Over 160 Black Men, One Giant Conversation at Oakland Museum
Janine Barrera-Castillo Paints Nature's Abstract Truth
For Arumi, A Feeling More Important Than Sound
West Oakland Collective CTRL+SHFT Carves Out Space for Underrepresented Artists
Making Queer and Trans Asian American Identities Visible
Tosha Stimage's World of Oranges, Language, and Black Identity
On Being Young, Alone, and Crossing Into the United States
Undocumented Youth Tell Their Stories on Instagram
Dancer Ed Mock's 'Unstoppable Feat' Chronicled in New Documentary
Sponsored
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The space is quiet, plainly decorated, with the walls, floors, and benches practically disappearing in a muted, uniform black. Viewers watch video recordings with an almost reverent silence, their eyes fixed on the room’s only source of light: an array of brightly lit screens, with a black man in the center of each.\u003c/p>\n\u003cp>Directed by Chris Johnson and Hank Willis Thomas, in collaboration with Bayete Ross Smith and Kamal Sinclair, \u003cem>Question Bridge: Black Males\u003c/em> has grown from its roots as a video installation into a full-fledged movement of national significance. Originally shown at OMCA in 2012, the project was commended for its presentation of the black male narrative — and, most notably, its diversity across the American population.\u003c/p>\n\u003cfigure id=\"attachment_13812763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-800x321.jpg\" alt=\"A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair.\" width=\"800\" height=\"321\" class=\"size-medium wp-image-13812763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-800x321.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-768x308.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-1020x409.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-1180x473.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-960x385.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-520x209.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair. \u003ccite>(Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[The artists] wanted to make sure they covered as many different kinds of folks as possible. Different cities, older men, younger men. Different occupations,” says Rene de Guzman, curator of the OMCA showing. “Of course you can’t cover every single person, but I think [viewers] had a sense of like, this is a really broad range of folks who are participating in the conversation.”\u003c/p>\n\u003cp>The breadth clearly comes across. When watching even a small snippet of the three-hour long video reel featuring 160 interviewees, it’s impossible not to notice the wide range black males from all walks of life — young boys, established judges, current prison inmates, famous actors and many more.\u003c/p>\n\u003cp>“One [hope of the exhibit] is for folks to understand that black males are as dynamic, interesting, and complicated as everyone else. That folks will stop objectifying who they are — they’re human beings…[Their narratives] are expansive and complex and incredibly interesting,” shares de Guzman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the range in location and physicality of those interviewed, \u003cem>Question Bridge: Black Males\u003c/em> hinges on the notion that people are bound by their shared ideas and experiences. While viewing the piece, the men often appear to be talking with one another, each contributing a different perspective to an ongoing conversation — despite never having been in the same room. They discuss the use of the n-word, Post Traumatic Slave Syndrome, and how they know when they’re really in love — while maintaining a feeling of continuity, which Guzman explains was intentional.\u003c/p>\n\u003cp>“What [the artists] wanted to emphasize was that it was not physicality so much as ideas that connect people,” he says, hoping the exhibit can help viewers understand “not only how they think about black males, but how they think about themselves. Their differences and their commonalities, so that they can connect with other kinds of people.” \u003c/p>\n\u003cfigure id=\"attachment_13812762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-800x683.jpg\" alt=\"A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair.\" width=\"800\" height=\"683\" class=\"size-medium wp-image-13812762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-800x683.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-768x656.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-1020x871.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-1180x1008.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-960x820.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-240x205.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-375x320.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-520x444.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair. \u003ccite>(Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Creating a tangible, physical space to make room for such multi-faceted reflection is no easy feat — something de Guzman kept in mind while designing the exhibit. Rather than viewing interviews from afar, viewers are seated in close proximity to the spread of screens.\u003c/p>\n\u003cp>In fact, the benches, placed in rows going away from the screen, even faintly recall the pews of a church. And the viewers’ collective quiet similarly contributes to the feeling of entering into a “sacred agreement [viewers] made with the project. That [they] were a guest to this conversation that is vulnerable, unique, and intimate,” according to de Guzman.\u003c/p>\n\u003cp>Ultimately, every thoughtful, intentional choice in setting the exhibit sets the tone for its core purpose: Fostering conversation while providing a platform for black men to speak their thoughts, regardless of who or where they may be. Recounting an impromptu talk with artist and cofounder Chris Johnson on opening night, de Guzman explained how audience members thought that interviewees had extensively prepared their answers for the filming. \u003c/p>\n\u003cp>“[In response,] Chris said no,” de Guzman says. “He said that these rehearsed answers are happening all over the place every single day. The project just gave folks the opportunity to share what they were thinking about their whole lives.”\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>‘Question Bridge: Black Males’ runs through Feb. 25, 2018, at the Oakland Museum of California. \u003ca href=\"http://museumca.org/exhibit/question-bridge-black-males-2017\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'Question Bridge: Black Males' has grown from its roots as a video installation into a full-fledged movement of national significance.","status":"publish","parent":0,"modified":1705029243,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":763},"headData":{"title":"Over 160 Black Men, One Giant Conversation at Oakland Museum | KQED","description":"'Question Bridge: Black Males' has grown from its roots as a video installation into a full-fledged movement of national significance.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Over 160 Black Men, One Giant Conversation at Oakland Museum","datePublished":"2017-10-26T15:00:21.000Z","dateModified":"2024-01-12T03:14:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13812757/over-160-black-men-one-giant-conversation-at-oakland-museum","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walking into \u003cem>Question Bridge: Black Males\u003c/em>, a newly acquired multimedia exhibit at the Oakland Museum of California, I’m immediately enveloped in hushed darkness. The space is quiet, plainly decorated, with the walls, floors, and benches practically disappearing in a muted, uniform black. Viewers watch video recordings with an almost reverent silence, their eyes fixed on the room’s only source of light: an array of brightly lit screens, with a black man in the center of each.\u003c/p>\n\u003cp>Directed by Chris Johnson and Hank Willis Thomas, in collaboration with Bayete Ross Smith and Kamal Sinclair, \u003cem>Question Bridge: Black Males\u003c/em> has grown from its roots as a video installation into a full-fledged movement of national significance. Originally shown at OMCA in 2012, the project was commended for its presentation of the black male narrative — and, most notably, its diversity across the American population.\u003c/p>\n\u003cfigure id=\"attachment_13812763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-800x321.jpg\" alt=\"A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair.\" width=\"800\" height=\"321\" class=\"size-medium wp-image-13812763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-800x321.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-768x308.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-1020x409.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-1180x473.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-960x385.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-520x209.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair. \u003ccite>(Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[The artists] wanted to make sure they covered as many different kinds of folks as possible. Different cities, older men, younger men. Different occupations,” says Rene de Guzman, curator of the OMCA showing. “Of course you can’t cover every single person, but I think [viewers] had a sense of like, this is a really broad range of folks who are participating in the conversation.”\u003c/p>\n\u003cp>The breadth clearly comes across. When watching even a small snippet of the three-hour long video reel featuring 160 interviewees, it’s impossible not to notice the wide range black males from all walks of life — young boys, established judges, current prison inmates, famous actors and many more.\u003c/p>\n\u003cp>“One [hope of the exhibit] is for folks to understand that black males are as dynamic, interesting, and complicated as everyone else. That folks will stop objectifying who they are — they’re human beings…[Their narratives] are expansive and complex and incredibly interesting,” shares de Guzman.\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>Despite the range in location and physicality of those interviewed, \u003cem>Question Bridge: Black Males\u003c/em> hinges on the notion that people are bound by their shared ideas and experiences. While viewing the piece, the men often appear to be talking with one another, each contributing a different perspective to an ongoing conversation — despite never having been in the same room. They discuss the use of the n-word, Post Traumatic Slave Syndrome, and how they know when they’re really in love — while maintaining a feeling of continuity, which Guzman explains was intentional.\u003c/p>\n\u003cp>“What [the artists] wanted to emphasize was that it was not physicality so much as ideas that connect people,” he says, hoping the exhibit can help viewers understand “not only how they think about black males, but how they think about themselves. Their differences and their commonalities, so that they can connect with other kinds of people.” \u003c/p>\n\u003cfigure id=\"attachment_13812762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-800x683.jpg\" alt=\"A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair.\" width=\"800\" height=\"683\" class=\"size-medium wp-image-13812762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-800x683.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-768x656.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-1020x871.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-1180x1008.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-960x820.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-240x205.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-375x320.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-520x444.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair. \u003ccite>(Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Creating a tangible, physical space to make room for such multi-faceted reflection is no easy feat — something de Guzman kept in mind while designing the exhibit. Rather than viewing interviews from afar, viewers are seated in close proximity to the spread of screens.\u003c/p>\n\u003cp>In fact, the benches, placed in rows going away from the screen, even faintly recall the pews of a church. And the viewers’ collective quiet similarly contributes to the feeling of entering into a “sacred agreement [viewers] made with the project. That [they] were a guest to this conversation that is vulnerable, unique, and intimate,” according to de Guzman.\u003c/p>\n\u003cp>Ultimately, every thoughtful, intentional choice in setting the exhibit sets the tone for its core purpose: Fostering conversation while providing a platform for black men to speak their thoughts, regardless of who or where they may be. Recounting an impromptu talk with artist and cofounder Chris Johnson on opening night, de Guzman explained how audience members thought that interviewees had extensively prepared their answers for the filming. \u003c/p>\n\u003cp>“[In response,] Chris said no,” de Guzman says. “He said that these rehearsed answers are happening all over the place every single day. The project just gave folks the opportunity to share what they were thinking about their whole lives.”\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>‘Question Bridge: Black Males’ runs through Feb. 25, 2018, at the Oakland Museum of California. \u003ca href=\"http://museumca.org/exhibit/question-bridge-black-males-2017\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13812757/over-160-black-men-one-giant-conversation-at-oakland-museum","authors":["11391"],"programs":["arts_1364"],"categories":["arts_70"],"tags":["arts_1522","arts_1118","arts_596","arts_2755"],"featImg":"arts_13812764","label":"arts_1364"},"arts_13810941":{"type":"posts","id":"arts_13810941","meta":{"index":"posts_1591205157","site":"arts","id":"13810941","score":null,"sort":[1508457641000]},"guestAuthors":[],"slug":"janine-barrera-castillo-paints-natures-abstract-truth","title":"Janine Barrera-Castillo Paints Nature's Abstract Truth","publishDate":1508457641,"format":"image","headTitle":"Janine Barrera-Castillo Paints Nature’s Abstract Truth | KQED","labelTerm":{"term":1364,"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">A paint-covered glove holding onto a brush glides back and forth, back and forth, dips into her paint, and motions back and forth across the canvas again, spreading a layer of green to set the piece’s foundation. The movement becomes a meditative practice, as the artist lets the painting lead her hand to create vibrant patterns of layered oil.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is how Janine Barrera-Castillo spends most days of the week, shut inside her studio, fixated on the only thing in the world that matters in that moment. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I love the idea of how nature is so real and so honest,” she says of creating her abstract landscapes. “You know, like that’s the way things are supposed to be.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Barrera-Castillo begins her day the with an hour-long walk, a ritual she’s practiced for the past 20 years. She strolls near her house in Green Valley, past the many oak trees that stand tall in her neighborhood, before walking to her studio in Vallejo.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“You can imagine how the Bay Area used to look like,” she says about the picturesque views outside her home. “At one time it probably all looked like that.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13810948\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-800x525.jpg\" alt=\"\" width=\"800\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-520x341.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rather than directly copying these views in her work, she strives to capture the feelings that nature evokes with oil paints, textures and brilliant colors.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Barrera-Castillo is currently gearing up for her upcoming solo exhibit \u003cem>Patterns of Nature\u003c/em>, opening Oct. 23 at the Philippine Center in San Francisco. One piece selected for her upcoming show, “Complimentary Sunset,” leans against her studio wall with shapes both warm and cool, evoking the scene that she sees outside her window every night in the North Bay.\u003c/span>\u003c/p>\n\u003cp>As a nature-lover who moved to the Bay Area about 30 years ago, it worries her that she feels the summers getting hotter, the colder days growing fewer and farther between, and natural disasters tearing apart communities across the country.\u003c/p>\n\u003cp>Just one week after speaking with KQED, in fact, her family evacuated their Green Valley home as fires tore through the North Bay, destroying scenery that now lives on only through memory, photographs or paintings. Her art remains a tribute to that beauty, and her personal plea to encourage humans to take better care of the natural world around them. \u003c/p>\n\u003cp>Though Barrera-Castillo always possessed a love of art and nature, it took nearly half a lifetime of artistic self-discovery to cultivate her unique abstract style.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13810949\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9295-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Growing up in a rural town in Cebu, Philippines, Barrera-Castillo’s father, who was a photographer himself, took a young Janine with him when he explored the island to take photos of landscapes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As she grew up, the focus of her formal art training emphasized tradition rather than creativity. While attending the University of the Philippines, she spent her time learning to emulate classic Western European-style paintings.\u003c/span>\u003c/p>\n\u003cp>On top of that, teachers constantly told her to “paint like a Filipino,” a directive she couldn’t wrap her mind around.\u003c/p>\n\u003cp>“A Filipino will always paint Filipino even if he’s painting the Eiffel Tower in Paris — he can’t help it because he’s looking at it through Filipino eyes,” she says now, with a laugh. \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After graduation, she earned a scholarship to Academy of Art University and immigrated to the U.S. Not only did she struggle to assimilate into a different culture, but she encountered the demands of an entirely new artistic philosophy in America. Her professors told her the opposite of what she was taught back home, encouraging her to break away from the traditional styles instilled in her.