San Francisco Dance Company FACT/SF Pays Artists to Apply
Look Around You This Fall for These Bay Area Dance Events
As Marcos Rises to Power, a Dance Ritual Helps Filipino Americans Process Grief, Fear
At ODC, 'w o w m o m' Is a Multimedia Dance Ode to the Planets
How Dancers Maintain Their Well-Being in Quarantine
Dancing About Architecture, Literally, in Kristin Damrow's IMPACT
Bobbi Jene Smith, No Stranger to Extremes, on New Work ‘With Care’
On the Air: Cy, Gabe, and A-lan's Do List Picks for May 11, 2018
A Wild Mix of Movement in ODC's Walking Distance Dance Festival
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The organization has announced a new series of grants, scholarships and performance opportunities — and, best of all, they’ll pay artists $25 just to apply.\u003c/p>\n\u003cp>FACT/SF is selecting performing artists looking either to present and produce work or participate in a nine-day dance workshop immersion with company founder and choreographer Charles Slender-White.\u003c/p>\n\u003cp>“It’s pretty uncommon for a dance company to be running a program like this,” White told KQED in an email. “I’m pretty sure we’re the only (or one of the only) organizations in the country that actually pays people to apply.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>FACT/SF’s \u003ca href=\"https://factsf.org/fieldworkhistory\" target=\"_blank\" rel=\"noopener noreferrer\">Fieldwork\u003c/a> initiative provides material resources and presenting opportunities in seven different programs, including fiscal sponsorship and artist consultation. Since its inception in 2014, Fieldwork’s programs have supported over 50 choreographers, dancers and teachers.\u003c/p>\n\u003cfigure id=\"attachment_13920193\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13920193 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-scaled.jpg\" alt=\"Artist in pink tulle is dancing on stage in front of another performer who is watching them\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Caitlin Hicks & Eric Garcia in a work by Sharp & Fine, previous Fieldwork recipients \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In FACT/SF’s characterization, artists don’t apply to the various opportunities, but “self-nominate” through an open-ended dialogue between nominees and FACT/SF’s curatorial panel, which consists of company members and Bay Area dancers. Part of the curation process is guided by the company’s goal in selecting at least 50% BIPOC and 50% LGBTQ+ artists.\u003c/p>\n\u003cp>White announced the new iteration of their Fieldwork programs in an \u003ca href=\"https://docs.google.com/document/d/1CO6DtNvLJCC8vcWp7_rRGsp7I4G5dHJ50ySTgA1HxM0/edit\" target=\"_blank\" rel=\"noopener noreferrer\">open letter\u003c/a> that details the resource tracks. Those include production support grants ($1,000 each), paid performance opportunities in the August 2023 FACT/SF Summer Dance Festival at ODC in San Francisco ($1,250 stipend), and scholarships to attend the FACT/SF August 2023 Summer Dance Lab at ODC.\u003c/p>\n\u003cp>Opportunities also include tech and dress rehearsals for the Summer Dance Festival and, for those looking to instruct workshops in the Summer Dance Lab, $100/hour to teach.\u003c/p>\n\u003cp>“As we recognize that applying for opportunities is real work, we offer a $25 honorarium to all artists who nominate themselves for one or more of our programs,” White wrote in the open letter.\u003c/p>\n\u003cp>“We know that this sum is small, but we hope that it signifies our respect for your work and time, and that this resource inversion of the application process might nudge the larger field towards less extractive and more ethical practices,” White added.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Self-nominations for FACT/SF’s 2023 Fieldwork opportunities are due by Oct. 31, 2022. Artists can \u003c/i>\u003ca href=\"https://factsf.org/fieldwork\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>learn more and apply here\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"FACT/SF announces new grants, scholarships and performance opportunities—and artists are paid to apply.","status":"publish","parent":0,"modified":1705006288,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":481},"headData":{"title":"San Francisco Dance Company FACT/SF Pays Artists to Apply | KQED","description":"FACT/SF announces new grants, scholarships and performance opportunities—and artists are paid to apply.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Francisco Dance Company FACT/SF Pays Artists to Apply","datePublished":"2022-10-10T15:53:38.000Z","dateModified":"2024-01-11T20:51:28.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"san-francisco-dance-company-fact-sf-pays-artists-to-apply","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13920190/fact-sf-dance-grants","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>To any artist that’s ever applied for a grant or a residency, this process will be familiar:\u003c/p>\n\u003cp>Step 1: Spend hours of unpaid time applying\u003cbr>\nStep 2: Don’t hear back for weeks or longer\u003cbr>\nStep 3: Receive rejection with no feedback or dialogue\u003c/p>\n\u003cp>San Francisco dance company FACT/SF wants to change that. The organization has announced a new series of grants, scholarships and performance opportunities — and, best of all, they’ll pay artists $25 just to apply.\u003c/p>\n\u003cp>FACT/SF is selecting performing artists looking either to present and produce work or participate in a nine-day dance workshop immersion with company founder and choreographer Charles Slender-White.\u003c/p>\n\u003cp>“It’s pretty uncommon for a dance company to be running a program like this,” White told KQED in an email. “I’m pretty sure we’re the only (or one of the only) organizations in the country that actually pays people to apply.”\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>FACT/SF’s \u003ca href=\"https://factsf.org/fieldworkhistory\" target=\"_blank\" rel=\"noopener noreferrer\">Fieldwork\u003c/a> initiative provides material resources and presenting opportunities in seven different programs, including fiscal sponsorship and artist consultation. Since its inception in 2014, Fieldwork’s programs have supported over 50 choreographers, dancers and teachers.\u003c/p>\n\u003cfigure id=\"attachment_13920193\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13920193 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-scaled.jpg\" alt=\"Artist in pink tulle is dancing on stage in front of another performer who is watching them\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Caitlin-Hicks-Eric-Garcia-in-work-by-Sharp-Fine-01-Photo-by-Robbie-Sweeny-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Caitlin Hicks & Eric Garcia in a work by Sharp & Fine, previous Fieldwork recipients \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In FACT/SF’s characterization, artists don’t apply to the various opportunities, but “self-nominate” through an open-ended dialogue between nominees and FACT/SF’s curatorial panel, which consists of company members and Bay Area dancers. Part of the curation process is guided by the company’s goal in selecting at least 50% BIPOC and 50% LGBTQ+ artists.