p>\n\u003cp>Indeed, if the arts ecology is making strides to expand its lens beyond identity politics into more imaginative territory, so should arts coverage. In reflecting on our conversation after Moses asked to use it in rehearsal, I realized that asking a Black choreographer about creating dance in a historically white space is reductionist at best.\u003c/p>\n\u003cp>“You asked that kind of question because you know what the answer is gonna be,” Moses told me in response to a question on race and art. And maybe he was right.\u003c/p>\n\u003cp>“If I’m thinking about the work in being an African American then I want to do that in a place of control,” Moses says. “And if I’m directing this conversation, then I’m in control of God. And that’s heresy, because how the fuck can a Black man be more in important and powerful than God?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The 2022 San Francisco Aerial Arts Festival takes place Aug. 19–21 at Fort Mason Center for Arts & Culture and CounterPulse. \u003c/i>\u003ca href=\"https://fortmason.org/event/sf-aerial-arts-festival-2022/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Details here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13917513/on-black-imagination-at-the-2022-san-francisco-aerial-arts-festival","authors":["11771"],"programs":["arts_140"],"categories":["arts_1","arts_966"],"tags":["arts_4003","arts_1707","arts_1018","arts_879","arts_3978","arts_585"],"featImg":"arts_13917525","label":"arts_140"},"arts_13904750":{"type":"posts","id":"arts_13904750","meta":{"index":"posts_1591205157","site":"arts","id":"13904750","score":null,"sort":[1634396415000]},"guestAuthors":[],"slug":"review-dear-san-francisco-club-fugazi","title":"'Dear San Francisco' at Club Fugazi is a Love Letter Written for Everyone","publishDate":1634396415,"format":"standard","headTitle":"‘Dear San Francisco’ at Club Fugazi is a Love Letter Written for Everyone | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>If you wrote a love letter to San Francisco, what would you put in it? Would you extol the virtues of its burritos? Wax rhapsodic about its many subcultures and radical movements nurtured over the years in a seven-square-mile proximity? Maybe you would even write about yourself—how you changed while you lived here, how living here changed you?\u003c/p>\n\u003cp>If you’ve already written such a letter—responding to a recent call by circus collective the 7 Fingers—there’s a chance you’ll hear it read onstage during the open-ended run of \u003cem>Dear San Francisco\u003c/em> at Club Fugazi.\u003c/p>\n\u003cp>Formerly the artistic home of the long-running \u003cem>Beach Blanket Babylon\u003c/em>, Club Fugazi has been given a welcome makeover (comfortable chairs, updated lighting), but the aims of its new show remain similar: to provide San Francisco-centered entertainment that riffs on familiar enough tropes that locals and out-of-towners alike can find something to hold onto. (And, likewise, to serve as a North Beach destination bringing welcome foot traffic to its restaurants, bars and bookstores.)\u003c/p>\n\u003cfigure id=\"attachment_13904756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904756\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ensemble cast of ‘Dear San Francisco’ at Club Fugazi. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Dear San Francisco\u003c/em>, a vibrant group of circus acrobats fills the diminutive stage with whimsy and heart. They soar to the literal rafters thanks to the addition of two Chinese poles and a static trapeze. They are windblown and earthquake-rattled. They read actual newspapers and talk on actual payphones. They recite beat poetry and read love letters. They strum guitars and banjos, and play accordion while perched aloft on a pair of strong hands. They drop “acid” and spin up and down the poles like tops as psychedelic projections spill across the stage and a druggy remixed song by The Doors spirals outward.\u003c/p>\n\u003cfigure id=\"attachment_13904753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904753\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_MelvinDiggs_NatashaPatterson_Credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_MelvinDiggs_NatashaPatterson_Credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_MelvinDiggs_NatashaPatterson_Credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_MelvinDiggs_NatashaPatterson_Credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_MelvinDiggs_NatashaPatterson_Credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Natasha Patterson plays accordion while perched in Melvin Diggs’ hands as Ruben Ingwersen looks on in ‘Dear San Francisco’ at Club Fugazi. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many circus shows, the core of the performance lies squarely on the trained shoulders of its cast. A multicultural troupe with San Francisco lineage and a permanent artistic home in the well-known circus center of Montreal, 7 Fingers brings \u003cem>Dear San Francisco\u003c/em>‘s kaleidoscopic series of vignettes to life with friendly synergy. Even during their most dangerous-seeming feats—divebombing the stage headfirst from the top of their poles, leaping two stories into the air on a giant teeterboard—each performer exudes delighted bonhomie. They slap each other on the back and clasp hands over a stunt well-executed. At times they lock eyes and caress each other’s faces in affection. A trapeze act becomes a pansexual orgy of longing. A phone booth becomes a miniature dance club.\u003c/p>\n\u003cfigure id=\"attachment_13904755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_J%C3%A9r%C3%A9miLevesque_Credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_JérémiLevesque_Credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_JérémiLevesque_Credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_JérémiLevesque_Credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_JérémiLevesque_Credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruben Ingwersen and Jérémi Levesque soar on their teeterboard in ‘Dear San Francisco’ at Club Fugazi. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each performer gets to demonstrate a specialty talent or two. Enmeng Song dazzles on the diabolo. Ruben Ingwersen surprises with his madcap unicycle skills. Isabella Diaz plays multiple instruments and sings with sweet confidence. Natasha Patterson contact-juggles a series of “mysterious orbs” as she dances ferociously to a fractured remix of dialogue from \u003cem>The Maltese Falcon\u003c/em>. Junru Wang performs an expressive hand-balancing act as her fellow performers write affirmations on her body with thick slashes of marker ink.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At times, in their ebullience, the performers threaten to tumble off the stage into the audience’s laps, and at times the action does spill over into the aisles and balconies, even occasionally onto the new, narrow tabletops. Amping up every act is a clubby, electro-heavy soundscape composed by Colin Gagné, with Alexander V. Nichols filling in the spaces with video projections and textural lighting.\u003c/p>\n\u003cfigure id=\"attachment_13904757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruben Ingwersen on unicycle with the ensemble cast of ‘Dear San Francisco’ at Club Fugazi. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, \u003cem>Dear San Francisco \u003c/em>is an exercise in nostalgia as performed by a generation some years removed from the key events depicted—the poetry readings once held by the Beats at Club Fugazi, the Merry Prankster acid tests, the “hardboiled” noir of Dashiell Hammett. Even in its more harrowing moments—ones depicting high winds, ruinous earthquakes, raging fires, and even, briefly, the infamous “orange skies” of 2020—\u003cem>Dear San Francisco \u003c/em>keeps it light. This is no history lesson, and it’s not designed to be. This is a celebration of survival, albeit at times an anachronistic one.\u003c/p>\n\u003cp>What it did bring up for me was a letter of my own. The reasons I love San Francisco, despite and sometimes because of its flaws. The quality of light on an autumn afternoon. The insularity of its hilltops. The expansive views from its shorelines. The poetry and the pupusas. And most especially the artists, who against all odds continue to craft new ways to amaze and inspire.\u003c/p>\n\u003cp>\u003cem>Dear San Francisco\u003c/em> is one of a million letters that could be written about this storied city. What makes it special is that we can experience it together.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dear San Francisco’ is in ongoing residence at Club Fugazi in San Francisco. \u003ca href=\"https://www.clubfugazisf.com/dear-san-francisco\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The former 'Beach Blanket Babylon' venue hosts a new circus show dedicated to the city by the bay.","status":"publish","parent":0,"modified":1705007599,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":880},"headData":{"title":"Review: 'Dear San Francisco' at Club Fugazi is a Love Letter Written for Everyone | KQED","description":"The former 'Beach Blanket Babylon' venue hosts a new circus show dedicated to the city by the bay.","ogTitle":"'Dear San Francisco' at Club Fugazi is a Love Letter Written for Everyone","ogDescription":"","ogImgId":"","twTitle":"'Dear San Francisco' at Club Fugazi is a Love Letter Written for Everyone","twDescription":"","twImgId":"","socialTitle":"Review: 'Dear San Francisco' at Club Fugazi is a Love Letter Written for Everyone %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Dear San Francisco' at Club Fugazi is a Love Letter Written for Everyone","datePublished":"2021-10-16T15:00:15.000Z","dateModified":"2024-01-11T21:13:19.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13904750/review-dear-san-francisco-club-fugazi","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you wrote a love letter to San Francisco, what would you put in it? Would you extol the virtues of its burritos? Wax rhapsodic about its many subcultures and radical movements nurtured over the years in a seven-square-mile proximity? Maybe you would even write about yourself—how you changed while you lived here, how living here changed you?\u003c/p>\n\u003cp>If you’ve already written such a letter—responding to a recent call by circus collective the 7 Fingers—there’s a chance you’ll hear it read onstage during the open-ended run of \u003cem>Dear San Francisco\u003c/em> at Club Fugazi.\u003c/p>\n\u003cp>Formerly the artistic home of the long-running \u003cem>Beach Blanket Babylon\u003c/em>, Club Fugazi has been given a welcome makeover (comfortable chairs, updated lighting), but the aims of its new show remain similar: to provide San Francisco-centered entertainment that riffs on familiar enough tropes that locals and out-of-towners alike can find something to hold onto. (And, likewise, to serve as a North Beach destination bringing welcome foot traffic to its restaurants, bars and bookstores.)\u003c/p>\n\u003cfigure id=\"attachment_13904756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904756\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_ensemble_Credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ensemble cast of ‘Dear San Francisco’ at Club Fugazi. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Dear San Francisco\u003c/em>, a vibrant group of circus acrobats fills the diminutive stage with whimsy and heart. They soar to the literal rafters thanks to the addition of two Chinese poles and a static trapeze. They are windblown and earthquake-rattled. They read actual newspapers and talk on actual payphones. They recite beat poetry and read love letters. They strum guitars and banjos, and play accordion while perched aloft on a pair of strong hands. They drop “acid” and spin up and down the poles like tops as psychedelic projections spill across the stage and a druggy remixed song by The Doors spirals outward.\u003c/p>\n\u003cfigure id=\"attachment_13904753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904753\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_MelvinDiggs_NatashaPatterson_Credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_MelvinDiggs_NatashaPatterson_Credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_MelvinDiggs_NatashaPatterson_Credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_MelvinDiggs_NatashaPatterson_Credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_MelvinDiggs_NatashaPatterson_Credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Natasha Patterson plays accordion while perched in Melvin Diggs’ hands as Ruben Ingwersen looks on in ‘Dear San Francisco’ at Club Fugazi. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many circus shows, the core of the performance lies squarely on the trained shoulders of its cast. A multicultural troupe with San Francisco lineage and a permanent artistic home in the well-known circus center of Montreal, 7 Fingers brings \u003cem>Dear San Francisco\u003c/em>‘s kaleidoscopic series of vignettes to life with friendly synergy. Even during their most dangerous-seeming feats—divebombing the stage headfirst from the top of their poles, leaping two stories into the air on a giant teeterboard—each performer exudes delighted bonhomie. They slap each other on the back and clasp hands over a stunt well-executed. At times they lock eyes and caress each other’s faces in affection. A trapeze act becomes a pansexual orgy of longing. A phone booth becomes a miniature dance club.\u003c/p>\n\u003cfigure id=\"attachment_13904755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_J%C3%A9r%C3%A9miLevesque_Credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_JérémiLevesque_Credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_JérémiLevesque_Credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_JérémiLevesque_Credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersenleft_JérémiLevesque_Credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruben Ingwersen and Jérémi Levesque soar on their teeterboard in ‘Dear San Francisco’ at Club Fugazi. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each performer gets to demonstrate a specialty talent or two. Enmeng Song dazzles on the diabolo. Ruben Ingwersen surprises with his madcap unicycle skills. Isabella Diaz plays multiple instruments and sings with sweet confidence. Natasha Patterson contact-juggles a series of “mysterious orbs” as she dances ferociously to a fractured remix of dialogue from \u003cem>The Maltese Falcon\u003c/em>. Junru Wang performs an expressive hand-balancing act as her fellow performers write affirmations on her body with thick slashes of marker ink.\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>At times, in their ebullience, the performers threaten to tumble off the stage into the audience’s laps, and at times the action does spill over into the aisles and balconies, even occasionally onto the new, narrow tabletops. Amping up every act is a clubby, electro-heavy soundscape composed by Colin Gagné, with Alexander V. Nichols filling in the spaces with video projections and textural lighting.\u003c/p>\n\u003cfigure id=\"attachment_13904757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/DSF_RubenIngwersen_ensemble_Credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruben Ingwersen on unicycle with the ensemble cast of ‘Dear San Francisco’ at Club Fugazi. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, \u003cem>Dear San Francisco \u003c/em>is an exercise in nostalgia as performed by a generation some years removed from the key events depicted—the poetry readings once held by the Beats at Club Fugazi, the Merry Prankster acid tests, the “hardboiled” noir of Dashiell Hammett. Even in its more harrowing moments—ones depicting high winds, ruinous earthquakes, raging fires, and even, briefly, the infamous “orange skies” of 2020—\u003cem>Dear San Francisco \u003c/em>keeps it light. This is no history lesson, and it’s not designed to be. This is a celebration of survival, albeit at times an anachronistic one.\u003c/p>\n\u003cp>What it did bring up for me was a letter of my own. The reasons I love San Francisco, despite and sometimes because of its flaws. The quality of light on an autumn afternoon. The insularity of its hilltops. The expansive views from its shorelines. The poetry and the pupusas. And most especially the artists, who against all odds continue to craft new ways to amaze and inspire.\u003c/p>\n\u003cp>\u003cem>Dear San Francisco\u003c/em> is one of a million letters that could be written about this storied city. What makes it special is that we can experience it together.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dear San Francisco’ is in ongoing residence at Club Fugazi in San Francisco. \u003ca href=\"https://www.clubfugazisf.com/dear-san-francisco\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13904750/review-dear-san-francisco-club-fugazi","authors":["11497"],"programs":["arts_140"],"categories":["arts_1","arts_967"],"tags":["arts_1707","arts_10278","arts_5732"],"featImg":"arts_13904754","label":"arts_140"},"arts_13886478":{"type":"posts","id":"arts_13886478","meta":{"index":"posts_1591205157","site":"arts","id":"13886478","score":null,"sort":[1601564417000]},"guestAuthors":[],"slug":"heres-how-performing-artists-stay-afloat-six-months-into-the-pandemic","title":"Here’s How Performing Artists Stay Afloat Six Months into the Pandemic","publishDate":1601564417,"format":"standard","headTitle":"Here’s How Performing Artists Stay Afloat Six Months into the Pandemic | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Before the pandemic, \u003ca href=\"https://www.ninasawant.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nina Sawant\u003c/a> made a living hanging from hoops, contorting into improbable shapes and shimmering in sequins under neon lights.\u003c/p>\n\u003cp>Now, the Oakland circus artist and aerialist has had her work dramatically reduced to a few sporadic online shows. With the Bay Area’s shelter-in-place orders dragging into their seventh month, Sawant and theater, circus, dance and other performing artists are finding themselves trying to adapt their career plans as their industry lingers in an indefinite hiatus.\u003c/p>\n\u003cp>“There’s a hope that there will be a sort of a renaissance and people will be hungry to see theater shows and support the arts,” she says, “but I and all the people I know are taking it day by day and building up our additional skill sets so that, if the time comes, we have something to turn to if we’re not able to make a living anymore doing the things we’ve built our lives around.”\u003c/p>\n\u003cp>Last week, San Francisco moved to \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">allow entertainment\u003c/a> in outdoor dining areas and other city-designated Shared Spaces, but it’s unclear how advantageous the program will be for the theater industry. And for Sawant, the transition back to a booming circus arts business is a lot more complicated than shows reopening. In addition to theater performances, her more lucrative gigs at private parties for tech companies such as Apple and Google are also indefinitely on hold.\u003c/p>\n\u003cfigure id=\"attachment_13887156\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887156\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party.jpg\" alt=\"An aerialist hangs from silk while pouring champagne.\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party-768x1154.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Before COVID-19, Nina Sawant made a large portion of her income performing at private parties for large tech companies. \u003ccite>(Courtesy of Nina Sawant)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though some tech giants are doing well during the pandemic, their company culture is changing. Twitter is subleasing some of its Market Street office space; Google and Facebook told employees they’ll be working from home long term. Sawant wonders how long it’ll be before companies require their workers to show up in the same physical location, let alone budget for a huge party.\u003c/p>\n\u003cp>“We really at this point don’t know how long it’ll take for things to come back and what it’s going to look like when they do,” she says.\u003c/p>\n\u003cp>Careers in the performing arts have always been precarious. But the pandemic and its attendant uncertainty are teaching many artists valuable lessons in diversifying their skills in order to weather the storm. Sawant started two Patreon accounts: \u003ca href=\"https://www.patreon.com/thecircushustle\" target=\"_blank\" rel=\"noopener noreferrer\">one\u003c/a> where she gives business and career advice to circus artists, and \u003ca href=\"https://www.patreon.com/ninauiu\" target=\"_blank\" rel=\"noopener noreferrer\">another\u003c/a> where fans can watch her perform. And she’s discovered a new passion for film directing and video editing. For \u003ca href=\"http://www.vespertinecircus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vespertine Circus\u003c/a>, a Bay Area troupe that produces online shows, she edits music video-like clips of circus acts that are later played at ticketed livestreams.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“None of it is on Zoom, so it doesn’t feel like you’re on a terrible work call,” she says of Vespertine’s online shows, adding that its online platform also allows viewers to socialize. “And the production value is a lot higher.”\u003c/p>\n\u003cp>While some artists find success in embracing technology, others are focusing on more behind-the-scenes aspects of their craft. That’s the case for \u003ca href=\"http://www.akainaghosh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Akaina Ghosh\u003c/a>, a stage actor who has had a few virtual performances during the pandemic but has mostly turned their focus towards writing and teaching. [aside postid='arts_13886812']\u003c/p>\n\u003cp>“My biggest challenge has been sitting with the reality that my career is postponed indefinitely,” says Ghosh, who was in rehearsal for a play at the \u003ca href=\"https://cuttingball.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cutting Ball Theater\u003c/a> when theaters closed down. “It’s hard to feel creative when my profession may not come back full-swing for a year or two.”\u003c/p>\n\u003cp>While some artists have received unemployment or emergency COVID-19 relief grants, Ghosh has been living off savings and freelance gigs. Those have including conducting interviews with other theater professionals for the \u003ca href=\"http://www.sfshakes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Shakespeare Festival\u003c/a>’s website and working as a teacher assistant for a sketch comedy writing course from \u003ca href=\"https://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Killing My Lobster\u003c/a>. Though these jobs have generated some income, Ghosh still yearns for a steadier paycheck and has looked into other fields such as broadcasting. They say their peers are doing the same.