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She also felt frustration at seeing her male peers booked in shows more often than women. And as she grappled with the struggle to find her artistic identity, she made the decision to become a wife and mother. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s women who are holding on to what [they] love to do and at the same time trying to fulfill [their] obligations as a mother or wife,” she says. “Some women sacrifice one for the other, some women try to do all.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For years, she made the sacrifice.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s really painful not to be able to paint if you’re an artist,” she says, remembering a period in life when she stopped painting completely. “It just really messes you up as a person.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13810947\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9310-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But once her children grew older, Barrera-Castillo realized a part of herself felt missing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She began to make friends with her brushes and paints again, spending time in her studio without the pressure to create. Slowly but surely, over several years, she put oil to canvas again and found her meditative rhythm through abstract landscapes, a way to honor what she loves most.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Barrera-Castillo’s current style is a reflection of her evolution as an artist, as an immigrant, as a mother — and most of all, as a lover of the environment.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Even though my work looks like pleasant paintings with pretty colors, this is my way of paying tribute to whatever we still have right now, which can easily just go,” she says. “I wish we can preserve that for many generations to come.” \u003c/span>\u003c/p>\n\u003cp>\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\n","blocks":[],"excerpt":"Growing up in Cebu, Philippines, the artist inherited a love of nature that fuels her colorful, abstract painting today.","status":"publish","parent":0,"modified":1705029289,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":905},"headData":{"title":"Janine Barrera-Castillo Paints Nature's Abstract Truth | KQED","description":"Growing up in Cebu, Philippines, the artist inherited a love of nature that fuels her colorful, abstract painting today.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Janine Barrera-Castillo Paints Nature's Abstract Truth","datePublished":"2017-10-20T00:00:41.000Z","dateModified":"2024-01-12T03:14:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13810941/janine-barrera-castillo-paints-natures-abstract-truth","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">A paint-covered glove holding onto a brush glides back and forth, back and forth, dips into her paint, and motions back and forth across the canvas again, spreading a layer of green to set the piece’s foundation. The movement becomes a meditative practice, as the artist lets the painting lead her hand to create vibrant patterns of layered oil.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is how Janine Barrera-Castillo spends most days of the week, shut inside her studio, fixated on the only thing in the world that matters in that moment. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I love the idea of how nature is so real and so honest,” she says of creating her abstract landscapes. “You know, like that’s the way things are supposed to be.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Barrera-Castillo begins her day the with an hour-long walk, a ritual she’s practiced for the past 20 years. She strolls near her house in Green Valley, past the many oak trees that stand tall in her neighborhood, before walking to her studio in Vallejo.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“You can imagine how the Bay Area used to look like,” she says about the picturesque views outside her home. “At one time it probably all looked like that.”\u003c/span>\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>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13810948\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-800x525.jpg\" alt=\"\" width=\"800\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/21751644_1441616095959621_8312455972433212281_n-520x341.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rather than directly copying these views in her work, she strives to capture the feelings that nature evokes with oil paints, textures and brilliant colors.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Barrera-Castillo is currently gearing up for her upcoming solo exhibit \u003cem>Patterns of Nature\u003c/em>, opening Oct. 23 at the Philippine Center in San Francisco. One piece selected for her upcoming show, “Complimentary Sunset,” leans against her studio wall with shapes both warm and cool, evoking the scene that she sees outside her window every night in the North Bay.\u003c/span>\u003c/p>\n\u003cp>As a nature-lover who moved to the Bay Area about 30 years ago, it worries her that she feels the summers getting hotter, the colder days growing fewer and farther between, and natural disasters tearing apart communities across the country.\u003c/p>\n\u003cp>Just one week after speaking with KQED, in fact, her family evacuated their Green Valley home as fires tore through the North Bay, destroying scenery that now lives on only through memory, photographs or paintings. Her art remains a tribute to that beauty, and her personal plea to encourage humans to take better care of the natural world around them. \u003c/p>\n\u003cp>Though Barrera-Castillo always possessed a love of art and nature, it took nearly half a lifetime of artistic self-discovery to cultivate her unique abstract style.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13810949\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9295-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9295-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Growing up in a rural town in Cebu, Philippines, Barrera-Castillo’s father, who was a photographer himself, took a young Janine with him when he explored the island to take photos of landscapes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As she grew up, the focus of her formal art training emphasized tradition rather than creativity. While attending the University of the Philippines, she spent her time learning to emulate classic Western European-style paintings.\u003c/span>\u003c/p>\n\u003cp>On top of that, teachers constantly told her to “paint like a Filipino,” a directive she couldn’t wrap her mind around.\u003c/p>\n\u003cp>“A Filipino will always paint Filipino even if he’s painting the Eiffel Tower in Paris — he can’t help it because he’s looking at it through Filipino eyes,” she says now, with a laugh. \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After graduation, she earned a scholarship to Academy of Art University and immigrated to the U.S. Not only did she struggle to assimilate into a different culture, but she encountered the demands of an entirely new artistic philosophy in America. Her professors told her the opposite of what she was taught back home, encouraging her to break away from the traditional styles instilled in her.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She also felt frustration at seeing her male peers booked in shows more often than women. And as she grappled with the struggle to find her artistic identity, she made the decision to become a wife and mother. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s women who are holding on to what [they] love to do and at the same time trying to fulfill [their] obligations as a mother or wife,” she says. “Some women sacrifice one for the other, some women try to do all.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For years, she made the sacrifice.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s really painful not to be able to paint if you’re an artist,” she says, remembering a period in life when she stopped painting completely. “It just really messes you up as a person.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13810947\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9310-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9310-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But once her children grew older, Barrera-Castillo realized a part of herself felt missing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She began to make friends with her brushes and paints again, spending time in her studio without the pressure to create. Slowly but surely, over several years, she put oil to canvas again and found her meditative rhythm through abstract landscapes, a way to honor what she loves most.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Barrera-Castillo’s current style is a reflection of her evolution as an artist, as an immigrant, as a mother — and most of all, as a lover of the environment.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Even though my work looks like pleasant paintings with pretty colors, this is my way of paying tribute to whatever we still have right now, which can easily just go,” she says. “I wish we can preserve that for many generations to come.” \u003c/span>\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13810941/janine-barrera-castillo-paints-natures-abstract-truth","authors":["11367"],"programs":["arts_1364"],"categories":["arts_835","arts_70"],"tags":["arts_1522","arts_1118","arts_2832","arts_596"],"featImg":"arts_13810942","label":"arts_1364"},"arts_13807616":{"type":"posts","id":"arts_13807616","meta":{"index":"posts_1591205157","site":"arts","id":"13807616","score":null,"sort":[1504821616000]},"guestAuthors":[],"slug":"for-arumi-a-feeling-thats-more-important-than-sound","title":"For Arumi, A Feeling More Important Than Sound","publishDate":1504821616,"format":"image","headTitle":"For Arumi, A Feeling More Important Than Sound | KQED","labelTerm":{"term":1364,"site":"arts"},"content":"\u003cp>Amidst the corrugated, graffiti-lined walls surrounding Oakland’s annual Hiero Day festival early Monday afternoon, San Francisco producer Arumi took the stage as a welcome respite to the day’s more hectic activity. Wearing a white long-sleeve shirt, with her bleached-blonde ends catching the occasional summer breeze, Arumi stood calm and collected as she opened her set with a mashup of Post Malone’s “Congratulations” — a momentary oasis of cool electronic sounds in the sweltering heat.\u003c/p>\n\u003cp>Although the DJ and producer from Los Angeles first learned how to mix in ninth grade, Arumi began seriously releasing music after she graduated from San Francisco State only a year and a half ago. Her characteristically ambient mixing style — an amalgamation of house, hip-hop, and funky synths — has since drawn the attention of many in the local art scene.\u003c/p>\n\u003cp>This year, in addition to Hiero Day, Arumi performed at the Women In Music Bay Area festival, showcased at 1015 Folsom, and produced the track “\u003ca href=\"http://www.thefader.com/2016/10/03/siri-come-with-me-video-gawdbawdy-oakland\" target=\"_blank\" rel=\"noopener\">Come With Me\u003c/a>” for emerging Oakland rapper Siri. She’s also appeared in a number of collaborations with Oakland art collective \u003ca href=\"http://www.levanguard.org/\" target=\"_blank\" rel=\"noopener\">Le Vanguard\u003c/a>, as well as with Vanessa Nguyen, one of its founding members.\u003c/p>\n\u003cfigure id=\"attachment_13807816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-800x533.jpg\" alt=\"Arumi performs at Hiero Day in West Oakland, Sept. 4, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13807816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arumi performs at Hiero Day in West Oakland, Sept. 4, 2017. \u003ccite>(Courtesy Arumi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everyone in the Bay Area has been super supportive. It’s been a really good experience because there’s such a tight music and art community,” she explains. “I’ve never felt competition, even with females. I feel like if I started in L.A., it’d be completely different, so I’m very thankful that I’m in the Bay right now, doing everything I’m doing.”\u003c/p>\n\u003cp>And as a female musician in a male-dominated industry, Arumi draws a great deal of inspiration from others in the same milieu. Los Angeles record label and music collective \u003ca href=\"https://soulection.com/\" target=\"_blank\" rel=\"noopener\">Soulection\u003c/a>, for instance, is one of the producer’s primary influences for its unique sound and women-heavy roster of DJs. Citing artists like Tokimonsta, Peggy Guo, Mija, and Black Madonna as inspirations alludes to the significant effect that female DJs — especially Asian female DJs — have had on Arumi’s own work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Females definitely have to prove themselves, I feel like. Especially in the music industry, because it’s so male-dominated,” Arumi says. “There’s just something unspoken about [working with women] that makes things flow a little better. We’re more on the same page… But yeah, we’re getting there. We can do it.”\u003c/p>\n\u003cp>In terms of incorporating her own cultural and ethnic heritage into her music, the artist — of Korean and Japanese descent — hopes to include pieces of traditional sounds she can alter to create her own unique work. For her, the small pockets of cultural sound are meant to bring exposure to her East Asian background.\u003c/p>\n\u003cp>“I get messages from young Asian females saying that what I’m doing is dope and that I inspire them — and that means the world to me,” she shares with a wide smile. “I’d love to see more Asian females in the game, you know? There are Asian females doing it for me, so I just want to be able to give back and do it for others.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/323113399&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>For now, Arumi is looking to expand the bright, easygoing style of her mixes to full-fledged production. Despite the fact that much of her work currently skews hip-hop (such as Arumi’s Hiero Day set, for instance), the producer wants to explore more experimental genres going forward. That means collaborating with even more members of the Bay’s rich, talented art scene, and making songs for artists that she believes in — especially those who focus on house or electronic music. When producing, however, Arumi says she immortalizes \u003cem>feelings\u003c/em> in her songs rather than particular sounds or styles.\u003c/p>\n\u003cp>“If I hear something that inspires me, I’ll try to recreate a similar vibe. It can be one sound, and I can put it together and build a whole song around it,” Arumi describes. “[I try to capture] whatever I am feeling, or something that makes me feel a certain way. Like [when] you feel something and wanna capture it, so you do your best to recreate that.”\u003c/p>\n\u003cp>Judging by the dreamy, dance-y set she played at Hiero Day, Arumi definitely knows how to capture a feeling. And looking at the strides she’s taken in the Bay Area music scene so far, she’s not afraid to share it.\u003c/p>\n\u003cp>\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\n","blocks":[],"excerpt":"The DJ and producer conjures a delicate, relaxed mood in her sets, inspiring other young Asian women in a male-dominated scene.","status":"publish","parent":0,"modified":1705029585,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":807},"headData":{"title":"For Arumi, A Feeling More Important Than Sound | KQED","description":"The DJ and producer conjures a delicate, relaxed mood in her sets, inspiring other young Asian women in a male-dominated scene.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"For Arumi, A Feeling More Important Than Sound","datePublished":"2017-09-07T22:00:16.000Z","dateModified":"2024-01-12T03:19:45.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13807616/for-arumi-a-feeling-thats-more-important-than-sound","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amidst the corrugated, graffiti-lined walls surrounding Oakland’s annual Hiero Day festival early Monday afternoon, San Francisco producer Arumi took the stage as a welcome respite to the day’s more hectic activity. Wearing a white long-sleeve shirt, with her bleached-blonde ends catching the occasional summer breeze, Arumi stood calm and collected as she opened her set with a mashup of Post Malone’s “Congratulations” — a momentary oasis of cool electronic sounds in the sweltering heat.\u003c/p>\n\u003cp>Although the DJ and producer from Los Angeles first learned how to mix in ninth grade, Arumi began seriously releasing music after she graduated from San Francisco State only a year and a half ago. Her characteristically ambient mixing style — an amalgamation of house, hip-hop, and funky synths — has since drawn the attention of many in the local art scene.\u003c/p>\n\u003cp>This year, in addition to Hiero Day, Arumi performed at the Women In Music Bay Area festival, showcased at 1015 Folsom, and produced the track “\u003ca href=\"http://www.thefader.com/2016/10/03/siri-come-with-me-video-gawdbawdy-oakland\" target=\"_blank\" rel=\"noopener\">Come With Me\u003c/a>” for emerging Oakland rapper Siri. She’s also appeared in a number of collaborations with Oakland art collective \u003ca href=\"http://www.levanguard.org/\" target=\"_blank\" rel=\"noopener\">Le Vanguard\u003c/a>, as well as with Vanessa Nguyen, one of its founding members.\u003c/p>\n\u003cfigure id=\"attachment_13807816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-800x533.jpg\" alt=\"Arumi performs at Hiero Day in West Oakland, Sept. 4, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13807816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arumi performs at Hiero Day in West Oakland, Sept. 4, 2017. \u003ccite>(Courtesy Arumi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everyone in the Bay Area has been super supportive. It’s been a really good experience because there’s such a tight music and art community,” she explains. “I’ve never felt competition, even with females. I feel like if I started in L.A., it’d be completely different, so I’m very thankful that I’m in the Bay right now, doing everything I’m doing.”