\u003c/p>\n\u003cp>White announced the new iteration of their Fieldwork programs in an \u003ca href=\"https://docs.google.com/document/d/1CO6DtNvLJCC8vcWp7_rRGsp7I4G5dHJ50ySTgA1HxM0/edit\" target=\"_blank\" rel=\"noopener noreferrer\">open letter\u003c/a> that details the resource tracks. Those include production support grants ($1,000 each), paid performance opportunities in the August 2023 FACT/SF Summer Dance Festival at ODC in San Francisco ($1,250 stipend), and scholarships to attend the FACT/SF August 2023 Summer Dance Lab at ODC.\u003c/p>\n\u003cp>Opportunities also include tech and dress rehearsals for the Summer Dance Festival and, for those looking to instruct workshops in the Summer Dance Lab, $100/hour to teach.\u003c/p>\n\u003cp>“As we recognize that applying for opportunities is real work, we offer a $25 honorarium to all artists who nominate themselves for one or more of our programs,” White wrote in the open letter.\u003c/p>\n\u003cp>“We know that this sum is small, but we hope that it signifies our respect for your work and time, and that this resource inversion of the application process might nudge the larger field towards less extractive and more ethical practices,” White added.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Self-nominations for FACT/SF’s 2023 Fieldwork opportunities are due by Oct. 31, 2022. Artists can \u003c/i>\u003ca href=\"https://factsf.org/fieldwork\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>learn more and apply here\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13920190/fact-sf-dance-grants","authors":["11771"],"categories":["arts_1","arts_966"],"tags":["arts_879","arts_3590","arts_1406"],"featImg":"arts_13920233","label":"arts"},"arts_13917757":{"type":"posts","id":"arts_13917757","meta":{"index":"posts_1591205157","site":"arts","id":"13917757","score":null,"sort":[1661802033000]},"guestAuthors":[],"slug":"bay-area-dance-events-fall-arts-2022","title":"Look Around You This Fall for These Bay Area Dance Events","publishDate":1661802033,"format":"standard","headTitle":"Look Around You This Fall for These Bay Area Dance Events | KQED","labelTerm":{},"content":"\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The most compelling dance performances challenge the audience experience, whether with atypical stages or by blurring lines between genres. All the better if the performance carries an urgent story. The Bay Area dance events selected in this year’s fall preview extend beyond the black box theater, whether by activating waterways or scaling building facades. Many of these events also weave today’s pressing social issues into their choreography. It’s the Bay Area, after all, and today’s local dancers and choreographers proudly carry the torch of the region’s legacy in art as activism.\u003c/p>\n\u003cfigure id=\"attachment_13917765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917765\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-800x533.jpg\" alt=\"a man in red dances inside a dimly lit building, against a white wall\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Johnny Huy Nguyen of Lenora Lee Dance, which premieres ‘In the Movement’ Sept. 1-11 at ODC in San Francisco. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://odc.secure.force.com/ticket/?_ga=2.241490244.713335932.1660175872-1110366481.1660175872#/events/a0S5b00000CTNJYEA5\">‘In the Movement’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>ODC Theater, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 1-11, 2022\u003c/em>\u003c/p>\n\u003cp>How can dance embody the separation of families caused by incarceration and mass detention of immigrants? Lenora Lee Dance’s world premiere of \u003cem>In the Movement\u003c/em>, produced in collaboration with Asian Improv aRTs and the API Cultural Center, ventures to choreograph these topics. The work incorporates recorded interviews with currently or formerly incarcerated individuals and advocates, as well as recorded music, live vocals and video filmed on Alcatraz Island. In responding to this source material, \u003cem>In the Movement\u003c/em> employs dance to illustrate systemic cycles of oppression.\u003c/p>\n\u003cfigure id=\"attachment_13917767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-800x533.jpg\" alt=\"a bright gold rose sculpture in Golden Gate Park\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Slow Show’ takes place Sept. 15 take place at the ‘La Rose des Vents’ sculpture in the Conservatory of Flowers in Golden Gate Park. \u003ccite>(Courtesy of the SF Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://836m.org/la-rose-des-vents/\">‘Slow Show’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Conservatory of Flowers, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 15, 2022\u003c/em>\u003c/p>\n\u003cp>Choreographer Dimitri Chamblas wants to slow down. He describes his internationally touring work, \u003cem>Slow Show\u003c/em>, as an “intensive and agitated” practice of stretching time through micro-movements that adapt to the dancer’s location—previously, a frozen lake in Minneapolis, or an outdoor amphitheater in Ouagadougou. In San Francisco, the work will take place at the “La Rose des Vents” sculpture in the Conservatory of Flowers in Golden Gate Park. The site-specific performance and dedication to the gilded kinetic sculpture, created by French artist Jean-Michel Othoniel, will feature an ensemble of 50 dancers who respond to the site through a series of “intense, concentrated and trance-like operations.”\u003c/p>\n\u003cfigure id=\"attachment_13917766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917766\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stephanie Hewett and \u003cspan style=\"font-weight: 400\">brontë \u003c/span>velez in ‘SPIN,’ part of Joe Goode Performance Group’s Gush Festival running Sept. 15-18 in San Francisco. \u003ccite>(Jade Begay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://joegoode.org/event/gush-2022/\">Gush Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Joe Goode Performance Group, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 15-18, 2022\u003c/em>\u003c/p>\n\u003cp>Joe Goode Performance Group’s second bi-annual GUSH Festival explores queer intergenerational interconnection and ancestral cultural identity. brontë velez’s SPIN promises to use aerial dance to illustrate “the ways Black folks spin and get spun out,” and Gizeh Muñiz Vengel & Ernesto Peart Falcón’s dance duet ‘islas breves’ questions a blurred ancestral lineage. The festival also welcomes three longtime Joe Goode artists—Gabriele Christian, Molly Katzman and Joe Goode himself—for a duet that choreographs each collaborator’s partnership with a queer guest elder or youth performer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13917768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-800x523.jpg\" alt=\"an aerial dancer in red performs against a black and white backdrop\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-1536x1004.