\u003c/p>\n\u003cp>“I have friends that are voice teachers, or acting teachers, or things like that,” the artist adds. “But ultimately, we’re seeing this dip in the theater industry that is for the foreseeable future, and they want to get out while they still can.”\u003c/p>\n\u003cp>Ultimately, Ghosh worries that the pandemic will make theater even less accessible to artists of color, especially ones in the emerging stages of their career. “This will make theater older and whiter,” Ghosh says. “People with less stability and less privilege will not be able to wait 12, 24 months for work to come back. And I think it’ll have a majorly negative impact on who will be able to stay in this industry.”\u003c/p>\n\u003cfigure id=\"attachment_13887150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-800x533.jpg\" alt=\"A stage actor puts on a crown under dramatic lighting. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Akaina Ghosh in Ragged Wing Ensemble’s production of Shakespeare’s ’The Winter’s Tale.’ \u003ccite>(Serena Morelli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the current financial losses, some professionals who’ve been in theater for decades are cautiously optimistic about artists’ ability to weather the storm. When California’s shelter-in-place orders began six months ago, longtime artist manager \u003ca href=\"https://www.circuitnetwork.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nola Mariano\u003c/a> contacted her clients and told them to come up with contingency plans for the next two years. Some of her younger clients moved in with family to save money, and others came up with diversified career plans that don’t completely rely on performance.\u003c/p>\n\u003cp>“My thinking on that had to do with not only the pandemic itself, but the effect the pandemic was going to have on the economy and usual audience that goes to these events,” Mariano says.\u003c/p>\n\u003cp>Despite the uncertainty, Mariano takes a glass-half-full view of how theater will adapt. She points to actor, director and playwright Kristina Wong, who turned a canceled tour of her one-woman show, \u003ca href=\"https://artpower.ucsd.edu/event/kristina-wong-for-public-office/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Kristina Wong for Public Office\u003c/em>\u003c/a>, into a “touring” virtual, interactive performance from her living room. Various venues and universities have hosted the show virtually as a ticketed livestream, with the next edition coming to \u003ca href=\"https://artpower.ucsd.edu/event/kristina-wong-for-public-office/\" target=\"_blank\" rel=\"noopener noreferrer\">UC San Diego\u003c/a>’s platform on Oct. 14. And similarly, the Berkeley Repertory Theater presented Richard Montoya, Ricardo Salinas and Herbert Siguenza’s political satire, \u003cem>Culture Clash (Still) in America\u003c/em>, as a two-week streaming event on the platform BroadwayHD.\u003c/p>\n\u003cp>It’s a hard time for theater right now. But then again, when hasn’t it been? As Mariano puts it, “It’s a bumpy ride we’re all on, but it seems like we’ll come out on the other side as community.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Some artists in the precarious industry are adapting to online work while others are searching for an out.","status":"publish","parent":0,"modified":1705020056,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1164},"headData":{"title":"Here’s How Performing Artists Stay Afloat Six Months into the Pandemic | KQED","description":"Some artists in the precarious industry are adapting to online work while others are searching for an out.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Here’s How Performing Artists Stay Afloat Six Months into the Pandemic","datePublished":"2020-10-01T15:00:17.000Z","dateModified":"2024-01-12T00:40:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13886478/heres-how-performing-artists-stay-afloat-six-months-into-the-pandemic","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before the pandemic, \u003ca href=\"https://www.ninasawant.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nina Sawant\u003c/a> made a living hanging from hoops, contorting into improbable shapes and shimmering in sequins under neon lights.\u003c/p>\n\u003cp>Now, the Oakland circus artist and aerialist has had her work dramatically reduced to a few sporadic online shows. With the Bay Area’s shelter-in-place orders dragging into their seventh month, Sawant and theater, circus, dance and other performing artists are finding themselves trying to adapt their career plans as their industry lingers in an indefinite hiatus.\u003c/p>\n\u003cp>“There’s a hope that there will be a sort of a renaissance and people will be hungry to see theater shows and support the arts,” she says, “but I and all the people I know are taking it day by day and building up our additional skill sets so that, if the time comes, we have something to turn to if we’re not able to make a living anymore doing the things we’ve built our lives around.”\u003c/p>\n\u003cp>Last week, San Francisco moved to \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">allow entertainment\u003c/a> in outdoor dining areas and other city-designated Shared Spaces, but it’s unclear how advantageous the program will be for the theater industry. And for Sawant, the transition back to a booming circus arts business is a lot more complicated than shows reopening. In addition to theater performances, her more lucrative gigs at private parties for tech companies such as Apple and Google are also indefinitely on hold.\u003c/p>\n\u003cfigure id=\"attachment_13887156\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887156\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party.jpg\" alt=\"An aerialist hangs from silk while pouring champagne.\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party-768x1154.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Before COVID-19, Nina Sawant made a large portion of her income performing at private parties for large tech companies. \u003ccite>(Courtesy of Nina Sawant)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though some tech giants are doing well during the pandemic, their company culture is changing. Twitter is subleasing some of its Market Street office space; Google and Facebook told employees they’ll be working from home long term. Sawant wonders how long it’ll be before companies require their workers to show up in the same physical location, let alone budget for a huge party.\u003c/p>\n\u003cp>“We really at this point don’t know how long it’ll take for things to come back and what it’s going to look like when they do,” she says.\u003c/p>\n\u003cp>Careers in the performing arts have always been precarious. But the pandemic and its attendant uncertainty are teaching many artists valuable lessons in diversifying their skills in order to weather the storm. Sawant started two Patreon accounts: \u003ca href=\"https://www.patreon.com/thecircushustle\" target=\"_blank\" rel=\"noopener noreferrer\">one\u003c/a> where she gives business and career advice to circus artists, and \u003ca href=\"https://www.patreon.com/ninauiu\" target=\"_blank\" rel=\"noopener noreferrer\">another\u003c/a> where fans can watch her perform. And she’s discovered a new passion for film directing and video editing. For \u003ca href=\"http://www.vespertinecircus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vespertine Circus\u003c/a>, a Bay Area troupe that produces online shows, she edits music video-like clips of circus acts that are later played at ticketed livestreams.\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>“None of it is on Zoom, so it doesn’t feel like you’re on a terrible work call,” she says of Vespertine’s online shows, adding that its online platform also allows viewers to socialize. “And the production value is a lot higher.”\u003c/p>\n\u003cp>While some artists find success in embracing technology, others are focusing on more behind-the-scenes aspects of their craft. That’s the case for \u003ca href=\"http://www.akainaghosh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Akaina Ghosh\u003c/a>, a stage actor who has had a few virtual performances during the pandemic but has mostly turned their focus towards writing and teaching. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13886812","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My biggest challenge has been sitting with the reality that my career is postponed indefinitely,” says Ghosh, who was in rehearsal for a play at the \u003ca href=\"https://cuttingball.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cutting Ball Theater\u003c/a> when theaters closed down. “It’s hard to feel creative when my profession may not come back full-swing for a year or two.”\u003c/p>\n\u003cp>While some artists have received unemployment or emergency COVID-19 relief grants, Ghosh has been living off savings and freelance gigs. Those have including conducting interviews with other theater professionals for the \u003ca href=\"http://www.sfshakes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Shakespeare Festival\u003c/a>’s website and working as a teacher assistant for a sketch comedy writing course from \u003ca href=\"https://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Killing My Lobster\u003c/a>. Though these jobs have generated some income, Ghosh still yearns for a steadier paycheck and has looked into other fields such as broadcasting. They say their peers are doing the same.\u003c/p>\n\u003cp>“I have friends that are voice teachers, or acting teachers, or things like that,” the artist adds. “But ultimately, we’re seeing this dip in the theater industry that is for the foreseeable future, and they want to get out while they still can.”\u003c/p>\n\u003cp>Ultimately, Ghosh worries that the pandemic will make theater even less accessible to artists of color, especially ones in the emerging stages of their career. “This will make theater older and whiter,” Ghosh says. “People with less stability and less privilege will not be able to wait 12, 24 months for work to come back. And I think it’ll have a majorly negative impact on who will be able to stay in this industry.”\u003c/p>\n\u003cfigure id=\"attachment_13887150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-800x533.jpg\" alt=\"A stage actor puts on a crown under dramatic lighting. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Akaina Ghosh in Ragged Wing Ensemble’s production of Shakespeare’s ’The Winter’s Tale.’ \u003ccite>(Serena Morelli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the current financial losses, some professionals who’ve been in theater for decades are cautiously optimistic about artists’ ability to weather the storm. When California’s shelter-in-place orders began six months ago, longtime artist manager \u003ca href=\"https://www.circuitnetwork.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nola Mariano\u003c/a> contacted her clients and told them to come up with contingency plans for the next two years. Some of her younger clients moved in with family to save money, and others came up with diversified career plans that don’t completely rely on performance.