\u003c/p>\n\u003cp>And as a female musician in a male-dominated industry, Arumi draws a great deal of inspiration from others in the same milieu. Los Angeles record label and music collective \u003ca href=\"https://soulection.com/\" target=\"_blank\" rel=\"noopener\">Soulection\u003c/a>, for instance, is one of the producer’s primary influences for its unique sound and women-heavy roster of DJs. Citing artists like Tokimonsta, Peggy Guo, Mija, and Black Madonna as inspirations alludes to the significant effect that female DJs — especially Asian female DJs — have had on Arumi’s own work.\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>“Females definitely have to prove themselves, I feel like. Especially in the music industry, because it’s so male-dominated,” Arumi says. “There’s just something unspoken about [working with women] that makes things flow a little better. We’re more on the same page… But yeah, we’re getting there. We can do it.”\u003c/p>\n\u003cp>In terms of incorporating her own cultural and ethnic heritage into her music, the artist — of Korean and Japanese descent — hopes to include pieces of traditional sounds she can alter to create her own unique work. For her, the small pockets of cultural sound are meant to bring exposure to her East Asian background.\u003c/p>\n\u003cp>“I get messages from young Asian females saying that what I’m doing is dope and that I inspire them — and that means the world to me,” she shares with a wide smile. “I’d love to see more Asian females in the game, you know? There are Asian females doing it for me, so I just want to be able to give back and do it for others.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/323113399&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>For now, Arumi is looking to expand the bright, easygoing style of her mixes to full-fledged production. Despite the fact that much of her work currently skews hip-hop (such as Arumi’s Hiero Day set, for instance), the producer wants to explore more experimental genres going forward. That means collaborating with even more members of the Bay’s rich, talented art scene, and making songs for artists that she believes in — especially those who focus on house or electronic music. When producing, however, Arumi says she immortalizes \u003cem>feelings\u003c/em> in her songs rather than particular sounds or styles.\u003c/p>\n\u003cp>“If I hear something that inspires me, I’ll try to recreate a similar vibe. It can be one sound, and I can put it together and build a whole song around it,” Arumi describes. “[I try to capture] whatever I am feeling, or something that makes me feel a certain way. Like [when] you feel something and wanna capture it, so you do your best to recreate that.”\u003c/p>\n\u003cp>Judging by the dreamy, dance-y set she played at Hiero Day, Arumi definitely knows how to capture a feeling. And looking at the strides she’s taken in the Bay Area music scene so far, she’s not afraid to share it.\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13807616/for-arumi-a-feeling-thats-more-important-than-sound","authors":["11391"],"programs":["arts_1364"],"categories":["arts_835","arts_69"],"tags":["arts_1522","arts_1118","arts_1088","arts_596"],"featImg":"arts_13807817","label":"arts_1364"},"arts_13790714":{"type":"posts","id":"arts_13790714","meta":{"index":"posts_1591205157","site":"arts","id":"13790714","score":null,"sort":[1501797642000]},"guestAuthors":[],"slug":"west-oakland-collective-ctrlshft-carves-out-space-for-underrepresented-artists","title":"West Oakland Collective CTRL+SHFT Carves Out Space for Underrepresented Artists","publishDate":1501797642,"format":"image","headTitle":"West Oakland Collective CTRL+SHFT Carves Out Space for Underrepresented Artists | KQED","labelTerm":{"term":1364,"site":"arts"},"content":"\u003cp>Visitors to CTRL+SHFT’s gallery space in West Oakland immediately notice a massive, vibrantly colored painting by Oakland-based artist Lukaza Branfman-Verissimo. Childlike confetti decorates the bottom half of the work — a stark rebuke to the heavy dark brown tones and urgent all-caps phrase on the top half of the piece: “IT IS IMPORTANT TO REMEMBER ALL THE RESISTANCE WORK FOLKS ARE DOING ALL OVER THE WORLD RIGHT NOW.”\u003c/p>\n\u003cp>The painting serves as a thematic centerpiece to “Double Dip,” CTRL+SHFT’s annual, members-only pop-up show and two-year anniversary celebration. Founded in 2015, the collective of women-identifying and nonbinary artists have spent the past two years providing space for underrepresented identities in the art world — namely, artists who identify as women, queer and trans folks, gender nonconforming folks, and people of color.\u003c/p>\n\u003cfigure id=\"attachment_13790720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/kenyatta-800x450.jpg\" alt=\"Kenyatta A.C. Hinkle of CTRL+SHFT.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13790720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kenyatta A.C. Hinkle of CTRL+SHFT. \u003ccite>(Courtesy CTRL+SHFT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There were a lot of members who felt that there were conversations around race, gender, and other political things that people wanted to explore as a group,” says Erica Molesworth, a founding member of the collective. “It came down to that: providing a space, providing a platform [that looked] at gender and racial inequalities in the art world and wanting to do something to remedy that.”\u003c/p>\n\u003cp>And so CTRL+SHFT’s founding members opened a space combining technical aspects of contemporary art — most of the group had just graduated with MFAs from CCA — with socially relevant dialogue and experimental elements that weren’t receiving representation elsewhere. Most recently, the gallery welcomed Oakland artist \u003ca href=\"https://yetundeolagbaju.com/give-it-to-her/\" target=\"_blank\" rel=\"noopener\">Yetunde Olagbaju\u003c/a> for her solo show, \u003cem>give it to her when she’s decided she knew herself…\u003c/em>, an multimedia installation that explored Olagbaju’s relationship with her Gullah/Geechee and Yoruba ancestry.\u003c/p>\n\u003cp>“The goal is to give people the space, and to let them do what they can’t do elsewhere — whether that is highlighting certain aspects of their identity or certain aspects of their practice,” shares Addy Rabinovitch, another longtime member. “We really want to hand the space over to people. We try not to take too heavy a curatorial hand, and try not to filter what people want to do while they’re here.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/staging-800x569.jpg\" alt=\"\" width=\"800\" height=\"569\" class=\"aligncenter size-medium wp-image-13790718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-960x683.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-375x267.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-520x370.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In the last couple months, CTRL+SHFT appeared in danger of losing its space due to a substantial rent increase in the rapidly developing neighborhood. The group even launched a Kickstarter in mid-June in an effort to raise $15,000 to combat the rent increase and remain in their current space — a goal the members were ecstatic to see realized just last week. Being based in Oakland, the group has experienced firsthand how often members come and go — something Rabinovitch chalks up primarily to the financial difficulties of simply living in the Bay.\u003c/p>\n\u003cp>“I think being in Oakland… [there’s] this sense of urgency [of] being able to be a part of the community [and] seeing the changes that are happening,” Allison Chalco expresses. “I feel like CTRL+SHFT is a vital place when you’re removing yourself [from the outside world] and coming in here, while thinking about everything that’s happening right outside. There’s so much happening right now in Oakland, in San Francisco, the Bay Area. And being here for so long already, just seeing the women who are in the space now — it’s constantly changing.”\u003c/p>\n\u003cfigure id=\"attachment_13790719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-800x599.jpg\" alt=\"Lukaza Branfman-Verissimo at 'Women Talk Back, Talk Out' at CTRL+SHFT in March.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13790719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lukaza Branfman-Verissimo at ‘Women Talk Back, Talk Out’ at CTRL+SHFT in March. \u003ccite>(Courtesy CTRL+SHFT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While a number of factors set the collective apart from others in the area (its broad range of critical practice and DIY style, its commitment to using the space as a platform for other artists rather than the members’ own work, and its non-hierarchal system, to name a few), what’s most noticeable about CTRL+SHFT is its supportive, feminine energy and environment — a rarity in the male-dominated field even today.\u003c/p>\n\u003cp>“There’s something that’s different about being around all women-identifying folks and making work, I think,” Jay Katelansky says. “Women in the arts don’t get the same recognition as men in the arts [to begin with], so we’re kind of [already] at this platform together. And because this collective focuses on work for queer [folks] and people of color, that adds another step that allows a welcoming space to make work.”\u003c/p>\n\u003cp>To Katelansky’s words, Maryam Yousif adds, “Maybe I’m generalizing, but… from my professional experience so far, it’s only been women helping me. There hasn’t been a manly situation where they’re offering me space, or they offer me shows.”\u003c/p>\n\u003cp>The artist pauses for a moment, glancing around the pink-accented gallery and flashing a smile at the CTRL+SHFT members present.\u003c/p>\n\u003cp>“It’s literally just been women,” she laughs. “That should be pretty telling.”\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The CTRL+SHFT collective currently consists of Lukaza Branfman-Verissimo, Allison Chalco, Caroline Charuk, Kenyatta A.C. Hinkle, Jessica Hubbard, Jay Katelansky, Em Meine, Erica Molesworth, Addy Rabinovitch, Megan Reed, Lindsay Tunkl, and Maryam Yousif.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more, see \u003ca href=\"http://ctrlshftcollective.com/\" target=\"_blank\" rel=\"noopener\">CTRL+SHFT’s site\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In talking with the collective members, one thing is clear: if you see it at CTRL+SHFT gallery, you likely won't see it anywhere else. ","status":"publish","parent":0,"modified":1705029849,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":913},"headData":{"title":"West Oakland Collective CTRL+SHFT Carves Out Space for Underrepresented Artists | KQED","description":"In talking with the collective members, one thing is clear: if you see it at CTRL+SHFT gallery, you likely won't see it anywhere else. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"West Oakland Collective CTRL+SHFT Carves Out Space for Underrepresented Artists","datePublished":"2017-08-03T22:00:42.000Z","dateModified":"2024-01-12T03:24:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13790714/west-oakland-collective-ctrlshft-carves-out-space-for-underrepresented-artists","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Visitors to CTRL+SHFT’s gallery space in West Oakland immediately notice a massive, vibrantly colored painting by Oakland-based artist Lukaza Branfman-Verissimo. Childlike confetti decorates the bottom half of the work — a stark rebuke to the heavy dark brown tones and urgent all-caps phrase on the top half of the piece: “IT IS IMPORTANT TO REMEMBER ALL THE RESISTANCE WORK FOLKS ARE DOING ALL OVER THE WORLD RIGHT NOW.”\u003c/p>\n\u003cp>The painting serves as a thematic centerpiece to “Double Dip,” CTRL+SHFT’s annual, members-only pop-up show and two-year anniversary celebration. Founded in 2015, the collective of women-identifying and nonbinary artists have spent the past two years providing space for underrepresented identities in the art world — namely, artists who identify as women, queer and trans folks, gender nonconforming folks, and people of color.\u003c/p>\n\u003cfigure id=\"attachment_13790720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/kenyatta-800x450.jpg\" alt=\"Kenyatta A.C. Hinkle of CTRL+SHFT.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13790720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/kenyatta-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kenyatta A.C. Hinkle of CTRL+SHFT. \u003ccite>(Courtesy CTRL+SHFT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There were a lot of members who felt that there were conversations around race, gender, and other political things that people wanted to explore as a group,” says Erica Molesworth, a founding member of the collective. “It came down to that: providing a space, providing a platform [that looked] at gender and racial inequalities in the art world and wanting to do something to remedy that.”\u003c/p>\n\u003cp>And so CTRL+SHFT’s founding members opened a space combining technical aspects of contemporary art — most of the group had just graduated with MFAs from CCA — with socially relevant dialogue and experimental elements that weren’t receiving representation elsewhere. Most recently, the gallery welcomed Oakland artist \u003ca href=\"https://yetundeolagbaju.com/give-it-to-her/\" target=\"_blank\" rel=\"noopener\">Yetunde Olagbaju\u003c/a> for her solo show, \u003cem>give it to her when she’s decided she knew herself…\u003c/em>, an multimedia installation that explored Olagbaju’s relationship with her Gullah/Geechee and Yoruba ancestry.\u003c/p>\n\u003cp>“The goal is to give people the space, and to let them do what they can’t do elsewhere — whether that is highlighting certain aspects of their identity or certain aspects of their practice,” shares Addy Rabinovitch, another longtime member. “We really want to hand the space over to people. We try not to take too heavy a curatorial hand, and try not to filter what people want to do while they’re here.”\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>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/staging-800x569.jpg\" alt=\"\" width=\"800\" height=\"569\" class=\"aligncenter size-medium wp-image-13790718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-960x683.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-375x267.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging-520x370.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/staging.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In the last couple months, CTRL+SHFT appeared in danger of losing its space due to a substantial rent increase in the rapidly developing neighborhood. The group even launched a Kickstarter in mid-June in an effort to raise $15,000 to combat the rent increase and remain in their current space — a goal the members were ecstatic to see realized just last week. Being based in Oakland, the group has experienced firsthand how often members come and go — something Rabinovitch chalks up primarily to the financial difficulties of simply living in the Bay.\u003c/p>\n\u003cp>“I think being in Oakland… [there’s] this sense of urgency [of] being able to be a part of the community [and] seeing the changes that are happening,” Allison Chalco expresses. “I feel like CTRL+SHFT is a vital place when you’re removing yourself [from the outside world] and coming in here, while thinking about everything that’s happening right outside. There’s so much happening right now in Oakland, in San Francisco, the Bay Area. And being here for so long already, just seeing the women who are in the space now — it’s constantly changing.”\u003c/p>\n\u003cfigure id=\"attachment_13790719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-800x599.jpg\" alt=\"Lukaza Branfman-Verissimo at 'Women Talk Back, Talk Out' at CTRL+SHFT in March.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13790719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/talkbacktalkoutlukaza.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lukaza Branfman-Verissimo at ‘Women Talk Back, Talk Out’ at CTRL+SHFT in March. \u003ccite>(Courtesy CTRL+SHFT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While a number of factors set the collective apart from others in the area (its broad range of critical practice and DIY style, its commitment to using the space as a platform for other artists rather than the members’ own work, and its non-hierarchal system, to name a few), what’s most noticeable about CTRL+SHFT is its supportive, feminine energy and environment — a rarity in the male-dominated field even today.\u003c/p>\n\u003cp>“There’s something that’s different about being around all women-identifying folks and making work, I think,” Jay Katelansky says. “Women in the arts don’t get the same recognition as men in the arts [to begin with], so we’re kind of [already] at this platform together. And because this collective focuses on work for queer [folks] and people of color, that adds another step that allows a welcoming space to make work.”\u003c/p>\n\u003cp>To Katelansky’s words, Maryam Yousif adds, “Maybe I’m generalizing, but… from my professional experience so far, it’s only been women helping me. There hasn’t been a manly situation where they’re offering me space, or they offer me shows.”\u003c/p>\n\u003cp>The artist pauses for a moment, glancing around the pink-accented gallery and flashing a smile at the CTRL+SHFT members present.\u003c/p>\n\u003cp>“It’s literally just been women,” she laughs. “That should be pretty telling.”\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The CTRL+SHFT collective currently consists of Lukaza Branfman-Verissimo, Allison Chalco, Caroline Charuk, Kenyatta A.C. Hinkle, Jessica Hubbard, Jay Katelansky, Em Meine, Erica Molesworth, Addy Rabinovitch, Megan Reed, Lindsay Tunkl, and Maryam Yousif.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more, see \u003ca href=\"http://ctrlshftcollective.com/\" target=\"_blank\" rel=\"noopener\">CTRL+SHFT’s site\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13790714/west-oakland-collective-ctrlshft-carves-out-space-for-underrepresented-artists","authors":["11391"],"programs":["arts_1364"],"categories":["arts_70"],"tags":["arts_1522","arts_1118","arts_596","arts_901"],"featImg":"arts_13790716","label":"arts_1364"},"arts_13522854":{"type":"posts","id":"arts_13522854","meta":{"index":"posts_1591205157","site":"arts","id":"13522854","score":null,"sort":[1498741220000]},"guestAuthors":[],"slug":"making-queer-and-trans-asian-american-identities-visible","title":"Making Queer and Trans Asian American Identities Visible","publishDate":1498741220,"format":"image","headTitle":"Making Queer and Trans Asian American Identities Visible | KQED","labelTerm":{"term":1364,"site":"arts"},"content":"\u003cp>In Mia Nakano’s portrait of Kay Ulanday Barrett, the self-identified queer, trans, Pinay-American, disabled poet stares at the camera, glasses lightly propped upon the nose, short black hair styled into an edgy coif, and hands confidently clasped atop a cane in a stance of total assurance.