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-2048x1338.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-1920x1255.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jhia Jackson in ‘Apparatus of Repair,’ which takes place around UC Hastings’ Tenderloin campus Sept. 15-25. \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://flyawayproductions.com/upcoming-events/\">‘Apparatus of Repair’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>UC Hastings College of the Law, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 15-25, 2022\u003c/em>\u003c/p>\n\u003cp>It’s only fitting that a performance about the prison industrial complex takes place at a law school. Flyaway Productions’ \u003cem>Apparatus of Repair\u003c/em> is the final installment of \u003cem>The Decarceration Trilogy: Dismantling the Prison Industrial Complex One Dance at a Time\u003c/em>. The site-specific aerial dance performance activates vertical surfaces of UC Hastings’ buildings as a means to explore the devastating effects of mass incarceration and the healing process of restorative justice. \u003cem>Apparatus of Repair\u003c/em> can be viewed from several vantage points surrounding UC Hastings’ Tenderloin campus. Just don’t forget to look up.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CtcwfJdPvsY\u003c/p>\n\u003ch2>\u003ca href=\"https://www.santacruzmah.org/commonground\">CommonGround Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various locations, Santa Cruz County\u003cbr>\nSept. 16-25, 2022\u003c/em>\u003c/p>\n\u003cp>Some of the most exciting performance “stages” aren’t actually stages at all. The biennial 10-day CommonGround Festival is hosted in outdoor locations throughout Santa Cruz County, aiming to connect audiences with the region’s natural and built environments through installation art and site-specific performance. Oakland’s aerial arts company BANDALOOP will present \u003cem>LOOM:FIELD\u003c/em>, a vertical dance work that weaves climbing tech with ecological stewardship to transform the facade of the Santa Cruz Museum of Art & History into a giant loom. Other locations include a raft on Soquel Creek, the Evergreen Cemetery and the Davenport Jail.\u003c/p>\n\u003cfigure id=\"attachment_13917770\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/PiroPatten1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917770 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-800x542.jpeg\" alt=\"a blurry image of a group of dancers standing in front of the ocean\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-800x542.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-1020x691.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-160x108.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-768x520.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438.jpeg 1455w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Farallonites will perform at Fort Mason Center for the Arts in San Francisco Sept. 16-18. \u003ccite>(Piro Patten)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://danalawtondances.org/\">‘The Farallonites’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Fort Mason Center for the Arts, San Francisco\u003cbr>\nSept. 16-18, 2022\u003c/em>\u003c/p>\n\u003cp>“Fortitude and resilience.” That’s how the multidisciplinary performance group Dana Lawton Dances describe the lives of the lighthouse keepers and their families who lived on the Farallon Islands from the mid-1850s to the early 1900s. The work weaves dance with an original musical score, spoken word and visual art to build a world of “harsh physical conditions, repetitive hard labor and near total isolation.” If you’ve never considered the human spirit of lighthouse keepers and their loved ones, this performance is sure to make you think the next time you hear San Francisco’s fog horns.\u003c/p>\n\u003cfigure id=\"attachment_13917762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917762\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kanyon (Cayote Woman) Sayers-Roods in ‘‘sii agua sí.’ \u003ccite>(Fernando Gallegos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/flacc-2022-sii-agua-si-tickets-396312520417\">‘sii agua sí’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Between Dolores St. & Church St., San Francisco\u003cbr>\nOct. 1, 2022\u003c/em>\u003c/p>\n\u003cp>Did you know Dolores Park is a Native American heritage site? (To be clear, \u003ca href=\"https://www.kqed.org/arts/13916457/youre-on-native-land-the-cultural-district-honoring-urban-native-history\">all of San Francisco is on Native land\u003c/a>.) Dance Mission has partnered with the Festival of Latin American Contemporary Choreographers, Ohlone leaders, local artists, Mission High School and the American Indian Cultural District to honor Yelamu’s Inidigenous history. The free ritual performance intervention, sii agua sí, will memorialize the Indigenous ancestors buried in the Mission Dolores cemetery during early colonization. The event will include water prayers, traditional dance, a guided tour around the park and an “Ask a Native” session in an educational, Ohlone-led space.\u003c/p>\n\u003cfigure id=\"attachment_13917760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Quake_main_image-2.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Quake_main_image-2-800x961.jpeg\" alt=\"a woman with closed eyes against a backdrop of knotted rope\" width=\"800\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-800x961.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-1020x1226.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-160x192.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-768x923.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2.jpeg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kat Gorospe Cole in ‘Quake.’ \u003ccite>(Photo courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://counterpulse.org/event/quake/\">‘Quake’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>CounterPulse, San Francisco\u003cbr>\nOct. 13-15, 2022\u003c/em>\u003c/p>\n\u003cp>The stigma about mental health has begun to erode in the past few years, and Asian American celebrities are \u003ca href=\"https://www.kqed.org/arts/13916258/constance-wus-reveal-speaks-to-the-profound-pressure-asian-american-women-face\">speaking out about the profound pressure\u003c/a> they face from the media and public. But often missing from the conversation are stories about Asian-American communities’ resilience and healing practices. Kat Gorospe Cole & Jeffrey Yip’s multidisciplinary project \u003cem>Quake\u003c/em> provides a lens into the alternative mental health practices of some of these communities by immersing audiences in an audio installation that replicates a form of sound healing known as Vibroacoustic Therapy.\u003c/p>\n\u003cfigure id=\"attachment_13917771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original.png\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original-160x80.