\u003c/p>\n\u003cp>“My thinking on that had to do with not only the pandemic itself, but the effect the pandemic was going to have on the economy and usual audience that goes to these events,” Mariano says.\u003c/p>\n\u003cp>Despite the uncertainty, Mariano takes a glass-half-full view of how theater will adapt. She points to actor, director and playwright Kristina Wong, who turned a canceled tour of her one-woman show, \u003ca href=\"https://artpower.ucsd.edu/event/kristina-wong-for-public-office/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Kristina Wong for Public Office\u003c/em>\u003c/a>, into a “touring” virtual, interactive performance from her living room. Various venues and universities have hosted the show virtually as a ticketed livestream, with the next edition coming to \u003ca href=\"https://artpower.ucsd.edu/event/kristina-wong-for-public-office/\" target=\"_blank\" rel=\"noopener noreferrer\">UC San Diego\u003c/a>’s platform on Oct. 14. And similarly, the Berkeley Repertory Theater presented Richard Montoya, Ricardo Salinas and Herbert Siguenza’s political satire, \u003cem>Culture Clash (Still) in America\u003c/em>, as a two-week streaming event on the platform BroadwayHD.\u003c/p>\n\u003cp>It’s a hard time for theater right now. But then again, when hasn’t it been? As Mariano puts it, “It’s a bumpy ride we’re all on, but it seems like we’ll come out on the other side as community.”\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/13886478/heres-how-performing-artists-stay-afloat-six-months-into-the-pandemic","authors":["11387"],"categories":["arts_1"],"tags":["arts_1707","arts_10126","arts_10127","arts_10278","arts_3371","arts_10416","arts_1072"],"featImg":"arts_13887135","label":"arts"},"arts_13875591":{"type":"posts","id":"arts_13875591","meta":{"index":"posts_1591205157","site":"arts","id":"13875591","score":null,"sort":[1582842232000]},"guestAuthors":[],"slug":"teatro-zinzanni-to-return-to-sf-waterfront-permanently","title":"Teatro Zinzanni to Return to SF Waterfront—Permanently","publishDate":1582842232,"format":"standard","headTitle":"Teatro Zinzanni to Return to SF Waterfront—Permanently | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>San Francisco City officials have given the green light for the return of \u003ca href=\"https://zinzanni.com/sf/\" target=\"_blank\" rel=\"noopener noreferrer\">Teatro ZinZanni\u003c/a> to the Embarcadero after an absence of nine years.\u003c/p>\n\u003cp>For just over a decade, from 2000 to 2011, the beloved entertainment spot attracted hundreds of thousands of tourists and locals to Pier 29 with its popular blend of circus, cabaret, comedy and dinner—all of it served up in a vintage wooden tent lined with mirrors and stained glass known as the “spiegeltent.”\u003c/p>\n\u003cp>But the Teatro ZinZanni company, which also has locations in Seattle and Chicago, was forced to shut down its San Francisco operation to make way for the 2013 America’s Cup sailboat race.\u003c/p>\n\u003cp>It’s been negotiating with city officials to reopen ever since.\u003c/p>\n\u003cfigure id=\"attachment_13875623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-800x556.jpg\" alt=\"\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the spiegeltent. \u003ccite>(Teatro ZinZanni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have worked for almost a decade to return to the city we love,” said Teatro ZinZanni founder Norman Langill, in a statement about the $142 million project. “We know it would not have been possible without the strong support of the community, our artists and our fans.”\u003c/p>\n\u003cp>Over the past nine years, several circus shows in a similar vein to Teatro ZinZanni emerged in the Bay Area, including the \u003ca href=\"https://thesoileddove.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Soiled Dove\u003c/a>, held in a giant tent pitched on Broadway in downtown Oakland. Teatro ZinZanni’s return, say officials, is intended to be permanent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Plans for the new Teatro ZinZanni—which will be housed in a different location, a port-owned seawall property at Embarcadero and Broadway (currently a parking lot)—will include a 192-room hotel and surrounding public park.\u003c/p>\n\u003cp>But the spiegeltent itself, known as the “Palais Nostalgique,” will be the same one that operated in San Francisco at Pier 29.\u003c/p>\n\u003cp>Teatro ZinZanni aims to reopen its doors in summer 2022.\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Since closing nine years ago, the beloved dinner theater venue aims to reopen its doors in summer 2022.","status":"publish","parent":0,"modified":1705021217,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":306},"headData":{"title":"Teatro Zinzanni to Return to SF Waterfront—Permanently | KQED","description":"Since closing nine years ago, the beloved dinner theater venue aims to reopen its doors in summer 2022.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Teatro Zinzanni to Return to SF Waterfront—Permanently","datePublished":"2020-02-27T22:23:52.000Z","dateModified":"2024-01-12T01:00:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13875591/teatro-zinzanni-to-return-to-sf-waterfront-permanently","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco City officials have given the green light for the return of \u003ca href=\"https://zinzanni.com/sf/\" target=\"_blank\" rel=\"noopener noreferrer\">Teatro ZinZanni\u003c/a> to the Embarcadero after an absence of nine years.\u003c/p>\n\u003cp>For just over a decade, from 2000 to 2011, the beloved entertainment spot attracted hundreds of thousands of tourists and locals to Pier 29 with its popular blend of circus, cabaret, comedy and dinner—all of it served up in a vintage wooden tent lined with mirrors and stained glass known as the “spiegeltent.”\u003c/p>\n\u003cp>But the Teatro ZinZanni company, which also has locations in Seattle and Chicago, was forced to shut down its San Francisco operation to make way for the 2013 America’s Cup sailboat race.\u003c/p>\n\u003cp>It’s been negotiating with city officials to reopen ever since.\u003c/p>\n\u003cfigure id=\"attachment_13875623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-800x556.jpg\" alt=\"\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the spiegeltent. \u003ccite>(Teatro ZinZanni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have worked for almost a decade to return to the city we love,” said Teatro ZinZanni founder Norman Langill, in a statement about the $142 million project. “We know it would not have been possible without the strong support of the community, our artists and our fans.”\u003c/p>\n\u003cp>Over the past nine years, several circus shows in a similar vein to Teatro ZinZanni emerged in the Bay Area, including the \u003ca href=\"https://thesoileddove.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Soiled Dove\u003c/a>, held in a giant tent pitched on Broadway in downtown Oakland. Teatro ZinZanni’s return, say officials, is intended to be permanent.\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>Plans for the new Teatro ZinZanni—which will be housed in a different location, a port-owned seawall property at Embarcadero and Broadway (currently a parking lot)—will include a 192-room hotel and surrounding public park.\u003c/p>\n\u003cp>But the spiegeltent itself, known as the “Palais Nostalgique,” will be the same one that operated in San Francisco at Pier 29.\u003c/p>\n\u003cp>Teatro ZinZanni aims to reopen its doors in summer 2022.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13875591/teatro-zinzanni-to-return-to-sf-waterfront-permanently","authors":["8608"],"programs":["arts_1272"],"categories":["arts_1","arts_235","arts_1003","arts_967"],"tags":["arts_1707","arts_1146"],"featImg":"arts_13875629","label":"arts_1272"},"arts_13864214":{"type":"posts","id":"arts_13864214","meta":{"index":"posts_1591205157","site":"arts","id":"13864214","score":null,"sort":[1565898881000]},"guestAuthors":[],"slug":"the-do-list-aug-15-jacka-godspeed-you-black-emperor-pro-arts-39-steps","title":"The Do List: Listen to Our Weekend Picks for Aug. 15–22","publishDate":1565898881,"format":"audio","headTitle":"The Do List: Listen to Our Weekend Picks for Aug. 15–22 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Godspeed You Black Emperor\u003c/strong>: Before a legion of mainstream copycats came along, this large collective pioneered the sprawling instrumental indie music you now hear in Hollywood movies and Nike commercials, recording cassettes on tiny labels and selling anarchist literature at their shows. Their shows are always at beautiful venues when they’re in the Bay Area, and this show is no exception: it’s at the 98-year-old Castro Theater in San Francisco on Sunday, Aug. 18. \u003ca href=\"http://folkyeah.com/godspeed-you-black-emperor-san-francisco-2019\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>The Jacka ‘Tear Gas’ Tribute Show\u003c/strong>: For the ten-year anniversary of The Jacka’s classic \u003cem>Tear Gas\u003c/em> album, a wild lineup of former collaborators pay tribute, including Andre Nickatina, Freeway, J. Stalin, Paul Wall and pretty much the rest of his old group Mob Figaz. The Jacka was killed in Oakland in 2015, and really, the memorials haven’t stopped since. This one’s special, on Thursday, Aug. 15, at the (\u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" rel=\"noopener\" target=\"_blank\">soon-to-be-office-space\u003c/a>) Mezzanine in San Francisco. \u003ca href=\"https://mezzaninesf.com/events/tear-gas-the-jacka-tribute-show/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The 39 Steps’\u003c/strong>: For this masterful adaptation of the Alfred Hitchcock film, the cast is just four people, playing multiple parts in a frenzied, madcap fashion. It’s not at all like the suspense-filled movie, and that’s the point; it’s played in London for years to rave reviews. Here, it’s presented in the Bay Area by TheatreWorks Silicon Valley, who earlier this year won the \u003ca href=\"https://www.kqed.org/arts/13856208/theatreworks-silicon-valley-to-receive-regional-theatre-tony-award\" rel=\"noopener\" target=\"_blank\">Tony Award for Best Regional Theater Company\u003c/a>. It opens Wednesday, Aug. 21, and runs through Sept. 22, at the Mountain View Center for the Performing Arts. \u003ca href=\"https://theatreworks.org/201920-season/the-39-steps/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Festival of Infinite Imagination\u003c/strong>: Pro Arts, the gallery in downtown Oakland, has become a really vital venue for experimental music lately, and it hosts this three-day festival presented by the Topsy Turvy Queer Circus, led by India Sky Davis. It features the work of six black queer and transgender artists, including the singer Spellling, who’s premiering a brand new performance-slash-installation piece called “The Spider Heart.” It runs runs Thursday, Friday and Saturday, Aug. 15–17, both inside Pro Arts gallery and outdoors in Frank Ogawa Plaza. \u003ca href=\"https://www.eventbrite.com/e/topsy-turvy-presents-festival-of-infinite-imagination-tickets-66016975551\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wayne Hancock\u003c/strong>: Country music is in the air: We have “Old Town Road” topping the charts for 19 weeks in a row, pop stars are wearing cowboy hats left & right. But if you want the real deal? You’ll want to check out Wayne Hancock, who’s more Hank Williams than Hank Williams Jr., and who’s been on a tour of juke joints and old saloons since the 1990s. He’s in Santa Rosa this week, playing a free show in the scenic backyard of the radio station KRSH on Thursday, Aug. 22. \u003ca href=\"https://www.krsh.com/event/wayne-the-train-hancock-at-the-krush-backyard/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"This week, we're talking about The Jacka, 'The 39 Steps,' Godspeed You Black Emperor, the Festival of Infinite Imagination and more. ","status":"publish","parent":0,"modified":1705022311,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":520},"headData":{"title":"The Do List: Listen to Our Weekend Picks for Aug. 15–22 | KQED","description":"This week, we're talking about The Jacka, 'The 39 Steps,' Godspeed You Black Emperor, the Festival of Infinite Imagination and more. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Do List: Listen to Our Weekend Picks for Aug. 15–22","datePublished":"2019-08-15T19:54:41.000Z","dateModified":"2024-01-12T01:18:31.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://ww2.kqed.org/podcasts/wp-content/uploads/sites/77/2019/08/The-Do-List-for-Thursday-August-15-Sunday-August-18-2019-mix2.mp3","sticky":false,"audioTrackLength":273,"templateType":"standard","featuredImageType":"standard","path":"/arts/13864214/the-do-list-aug-15-jacka-godspeed-you-black-emperor-pro-arts-39-steps","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Godspeed You Black Emperor\u003c/strong>: Before a legion of mainstream copycats came along, this large collective pioneered the sprawling instrumental indie music you now hear in Hollywood movies and Nike commercials, recording cassettes on tiny labels and selling anarchist literature at their shows. Their shows are always at beautiful venues when they’re in the Bay Area, and this show is no exception: it’s at the 98-year-old Castro Theater in San Francisco on Sunday, Aug. 18. \u003ca href=\"http://folkyeah.com/godspeed-you-black-emperor-san-francisco-2019\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>The Jacka ‘Tear Gas’ Tribute Show\u003c/strong>: For the ten-year anniversary of The Jacka’s classic \u003cem>Tear Gas\u003c/em> album, a wild lineup of former collaborators pay tribute, including Andre Nickatina, Freeway, J. Stalin, Paul Wall and pretty much the rest of his old group Mob Figaz. The Jacka was killed in Oakland in 2015, and really, the memorials haven’t stopped since. This one’s special, on Thursday, Aug. 15, at the (\u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" rel=\"noopener\" target=\"_blank\">soon-to-be-office-space\u003c/a>) Mezzanine in San Francisco. \u003ca href=\"https://mezzaninesf.com/events/tear-gas-the-jacka-tribute-show/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The 39 Steps’\u003c/strong>: For this masterful adaptation of the Alfred Hitchcock film, the cast is just four people, playing multiple parts in a frenzied, madcap fashion. It’s not at all like the suspense-filled movie, and that’s the point; it’s played in London for years to rave reviews. Here, it’s presented in the Bay Area by TheatreWorks Silicon Valley, who earlier this year won the \u003ca href=\"https://www.kqed.org/arts/13856208/theatreworks-silicon-valley-to-receive-regional-theatre-tony-award\" rel=\"noopener\" target=\"_blank\">Tony Award for Best Regional Theater Company\u003c/a>. It opens Wednesday, Aug. 21, and runs through Sept. 22, at the Mountain View Center for the Performing Arts. \u003ca href=\"https://theatreworks.org/201920-season/the-39-steps/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Festival of Infinite Imagination\u003c/strong>: Pro Arts, the gallery in downtown Oakland, has become a really vital venue for experimental music lately, and it hosts this three-day festival presented by the Topsy Turvy Queer Circus, led by India Sky Davis. It features the work of six black queer and transgender artists, including the singer Spellling, who’s premiering a brand new performance-slash-installation piece called “The Spider Heart.” It runs runs Thursday, Friday and Saturday, Aug. 15–17, both inside Pro Arts gallery and outdoors in Frank Ogawa Plaza. \u003ca href=\"https://www.eventbrite.com/e/topsy-turvy-presents-festival-of-infinite-imagination-tickets-66016975551\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wayne Hancock\u003c/strong>: Country music is in the air: We have “Old Town Road” topping the charts for 19 weeks in a row, pop stars are wearing cowboy hats left & right. But if you want the real deal? You’ll want to check out Wayne Hancock, who’s more Hank Williams than Hank Williams Jr., and who’s been on a tour of juke joints and old saloons since the 1990s. He’s in Santa Rosa this week, playing a free show in the scenic backyard of the radio station KRSH on Thursday, Aug. 22. \u003ca href=\"https://www.krsh.com/event/wayne-the-train-hancock-at-the-krush-backyard/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13864214/the-do-list-aug-15-jacka-godspeed-you-black-emperor-pro-arts-39-steps","authors":["185"],"programs":["arts_140"],"categories":["arts_835","arts_966","arts_69","arts_235","arts_967"],"tags":["arts_3670","arts_1707","arts_1118","arts_3649","arts_831","arts_1815"],"featImg":"arts_13864229","label":"arts_140"},"arts_13846013":{"type":"posts","id":"arts_13846013","meta":{"index":"posts_1591205157","site":"arts","id":"13846013","score":null,"sort":[1543593601000]},"guestAuthors":[],"slug":"high-thrills-bonkers-aesthetics-at-cirque-du-soliels-volta","title":"High Thrills, Bonkers Aesthetics at Cirque du Soleil's 'Volta'","publishDate":1543593601,"format":"standard","headTitle":"High Thrills, Bonkers Aesthetics at Cirque du Soleil’s ‘Volta’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>You know the circus, or you think you know the circus: lion tamers, tightrope acts, trapeze. You spend your $8 for the traveling Mexican family circus, or your $18 for the burlesque steampunk circus. Perhaps you are a parent whose kids cannot get enough of \u003cem>The Greatest Showman\u003c/em>, a hit movie about the Ringling Bros. and Barnum & Bailey circus that is \u003ca href=\"https://www.usatoday.com/story/news/nation/2017/01/14/ringling-bros-circus-close-after-146-years/96606820/\" rel=\"noopener\" target=\"_blank\">no longer a circus\u003c/a>.\u003c/p>\n\u003cp>Whatever “the circus” means today with its many incarnations, Cirque du Soleil has been doing it eye-poppingly since 1984, when its vibrant neon spasms first thrilled a well-to-do patron under the big top. Running through Feb. 3 in San Francisco inside a climate-controlled tent adjacent to the Giants ballpark, Cirque du Soleil’s new show \u003cem>\u003ca href=\"https://www.cirquedusoleil.com/volta\" rel=\"noopener\" target=\"_blank\">Volta\u003c/a>\u003c/em> ($54–$165) is a procession of skits, fantasy, acrobatics, skill, and insanely ridiculous outfits even your grandmother would not be caught dead wearing.\u003c/p>\n\u003cfigure id=\"attachment_13846026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-800x450.jpg\" alt=\"Cirque du Soleil's 'Volta.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13846026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cirque du Soleil’s ‘Volta.’ \u003ccite>(Benoit Z Leroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Volta\u003c/em> hints at a vague sort of story, involving uniformed human drones addicted to their cell phones and a blue-haired dreamer among them who dares to be different. This, of course, is immaterial: you’re invested in the show for the two-story trampoline act; the strongman hoisting a woman aloft, one-handed, while riding a unicycle; the double-dutch routine fast enough to power a small city; and the unbelievable aerial routine by the woman affixed to a hanging rope \u003cem>by her hair alone\u003c/em>.\u003c/p>\n\u003cp>All of these acts elicit real-life oohs and aahs from the crowd like circuses of old, but they’re performed \u003cem>elegantly\u003c/em> and \u003cem>with purpose\u003c/em>, Cirque du Soleil seems to want you to know. The violin player can’t just be a violin player—she must play an electric aqua-blue violin shaped like a swordfish. The clown can’t just be a clown—he must be fabulous diva, with cheekbones that could slice a turkey, who dances with petulant laundry machines. The soundtrack sounds like what happens when Sting tries to do “ethnic” music. Nobody has anything resembling a normal hairstyle.\u003c/p>\n\u003cfigure id=\"attachment_13846025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-800x533.jpg\" alt=\"Cirque du Soleil's 'Volta.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13846025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cirque du Soleil’s ‘Volta.’ \u003ccite>(Benoit Z Leroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though this be madness, yet there is merriment in ‘t. \u003cem>Volta\u003c/em> ends with a synchronized heavy metal BMX bike routine, suddenly transforming the circus into the X-Games. But when I looked around to the people in the stands last week, every one of them—ladies and gentlemen, boys and girls, children of all ages—had the same look of dazzled wonder in their eye.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The circus may change, but humans’ capacity to blow each other’s minds is eternal.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cirque du Soiliel’s ‘Volta’ runs through Feb. 3 at the AT&T Park parking lot in San Francisco before heading to San Jose. \u003ca href=\"https://www.cirquedusoleil.com/volta\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'Volta' is a procession of skits, fantasy, acrobatics, skill, and ridiculous outfits even your grandmother would not be caught dead wearing.","status":"publish","parent":0,"modified":1705026937,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":488},"headData":{"title":"High Thrills, Bonkers Aesthetics at Cirque du Soleil's 'Volta' | KQED","description":"'Volta' is a procession of skits, fantasy, acrobatics, skill, and ridiculous outfits even your grandmother would not be caught dead wearing.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"High Thrills, Bonkers Aesthetics at Cirque du Soleil's 'Volta'","datePublished":"2018-11-30T16:00:01.000Z","dateModified":"2024-01-12T02:35:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13846013/high-thrills-bonkers-aesthetics-at-cirque-du-soliels-volta","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know the circus, or you think you know the circus: lion tamers, tightrope acts, trapeze. You spend your $8 for the traveling Mexican family circus, or your $18 for the burlesque steampunk circus. Perhaps you are a parent whose kids cannot get enough of \u003cem>The Greatest Showman\u003c/em>, a hit movie about the Ringling Bros. and Barnum & Bailey circus that is \u003ca href=\"https://www.usatoday.com/story/news/nation/2017/01/14/ringling-bros-circus-close-after-146-years/96606820/\" rel=\"noopener\" target=\"_blank\">no longer a circus\u003c/a>.\u003c/p>\n\u003cp>Whatever “the circus” means today with its many incarnations, Cirque du Soleil has been doing it eye-poppingly since 1984, when its vibrant neon spasms first thrilled a well-to-do patron under the big top. Running through Feb. 3 in San Francisco inside a climate-controlled tent adjacent to the Giants ballpark, Cirque du Soleil’s new show \u003cem>\u003ca href=\"https://www.cirquedusoleil.com/volta\" rel=\"noopener\" target=\"_blank\">Volta\u003c/a>\u003c/em> ($54–$165) is a procession of skits, fantasy, acrobatics, skill, and insanely ridiculous outfits even your grandmother would not be caught dead wearing.