\u003c/p>\n\u003cp>In the accompanying video interview, Ulanday Barrett describes a single immigrant mother working tirelessly to achieve the American dream, and her frustrations when confronting her child’s non-normative gender identity — Ulanday Barrett uses the pronoun “they” — yet another obstacle for them to overcome. After coming out to their mother, they had to come out to their church community, their martial arts community, their mother’s work community, extended family, and an endless list of others throughout their life, Ulanday Barett recalls.\u003c/p>\n\u003cp>“I’m coming out all the time,” Ulanday Barrett says in the video interview. “Every university, every classroom, every time I get a job application… I feel like I’ve been coming out since I was born, over and over and over again.”\u003c/p>\n\u003cfigure id=\"attachment_13522863\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13522863\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Joy-Chicago-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Joy-Chicago-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Joy-Chicago-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Joy-Chicago-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Joy-Chicago-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Joy-Chicago-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Joy-Chicago-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Joy-Chicago.jpg 933w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joy Messinger / Han Jung-In of Chicago, Ill., photographed by Mia Nakano for The Visibility Project.\u003c/figcaption>\u003c/figure>\n\u003cp>Ulanday Barrett is one of more than 200 participants in Nakano’s photo documentation series \u003ca href=\"http://www.visibilityproject.org/\" target=\"_blank\" rel=\"noopener\">The Visibility Project\u003c/a>. Since founding the series in 2008, Nakano has visited 26 cities in 20 different states to photograph Asian American queer women, trans individuals, and gender non-conforming folks. The intention is, in part, to expand the Asian-American queer and trans narrative beyond the limited stereotypes presented in popular culture, and to work toward a world in which people like Ulanday Barrett can simply exist.\u003c/p>\n\u003cp>Nakano, a fourth-generation Japanese American queer woman, was the founding photo editor of AAPI-centered publication \u003cem>Hyphen Magazine\u003c/em> until she decided to take a photo-journalism internship at the Kathmandu Post in Nepal in 2007. While there, she began taking photos of folks at the Blue Diamond Society, the first and most prominent LGBTQ non-profit in the country. Inspired by her time there, and by the grassroots work being done by Blue Diamond to build LGBTQ visibility, Nakano decided to return and start her own project to raise awareness stateside.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I was doing research, most of the stuff I found was either porn or just really stereotypical racist stuff about the queer Asian-American community,” she recalled. Her goal was to make more nuanced representations available, and in turn, to augment our collective imagination for possible Asian American identities.\u003c/p>\n\u003cfigure id=\"attachment_13522859\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13522859\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Trinity-San-Francisco-800x1199.jpg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Trinity-San-Francisco-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Trinity-San-Francisco-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Trinity-San-Francisco-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Trinity-San-Francisco-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Trinity-San-Francisco-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Trinity-San-Francisco-520x779.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Trinity-San-Francisco.jpg 934w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trinity Ordona of San Francisco photographed by Mia Nakano for The Visibility Project.\u003c/figcaption>\u003c/figure>\n\u003cp>Starting in San Francisco, she put out a call for subjects willing to answer a brief questionnaire about how they identify, sit for a portrait, and have it added to the project’s website. From there, she expanded to Los Angeles and New York, adding video interviews to the process. In the years following, she spent months traveling throughout the American South and Midwest (where it wasn’t as easy to find willing subjects). Often collaborating with LGBTQ-centered events and organizations in order to reach the right people, Nakano would also set up an Eventbrite page with possible time slots and simply wait to see who arrived.\u003c/p>\n\u003cp>The result is a massive archive of people digging into their identities, allowing themselves to fully be seen. There’s Jayden Thai, the trans Vietnamese American from Washington, D.C.; Lolan Buhain Sevilla of Brooklyn, the Pinoy queer butch whose preferred pronoun is listed as “mam-sir”; and Un Jung, the Korean-American lesbian who identifies as an “alpha femme,” among a spectrum of others. Earlier this month, Nakano also released \u003cem>Visible Resilience\u003c/em>, the first Visibility Project book, which features 80 of her portraits since starting the project in 2009 — as well as excerpts from video interviews, and even a syllabus for how to teach the Visibility Project in school and create safe spaces in classrooms while doing it. (Nakano decided to add this aspect, created in collaboration with Monna Wong and Tracy Ngyuen, after realizing that the project was already regularly being included on college syllabi.)\u003c/p>\n\u003cfigure id=\"attachment_13522864\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13522864\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Avani-Austin-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Avani-Austin-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Avani-Austin-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Avani-Austin-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Avani-Austin-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Avani-Austin-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Avani-Austin-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Avani-Austin.jpg 933w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Avani Trivedi of Austin, Tex., photographed by Mia Nakano for The Visibility Project.\u003c/figcaption>\u003c/figure>\n\u003cp>For Nakano, though, the collection of portraits is about much more than simply shifting the narrative — it’s about saving lives. “Not being visible is dangerous,” she says. “Not seeing models or hearing stories or seeing reflections of yourself over time and being oppressed without visibility — just that within itself takes its toll.”\u003c/p>\n\u003cp>As commonly cited, studies have shown that over 40 percent of transgender individuals have at some point attempted suicide, and transgender youth who are not supported by their family when coming out are \u003ca href=\"http://transpulseproject.ca/wp-content/uploads/2012/10/Impacts-of-Strong-Parental-Support-for-Trans-Youth-vFINAL.pdf\">13 times more likely\u003c/a> to attempt suicide.\u003c/p>\n\u003cp>“Theres a whole generation of people who are not here now because of AIDS,” says Nakano. “And I think there’s a whole generation and demographic of people that we’re losing to violence and suicide.”\u003c/p>\n\u003cp>With this in mind, Nakano’s primary goal has always been making the affirming images and interviews accessible to as many people as possible. Although she is currently not actively photographing for the project, her next step is to have all of the interviews transcribed and translated into the language of each subject’s ancestry. These translations will then inform an evolving multi-lingual glossary of terms that people can use to, say, come out to their relatives in a way that makes sense to them. As Nakano noted, this project has taught her that visibility doesn’t always take the form of the image — often, it’s words.\u003c/p>\n\u003cp>“I think that visibility can be enacted in many, many different ways,” she says.\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>To view the Visibility Project and purchase a book, visit \u003ca href=\"http://www.visibilityproject.org/\">VisbilityProject.org\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A new book from the Visibility Project's Mia Nakano presents photos of Asian American queer women, trans individuals, and gender non-conforming folks.","status":"publish","parent":0,"modified":1705030195,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1010},"headData":{"title":"Making Queer and Trans Asian American Identities Visible | KQED","description":"A new book from the Visibility Project's Mia Nakano presents photos of Asian American queer women, trans individuals, and gender non-conforming folks.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Making Queer and Trans Asian American Identities Visible","datePublished":"2017-06-29T13:00:20.000Z","dateModified":"2024-01-12T03:29:55.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13522854/making-queer-and-trans-asian-american-identities-visible","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Mia Nakano’s portrait of Kay Ulanday Barrett, the self-identified queer, trans, Pinay-American, disabled poet stares at the camera, glasses lightly propped upon the nose, short black hair styled into an edgy coif, and hands confidently clasped atop a cane in a stance of total assurance.\u003c/p>\n\u003cp>In the accompanying video interview, Ulanday Barrett describes a single immigrant mother working tirelessly to achieve the American dream, and her frustrations when confronting her child’s non-normative gender identity — Ulanday Barrett uses the pronoun “they” — yet another obstacle for them to overcome. After coming out to their mother, they had to come out to their church community, their martial arts community, their mother’s work community, extended family, and an endless list of others throughout their life, Ulanday Barett recalls.\u003c/p>\n\u003cp>“I’m coming out all the time,” Ulanday Barrett says in the video interview. “Every university, every classroom, every time I get a job application… I feel like I’ve been coming out since I was born, over and over and over again.”\u003c/p>\n\u003cfigure id=\"attachment_13522863\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13522863\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Joy-Chicago-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Joy-Chicago-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Joy-Chicago-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Joy-Chicago-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Joy-Chicago-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Joy-Chicago-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Joy-Chicago-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Joy-Chicago.jpg 933w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joy Messinger / Han Jung-In of Chicago, Ill., photographed by Mia Nakano for The Visibility Project.\u003c/figcaption>\u003c/figure>\n\u003cp>Ulanday Barrett is one of more than 200 participants in Nakano’s photo documentation series \u003ca href=\"http://www.visibilityproject.org/\" target=\"_blank\" rel=\"noopener\">The Visibility Project\u003c/a>. Since founding the series in 2008, Nakano has visited 26 cities in 20 different states to photograph Asian American queer women, trans individuals, and gender non-conforming folks. The intention is, in part, to expand the Asian-American queer and trans narrative beyond the limited stereotypes presented in popular culture, and to work toward a world in which people like Ulanday Barrett can simply exist.\u003c/p>\n\u003cp>Nakano, a fourth-generation Japanese American queer woman, was the founding photo editor of AAPI-centered publication \u003cem>Hyphen Magazine\u003c/em> until she decided to take a photo-journalism internship at the Kathmandu Post in Nepal in 2007. While there, she began taking photos of folks at the Blue Diamond Society, the first and most prominent LGBTQ non-profit in the country. Inspired by her time there, and by the grassroots work being done by Blue Diamond to build LGBTQ visibility, Nakano decided to return and start her own project to raise awareness stateside.\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>“When I was doing research, most of the stuff I found was either porn or just really stereotypical racist stuff about the queer Asian-American community,” she recalled. Her goal was to make more nuanced representations available, and in turn, to augment our collective imagination for possible Asian American identities.\u003c/p>\n\u003cfigure id=\"attachment_13522859\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13522859\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Trinity-San-Francisco-800x1199.jpg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Trinity-San-Francisco-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Trinity-San-Francisco-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Trinity-San-Francisco-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Trinity-San-Francisco-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Trinity-San-Francisco-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Trinity-San-Francisco-520x779.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Trinity-San-Francisco.jpg 934w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trinity Ordona of San Francisco photographed by Mia Nakano for The Visibility Project.\u003c/figcaption>\u003c/figure>\n\u003cp>Starting in San Francisco, she put out a call for subjects willing to answer a brief questionnaire about how they identify, sit for a portrait, and have it added to the project’s website. From there, she expanded to Los Angeles and New York, adding video interviews to the process. In the years following, she spent months traveling throughout the American South and Midwest (where it wasn’t as easy to find willing subjects). Often collaborating with LGBTQ-centered events and organizations in order to reach the right people, Nakano would also set up an Eventbrite page with possible time slots and simply wait to see who arrived.\u003c/p>\n\u003cp>The result is a massive archive of people digging into their identities, allowing themselves to fully be seen. There’s Jayden Thai, the trans Vietnamese American from Washington, D.C.; Lolan Buhain Sevilla of Brooklyn, the Pinoy queer butch whose preferred pronoun is listed as “mam-sir”; and Un Jung, the Korean-American lesbian who identifies as an “alpha femme,” among a spectrum of others. Earlier this month, Nakano also released \u003cem>Visible Resilience\u003c/em>, the first Visibility Project book, which features 80 of her portraits since starting the project in 2009 — as well as excerpts from video interviews, and even a syllabus for how to teach the Visibility Project in school and create safe spaces in classrooms while doing it. (Nakano decided to add this aspect, created in collaboration with Monna Wong and Tracy Ngyuen, after realizing that the project was already regularly being included on college syllabi.)\u003c/p>\n\u003cfigure id=\"attachment_13522864\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13522864\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Avani-Austin-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Avani-Austin-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Avani-Austin-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Avani-Austin-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Avani-Austin-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Avani-Austin-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Avani-Austin-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Avani-Austin.jpg 933w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Avani Trivedi of Austin, Tex., photographed by Mia Nakano for The Visibility Project.\u003c/figcaption>\u003c/figure>\n\u003cp>For Nakano, though, the collection of portraits is about much more than simply shifting the narrative — it’s about saving lives. “Not being visible is dangerous,” she says. “Not seeing models or hearing stories or seeing reflections of yourself over time and being oppressed without visibility — just that within itself takes its toll.”\u003c/p>\n\u003cp>As commonly cited, studies have shown that over 40 percent of transgender individuals have at some point attempted suicide, and transgender youth who are not supported by their family when coming out are \u003ca href=\"http://transpulseproject.ca/wp-content/uploads/2012/10/Impacts-of-Strong-Parental-Support-for-Trans-Youth-vFINAL.pdf\">13 times more likely\u003c/a> to attempt suicide.\u003c/p>\n\u003cp>“Theres a whole generation of people who are not here now because of AIDS,” says Nakano. “And I think there’s a whole generation and demographic of people that we’re losing to violence and suicide.”\u003c/p>\n\u003cp>With this in mind, Nakano’s primary goal has always been making the affirming images and interviews accessible to as many people as possible. Although she is currently not actively photographing for the project, her next step is to have all of the interviews transcribed and translated into the language of each subject’s ancestry. These translations will then inform an evolving multi-lingual glossary of terms that people can use to, say, come out to their relatives in a way that makes sense to them. As Nakano noted, this project has taught her that visibility doesn’t always take the form of the image — often, it’s words.\u003c/p>\n\u003cp>“I think that visibility can be enacted in many, many different ways,” she says.\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>To view the Visibility Project and purchase a book, visit \u003ca href=\"http://www.visibilityproject.org/\">VisbilityProject.org\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13522854/making-queer-and-trans-asian-american-identities-visible","authors":["11323"],"programs":["arts_1364"],"categories":["arts_73","arts_70"],"tags":["arts_1522","arts_1118","arts_596"],"featImg":"arts_13540136","label":"arts_1364"},"arts_13422254":{"type":"posts","id":"arts_13422254","meta":{"index":"posts_1591205157","site":"arts","id":"13422254","score":null,"sort":[1498158054000]},"guestAuthors":[],"slug":"tosha-stimages-world-of-oranges-language-and-black-identity","title":"Tosha Stimage's World of Oranges, Language, and Black Identity","publishDate":1498158054,"format":"image","headTitle":"Tosha Stimage’s World of Oranges, Language, and Black Identity | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>There’s an inherent inadequacy to writing about the work of Tosha Stimage — one that inevitably unravels the act of writing about art altogether, or even using language at all.