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original-768x384.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Summer Dance Music Series offers free, family-friendly dance events at San Francisco’s Union Square on Saturdays through Sept. 24. \u003ccite>(Courtesy of Union Square Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/summer-dance-music-series-tickets-289832515857\">Summer Dance Music Series\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Union Square Park, San Francisco\u003cbr>\nSaturdays, Aug. 12-Sept. 24, 2022\u003c/em>\u003c/p>\n\u003cp>Many of the Bay Area’s dance events this fall dig into some heavy—and worthy—topics. But there are also options for those hoping to simply catch some free, lighthearted outdoor performances. Union Square Alliance’s Summer Dance Music Series brings live music and dance to San Francisco’s Union Square every Saturday through Sept. 24 for some family-friendly relaxation. The Bay Area dance scene can be heavy; it’s OK to take a breather.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The season's most exciting dance offerings respond to pressing social issues—and challenge their audiences' notions of the stage. ","status":"publish","parent":0,"modified":1705006447,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1332},"headData":{"title":"Look Around You This Fall for These Bay Area Dance Events | KQED","description":"The season's most exciting dance offerings respond to pressing social issues—and challenge their audiences' notions of the stage. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Look Around You This Fall for These Bay Area Dance Events","datePublished":"2022-08-29T19:40:33.000Z","dateModified":"2024-01-11T20:54:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fall Arts Guide 2022","sourceUrl":"https://www.kqed.org/fallarts2022","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13917757/bay-area-dance-events-fall-arts-2022","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The most compelling dance performances challenge the audience experience, whether with atypical stages or by blurring lines between genres. All the better if the performance carries an urgent story. The Bay Area dance events selected in this year’s fall preview extend beyond the black box theater, whether by activating waterways or scaling building facades. Many of these events also weave today’s pressing social issues into their choreography. It’s the Bay Area, after all, and today’s local dancers and choreographers proudly carry the torch of the region’s legacy in art as activism.\u003c/p>\n\u003cfigure id=\"attachment_13917765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917765\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-800x533.jpg\" alt=\"a man in red dances inside a dimly lit building, against a white wall\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Johnny-Huy-Nguyen-of-Lenora-Lee-Dance-by-Robbie-Sweeny-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Johnny Huy Nguyen of Lenora Lee Dance, which premieres ‘In the Movement’ Sept. 1-11 at ODC in San Francisco. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://odc.secure.force.com/ticket/?_ga=2.241490244.713335932.1660175872-1110366481.1660175872#/events/a0S5b00000CTNJYEA5\">‘In the Movement’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>ODC Theater, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 1-11, 2022\u003c/em>\u003c/p>\n\u003cp>How can dance embody the separation of families caused by incarceration and mass detention of immigrants? Lenora Lee Dance’s world premiere of \u003cem>In the Movement\u003c/em>, produced in collaboration with Asian Improv aRTs and the API Cultural Center, ventures to choreograph these topics. The work incorporates recorded interviews with currently or formerly incarcerated individuals and advocates, as well as recorded music, live vocals and video filmed on Alcatraz Island. In responding to this source material, \u003cem>In the Movement\u003c/em> employs dance to illustrate systemic cycles of oppression.\u003c/p>\n\u003cfigure id=\"attachment_13917767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-800x533.jpg\" alt=\"a bright gold rose sculpture in Golden Gate Park\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/La-Rose-des-Vents-by-Jean-Michel-Othoniel-in-front-of-the-Conservatory-of-Flowers-in-Golden-Gate-Park-in-San-Francisco.-Photo-courtesy-of-the-SF-Arts-Commission-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Slow Show’ takes place Sept. 15 take place at the ‘La Rose des Vents’ sculpture in the Conservatory of Flowers in Golden Gate Park. \u003ccite>(Courtesy of the SF Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://836m.org/la-rose-des-vents/\">‘Slow Show’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Conservatory of Flowers, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 15, 2022\u003c/em>\u003c/p>\n\u003cp>Choreographer Dimitri Chamblas wants to slow down. He describes his internationally touring work, \u003cem>Slow Show\u003c/em>, as an “intensive and agitated” practice of stretching time through micro-movements that adapt to the dancer’s location—previously, a frozen lake in Minneapolis, or an outdoor amphitheater in Ouagadougou. In San Francisco, the work will take place at the “La Rose des Vents” sculpture in the Conservatory of Flowers in Golden Gate Park. The site-specific performance and dedication to the gilded kinetic sculpture, created by French artist Jean-Michel Othoniel, will feature an ensemble of 50 dancers who respond to the site through a series of “intense, concentrated and trance-like operations.”\u003c/p>\n\u003cfigure id=\"attachment_13917766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917766\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/bronte_velez_-_SPIN_-_Pictured__Stephanie_Hewett_bronte_velez_-_photo_by_Jade_Begay__50-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stephanie Hewett and \u003cspan style=\"font-weight: 400\">brontë \u003c/span>velez in ‘SPIN,’ part of Joe Goode Performance Group’s Gush Festival running Sept. 15-18 in San Francisco. \u003ccite>(Jade Begay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://joegoode.org/event/gush-2022/\">Gush Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Joe Goode Performance Group, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 15-18, 2022\u003c/em>\u003c/p>\n\u003cp>Joe Goode Performance Group’s second bi-annual GUSH Festival explores queer intergenerational interconnection and ancestral cultural identity. brontë velez’s SPIN promises to use aerial dance to illustrate “the ways Black folks spin and get spun out,” and Gizeh Muñiz Vengel & Ernesto Peart Falcón’s dance duet ‘islas breves’ questions a blurred ancestral lineage. The festival also welcomes three longtime Joe Goode artists—Gabriele Christian, Molly Katzman and Joe Goode himself—for a duet that choreographs each collaborator’s partnership with a queer guest elder or youth performer.