\u003c/p>\n\u003cfigure id=\"attachment_13846026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-800x450.jpg\" alt=\"Cirque du Soleil's 'Volta.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13846026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Unicycle2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cirque du Soleil’s ‘Volta.’ \u003ccite>(Benoit Z Leroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Volta\u003c/em> hints at a vague sort of story, involving uniformed human drones addicted to their cell phones and a blue-haired dreamer among them who dares to be different. This, of course, is immaterial: you’re invested in the show for the two-story trampoline act; the strongman hoisting a woman aloft, one-handed, while riding a unicycle; the double-dutch routine fast enough to power a small city; and the unbelievable aerial routine by the woman affixed to a hanging rope \u003cem>by her hair alone\u003c/em>.\u003c/p>\n\u003cp>All of these acts elicit real-life oohs and aahs from the crowd like circuses of old, but they’re performed \u003cem>elegantly\u003c/em> and \u003cem>with purpose\u003c/em>, Cirque du Soleil seems to want you to know. The violin player can’t just be a violin player—she must play an electric aqua-blue violin shaped like a swordfish. The clown can’t just be a clown—he must be fabulous diva, with cheekbones that could slice a turkey, who dances with petulant laundry machines. The soundtrack sounds like what happens when Sting tries to do “ethnic” music. Nobody has anything resembling a normal hairstyle.\u003c/p>\n\u003cfigure id=\"attachment_13846025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-800x533.jpg\" alt=\"Cirque du Soleil's 'Volta.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13846025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Cirque.Wow_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cirque du Soleil’s ‘Volta.’ \u003ccite>(Benoit Z Leroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though this be madness, yet there is merriment in ‘t. \u003cem>Volta\u003c/em> ends with a synchronized heavy metal BMX bike routine, suddenly transforming the circus into the X-Games. But when I looked around to the people in the stands last week, every one of them—ladies and gentlemen, boys and girls, children of all ages—had the same look of dazzled wonder in their eye.\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 circus may change, but humans’ capacity to blow each other’s minds is eternal.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cirque du Soiliel’s ‘Volta’ runs through Feb. 3 at the AT&T Park parking lot in San Francisco before heading to San Jose. \u003ca href=\"https://www.cirquedusoleil.com/volta\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13846013/high-thrills-bonkers-aesthetics-at-cirque-du-soliels-volta","authors":["185"],"programs":["arts_140"],"categories":["arts_967"],"tags":["arts_1707","arts_1118","arts_596"],"featImg":"arts_13846023","label":"arts_140"},"arts_13843964":{"type":"posts","id":"arts_13843964","meta":{"index":"posts_1591205157","site":"arts","id":"13843964","score":null,"sort":[1541084423000]},"guestAuthors":[],"slug":"jazz-mafia-soundtrack-the-soiled-doves-acrobatic-magic","title":"Jazz Mafia Soundtrack The Soiled Dove's Acrobatic Magic","publishDate":1541084423,"format":"image","headTitle":"Jazz Mafia Soundtrack The Soiled Dove’s Acrobatic Magic | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"http://www.jazzmafia.com/adam-theis/\" target=\"_blank\" rel=\"noopener\">Adam Theis\u003c/a> is one of those Bay Area music scene figures whose cup runneth over with so much talent, you’ve likely heard him without realizing it. He’s the founder of the locally beloved collective Jazz Mafia; has co-written songs with Blackalicious, Zion-I and Lyrics Born; and performed as a sideman with KRS One, Booker T. Jones and J Boogie’s Dubtronic Science. One time, in 2009, Stevie Wonder crashed one of his shows at an intimate club in the Mission district and \u003ca href=\"http://www.jazzmafia.com/news-1/2017/4/10/jffndbr4c1s03pdjfvlp9v412fdzd5\" target=\"_blank\" rel=\"noopener\">performed two songs with his band\u003c/a>. He’s \u003cem>that \u003c/em>good.\u003c/p>\n\u003cp>https://youtu.be/M0V0bNdJT-4\u003c/p>\n\u003cp>Theis’ latest project is a Jazz Mafia collaboration with the Vau de Vire Society, a circus arts collective comprised of dancers, aerialists and contortionists with an avant-garde edge. Their new production, \u003ca href=\"http://www.thesoileddove.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Soiled Dove\u003c/em>\u003c/a>, takes place inside a giant red tent down the block from the Fox Theater in downtown Oakland. Jazz Mafia perform a live soundtrack at the event, which runs every Friday and Saturday through Nov. 17. The music is also available on \u003ca href=\"https://jazzmafia.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>—though the pole dancers and acrobats won’t come with your download.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The multifaceted Bay Area jazz collective performs a live soundtrack to the Vau de Vire Society's latest show. ","status":"publish","parent":0,"modified":1705027066,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":202},"headData":{"title":"Jazz Mafia Soundtrack The Soiled Dove's Acrobatic Magic | KQED","description":"The multifaceted Bay Area jazz collective performs a live soundtrack to the Vau de Vire Society's latest show. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Jazz Mafia Soundtrack The Soiled Dove's Acrobatic Magic","datePublished":"2018-11-01T15:00:23.000Z","dateModified":"2024-01-12T02:37:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13843964/jazz-mafia-soundtrack-the-soiled-doves-acrobatic-magic","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.jazzmafia.com/adam-theis/\" target=\"_blank\" rel=\"noopener\">Adam Theis\u003c/a> is one of those Bay Area music scene figures whose cup runneth over with so much talent, you’ve likely heard him without realizing it. He’s the founder of the locally beloved collective Jazz Mafia; has co-written songs with Blackalicious, Zion-I and Lyrics Born; and performed as a sideman with KRS One, Booker T. Jones and J Boogie’s Dubtronic Science. One time, in 2009, Stevie Wonder crashed one of his shows at an intimate club in the Mission district and \u003ca href=\"http://www.jazzmafia.com/news-1/2017/4/10/jffndbr4c1s03pdjfvlp9v412fdzd5\" target=\"_blank\" rel=\"noopener\">performed two songs with his band\u003c/a>. He’s \u003cem>that \u003c/em>good.\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/M0V0bNdJT-4'\n title='//www.youtube.com/embed/M0V0bNdJT-4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Theis’ latest project is a Jazz Mafia collaboration with the Vau de Vire Society, a circus arts collective comprised of dancers, aerialists and contortionists with an avant-garde edge. Their new production, \u003ca href=\"http://www.thesoileddove.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Soiled Dove\u003c/em>\u003c/a>, takes place inside a giant red tent down the block from the Fox Theater in downtown Oakland. Jazz Mafia perform a live soundtrack at the event, which runs every Friday and Saturday through Nov. 17. The music is also available on \u003ca href=\"https://jazzmafia.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>—though the pole dancers and acrobats won’t come with your download.\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/13843964/jazz-mafia-soundtrack-the-soiled-doves-acrobatic-magic","authors":["11387"],"programs":["arts_140"],"categories":["arts_69","arts_967"],"tags":["arts_1707","arts_1118","arts_1420","arts_3110","arts_596"],"featImg":"arts_13843970","label":"arts_140"},"arts_13839026":{"type":"posts","id":"arts_13839026","meta":{"index":"posts_1591205157","site":"arts","id":"13839026","score":null,"sort":[1534359621000]},"guestAuthors":[],"slug":"bay-brilliant-india-sky-davis","title":"Bay Brilliant: India Sky Davis","publishDate":1534359621,"format":"image","headTitle":"Bay Brilliant: India Sky Davis | KQED","labelTerm":{"term":5448,"site":"arts"},"content":"\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\" target=\"_blank\" rel=\"noopener\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives and makers who are pushing boundaries in 2018. Driven by passion for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Whether directing theater productions, mesmerizing audiences with her acrobatics-based performance art or teaching pole dancing to queer and trans people of color, \u003ca href=\"https://indiaskydavis.com\" target=\"_blank\" rel=\"noopener\">India Sky Davis\u003c/a> redefines what people think when they think of “the circus.”\u003c/p>\n\u003cp>Davis is the artistic director and co-founder of \u003ca href=\"https://www.facebook.com/topsyturvycircus/\" target=\"_blank\" rel=\"noopener\">Topsy Turvy Queer Circus\u003c/a>, the popular show that lights up San Francisco’s Brava Theater every year in the weeks leading up to Pride. Davis and co-founder Indi McCasey have devoted the past three years of Topsy Turvy to a trilogy called \u003cem>Paradise\u003c/em>, a three-part Afrosurrealist play about a fallen angel (played by Davis) who must navigate her way through mystical worlds to fix the order of the universe. An impressive feat of acrobatics and choreography, \u003cem>Paradise\u003c/em> offers a moving story arc about reclaiming one’s personal power.\u003c/p>\n\u003cp>Since its inception in 2012, Topsy Turvy has grown to become the foremost platform for queer circus arts in the Bay Area. Its cast is composed entirely of queer and trans people of color, and several of the cast members are also skilled sign language interpreters who sign while reciting lines and doing backflips. (No biggie.) And, of course, Topsy Turvy’s acting and acrobatics are dazzling.\u003c/p>\n\u003cp>No matter her artistic medium, Davis’ goal is to uplift her community, and the ultra-inclusive spirit of Topsy Turvy has attracted a huge, loyal and super-queer cult following—and sparked valuable conversations about access in performing arts spaces.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/6He5W_LclZg\u003c/p>\n\u003cp>\u003cstrong>I’ve been to Topsy Turvy Queer Circus three times, and it’s so incredibly inclusive. I love that you have sign language as an active part of the show. Has the popularity of Topsy Turvy shifted the conversation in other queer spaces, especially about access for people with disabilities?\u003c/strong>\u003c/p>\n\u003cp>I feel like in the queer community—at least my queer, black, brown community in the Bay Area—there’s discussion and effort around making spaces accessible. Because there are people who have different access needs, I see more effort around having places that are physically accessible and also scent sensitive. But I don’t see as many spaces that have American Sign Language interpretation.