\u003c/p>\n\u003cp>The Oakland-based multidisciplinary artist makes work that is essentially about the limitations of language, and the ways in which words can actually work to abstract complex concepts — rather than help to explain them — particularly when it comes to talking about race.\u003c/p>\n\u003cp>In her first solo show, \u003cem>Death Valley Covered in Flowers \u003c/em>at City Limits Gallery, she diligently unpacks and re-presents discourses surrounding death and black identity in a way that preempts common associations with both, and brings forth latent relationships that would otherwise be overlooked. In the process, she manages to make the work about a million other things as well: the history of oranges, the lifecycle of a flower, the symbol of the labyrinth, and Astroturf, for instance.\u003c/p>\n\u003cfigure id=\"attachment_13422260\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13422260\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/IMG_9830-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9830-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9830-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9830-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9830-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9830-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9830-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9830-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9830-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9830-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9830-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘For the Dead’ by Tosha Stimage at City Limits. \u003ccite>(Sarah Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But like an intricately spun web, all the pieces ultimately fit together to form a coded conversation about race and mortality that avoids familiar tropes. “I’m interested in language and the way that we use these forms that we’ve reinforced meaning into to construct identities which control the way people are able to move or not move through the world,” says Stimage. “How can I use things that aren’t necessarily overtly black to talk about blackness?”\u003c/p>\n\u003cp>In practice, that’s manifested in a show dominated by circular compositions. The most commanding is a bright orange wall painted to mimic the target sheet from the first time that Stimage shot a gun, complete with bullet holes. To the right is a tapestry featuring the woven close-up image of a black man’s scalp with tight braids forming an elaborate pattern that points to the center of his cranium. On the floor, there’s a labyrinth cut out of Astroturf alongside its own negative image. And above the mazes, a pedestal holding a pile of oranges.\u003c/p>\n\u003cfigure id=\"attachment_13422259\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13422259\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_26-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_26-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_26-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_26-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_26-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_26-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_26-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation shot of \u003ci>Death Valley Covered in Flowers\u003c/i>. \u003ccite>(Courtesy City Limits Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s visual code can feel confusingly esoteric, but in conversation Stimage readily reveals the extensive research and philosophical inquiry that went into each detail and decision. The fact, for instance, that in multiple cultural traditions labyrinths represent a path to finding oneself — but, to Stimage, can also be thought of as a trap representing the dangers of fixed definitions of identity. Or, for instance, that the practice of weaving can be considered a precursor to binary code — a fact that relates to Stimage’s interest in the relationship between technology and language; in particular, how smart phones and social media, like labels, allow us to create shorthand for peoples’ identities.\u003c/p>\n\u003cfigure id=\"attachment_13422258\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13422258 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19-1180x1574.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Point and Shoot” by Tosha Stimage at City Limits Gallery. \u003ccite>(Courtesy City Limits)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’ve been thinking a lot about death and thinking a lot about these figures who in our society become hashtags and how we compress so much about a person’s whole entire life and existence into this symbol so that we can readily associate ourselves with a movement,” says Stimage. “There’s something really disturbing about it to me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The oranges are partially an homage to the project that initially got Stimage interested in semiotics in the first place: her thesis for her Masters at CCA, which focused on the relationship between an illustration of Mickey Mouse and a photo of OJ Simpson in the courtroom trying on the infamous gloves that would ultimately lead to his acquittal. The imagery and writing for the project traced the histories of and associations with both images to explore characterization in popular culture, notions of criminality in relationship to blackness, and oranges as a symbol and commodity, among other topics. That project also birthed \u003cem>Oeranjez\u003c/em>, a book series that uses oranges as a parable for blackness, of which the fourth volume is currently in production.\u003c/p>\n\u003cfigure id=\"attachment_13422256\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13422256\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/IMG_9858-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9858-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9858-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9858-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9858-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9858-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9858-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9858-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9858-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9858-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9858-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tosha Stimage at City Limits Gallery. \u003ccite>(Sarah Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first book begins with a statement that serves as a useful primer for all of Stimage’s work: “Sight is a sense that has been privileged since man looked out upon a world to conquer.”\u003c/p>\n\u003cp>Such statements become useful even when thinking about reactions to this particular show, which Stimage says she hopes can bypass being written off as yet another show about black identity. Rather, she strives to lure people into difficult conversations about the way that language and representation function, and the inadequacy of communication that’s a key component of the human condition. For her, it’s simply a show about semiotics that acknowledges the crucial component of racial representation, among other consequences — although she fears certain people will receive it as simply being about blackness.\u003c/p>\n\u003cp>“That’s in there,” she says of race-related content, “and I can’t help for it to be in there because that’s the experience that I’ve lived — but more than that, I want to talk about this thing that makes us all human.”\u003c/p>\n\u003cp>\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\n","blocks":[],"excerpt":"“How can I use things that aren’t necessarily overtly black to talk about blackness?” asks Stimage in her current show at City Limits, 'Death Valley Covered in Flowers.'","status":"publish","parent":0,"modified":1705030258,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":892},"headData":{"title":"Tosha Stimage's World of Oranges, Language, and Black Identity | KQED","description":"“How can I use things that aren’t necessarily overtly black to talk about blackness?” asks Stimage in her current show at City Limits, 'Death Valley Covered in Flowers.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Tosha Stimage's World of Oranges, Language, and Black Identity","datePublished":"2017-06-22T19:00:54.000Z","dateModified":"2024-01-12T03:30:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13422254/tosha-stimages-world-of-oranges-language-and-black-identity","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s an inherent inadequacy to writing about the work of Tosha Stimage — one that inevitably unravels the act of writing about art altogether, or even using language at all.\u003c/p>\n\u003cp>The Oakland-based multidisciplinary artist makes work that is essentially about the limitations of language, and the ways in which words can actually work to abstract complex concepts — rather than help to explain them — particularly when it comes to talking about race.\u003c/p>\n\u003cp>In her first solo show, \u003cem>Death Valley Covered in Flowers \u003c/em>at City Limits Gallery, she diligently unpacks and re-presents discourses surrounding death and black identity in a way that preempts common associations with both, and brings forth latent relationships that would otherwise be overlooked. In the process, she manages to make the work about a million other things as well: the history of oranges, the lifecycle of a flower, the symbol of the labyrinth, and Astroturf, for instance.\u003c/p>\n\u003cfigure id=\"attachment_13422260\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13422260\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/IMG_9830-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9830-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9830-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9830-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9830-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9830-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9830-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9830-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9830-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9830-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9830-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘For the Dead’ by Tosha Stimage at City Limits. \u003ccite>(Sarah Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But like an intricately spun web, all the pieces ultimately fit together to form a coded conversation about race and mortality that avoids familiar tropes. “I’m interested in language and the way that we use these forms that we’ve reinforced meaning into to construct identities which control the way people are able to move or not move through the world,” says Stimage. “How can I use things that aren’t necessarily overtly black to talk about blackness?”\u003c/p>\n\u003cp>In practice, that’s manifested in a show dominated by circular compositions. The most commanding is a bright orange wall painted to mimic the target sheet from the first time that Stimage shot a gun, complete with bullet holes. To the right is a tapestry featuring the woven close-up image of a black man’s scalp with tight braids forming an elaborate pattern that points to the center of his cranium. On the floor, there’s a labyrinth cut out of Astroturf alongside its own negative image. And above the mazes, a pedestal holding a pile of oranges.\u003c/p>\n\u003cfigure id=\"attachment_13422259\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13422259\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_26-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_26-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_26-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_26-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_26-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_26-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_26-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation shot of \u003ci>Death Valley Covered in Flowers\u003c/i>. \u003ccite>(Courtesy City Limits Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s visual code can feel confusingly esoteric, but in conversation Stimage readily reveals the extensive research and philosophical inquiry that went into each detail and decision. The fact, for instance, that in multiple cultural traditions labyrinths represent a path to finding oneself — but, to Stimage, can also be thought of as a trap representing the dangers of fixed definitions of identity. Or, for instance, that the practice of weaving can be considered a precursor to binary code — a fact that relates to Stimage’s interest in the relationship between technology and language; in particular, how smart phones and social media, like labels, allow us to create shorthand for peoples’ identities.\u003c/p>\n\u003cfigure id=\"attachment_13422258\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13422258 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19-1180x1574.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/City_Limits_Tosha_Stimage_19.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Point and Shoot” by Tosha Stimage at City Limits Gallery. \u003ccite>(Courtesy City Limits)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’ve been thinking a lot about death and thinking a lot about these figures who in our society become hashtags and how we compress so much about a person’s whole entire life and existence into this symbol so that we can readily associate ourselves with a movement,” says Stimage. “There’s something really disturbing about it to me.”\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 oranges are partially an homage to the project that initially got Stimage interested in semiotics in the first place: her thesis for her Masters at CCA, which focused on the relationship between an illustration of Mickey Mouse and a photo of OJ Simpson in the courtroom trying on the infamous gloves that would ultimately lead to his acquittal. The imagery and writing for the project traced the histories of and associations with both images to explore characterization in popular culture, notions of criminality in relationship to blackness, and oranges as a symbol and commodity, among other topics. That project also birthed \u003cem>Oeranjez\u003c/em>, a book series that uses oranges as a parable for blackness, of which the fourth volume is currently in production.\u003c/p>\n\u003cfigure id=\"attachment_13422256\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13422256\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/IMG_9858-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9858-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9858-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9858-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9858-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9858-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9858-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9858-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9858-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9858-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/IMG_9858-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tosha Stimage at City Limits Gallery. \u003ccite>(Sarah Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first book begins with a statement that serves as a useful primer for all of Stimage’s work: “Sight is a sense that has been privileged since man looked out upon a world to conquer.”\u003c/p>\n\u003cp>Such statements become useful even when thinking about reactions to this particular show, which Stimage says she hopes can bypass being written off as yet another show about black identity. Rather, she strives to lure people into difficult conversations about the way that language and representation function, and the inadequacy of communication that’s a key component of the human condition. For her, it’s simply a show about semiotics that acknowledges the crucial component of racial representation, among other consequences — although she fears certain people will receive it as simply being about blackness.\u003c/p>\n\u003cp>“That’s in there,” she says of race-related content, “and I can’t help for it to be in there because that’s the experience that I’ve lived — but more than that, I want to talk about this thing that makes us all human.”\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13422254/tosha-stimages-world-of-oranges-language-and-black-identity","authors":["11323"],"categories":["arts_71"],"tags":["arts_1522","arts_1118","arts_596","arts_901"],"featImg":"arts_13422255","label":"arts"},"arts_13375958":{"type":"posts","id":"arts_13375958","meta":{"index":"posts_1591205157","site":"arts","id":"13375958","score":null,"sort":[1496934037000]},"guestAuthors":[],"slug":"on-being-young-alone-and-crossing-into-the-united-states","title":"On Being Young, Alone, and Crossing Into the United States","publishDate":1496934037,"format":"image","headTitle":"On Being Young, Alone, and Crossing Into the United States | KQED","labelTerm":{"term":1364,"site":"arts"},"content":"\u003cp>The scariest part, Eric tells me, wasn’t being held in a youth detention center for 23 days after crossing into the United States alone. It was taking the bus across the border from Guatemala into Mexico, he says, with his money sewn into his underwear.\u003c/p>\n\u003cp>It’s a summery afternoon at San Antonio Park in East Oakland, where hundreds have gathered for the annual Malcolm X Jazz Festival. Eric and a group of about ten other indigenous Mayan migrant youth from Guatemala sit shyly in a quiet, grassy corner of the park, waiting for the perfect time to start their performance — which is not on the official schedule. Meanwhile, Eric recounts how he came to be a student at Fremont High School. His first language is Mam, a Mayan language, but today he speaks in slow Spanish, which is then translated into English for me by his artist mentor Caleb Duarte.