\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\u003cfigure id=\"attachment_13917768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-800x523.jpg\" alt=\"an aerial dancer in red performs against a black and white backdrop\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-1536x1004.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-2048x1338.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Jhia-Jackson-for-Apparatus-of-Repair.-Photo-by-RJ-Muna-2-1920x1255.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jhia Jackson in ‘Apparatus of Repair,’ which takes place around UC Hastings’ Tenderloin campus Sept. 15-25. \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://flyawayproductions.com/upcoming-events/\">‘Apparatus of Repair’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>UC Hastings College of the Law, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 15-25, 2022\u003c/em>\u003c/p>\n\u003cp>It’s only fitting that a performance about the prison industrial complex takes place at a law school. Flyaway Productions’ \u003cem>Apparatus of Repair\u003c/em> is the final installment of \u003cem>The Decarceration Trilogy: Dismantling the Prison Industrial Complex One Dance at a Time\u003c/em>. The site-specific aerial dance performance activates vertical surfaces of UC Hastings’ buildings as a means to explore the devastating effects of mass incarceration and the healing process of restorative justice. \u003cem>Apparatus of Repair\u003c/em> can be viewed from several vantage points surrounding UC Hastings’ Tenderloin campus. Just don’t forget to look up.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CtcwfJdPvsY'\n title='//www.youtube.com/embed/CtcwfJdPvsY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.santacruzmah.org/commonground\">CommonGround Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various locations, Santa Cruz County\u003cbr>\nSept. 16-25, 2022\u003c/em>\u003c/p>\n\u003cp>Some of the most exciting performance “stages” aren’t actually stages at all. The biennial 10-day CommonGround Festival is hosted in outdoor locations throughout Santa Cruz County, aiming to connect audiences with the region’s natural and built environments through installation art and site-specific performance. Oakland’s aerial arts company BANDALOOP will present \u003cem>LOOM:FIELD\u003c/em>, a vertical dance work that weaves climbing tech with ecological stewardship to transform the facade of the Santa Cruz Museum of Art & History into a giant loom. Other locations include a raft on Soquel Creek, the Evergreen Cemetery and the Davenport Jail.\u003c/p>\n\u003cfigure id=\"attachment_13917770\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/PiroPatten1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917770 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-800x542.jpeg\" alt=\"a blurry image of a group of dancers standing in front of the ocean\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-800x542.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-1020x691.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-160x108.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438-768x520.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PiroPatten1-e1660852665438.jpeg 1455w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Farallonites will perform at Fort Mason Center for the Arts in San Francisco Sept. 16-18. \u003ccite>(Piro Patten)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://danalawtondances.org/\">‘The Farallonites’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Fort Mason Center for the Arts, San Francisco\u003cbr>\nSept. 16-18, 2022\u003c/em>\u003c/p>\n\u003cp>“Fortitude and resilience.” That’s how the multidisciplinary performance group Dana Lawton Dances describe the lives of the lighthouse keepers and their families who lived on the Farallon Islands from the mid-1850s to the early 1900s. The work weaves dance with an original musical score, spoken word and visual art to build a world of “harsh physical conditions, repetitive hard labor and near total isolation.” If you’ve never considered the human spirit of lighthouse keepers and their loved ones, this performance is sure to make you think the next time you hear San Francisco’s fog horns.\u003c/p>\n\u003cfigure id=\"attachment_13917762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917762\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CoyoteWoman1-Photo.Fernando_Gallegos-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kanyon (Cayote Woman) Sayers-Roods in ‘‘sii agua sí.’ \u003ccite>(Fernando Gallegos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/flacc-2022-sii-agua-si-tickets-396312520417\">‘sii agua sí’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Between Dolores St. & Church St., San Francisco\u003cbr>\nOct. 1, 2022\u003c/em>\u003c/p>\n\u003cp>Did you know Dolores Park is a Native American heritage site? (To be clear, \u003ca href=\"https://www.kqed.org/arts/13916457/youre-on-native-land-the-cultural-district-honoring-urban-native-history\">all of San Francisco is on Native land\u003c/a>.) Dance Mission has partnered with the Festival of Latin American Contemporary Choreographers, Ohlone leaders, local artists, Mission High School and the American Indian Cultural District to honor Yelamu’s Inidigenous history. The free ritual performance intervention, sii agua sí, will memorialize the Indigenous ancestors buried in the Mission Dolores cemetery during early colonization. The event will include water prayers, traditional dance, a guided tour around the park and an “Ask a Native” session in an educational, Ohlone-led space.\u003c/p>\n\u003cfigure id=\"attachment_13917760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Quake_main_image-2.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Quake_main_image-2-800x961.jpeg\" alt=\"a woman with closed eyes against a backdrop of knotted rope\" width=\"800\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-800x961.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-1020x1226.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-160x192.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2-768x923.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Quake_main_image-2.jpeg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kat Gorospe Cole in ‘Quake.’ \u003ccite>(Photo courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://counterpulse.org/event/quake/\">‘Quake’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>CounterPulse, San Francisco\u003cbr>\nOct. 13-15, 2022\u003c/em>\u003c/p>\n\u003cp>The stigma about mental health has begun to erode in the past few years, and Asian American celebrities are \u003ca href=\"https://www.kqed.org/arts/13916258/constance-wus-reveal-speaks-to-the-profound-pressure-asian-american-women-face\">speaking out about the profound pressure\u003c/a> they face from the media and public. But often missing from the conversation are stories about Asian-American communities’ resilience and healing practices. Kat Gorospe Cole & Jeffrey Yip’s multidisciplinary project \u003cem>Quake\u003c/em> provides a lens into the alternative mental health practices of some of these communities by immersing audiences in an audio installation that replicates a form of sound healing known as Vibroacoustic Therapy.