\u003c/p>\n\u003cp>Sign language is such a huge, ingrained part of the show because of \u003ca href=\"https://twitter.com/bkazenmaddox?lang=en\" target=\"_blank\" rel=\"noopener\">Brandon Kazen-Maddox\u003c/a>, who’s an interpreter. He’s one of the main performers in the \u003cem>Paradise\u003c/em> series, and I’ve worked with him for over four years. He’s a huge advocate for accessibility to the deaf community. He’s black and queer, and he’s the child of deaf grandparents, so he grew up using sign language. He definitely did a lot of work to make sure that the show was accessible for deaf folks. And not even just accessible, but actually taking sign language to the next level and being really creative in its use and integrating it fully into the show.\u003c/p>\n\u003cp>Also there’s another person, Kevin Abrams, who came in during the second year of \u003cem>Paradise\u003c/em>. He is deaf, so he was brought in as another interpreter and also as another character in the show. The interpreters are characters, and the characters are interpreters.\u003c/p>\n\u003cfigure id=\"attachment_13839051\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839051\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-800x571.jpg\" alt=\"India Sky Davis.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">India Sky Davis. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You have so many different kinds of media that are part of \u003cem>Paradise\u003c/em>: there’s dance, acting and acrobatics, and then the video elements and original music. What’s your process of bringing the whole vision together? \u003c/strong>\u003c/p>\n\u003cp>It’s always really collaborative because it’s a huge project. When I got the idea to do \u003cem>Paradise\u003c/em>, I wanted to also create a platform for brilliant artists. Even creating the story, I created the characters based off of some of the performers that had been in Topsy Turvy who are friends of mine that I’ve worked with for a long time.\u003c/p>\n\u003cp>And so I definitely talked with everyone who’s in the show. I’m like, “This is what the character is,” and then they collaborated with me to bring that character to life. The first year, while I was creating the story, Indira Allegra was writing and I was helping with some edits. We were both writing the second year. And then this year has been the first year that I basically created and wrote the story all by myself. It was a lot of work, but it was also a great experience.\u003c/p>\n\u003cp>There’s people in the cast who are choreographing. I’m not doing everything: I’m giving direction. I’ll do a lot of curation, I’ll select music or even select musicians. \u003ca href=\"https://www.kqed.org/arts/13783251/spellling-a-highlight-at-three-day-black-brown-punk-festival\" target=\"_blank\" rel=\"noopener\">Spellling\u003c/a> did a lot of composing the past two years.\u003c/p>\n\u003cp>Here in the Bay Area, there’s a lot of really amazing and talented artists. My joy—and also, I guess, my practice—is to find people I think are really talented and ask them to lend their talents towards bringing this vision to life.\u003c/p>\n\u003cp>\u003cstrong>That’s a beautiful thing. So what compels you about circus arts as a storytelling medium?\u003c/strong>\u003c/p>\n\u003cp>I think what I like about acrobatic art and aerial dancing and pole dancing is that it’s larger than life. For me, having a super wild imagination—and, I think, wanting to communicate things that are maybe ethereal or hyper-imaginative or fantasy or very surreal—these movement practices where you can transform into anything is really appealing and interesting.\u003c/p>\n\u003cp>I think that I personally have a lot of challenge around the history of American circus. But for me, it’s a tool that I use to communicate these ideas and to bring fantasy and imagination to life.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Ftopsyturvycircus%2Fvideos%2F1527865423892209%2F&show_text=0&width=560\" width=\"560\" height=\"315\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>You’ve worked in other mediums. Before Topsy Turvy, you were known as a dancer with your group Body Waves, and you’ve done photography and solo performance art pieces. Could you tell me about a couple of those?\u003c/strong>\u003c/p>\n\u003cp>Yeah. When I was in undergrad at Antioch College in Ohio, I did theater and film and dance. I did a lot of video work, so that’s one of the reasons why every \u003cem>Paradise\u003c/em> has had video in it and it’s always a part of the story.\u003c/p>\n\u003cp>And then in terms of my solo work, I’m definitely pretty multidisciplinary. I just actually played [the underground music festival] \u003ca href=\"https://www.kqed.org/arts/13838574/the-multivers-is-illuminated-festival-spotlights-black-and-brown-punks\" target=\"_blank\" rel=\"noopener\">The Multivrs is Illuminated\u003c/a> last Thursday. For that set, I was using a vocal loop pedal and pole dancing in that soundscape. I had a duet with a friend; I was dancing in this light projection that reacts when you move, which a friend of mine who’s a coder made.\u003c/p>\n\u003cp>I like to sing. I really like immersive environments, and I really love imagery. The projects now where I’m creating live soundscapes and dancing within them and working with interactive light is something that I’ve been doing for about a year now.\u003c/p>\n\u003cp>Before that, I performed in bars and nightlife and sometimes toured around solo. I had a solo show called \u003cem>An Angel’s Manifesto\u003c/em> right before the first \u003cem>Paradise\u003c/em> opened [in 2015]. That was a dance show. I had an outdoor pole performance at Frank Ogawa Plaza at night in February that was just addressing violence towards femmes in the street and street harassment.\u003c/p>\n\u003cp>And then there was a photo component, which was a series embodying the different archetypes: one was The World from tarot, another one was like a water spirit in the desert. And that was a collaboration with a friend of mine who’s a photographer.\u003c/p>\n\u003cfigure id=\"attachment_13839048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839048\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-800x571.jpg\" alt=\"India Sky Davis.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">India Sky Davis. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’m struck by how you use pole in this really beautiful and sensual way. How did you get into that practice, and how did it became such a key part of your artistry?\u003c/strong>\u003c/p>\n\u003cp>I started pole a long time ago, like maybe 2007, and that was with a friend who was a stripper who had a pole at home. This is before there was this pole studio craze. Maybe you could take a pole class at a sex shop, but it was not popular like it is now. Really, we were just kicking it and playing and teaching ourselves stuff. And we would just take out the pole when we were just having fun or having a party or whatever.\u003c/p>\n\u003cp>So that’s when I first started. I danced very, very briefly right after I graduated from college at a strip club. Then when I moved to Oakland, I brought a pole with me.\u003c/p>\n\u003cp>I had just moved here, I was super broke. I was trying to figure out how I was going to make money during the day. And then I decided I wanted to teach a pole class for queer and trans people of color because that’s just who I wanted to be in class with. It became super popular. I think it was as this popularity of pole dancing was coming, and also the specificity of the space was appealing. I had a lot of fun doing it.\u003c/p>\n\u003cp>I’ve pretty much taught that class consistently for the past six years. It has helped me a lot and has kept me in the pole world.\u003c/p>\n\u003cp>\u003cstrong>In the six years that you’ve been in the Bay Area, things have definitely shifted a lot. Are you feeling some of those effects as an artist?\u003c/strong>\u003c/p>\n\u003cp>Yeah, there’s been a lot of changes over the six years that I’ve been here. I think the biggest change that I feel is just the cost of living, specifically housing. Ideally, I would have a different kind of studio space and living situation. That just isn’t possible for me here.\u003c/p>\n\u003cp>I feel it just by so many people that have been displaced out of their homes and the rise of people that are homeless, living on the street. It’s really intense, and is a huge problem.\u003c/p>\n\u003cp>\u003cstrong>What would be your ideal future for artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>That’s a big question, wow. What I would like to see is for artists—black and brown and queer artists—to get more funding for their work. I would like to see affordable housing for artists, but I would also like to see affordable housing for everyone. I would like to see more equitable pay, like the disparity between how much people are getting paid is so astronomical because we live in this really intense tech industry bubble here where there’s people that are making a ridiculous amount of money and then people that just can’t afford to pay the prices that are out here.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I would like to see more planning and justice around racial equity and housing and access, and just a safer place, a safer community. Where people are prioritized and the land is prioritized and health is prioritized. Yeah, that’s a big question.\u003c/p>\n\n","blocks":[],"excerpt":"India Sky Davis, the co-founder of Topsy Turvy Queer Circus, uses dazzling acrobatics to tell empowering stories that center queer and trans people of color. ","status":"publish","parent":0,"modified":1705027373,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":37,"wordCount":1924},"headData":{"title":"Bay Brilliant: India Sky Davis | KQED","description":"India Sky Davis, the co-founder of Topsy Turvy Queer Circus, uses dazzling acrobatics to tell empowering stories that center queer and trans people of color. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Brilliant: India Sky Davis","datePublished":"2018-08-15T19:00:21.000Z","dateModified":"2024-01-12T02:42:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13839026/bay-brilliant-india-sky-davis","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\" target=\"_blank\" rel=\"noopener\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives and makers who are pushing boundaries in 2018. Driven by passion for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Whether directing theater productions, mesmerizing audiences with her acrobatics-based performance art or teaching pole dancing to queer and trans people of color, \u003ca href=\"https://indiaskydavis.com\" target=\"_blank\" rel=\"noopener\">India Sky Davis\u003c/a> redefines what people think when they think of “the circus.”\u003c/p>\n\u003cp>Davis is the artistic director and co-founder of \u003ca href=\"https://www.facebook.com/topsyturvycircus/\" target=\"_blank\" rel=\"noopener\">Topsy Turvy Queer Circus\u003c/a>, the popular show that lights up San Francisco’s Brava Theater every year in the weeks leading up to Pride. Davis and co-founder Indi McCasey have devoted the past three years of Topsy Turvy to a trilogy called \u003cem>Paradise\u003c/em>, a three-part Afrosurrealist play about a fallen angel (played by Davis) who must navigate her way through mystical worlds to fix the order of the universe. An impressive feat of acrobatics and choreography, \u003cem>Paradise\u003c/em> offers a moving story arc about reclaiming one’s personal power.