\u003c/p>\n\u003cp>Eric recalls being questioned by Mexican border police when leaving Guatemala, unsuccessfully attempting to convince them that he was from Oaxaca and traveling in search of work, then narrowly escaping detainment by staying on the bus when they sent him back to grab his bag. Things got easier, he says, once he made it to the safe house in Tijuana, where he tried a burrito for the first time. Two days later, he waited for the border patrol to pass, then used a massive aluminum ladder to surmount the wall into the United States. But he hurt his leg on the way down, he recalls, and five minutes into walking through the desert, he looked up from the hot ground to find five border patrol officers surrounding him. After 23 days at a detention center in San Diego, he says, he was finally able to board a flight to San Francisco to meet his uncle and settle in Fremont.\u003c/p>\n\u003cfigure id=\"attachment_13376298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13376298\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/460A0016-2-800x540.jpg\" alt=\"\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0016-2-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0016-2-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0016-2-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0016-2-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0016-2-1920x1295.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0016-2-1180x796.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0016-2-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0016-2-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0016-2-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0016-2-520x351.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleb Duarte. \u003ccite>(Farrin Abbott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The other youth sit listening, unfazed. Most are from the municipality of Huehuetenango in the highlands of western Guatemala, and have similar stories of fleeing their war-torn home to seek a safer life in the United States. One teenaged girl shares that she had been detained for seven months after crossing alone.\u003c/p>\n\u003cp>It’s common practice to send minors across the border unaccompanied, because being alone affords them better potential legal protections. But according to Duarte, several in the group are still awaiting legal proceedings to officially determine if they will be granted asylum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are more than 350 Central American migrant youth currently attending Fremont High School, with more arriving constantly — so many that the school has a “Newcomers Program” specifically for these youth. Duarte works with about 10 of those students, facilitating “Urgent Art” workshops in which the youth experiment with various media to attempt to tell their stories authentically and work through their lived experiences.\u003c/p>\n\u003cp>Duarte himself is an immigrant from Northern Mexico who grew up in a farm working community in central California from the age of five. After attending the San Francisco Art Institute, he entered the commercial art world, making large cement sculptures for gallery shows. Beginning in 2009, however, he spent five years living with in an autonomous indigenous Mayan community in Chiapas, Mexico, learning about modes of expression rooted in indigenous culture that allow for art-making outside of colonial and capitalist frameworks.\u003c/p>\n\u003cp>“This is why I’m still working with indigenous communities here, from that region,” says Duarte, “to keep that link of investigation going, of how their sense of visual culture connects to social change, connects to placement, connects to self-determination.”\u003c/p>\n\u003cfigure id=\"attachment_13375961\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13375961\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/460A0002-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0002-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0002-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0002-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0002-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0002-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0002-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0002-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0002-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0002-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0002-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Urgent Art workshop students navigating their ladder sculpture through San Antonio Park. \u003ccite>(Farrin Abbott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since early 2016, Duarte has met with students regularly at Fremont High School and La Peña Cultural Center, through which he is funded by the Doris Duke Charitable Grant. Together, he and the students do essay writing, painting, sculpture, mask making, and, primarily, magical realist performance using self-made sculptures as props and costumes. That means walking through Berkeley in traditional Mayan dress carrying a sculptural alter covered in paint and flowers, or wearing self-made Mayan masks in the Fremont Bart Station to playfully assert their narrative and presence.\u003c/p>\n\u003cp>Duarte works with the students to collectively produce a visual language that feels authentic to them, and that employs symbols from their backgrounds. “Through this approach, art takes the invaluable role of demonstrating the depths of human expression while avoiding the dangers of imposing techniques and aesthetics not familiar to this particular community,” Duarte wrote in a statement describing the workshops. “I have developed a sensitivity to a certain artistic language that reflects a loss of cultural memory, due to evangelical movements, migration, civil war, and the homogenization of an entire region.\u003c/p>\n\u003cp>“It is bold, unapologetic, sight specific, and surreal. In the Latin American tradition, it injects magic into a not-so-logical moment of violence and uncertainty.”\u003c/p>\n\u003cp>On this particular afternoon, the group totes a red, 30-foot ladder that they constructed together. The decision to build it came from a group association session in which Duarte found that the symbol of the ladder resonated with the students in a particularly rich way — evoking the strive for success, escaping from prison, climbing over a wall, and death by falling from too high. When it’s time to bring the ladder to life, the group of youth transform as well, from acting as if they’d prefer to disappear, to unabashedly demanding space.\u003c/p>\n\u003cfigure id=\"attachment_13391221\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/CalebDuarte2-800x450.jpg\" alt=\"Caleb Duarte.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13391221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/CalebDuarte2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/CalebDuarte2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/CalebDuarte2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/CalebDuarte2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/CalebDuarte2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/CalebDuarte2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/CalebDuarte2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/CalebDuarte2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/CalebDuarte2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/CalebDuarte2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleb Duarte. \u003ccite>(Farrin Abbott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lining up in order to hold the lengthy ladder horizontally, the group then navigates the prop through the dense festival crowd. They swerve around a circle of African drummers, through a sea of blankets laid on out on a hill, across a playground filled with children, and onto a soccer field, disrupting a casual game of ball with their absurdist performance. It’s a simple exercise, yet oddly inspiring: A community of exceptional yet ordinary teenagers bound by shared experience, culture, and language, attempting to clear a path of survival in their new home together. In that moment, they simultaneously stand out and fall comfortably into a character carved out on their own; everywhere they walk, gazes of both awe and bewilderment follow.\u003c/p>\n\u003cp>“If I were to be coming from a small village in Guatemala, where Spanish is hardly being spoken, and you’re thrown into a place like Oakland — so diverse…they’re adopting the fashion from hip-hop, they’re kind of wearing their attempts at assimilation on their bodies, so it’s very, very physical,” says Duarte. “So when we start doing artwork that is physical, where we’re lifting things in a public space, it can be a very vulnerable situation for the students, and we’re aware of that. But it could also be very powerful for them, for us, and for the public to see.”\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Duarte’s students show their sculptures on June 10 as part of the \u003ca href=\"https://lapena.org/event/floreando-nuevas-fronteras-son-jarocho-concert/\">“Floreando Nuevas Fronteras” Son Jarocho Concert\u003c/a> event at La Peña Cultural Center in Berkeley. \u003ca href=\"https://lapena.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In the East Bay, young migrants develop magical realist performances to convey their experiences.","status":"publish","parent":0,"modified":1705030412,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1233},"headData":{"title":"On Being Young, Alone, and Crossing Into the United States | KQED","description":"In the East Bay, young migrants develop magical realist performances to convey their experiences.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On Being Young, Alone, and Crossing Into the United States","datePublished":"2017-06-08T15:00:37.000Z","dateModified":"2024-01-12T03:33:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13375958/on-being-young-alone-and-crossing-into-the-united-states","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The scariest part, Eric tells me, wasn’t being held in a youth detention center for 23 days after crossing into the United States alone. It was taking the bus across the border from Guatemala into Mexico, he says, with his money sewn into his underwear.\u003c/p>\n\u003cp>It’s a summery afternoon at San Antonio Park in East Oakland, where hundreds have gathered for the annual Malcolm X Jazz Festival. Eric and a group of about ten other indigenous Mayan migrant youth from Guatemala sit shyly in a quiet, grassy corner of the park, waiting for the perfect time to start their performance — which is not on the official schedule. Meanwhile, Eric recounts how he came to be a student at Fremont High School. His first language is Mam, a Mayan language, but today he speaks in slow Spanish, which is then translated into English for me by his artist mentor Caleb Duarte.\u003c/p>\n\u003cp>Eric recalls being questioned by Mexican border police when leaving Guatemala, unsuccessfully attempting to convince them that he was from Oaxaca and traveling in search of work, then narrowly escaping detainment by staying on the bus when they sent him back to grab his bag. Things got easier, he says, once he made it to the safe house in Tijuana, where he tried a burrito for the first time. Two days later, he waited for the border patrol to pass, then used a massive aluminum ladder to surmount the wall into the United States. But he hurt his leg on the way down, he recalls, and five minutes into walking through the desert, he looked up from the hot ground to find five border patrol officers surrounding him. After 23 days at a detention center in San Diego, he says, he was finally able to board a flight to San Francisco to meet his uncle and settle in Fremont.\u003c/p>\n\u003cfigure id=\"attachment_13376298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13376298\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/460A0016-2-800x540.jpg\" alt=\"\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0016-2-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0016-2-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0016-2-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0016-2-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0016-2-1920x1295.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0016-2-1180x796.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0016-2-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0016-2-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0016-2-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0016-2-520x351.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleb Duarte. \u003ccite>(Farrin Abbott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The other youth sit listening, unfazed. Most are from the municipality of Huehuetenango in the highlands of western Guatemala, and have similar stories of fleeing their war-torn home to seek a safer life in the United States. One teenaged girl shares that she had been detained for seven months after crossing alone.\u003c/p>\n\u003cp>It’s common practice to send minors across the border unaccompanied, because being alone affords them better potential legal protections. But according to Duarte, several in the group are still awaiting legal proceedings to officially determine if they will be granted asylum.\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>There are more than 350 Central American migrant youth currently attending Fremont High School, with more arriving constantly — so many that the school has a “Newcomers Program” specifically for these youth. Duarte works with about 10 of those students, facilitating “Urgent Art” workshops in which the youth experiment with various media to attempt to tell their stories authentically and work through their lived experiences.\u003c/p>\n\u003cp>Duarte himself is an immigrant from Northern Mexico who grew up in a farm working community in central California from the age of five. After attending the San Francisco Art Institute, he entered the commercial art world, making large cement sculptures for gallery shows. Beginning in 2009, however, he spent five years living with in an autonomous indigenous Mayan community in Chiapas, Mexico, learning about modes of expression rooted in indigenous culture that allow for art-making outside of colonial and capitalist frameworks.\u003c/p>\n\u003cp>“This is why I’m still working with indigenous communities here, from that region,” says Duarte, “to keep that link of investigation going, of how their sense of visual culture connects to social change, connects to placement, connects to self-determination.”\u003c/p>\n\u003cfigure id=\"attachment_13375961\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13375961\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/460A0002-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0002-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0002-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0002-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0002-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0002-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0002-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0002-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0002-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0002-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/460A0002-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Urgent Art workshop students navigating their ladder sculpture through San Antonio Park. \u003ccite>(Farrin Abbott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since early 2016, Duarte has met with students regularly at Fremont High School and La Peña Cultural Center, through which he is funded by the Doris Duke Charitable Grant. Together, he and the students do essay writing, painting, sculpture, mask making, and, primarily, magical realist performance using self-made sculptures as props and costumes. That means walking through Berkeley in traditional Mayan dress carrying a sculptural alter covered in paint and flowers, or wearing self-made Mayan masks in the Fremont Bart Station to playfully assert their narrative and presence.\u003c/p>\n\u003cp>Duarte works with the students to collectively produce a visual language that feels authentic to them, and that employs symbols from their backgrounds. “Through this approach, art takes the invaluable role of demonstrating the depths of human expression while avoiding the dangers of imposing techniques and aesthetics not familiar to this particular community,” Duarte wrote in a statement describing the workshops. “I have developed a sensitivity to a certain artistic language that reflects a loss of cultural memory, due to evangelical movements, migration, civil war, and the homogenization of an entire region.\u003c/p>\n\u003cp>“It is bold, unapologetic, sight specific, and surreal. In the Latin American tradition, it injects magic into a not-so-logical moment of violence and uncertainty.”\u003c/p>\n\u003cp>On this particular afternoon, the group totes a red, 30-foot ladder that they constructed together. The decision to build it came from a group association session in which Duarte found that the symbol of the ladder resonated with the students in a particularly rich way — evoking the strive for success, escaping from prison, climbing over a wall, and death by falling from too high. When it’s time to bring the ladder to life, the group of youth transform as well, from acting as if they’d prefer to disappear, to unabashedly demanding space.\u003c/p>\n\u003cfigure id=\"attachment_13391221\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/CalebDuarte2-800x450.jpg\" alt=\"Caleb Duarte.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13391221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/CalebDuarte2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/CalebDuarte2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/CalebDuarte2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/CalebDuarte2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/CalebDuarte2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/CalebDuarte2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/CalebDuarte2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/CalebDuarte2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/CalebDuarte2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/CalebDuarte2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleb Duarte. \u003ccite>(Farrin Abbott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lining up in order to hold the lengthy ladder horizontally, the group then navigates the prop through the dense festival crowd. They swerve around a circle of African drummers, through a sea of blankets laid on out on a hill, across a playground filled with children, and onto a soccer field, disrupting a casual game of ball with their absurdist performance. It’s a simple exercise, yet oddly inspiring: A community of exceptional yet ordinary teenagers bound by shared experience, culture, and language, attempting to clear a path of survival in their new home together. In that moment, they simultaneously stand out and fall comfortably into a character carved out on their own; everywhere they walk, gazes of both awe and bewilderment follow.