\u003c/p>\n\u003cfigure id=\"attachment_13917771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original.png\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original-160x80.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/https___cdn.evbuc_.com_images_267168819_17062540531_1_original-768x384.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Summer Dance Music Series offers free, family-friendly dance events at San Francisco’s Union Square on Saturdays through Sept. 24. \u003ccite>(Courtesy of Union Square Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/summer-dance-music-series-tickets-289832515857\">Summer Dance Music Series\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Union Square Park, San Francisco\u003cbr>\nSaturdays, Aug. 12-Sept. 24, 2022\u003c/em>\u003c/p>\n\u003cp>Many of the Bay Area’s dance events this fall dig into some heavy—and worthy—topics. But there are also options for those hoping to simply catch some free, lighthearted outdoor performances. Union Square Alliance’s Summer Dance Music Series brings live music and dance to San Francisco’s Union Square every Saturday through Sept. 24 for some family-friendly relaxation. The Bay Area dance scene can be heavy; it’s OK to take a breather.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13917757/bay-area-dance-events-fall-arts-2022","authors":["11771"],"categories":["arts_1","arts_966"],"tags":["arts_18478","arts_1018","arts_879","arts_18457","arts_10278","arts_3978","arts_1406","arts_585"],"featImg":"arts_13917764","label":"source_arts_13917757"},"arts_13914762":{"type":"posts","id":"arts_13914762","meta":{"index":"posts_1591205157","site":"arts","id":"13914762","score":null,"sort":[1655164826000]},"guestAuthors":[],"slug":"sammay-odc-ritual-thrivation-marcos-philippines","title":"As Marcos Rises to Power, a Dance Ritual Helps Filipino Americans Process Grief, Fear","publishDate":1655164826,"format":"standard","headTitle":"As Marcos Rises to Power, a Dance Ritual Helps Filipino Americans Process Grief, Fear | KQED","labelTerm":{},"content":"\u003cp>At the premiere of \u003cem>ritual for thrivation no. 2\u003c/em> on June 10, a series of audio clips in Tagalog played over the speakers, filling San Francisco’s ODC Theater with harrowing memories.\u003c/p>\n\u003cp>“There was no newspaper, no TV. I was at home and people were scared,” said one voice.\u003c/p>\n\u003cp>“Ako ay nasa underground na.” (“I was in hiding.”) “I was 23,” said another.\u003c/p>\n\u003cp>“Nasa U.S. ako. Sabi pa nga na ibang mga kasamahan ko, ‘Huwag ka ng umuwi, nakakatakot ang martial law,’” said a third. (“I was in the U.S. All my friends said, ‘Don’t come home, martial law is terrifying.’”)\u003c/p>\n\u003cp>These stories aren’t just part of a performance. They are a part of Filipino history, which Filipino American choreographer and artistic director \u003ca href=\"http://www.sammaydizon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Samantha Peñaflor Dizon\u003c/a> (known as SAMMAY) wants us to remember in \u003cem>ritual for thrivation no. 2\u003c/em>. The clips, compiled by queer Pinay music duo \u003ca href=\"http://astralogik.com/\" target=\"_blank\" rel=\"noopener noreferrer\">AstraLogik\u003c/a>, are pulled from real interviews with survivors who were detained or tortured under the regime of Ferdinand Marcos, who declared martial law from 1972–1986. Although this history is recent, today’s political reality in the Philippines brings the past even closer to the present.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last month, the Philippines’ presidential election resulted in the victory of Ferdinand Marcos Jr., the son of the late former dictator, \u003ca href=\"https://www.cnn.com/2022/05/11/asia/marcos-philippines-president-explainer-intl-hnk/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">effectively returning the family back to power\u003c/a>. (Marcos Sr. was ousted by popular revolt and exiled in 1986; he died in 1989.) The Marcos name carries a history of human rights abuses and the thieving of \u003ca href=\"https://www.theguardian.com/world/2016/may/07/10bn-dollar-question-marcos-millions-nick-davies\" target=\"_blank\" rel=\"noopener noreferrer\">an estimated $10 billion\u003c/a> from the Philippine economy. One may wonder, “How could this happen?”\u003c/p>\n\u003cp>Disaffection among Filipinos grew over time, after watching corruption and inequality persist over the decades. Perhaps this created a desire for a strongman leader who can restore order at whatever the cost (see:\u003ca href=\"https://www.reuters.com/world/asia-pacific/no-quiet-retirement-philippines-duterte-when-marcos-takes-over-presidency-2022-05-11/\" target=\"_blank\" rel=\"noopener noreferrer\"> current president Rodrigo Duterte\u003c/a>). Couple that with disinformation and historical revisionism, and you have a recipe for vulnerability.\u003c/p>\n\u003cfigure id=\"attachment_13914773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-23-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s just so much dissonance around the truth and this work is about remembering,” said Dizon in an interview. “This work is about facing the hard truths of our lives, our lineages and our communities. We need to really face our shadows.”\u003c/p>\n\u003cp>\u003cem>ritual for thrivation no. 2\u003c/em> is an intergenerational, movement-based performance that explores the shadows of Philippine history and the inner worlds of Filipinos in the diaspora. Like all shadow work, it uncovers forgotten and unspoken truths as a means of necessary healing and care.\u003c/p>\n\u003cp>“This work lends itself to practicing collective care,” said dance artist and rehearsal director Danielle Galvez, “Here, care means being seen, being heard, and having the permission to share your story.”\u003c/p>\n\u003cfigure id=\"attachment_13914777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914777\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-18-800x546.jpg\" alt=\"\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story of \u003cem>ritual for thrivation no. 2\u003c/em>, co-presented by the \u003ca href=\"https://www.apiculturalcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">API Cultural Center\u003c/a>, is performed by Filipino American dance artists including Galvez, Tessa Nebrida, Jai Severson and Harold Albert Quiben Galvez. The work engages themes of ancestral connection, grief, queer identity and remembering pieces of the past that are vital to a future of freedom—aptly performed during the weekend of Araw ng Kalayaan (Philippine Independence Day).