\u003c/p>\n\u003cp>Since its inception in 2012, Topsy Turvy has grown to become the foremost platform for queer circus arts in the Bay Area. Its cast is composed entirely of queer and trans people of color, and several of the cast members are also skilled sign language interpreters who sign while reciting lines and doing backflips. (No biggie.) And, of course, Topsy Turvy’s acting and acrobatics are dazzling.\u003c/p>\n\u003cp>No matter her artistic medium, Davis’ goal is to uplift her community, and the ultra-inclusive spirit of Topsy Turvy has attracted a huge, loyal and super-queer cult following—and sparked valuable conversations about access in performing arts spaces.\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>\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/6He5W_LclZg'\n title='//www.youtube.com/embed/6He5W_LclZg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>I’ve been to Topsy Turvy Queer Circus three times, and it’s so incredibly inclusive. I love that you have sign language as an active part of the show. Has the popularity of Topsy Turvy shifted the conversation in other queer spaces, especially about access for people with disabilities?\u003c/strong>\u003c/p>\n\u003cp>I feel like in the queer community—at least my queer, black, brown community in the Bay Area—there’s discussion and effort around making spaces accessible. Because there are people who have different access needs, I see more effort around having places that are physically accessible and also scent sensitive. But I don’t see as many spaces that have American Sign Language interpretation.\u003c/p>\n\u003cp>Sign language is such a huge, ingrained part of the show because of \u003ca href=\"https://twitter.com/bkazenmaddox?lang=en\" target=\"_blank\" rel=\"noopener\">Brandon Kazen-Maddox\u003c/a>, who’s an interpreter. He’s one of the main performers in the \u003cem>Paradise\u003c/em> series, and I’ve worked with him for over four years. He’s a huge advocate for accessibility to the deaf community. He’s black and queer, and he’s the child of deaf grandparents, so he grew up using sign language. He definitely did a lot of work to make sure that the show was accessible for deaf folks. And not even just accessible, but actually taking sign language to the next level and being really creative in its use and integrating it fully into the show.\u003c/p>\n\u003cp>Also there’s another person, Kevin Abrams, who came in during the second year of \u003cem>Paradise\u003c/em>. He is deaf, so he was brought in as another interpreter and also as another character in the show. The interpreters are characters, and the characters are interpreters.\u003c/p>\n\u003cfigure id=\"attachment_13839051\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839051\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-800x571.jpg\" alt=\"India Sky Davis.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz3.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">India Sky Davis. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You have so many different kinds of media that are part of \u003cem>Paradise\u003c/em>: there’s dance, acting and acrobatics, and then the video elements and original music. What’s your process of bringing the whole vision together? \u003c/strong>\u003c/p>\n\u003cp>It’s always really collaborative because it’s a huge project. When I got the idea to do \u003cem>Paradise\u003c/em>, I wanted to also create a platform for brilliant artists. Even creating the story, I created the characters based off of some of the performers that had been in Topsy Turvy who are friends of mine that I’ve worked with for a long time.\u003c/p>\n\u003cp>And so I definitely talked with everyone who’s in the show. I’m like, “This is what the character is,” and then they collaborated with me to bring that character to life. The first year, while I was creating the story, Indira Allegra was writing and I was helping with some edits. We were both writing the second year. And then this year has been the first year that I basically created and wrote the story all by myself. It was a lot of work, but it was also a great experience.\u003c/p>\n\u003cp>There’s people in the cast who are choreographing. I’m not doing everything: I’m giving direction. I’ll do a lot of curation, I’ll select music or even select musicians. \u003ca href=\"https://www.kqed.org/arts/13783251/spellling-a-highlight-at-three-day-black-brown-punk-festival\" target=\"_blank\" rel=\"noopener\">Spellling\u003c/a> did a lot of composing the past two years.\u003c/p>\n\u003cp>Here in the Bay Area, there’s a lot of really amazing and talented artists. My joy—and also, I guess, my practice—is to find people I think are really talented and ask them to lend their talents towards bringing this vision to life.\u003c/p>\n\u003cp>\u003cstrong>That’s a beautiful thing. So what compels you about circus arts as a storytelling medium?\u003c/strong>\u003c/p>\n\u003cp>I think what I like about acrobatic art and aerial dancing and pole dancing is that it’s larger than life. For me, having a super wild imagination—and, I think, wanting to communicate things that are maybe ethereal or hyper-imaginative or fantasy or very surreal—these movement practices where you can transform into anything is really appealing and interesting.\u003c/p>\n\u003cp>I think that I personally have a lot of challenge around the history of American circus. But for me, it’s a tool that I use to communicate these ideas and to bring fantasy and imagination to life.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Ftopsyturvycircus%2Fvideos%2F1527865423892209%2F&show_text=0&width=560\" width=\"560\" height=\"315\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>You’ve worked in other mediums. Before Topsy Turvy, you were known as a dancer with your group Body Waves, and you’ve done photography and solo performance art pieces. Could you tell me about a couple of those?\u003c/strong>\u003c/p>\n\u003cp>Yeah. When I was in undergrad at Antioch College in Ohio, I did theater and film and dance. I did a lot of video work, so that’s one of the reasons why every \u003cem>Paradise\u003c/em> has had video in it and it’s always a part of the story.\u003c/p>\n\u003cp>And then in terms of my solo work, I’m definitely pretty multidisciplinary. I just actually played [the underground music festival] \u003ca href=\"https://www.kqed.org/arts/13838574/the-multivers-is-illuminated-festival-spotlights-black-and-brown-punks\" target=\"_blank\" rel=\"noopener\">The Multivrs is Illuminated\u003c/a> last Thursday. For that set, I was using a vocal loop pedal and pole dancing in that soundscape. I had a duet with a friend; I was dancing in this light projection that reacts when you move, which a friend of mine who’s a coder made.\u003c/p>\n\u003cp>I like to sing. I really like immersive environments, and I really love imagery. The projects now where I’m creating live soundscapes and dancing within them and working with interactive light is something that I’ve been doing for about a year now.\u003c/p>\n\u003cp>Before that, I performed in bars and nightlife and sometimes toured around solo. I had a solo show called \u003cem>An Angel’s Manifesto\u003c/em> right before the first \u003cem>Paradise\u003c/em> opened [in 2015]. That was a dance show. I had an outdoor pole performance at Frank Ogawa Plaza at night in February that was just addressing violence towards femmes in the street and street harassment.\u003c/p>\n\u003cp>And then there was a photo component, which was a series embodying the different archetypes: one was The World from tarot, another one was like a water spirit in the desert. And that was a collaboration with a friend of mine who’s a photographer.\u003c/p>\n\u003cfigure id=\"attachment_13839048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839048\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-800x571.jpg\" alt=\"India Sky Davis.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/ISDavisHoriz1.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">India Sky Davis. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’m struck by how you use pole in this really beautiful and sensual way. How did you get into that practice, and how did it became such a key part of your artistry?\u003c/strong>\u003c/p>\n\u003cp>I started pole a long time ago, like maybe 2007, and that was with a friend who was a stripper who had a pole at home. This is before there was this pole studio craze. Maybe you could take a pole class at a sex shop, but it was not popular like it is now. Really, we were just kicking it and playing and teaching ourselves stuff. And we would just take out the pole when we were just having fun or having a party or whatever.\u003c/p>\n\u003cp>So that’s when I first started. I danced very, very briefly right after I graduated from college at a strip club. Then when I moved to Oakland, I brought a pole with me.\u003c/p>\n\u003cp>I had just moved here, I was super broke. I was trying to figure out how I was going to make money during the day. And then I decided I wanted to teach a pole class for queer and trans people of color because that’s just who I wanted to be in class with. It became super popular. I think it was as this popularity of pole dancing was coming, and also the specificity of the space was appealing. I had a lot of fun doing it.\u003c/p>\n\u003cp>I’ve pretty much taught that class consistently for the past six years. It has helped me a lot and has kept me in the pole world.\u003c/p>\n\u003cp>\u003cstrong>In the six years that you’ve been in the Bay Area, things have definitely shifted a lot. Are you feeling some of those effects as an artist?\u003c/strong>\u003c/p>\n\u003cp>Yeah, there’s been a lot of changes over the six years that I’ve been here. I think the biggest change that I feel is just the cost of living, specifically housing. Ideally, I would have a different kind of studio space and living situation. That just isn’t possible for me here.\u003c/p>\n\u003cp>I feel it just by so many people that have been displaced out of their homes and the rise of people that are homeless, living on the street. It’s really intense, and is a huge problem.\u003c/p>\n\u003cp>\u003cstrong>What would be your ideal future for artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>That’s a big question, wow. What I would like to see is for artists—black and brown and queer artists—to get more funding for their work. I would like to see affordable housing for artists, but I would also like to see affordable housing for everyone. I would like to see more equitable pay, like the disparity between how much people are getting paid is so astronomical because we live in this really intense tech industry bubble here where there’s people that are making a ridiculous amount of money and then people that just can’t afford to pay the prices that are out here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I would like to see more planning and justice around racial equity and housing and access, and just a safer place, a safer community. Where people are prioritized and the land is prioritized and health is prioritized. Yeah, that’s a big question.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13839026/bay-brilliant-india-sky-davis","authors":["11387"],"series":["arts_5448"],"categories":["arts_1003","arts_967"],"tags":["arts_5449","arts_1707","arts_1118","arts_596"],"featImg":"arts_13839050","label":"arts_5448"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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