\u003c/p>\n\u003cp>“If I were to be coming from a small village in Guatemala, where Spanish is hardly being spoken, and you’re thrown into a place like Oakland — so diverse…they’re adopting the fashion from hip-hop, they’re kind of wearing their attempts at assimilation on their bodies, so it’s very, very physical,” says Duarte. “So when we start doing artwork that is physical, where we’re lifting things in a public space, it can be a very vulnerable situation for the students, and we’re aware of that. But it could also be very powerful for them, for us, and for the public to see.”\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Duarte’s students show their sculptures on June 10 as part of the \u003ca href=\"https://lapena.org/event/floreando-nuevas-fronteras-son-jarocho-concert/\">“Floreando Nuevas Fronteras” Son Jarocho Concert\u003c/a> event at La Peña Cultural Center in Berkeley. \u003ca href=\"https://lapena.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13375958/on-being-young-alone-and-crossing-into-the-united-states","authors":["11323"],"programs":["arts_1364"],"categories":["arts_835","arts_1003"],"tags":["arts_1522","arts_1118","arts_596"],"featImg":"arts_13375970","label":"arts_1364"},"arts_13280241":{"type":"posts","id":"arts_13280241","meta":{"index":"posts_1591205157","site":"arts","id":"13280241","score":null,"sort":[1495717233000]},"guestAuthors":[],"slug":"undocumented-youth-tell-their-stories-on-instagram","title":"Undocumented Youth Tell Their Stories on Instagram","publishDate":1495717233,"format":"image","headTitle":"Undocumented Youth Tell Their Stories on Instagram | KQED","labelTerm":{"term":1364,"site":"arts"},"content":"\u003cp>If you’re like most people, your Instagram feed is populated with food, vacations, selfies and cats. And then there’s the \u003cem>Undocumented Lives\u003c/em> account — containing, as an example, a photograph by Diana Clock, in which a 19-year-old named Bismark stands in front of a college building with a stare at once hopeful and apprehensive. The caption, culled from an interview with Melissa Pandika, shares that Bismark crossed the U.S.-Mexico border at 17 years old, with brother and sister in tow.\u003c/p>\n\u003cp>“We’re terrified of what might happen, but that’s not going to deter us from anything. It just means that I have to take more precautions, and speak to my parents and my siblings about what we can and can’t do anymore,” Bismark is quoted saying. “We’re saving up money, making sure we all know how to confront an ICE agent. … Making sure our house, at least, is somewhere we can feel safe.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BQy3B7sg6Lk/?taken-by=undocumentedlives\">https://www.instagram.com/p/BQy3B7sg6Lk/?taken-by=undocumentedlives\u003c/a>\u003c/p>\n\u003cp>Bismark — a college student and lead organizer with North Bay Immigrant Youth Union, which advocates for undocumented youth — is one of many undocumented students that Bay Area journalists Clock and Pandika photographed and interviewed over the past year as part of their ongoing project, \u003cem>Undocumented Lives\u003c/em>. Their intention: to provide a platform for undocumented youth to counter conservative narratives about migrants by telling their own stories.\u003c/p>\n\u003cp>“Much of the coverage on undocumented immigrants I had encountered tended to describe them as this faceless, monolithic group,” writes Pandika over email. “I wanted to learn about who these immigrants were, beyond the statistics and political debate, but as individuals, each with unique stories.”\u003c/p>\n\u003cfigure id=\"attachment_13280504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13280504 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/02-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cuahuctemoc, an undocumented UC Berkeley graduate. \u003ccite>(Courtesy Undocumented Lives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pandika’s own parents lived undocumented in the United States for a short time, and she always had trouble placing herself in their shoes when hearing their stories, she says. When she began the project last year, “I wanted to understand further what it means to be young and undocumented in the U.S. — especially in the face of a possible Trump presidency — and help others do the same.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pandika and Clock started off by getting to know one student, who they had been introduced to by a friend who teaches high school in Oakland. After getting to know each other and building trust, their first subject then began introducing Pandika and Clock to others. Students also began reaching out to them through the \u003cem>Undocumented Lives\u003c/em> \u003ca href=\"https://www.instagram.com/undocumentedlives/\">Instagram account\u003c/a>.\u003c/p>\n\u003cp>Throughout the project, Panika and Clock have made sure that the youth they work with feel safe and comfortable, as well as being careful not to share too much identifying information. The duo works solely with young immigrants covered by Deferred Action for Childhood Arrivals (DACA), a policy implemented by the Obama administration in 2012 that protects eligible immigrant youth from deportation. Still, Trump promised several times on the campaign trail that he would repeal DACA once in office — and though the policy is still in place, 23-year-old DACA recipient \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2017/04/19/the-trump-administration-has-deported-a-dreamer-for-first-time-advocates-say/?utm_term=.6ea450954026\">Juan Manuel Montes-Bojorquez \u003c/a>was deported in February without explanation.\u003c/p>\n\u003cp>“I think they feel like they don’t have that many rights, and they need to fight for what rights they do have to make sure that they’re not repealed,” Clock says of the subjects. “I think that’s motivating them to share. That’s exactly why we wanted to do this project, to give them a spotlight.”\u003c/p>\n\u003cfigure id=\"attachment_13280502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/04-e1495431953208-800x639.jpg\" alt=\"\" width=\"800\" height=\"639\" class=\"size-medium wp-image-13280502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-960x767.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-520x415.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208.jpg 1333w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kevin, an undocumented UC Berkeley student. \u003ccite>(Courtesy Undocumented Lives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Undocumented Lives\u003c/em> mostly features high school students, but also includes some college students, as well as a few who have already graduated. The majority interviewed are involved with community organizing and volunteering, while many others go to school during the day and work in the evenings to alleviate difficult financial circumstances at home. Clock and Pandika follow them throughout their day, then interview them about their lives, backstories, fears, and dreams for the future.\u003c/p>\n\u003cp>Pandika and Clock have also published pieces on specific subtleties of the undocumented experience that are often left out of even progressive narratives about immigrants, such as the emotional nuances of being \u003ca href=\"http://fusion.kinja.com/you-have-to-come-out-of-the-closet-twice-what-its-li-1793859267\">both undocumented and queer\u003c/a>, and \u003ca href=\"https://www.vice.com/en_us/article/it-sucks-to-be-undocumented-when-youre-an-average-student\">the excessive pressure put on undocumented students to be the best in their classes\u003c/a>.\u003c/p>\n\u003cp>“These students are not necessarily only valedictorians or criminals,” says Clock. “There are many students who fall in the middle, and they’re just normal students who are trying to go about their lives and doing the best they can.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BPtWnpgDc7H/?taken-by=undocumentedlives\">https://www.instagram.com/p/BPtWnpgDc7H/?taken-by=undocumentedlives\u003c/a>\u003c/p>\n\u003cp>Included in Pandika and Clock’s \u003ca href=\"http://fusion.kinja.com/you-have-to-come-out-of-the-closet-twice-what-its-li-1793859267\">Fusion piece\u003c/a> about queer undocumented youth, Bismark expands on the particular difficulties of that intersection, which can be difficult to explain to both the queer community and the undocumented community. “I’m a survivor of sexual assault, so if I were to be detained, I would definitely be scared. A lot of folks don’t like to acknowledge the higher rates of assault queer and trans folks face in detention,” Bismark says. “But we can’t hide anymore. We can’t afford that. We’ve been through our time in the closet. It’s time to step up and not be ashamed.”\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>‘Undocumented Lives’ will be exhibited beginning June 2 at UFO Gallery in Berkeley. The show features Clock’s photographs alongside excerpts from Pandika’s interviews. \u003ca href=\"https://www.facebook.com/events/691808990998686/\">Opening reception\u003c/a> on June 2 from 6–10pm; all proceeds benefit \u003ca href=\"https://defineamerican.com/\">Define American\u003c/a>, a nonprofit aimed at changing the conversation around immigration and citizenship.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The 'Undocumented Youth' account allows DACA students to step out of the shadows and advocate for immigration reform.","status":"publish","parent":0,"modified":1705030547,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":979},"headData":{"title":"Undocumented Youth Tell Their Stories on Instagram | KQED","description":"The 'Undocumented Youth' account allows DACA students to step out of the shadows and advocate for immigration reform.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Undocumented Youth Tell Their Stories on Instagram","datePublished":"2017-05-25T13:00:33.000Z","dateModified":"2024-01-12T03:35:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13280241/undocumented-youth-tell-their-stories-on-instagram","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re like most people, your Instagram feed is populated with food, vacations, selfies and cats. And then there’s the \u003cem>Undocumented Lives\u003c/em> account — containing, as an example, a photograph by Diana Clock, in which a 19-year-old named Bismark stands in front of a college building with a stare at once hopeful and apprehensive. The caption, culled from an interview with Melissa Pandika, shares that Bismark crossed the U.S.-Mexico border at 17 years old, with brother and sister in tow.\u003c/p>\n\u003cp>“We’re terrified of what might happen, but that’s not going to deter us from anything. It just means that I have to take more precautions, and speak to my parents and my siblings about what we can and can’t do anymore,” Bismark is quoted saying. “We’re saving up money, making sure we all know how to confront an ICE agent. … Making sure our house, at least, is somewhere we can feel safe.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BQy3B7sg6Lk/?taken-by=undocumentedlives\">https://www.instagram.com/p/BQy3B7sg6Lk/?taken-by=undocumentedlives\u003c/a>\u003c/p>\n\u003cp>Bismark — a college student and lead organizer with North Bay Immigrant Youth Union, which advocates for undocumented youth — is one of many undocumented students that Bay Area journalists Clock and Pandika photographed and interviewed over the past year as part of their ongoing project, \u003cem>Undocumented Lives\u003c/em>. Their intention: to provide a platform for undocumented youth to counter conservative narratives about migrants by telling their own stories.\u003c/p>\n\u003cp>“Much of the coverage on undocumented immigrants I had encountered tended to describe them as this faceless, monolithic group,” writes Pandika over email. “I wanted to learn about who these immigrants were, beyond the statistics and political debate, but as individuals, each with unique stories.”\u003c/p>\n\u003cfigure id=\"attachment_13280504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13280504 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/02-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/02-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cuahuctemoc, an undocumented UC Berkeley graduate. \u003ccite>(Courtesy Undocumented Lives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pandika’s own parents lived undocumented in the United States for a short time, and she always had trouble placing herself in their shoes when hearing their stories, she says. When she began the project last year, “I wanted to understand further what it means to be young and undocumented in the U.S. — especially in the face of a possible Trump presidency — and help others do the same.”\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>Pandika and Clock started off by getting to know one student, who they had been introduced to by a friend who teaches high school in Oakland. After getting to know each other and building trust, their first subject then began introducing Pandika and Clock to others. Students also began reaching out to them through the \u003cem>Undocumented Lives\u003c/em> \u003ca href=\"https://www.instagram.com/undocumentedlives/\">Instagram account\u003c/a>.\u003c/p>\n\u003cp>Throughout the project, Panika and Clock have made sure that the youth they work with feel safe and comfortable, as well as being careful not to share too much identifying information. The duo works solely with young immigrants covered by Deferred Action for Childhood Arrivals (DACA), a policy implemented by the Obama administration in 2012 that protects eligible immigrant youth from deportation. Still, Trump promised several times on the campaign trail that he would repeal DACA once in office — and though the policy is still in place, 23-year-old DACA recipient \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2017/04/19/the-trump-administration-has-deported-a-dreamer-for-first-time-advocates-say/?utm_term=.6ea450954026\">Juan Manuel Montes-Bojorquez \u003c/a>was deported in February without explanation.\u003c/p>\n\u003cp>“I think they feel like they don’t have that many rights, and they need to fight for what rights they do have to make sure that they’re not repealed,” Clock says of the subjects. “I think that’s motivating them to share. That’s exactly why we wanted to do this project, to give them a spotlight.”\u003c/p>\n\u003cfigure id=\"attachment_13280502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/04-e1495431953208-800x639.jpg\" alt=\"\" width=\"800\" height=\"639\" class=\"size-medium wp-image-13280502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-960x767.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208-520x415.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/04-e1495431953208.jpg 1333w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kevin, an undocumented UC Berkeley student. \u003ccite>(Courtesy Undocumented Lives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Undocumented Lives\u003c/em> mostly features high school students, but also includes some college students, as well as a few who have already graduated. The majority interviewed are involved with community organizing and volunteering, while many others go to school during the day and work in the evenings to alleviate difficult financial circumstances at home. Clock and Pandika follow them throughout their day, then interview them about their lives, backstories, fears, and dreams for the future.\u003c/p>\n\u003cp>Pandika and Clock have also published pieces on specific subtleties of the undocumented experience that are often left out of even progressive narratives about immigrants, such as the emotional nuances of being \u003ca href=\"http://fusion.kinja.com/you-have-to-come-out-of-the-closet-twice-what-its-li-1793859267\">both undocumented and queer\u003c/a>, and \u003ca href=\"https://www.vice.com/en_us/article/it-sucks-to-be-undocumented-when-youre-an-average-student\">the excessive pressure put on undocumented students to be the best in their classes\u003c/a>.\u003c/p>\n\u003cp>“These students are not necessarily only valedictorians or criminals,” says Clock. “There are many students who fall in the middle, and they’re just normal students who are trying to go about their lives and doing the best they can.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/BPtWnpgDc7H/?taken-by=undocumentedlives\">https://www.instagram.com/p/BPtWnpgDc7H/?taken-by=undocumentedlives\u003c/a>\u003c/p>\n\u003cp>Included in Pandika and Clock’s \u003ca href=\"http://fusion.kinja.com/you-have-to-come-out-of-the-closet-twice-what-its-li-1793859267\">Fusion piece\u003c/a> about queer undocumented youth, Bismark expands on the particular difficulties of that intersection, which can be difficult to explain to both the queer community and the undocumented community. “I’m a survivor of sexual assault, so if I were to be detained, I would definitely be scared. A lot of folks don’t like to acknowledge the higher rates of assault queer and trans folks face in detention,” Bismark says. “But we can’t hide anymore. We can’t afford that. We’ve been through our time in the closet. It’s time to step up and not be ashamed.”\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>‘Undocumented Lives’ will be exhibited beginning June 2 at UFO Gallery in Berkeley. The show features Clock’s photographs alongside excerpts from Pandika’s interviews. \u003ca href=\"https://www.facebook.com/events/691808990998686/\">Opening reception\u003c/a> on June 2 from 6–10pm; all proceeds benefit \u003ca href=\"https://defineamerican.com/\">Define American\u003c/a>, a nonprofit aimed at changing the conversation around immigration and citizenship.