\u003c/p>\n\u003cp>Contemporary and urban dance styles combined with references to Filipino folk dances portray the balance of modernity and tradition that is a distinctive feature of Filipino American identity. One memorable sequence involves Filipino children’s street games and the walis (a Filipino-style broom and household staple), comfortingly familiar imagery that I never thought I’d see on a stage.\u003c/p>\n\u003cfigure id=\"attachment_13914775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-20-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think it speaks to that familiarity we share as diasporic Filipinx,” Dizon said. “No matter where we are coming from or what lived experience we have gone through, we’re acknowledging and really honoring the uniqueness and the nuances of all of our experiences.”\u003c/p>\n\u003cp>In exploring the nuances of the generational and geographical differences that exist within the global Filipino community, \u003cem>ritual for thrivation no. 2\u003c/em> bridges divides by reminding us of our shared history.\u003c/p>\n\u003cfigure id=\"attachment_13914776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-19-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Understanding our history and where we come from is really important,” said Charito Soriano, one-half of AstraLogik. “You need to tell your story and listen to other people’s stories. It’s gotta be a reciprocal thing.”\u003c/p>\n\u003cp>Soriano believes the reciprocal exchange between diasporic Filipinos and our peers in the Philippines is key to sustaining our relationship with our kababayan (our countrymen), which no amount of time or distance could ever undo. To be in community with one another is where we begin to heal as a collective.\u003c/p>\n\u003cp>Towards the end of the performance, audience members (many of whom wiped tears from their faces throughout the show, myself included) began to laugh as the dancers played with the walis, tossing them in the air, strumming one like a guitar, and dancing \u003ca href=\"https://theculturetrip.com/asia/philippines/articles/tinikling-the-national-dance-of-the-philippines-with-bamboo-poles/\" target=\"_blank\" rel=\"noopener noreferrer\">tinikling\u003c/a> between two brooms on the ground. The catharsis in the air was palpable. As I joined the crowd in a standing ovation, I felt the ritual succeed in transmuting my grief into joy, understanding and a sense of belonging I didn’t realize I was searching for.\u003c/p>\n\u003cfigure id=\"attachment_13914780\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914780\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-02-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We heal with others in community,” said Galvez. “We can’t do it alone with anything, with healing, with movement, with action.”\u003c/p>\n\u003cp>Any changes we hope to create for future generations, any movements we build, are made possible by bonds we can’t always see but can always feel. The invisible thread that ties us to our kin is one we weave together, one that only strengthens when we speak, act and move in solidarity.\u003c/p>\n\u003cfigure id=\"attachment_13914770\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914770\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-16-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914781\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914781\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-01-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://odc.dance/sammay\" target=\"_blank\" rel=\"noopener noreferrer\">ritual for thrivation no. 2\u003c/a> will be available for digital streaming on Friday, June 17 at 7:30pm.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"SAMMAY's 'ritual for thrivation no. 2' at ODC Theater provided a space for collective healing and catharsis. ","status":"publish","parent":0,"modified":1705006734,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1132},"headData":{"title":"As Marcos Rises to Power, a Dance Ritual Helps Filipino Americans Process Grief, Fear | KQED","description":"SAMMAY's 'ritual for thrivation no. 2' at ODC Theater provided a space for collective healing and catharsis. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"As Marcos Rises to Power, a Dance Ritual Helps Filipino Americans Process Grief, Fear","datePublished":"2022-06-14T00:00:26.000Z","dateModified":"2024-01-11T20:58:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Commentary","sourceUrl":"https://www.kqed.org/arts/category/commentary","sticky":false,"nprByline":"Rayanne Piaña","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13914762/sammay-odc-ritual-thrivation-marcos-philippines","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the premiere of \u003cem>ritual for thrivation no. 2\u003c/em> on June 10, a series of audio clips in Tagalog played over the speakers, filling San Francisco’s ODC Theater with harrowing memories.\u003c/p>\n\u003cp>“There was no newspaper, no TV. I was at home and people were scared,” said one voice.\u003c/p>\n\u003cp>“Ako ay nasa underground na.” (“I was in hiding.”) “I was 23,” said another.\u003c/p>\n\u003cp>“Nasa U.S. ako. Sabi pa nga na ibang mga kasamahan ko, ‘Huwag ka ng umuwi, nakakatakot ang martial law,’” said a third. (“I was in the U.S. All my friends said, ‘Don’t come home, martial law is terrifying.’”)\u003c/p>\n\u003cp>These stories aren’t just part of a performance. They are a part of Filipino history, which Filipino American choreographer and artistic director \u003ca href=\"http://www.sammaydizon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Samantha Peñaflor Dizon\u003c/a> (known as SAMMAY) wants us to remember in \u003cem>ritual for thrivation no. 2\u003c/em>. The clips, compiled by queer Pinay music duo \u003ca href=\"http://astralogik.com/\" target=\"_blank\" rel=\"noopener noreferrer\">AstraLogik\u003c/a>, are pulled from real interviews with survivors who were detained or tortured under the regime of Ferdinand Marcos, who declared martial law from 1972–1986. Although this history is recent, today’s political reality in the Philippines brings the past even closer to the present.\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>Last month, the Philippines’ presidential election resulted in the victory of Ferdinand Marcos Jr., the son of the late former dictator, \u003ca href=\"https://www.cnn.com/2022/05/11/asia/marcos-philippines-president-explainer-intl-hnk/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">effectively returning the family back to power\u003c/a>. (Marcos Sr. was ousted by popular revolt and exiled in 1986; he died in 1989.) The Marcos name carries a history of human rights abuses and the thieving of \u003ca href=\"https://www.theguardian.com/world/2016/may/07/10bn-dollar-question-marcos-millions-nick-davies\" target=\"_blank\" rel=\"noopener noreferrer\">an estimated $10 billion\u003c/a> from the Philippine economy. One may wonder, “How could this happen?”