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13280241/undocumented-youth-tell-their-stories-on-instagram","authors":["11323"],"programs":["arts_1364"],"categories":["arts_835","arts_70"],"tags":["arts_1522","arts_1118","arts_1773","arts_596"],"featImg":"arts_13284585","label":"arts_1364"},"arts_13235772":{"type":"posts","id":"arts_13235772","meta":{"index":"posts_1591205157","site":"arts","id":"13235772","score":null,"sort":[1495134016000]},"guestAuthors":[],"slug":"dancer-ed-mocks-unstoppable-feat-chronicled-in-new-documentary","title":"Dancer Ed Mock's 'Unstoppable Feat' Chronicled in New Documentary","publishDate":1495134016,"format":"image","headTitle":"Dancer Ed Mock’s ‘Unstoppable Feat’ Chronicled in New Documentary | KQED","labelTerm":{"term":1364,"site":"arts"},"content":"\u003cp>“‘Pioneer’ — I have trouble with that word,” says Brontez Purnell, sitting in the sunny backyard of his West Oakland home and grasping for the best language with which to describe Ed Mock.\u003c/p>\n\u003cp>It’s a task that the popular dancer, musician, author, and visual artist has meditated on for the past two years while directing his first documentary — about influential San Francisco dancer Ed Mock, who died from AIDS in 1986. Mock’s work was definitely daring: experimental, free, genre-bending performance at the forefront of the alternative West Coast dance scene in the 1970s. But with \u003cem>Unstoppable Feat: The Dances of Ed Mock\u003c/em>, Purnell is more interested in identifying lineages than he is in applauding originality.\u003c/p>\n\u003cp>“It’s not always to me about being so cutting-edge, I feel like we are soldiers in a tradition,” Purnell says in a rough cut of the film. “I want people to look at this and know that we have brothers and sisters all throughout history, and we also have to keep in the tradition of knowing what our past is.”\u003c/p>\n\u003cfigure id=\"attachment_13235777\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235777\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-800x1136.jpg\" alt=\"\" width=\"800\" height=\"1136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-800x1136.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-768x1091.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-1020x1449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-1920x2727.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-1180x1676.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-960x1364.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-240x341.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-375x533.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-520x739.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Mock. \u003ccite>(Courtesy Lynne Redding)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Originally from Chicago, story has it that Mock’s first time dancing was when he climbed on top of his parents’ poolroom as a child and did a little number for the customers. Mock went on to study with esteemed teachers such as Jimmy Payne, Katherine Dunham, and Lester Horton. In 1966, he moved to San Francisco and became a choreographer and dance instructor himself, teaching at ACT and elsewhere. With a specialty in improvisation and blending an array of styles, from mime techniques to jazz dance, Mock soon became a star of the San Francisco dance scene.\u003c/p>\n\u003cp>Purnell describes Mock’s work as proto-performance art — before the discipline had really taken hold — as well as crucial, under-historicized influence. “For my own work, Mock represents the missing choreographic link between Alvin Ailey, Anna Halprin, and Bill T. Jones,” he writes in a statement about the film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The documentary is filled with joyous recollections of not only Mock’s dancing, but his magnetic personality. In interviews interspersed with clips of Mock performing and portraits of him from Lynne Redding’s beautiful photographic homage \u003ca href=\"http://www.edmockbook.com/\">\u003cem>Ed Mock and Company Dance\u003c/em>\u003c/a>, Mock’s former friends and students describe him as a revered instructor, a widely desired and fluid romantic partner, and an always-fashionable socialite who unwaveringly commanded the room.\u003c/p>\n\u003cfigure id=\"attachment_13235775\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235775\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-800x1009.jpg\" alt=\"\" width=\"800\" height=\"1009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-800x1009.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-768x969.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-1020x1287.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-1920x2422.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-1180x1489.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-960x1211.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-240x303.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-375x473.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-520x656.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Mock. \u003ccite>(Courtesy Lynne Redding)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He knew that he was a black man who was also a beacon for us young people of color,” says dancer Rhodessa Jones in the film. “He knew that all of that was going down when we were watching him in class.”\u003c/p>\n\u003cp>The documentary serves as a peek into the artistic culture of San Francisco in the ’60s and ’70s: spontaneous, bohemian, sexual, flamboyant. It’s also a reflection on the abruptness with which so many artistic lineages were cut short due to the AIDS epidemic. Throughout, a lingering question hovers over the film: What else would Mock have achieved; how many more dancers would Mock have directly influenced if he hadn’t died so young?\u003c/p>\n\u003cp>“It’s really satisfying to me to just know that there \u003cem>was\u003c/em> an Ed,” say Purnell. “I feel like it’s kind of engrained that dance is a matriarchal tradition, which is totally fine, but with the AIDS epidemic and having so many of those artists swept away, it was like: Who was this generation of men making this kind of abstract work; What were their lives like?”\u003c/p>\n\u003cp>Purnell, who now heads the Brontez Purnell Dance Company, first became aware of Mock when prolific Bay Area dancer and choreographer Amara Tabor-Smith, who studied with Mock and appears in the film, told Purnell that a dance piece of his reminded her of Mock’s work. Years later, Tabor-Smith produced a ritualistic public performance tribute to Mock entitled \u003cem>He Moved Swiftly but Gently Down a Not Too Crowded Street: Ed Mock and Other True Tales in a City That Once Was\u003c/em>, in which Purnell took part. The experience cemented his interest in researching and preserving Mock’s legacy.\u003c/p>\n\u003cp>“I was just like, ‘Oh my god, that’s my dad,’” Purnell recalls. “’That is definitely an ancestor I never knew existed.’”\u003c/p>\n\u003cfigure id=\"attachment_13235774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235774\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-800x639.jpg\" alt=\"\" width=\"800\" height=\"639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-960x767.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-520x415.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Mock. \u003ccite>(Courtesy Lynne Redding. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Purnell finally received funding for the project about two years ago, and is currently in the final stages of post-production. As part of the process, he did a residency at The Lab in San Francisco that consisted of multiple events and culminated in a screening of a rough cut of the film at the end of March. In mid-March, Purnell threw the No New Art No New Dance Fest. That night at The Lab, he stalked around the room in white overalls covered in the words “STOP MEN” wearing a painting like a poncho and pasted paper to his forehead with spit while a collaborator scribbled on the stage with a mop and a bucket of black paint.\u003c/p>\n\u003cp>\u003ca href=\"http://https://youtu.be/fbxspKZA7Zc\">http://https://youtu.be/fbxspKZA7Zc\u003c/a>\u003c/p>\n\u003cp>Although Purnell is definitely a multidisciplinary artist, those who know his in-your-face work might be surprised at the thought of him making a straight-forward documentary. Purnell promises to enliven the format with poetry by Marvin K White and dance interludes featuring remixed choreographies of Mock’s work — in effect, taking up and expanding a creative lineage cut short.\u003c/p>\n\u003cp>“The cross-section of his career, placement in the underground dance world, and experiences as a gay black man who died of AIDS early in the pandemic, these parallel my life and are barely written or recorded,” writes Purnell in his statement. “We — artists, Black queers, Bay Area dancers, HIV+ gay men — have to extract our collective past and create the historical record.”\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Unstoppable Feat: The Dances of Ed Mock’ screens at the \u003ca href=\"http://www.starlinesocialclub.com\">Starline Social Club\u003c/a> on Friday, May 26, at 7:30pm and at \u003ca href=\"http://www.thelab.org/\">The Lab\u003c/a> on Wednesday, May 31, at 8pm.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"To director Brontez Purnell, the genre-bending dancer who died of AIDS in 1986 was like 'an ancestor I never knew existed.'","status":"publish","parent":0,"modified":1705030616,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1061},"headData":{"title":"Dancer Ed Mock's 'Unstoppable Feat' Chronicled in New Documentary | KQED","description":"To director Brontez Purnell, the genre-bending dancer who died of AIDS in 1986 was like 'an ancestor I never knew existed.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Dancer Ed Mock's 'Unstoppable Feat' Chronicled in New Documentary","datePublished":"2017-05-18T19:00:16.000Z","dateModified":"2024-01-12T03:36:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13235772/dancer-ed-mocks-unstoppable-feat-chronicled-in-new-documentary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“‘Pioneer’ — I have trouble with that word,” says Brontez Purnell, sitting in the sunny backyard of his West Oakland home and grasping for the best language with which to describe Ed Mock.\u003c/p>\n\u003cp>It’s a task that the popular dancer, musician, author, and visual artist has meditated on for the past two years while directing his first documentary — about influential San Francisco dancer Ed Mock, who died from AIDS in 1986. Mock’s work was definitely daring: experimental, free, genre-bending performance at the forefront of the alternative West Coast dance scene in the 1970s. But with \u003cem>Unstoppable Feat: The Dances of Ed Mock\u003c/em>, Purnell is more interested in identifying lineages than he is in applauding originality.\u003c/p>\n\u003cp>“It’s not always to me about being so cutting-edge, I feel like we are soldiers in a tradition,” Purnell says in a rough cut of the film. “I want people to look at this and know that we have brothers and sisters all throughout history, and we also have to keep in the tradition of knowing what our past is.”\u003c/p>\n\u003cfigure id=\"attachment_13235777\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235777\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-800x1136.jpg\" alt=\"\" width=\"800\" height=\"1136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-800x1136.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-768x1091.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-1020x1449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-1920x2727.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-1180x1676.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-960x1364.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-240x341.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-375x533.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-520x739.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Mock. \u003ccite>(Courtesy Lynne Redding)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Originally from Chicago, story has it that Mock’s first time dancing was when he climbed on top of his parents’ poolroom as a child and did a little number for the customers. Mock went on to study with esteemed teachers such as Jimmy Payne, Katherine Dunham, and Lester Horton. In 1966, he moved to San Francisco and became a choreographer and dance instructor himself, teaching at ACT and elsewhere. With a specialty in improvisation and blending an array of styles, from mime techniques to jazz dance, Mock soon became a star of the San Francisco dance scene.\u003c/p>\n\u003cp>Purnell describes Mock’s work as proto-performance art — before the discipline had really taken hold — as well as crucial, under-historicized influence. “For my own work, Mock represents the missing choreographic link between Alvin Ailey, Anna Halprin, and Bill T. Jones,” he writes in a statement about the film.\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 documentary is filled with joyous recollections of not only Mock’s dancing, but his magnetic personality. In interviews interspersed with clips of Mock performing and portraits of him from Lynne Redding’s beautiful photographic homage \u003ca href=\"http://www.edmockbook.com/\">\u003cem>Ed Mock and Company Dance\u003c/em>\u003c/a>, Mock’s former friends and students describe him as a revered instructor, a widely desired and fluid romantic partner, and an always-fashionable socialite who unwaveringly commanded the room.\u003c/p>\n\u003cfigure id=\"attachment_13235775\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235775\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-800x1009.jpg\" alt=\"\" width=\"800\" height=\"1009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-800x1009.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-768x969.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-1020x1287.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-1920x2422.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-1180x1489.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-960x1211.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-240x303.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-375x473.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-520x656.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Mock. \u003ccite>(Courtesy Lynne Redding)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He knew that he was a black man who was also a beacon for us young people of color,” says dancer Rhodessa Jones in the film. “He knew that all of that was going down when we were watching him in class.”\u003c/p>\n\u003cp>The documentary serves as a peek into the artistic culture of San Francisco in the ’60s and ’70s: spontaneous, bohemian, sexual, flamboyant. It’s also a reflection on the abruptness with which so many artistic lineages were cut short due to the AIDS epidemic. Throughout, a lingering question hovers over the film: What else would Mock have achieved; how many more dancers would Mock have directly influenced if he hadn’t died so young?\u003c/p>\n\u003cp>“It’s really satisfying to me to just know that there \u003cem>was\u003c/em> an Ed,” say Purnell. “I feel like it’s kind of engrained that dance is a matriarchal tradition, which is totally fine, but with the AIDS epidemic and having so many of those artists swept away, it was like: Who was this generation of men making this kind of abstract work; What were their lives like?”\u003c/p>\n\u003cp>Purnell, who now heads the Brontez Purnell Dance Company, first became aware of Mock when prolific Bay Area dancer and choreographer Amara Tabor-Smith, who studied with Mock and appears in the film, told Purnell that a dance piece of his reminded her of Mock’s work. Years later, Tabor-Smith produced a ritualistic public performance tribute to Mock entitled \u003cem>He Moved Swiftly but Gently Down a Not Too Crowded Street: Ed Mock and Other True Tales in a City That Once Was\u003c/em>, in which Purnell took part. The experience cemented his interest in researching and preserving Mock’s legacy.\u003c/p>\n\u003cp>“I was just like, ‘Oh my god, that’s my dad,’” Purnell recalls. “’That is definitely an ancestor I never knew existed.’”\u003c/p>\n\u003cfigure id=\"attachment_13235774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235774\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-800x639.jpg\" alt=\"\" width=\"800\" height=\"639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-960x767.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-520x415.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Mock. \u003ccite>(Courtesy Lynne Redding. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Purnell finally received funding for the project about two years ago, and is currently in the final stages of post-production. As part of the process, he did a residency at The Lab in San Francisco that consisted of multiple events and culminated in a screening of a rough cut of the film at the end of March. In mid-March, Purnell threw the No New Art No New Dance Fest. That night at The Lab, he stalked around the room in white overalls covered in the words “STOP MEN” wearing a painting like a poncho and pasted paper to his forehead with spit while a collaborator scribbled on the stage with a mop and a bucket of black paint.\u003c/p>\n\u003cp>\u003ca href=\"http://https://youtu.be/fbxspKZA7Zc\">http://https://youtu.be/fbxspKZA7Zc\u003c/a>\u003c/p>\n\u003cp>Although Purnell is definitely a multidisciplinary artist, those who know his in-your-face work might be surprised at the thought of him making a straight-forward documentary. Purnell promises to enliven the format with poetry by Marvin K White and dance interludes featuring remixed choreographies of Mock’s work — in effect, taking up and expanding a creative lineage cut short.\u003c/p>\n\u003cp>“The cross-section of his career, placement in the underground dance world, and experiences as a gay black man who died of AIDS early in the pandemic, these parallel my life and are barely written or recorded,” writes Purnell in his statement. “We — artists, Black queers, Bay Area dancers, HIV+ gay men — have to extract our collective past and create the historical record.”\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Unstoppable Feat: The Dances of Ed Mock’ screens at the \u003ca href=\"http://www.starlinesocialclub.com\">Starline Social Club\u003c/a> on Friday, May 26, at 7:30pm and at \u003ca href=\"http://www.thelab.org/\">The Lab\u003c/a> on Wednesday, May 31, at 8pm.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13235772/dancer-ed-mocks-unstoppable-feat-chronicled-in-new-documentary","authors":["11323"],"programs":["arts_1364"],"categories":["arts_835","arts_966","arts_74"],"tags":["arts_1831","arts_1522","arts_1119","arts_1118","arts_596"],"featImg":"arts_13235778","label":"arts_1364"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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