\u003c/p>\n\u003cp>Disaffection among Filipinos grew over time, after watching corruption and inequality persist over the decades. Perhaps this created a desire for a strongman leader who can restore order at whatever the cost (see:\u003ca href=\"https://www.reuters.com/world/asia-pacific/no-quiet-retirement-philippines-duterte-when-marcos-takes-over-presidency-2022-05-11/\" target=\"_blank\" rel=\"noopener noreferrer\"> current president Rodrigo Duterte\u003c/a>). Couple that with disinformation and historical revisionism, and you have a recipe for vulnerability.\u003c/p>\n\u003cfigure id=\"attachment_13914773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-23-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-23.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s just so much dissonance around the truth and this work is about remembering,” said Dizon in an interview. “This work is about facing the hard truths of our lives, our lineages and our communities. We need to really face our shadows.”\u003c/p>\n\u003cp>\u003cem>ritual for thrivation no. 2\u003c/em> is an intergenerational, movement-based performance that explores the shadows of Philippine history and the inner worlds of Filipinos in the diaspora. Like all shadow work, it uncovers forgotten and unspoken truths as a means of necessary healing and care.\u003c/p>\n\u003cp>“This work lends itself to practicing collective care,” said dance artist and rehearsal director Danielle Galvez, “Here, care means being seen, being heard, and having the permission to share your story.”\u003c/p>\n\u003cfigure id=\"attachment_13914777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914777\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-18-800x546.jpg\" alt=\"\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18-1536x1049.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-18.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story of \u003cem>ritual for thrivation no. 2\u003c/em>, co-presented by the \u003ca href=\"https://www.apiculturalcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">API Cultural Center\u003c/a>, is performed by Filipino American dance artists including Galvez, Tessa Nebrida, Jai Severson and Harold Albert Quiben Galvez. The work engages themes of ancestral connection, grief, queer identity and remembering pieces of the past that are vital to a future of freedom—aptly performed during the weekend of Araw ng Kalayaan (Philippine Independence Day).\u003c/p>\n\u003cp>Contemporary and urban dance styles combined with references to Filipino folk dances portray the balance of modernity and tradition that is a distinctive feature of Filipino American identity. One memorable sequence involves Filipino children’s street games and the walis (a Filipino-style broom and household staple), comfortingly familiar imagery that I never thought I’d see on a stage.\u003c/p>\n\u003cfigure id=\"attachment_13914775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-20-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-20.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think it speaks to that familiarity we share as diasporic Filipinx,” Dizon said. “No matter where we are coming from or what lived experience we have gone through, we’re acknowledging and really honoring the uniqueness and the nuances of all of our experiences.”\u003c/p>\n\u003cp>In exploring the nuances of the generational and geographical differences that exist within the global Filipino community, \u003cem>ritual for thrivation no. 2\u003c/em> bridges divides by reminding us of our shared history.\u003c/p>\n\u003cfigure id=\"attachment_13914776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-19-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-19.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Understanding our history and where we come from is really important,” said Charito Soriano, one-half of AstraLogik. “You need to tell your story and listen to other people’s stories. It’s gotta be a reciprocal thing.”\u003c/p>\n\u003cp>Soriano believes the reciprocal exchange between diasporic Filipinos and our peers in the Philippines is key to sustaining our relationship with our kababayan (our countrymen), which no amount of time or distance could ever undo. To be in community with one another is where we begin to heal as a collective.\u003c/p>\n\u003cp>Towards the end of the performance, audience members (many of whom wiped tears from their faces throughout the show, myself included) began to laugh as the dancers played with the walis, tossing them in the air, strumming one like a guitar, and dancing \u003ca href=\"https://theculturetrip.com/asia/philippines/articles/tinikling-the-national-dance-of-the-philippines-with-bamboo-poles/\" target=\"_blank\" rel=\"noopener noreferrer\">tinikling\u003c/a> between two brooms on the ground. The catharsis in the air was palpable. As I joined the crowd in a standing ovation, I felt the ritual succeed in transmuting my grief into joy, understanding and a sense of belonging I didn’t realize I was searching for.\u003c/p>\n\u003cfigure id=\"attachment_13914780\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914780\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-02-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-02.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We heal with others in community,” said Galvez. “We can’t do it alone with anything, with healing, with movement, with action.”\u003c/p>\n\u003cp>Any changes we hope to create for future generations, any movements we build, are made possible by bonds we can’t always see but can always feel. The invisible thread that ties us to our kin is one we weave together, one that only strengthens when we speak, act and move in solidarity.\u003c/p>\n\u003cfigure id=\"attachment_13914770\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914770\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-16-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-16-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914781\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914781\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220611_SAMMAY-01-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220611_SAMMAY-01.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SAMMAY presents ‘ritual thrivation no.2’ at the ODC Theater on Jun. 11, 2022 in San Francisco, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://odc.dance/sammay\" target=\"_blank\" rel=\"noopener noreferrer\">ritual for thrivation no. 2\u003c/a> will be available for digital streaming on Friday, June 17 at 7:30pm.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13914762/sammay-odc-ritual-thrivation-marcos-philippines","authors":["byline_arts_13914762"],"categories":["arts_1"],"tags":["arts_2767","arts_10278","arts_2855","arts_1406"],"featImg":"arts_13914774","label":"source_arts_13914762"},"arts_13912270":{"type":"posts","id":"arts_13912270","meta":{"index":"posts_1591205157","site":"arts","id":"13912270","score":null,"sort":[1650589243000]},"guestAuthors":[],"slug":"odc-larry-arrington-alexa-burrell-wowmom-astrology-preview","title":"At ODC, 'w o w m o m' Is a Multimedia Dance Ode to the Planets","publishDate":1650589243,"format":"standard","headTitle":"At ODC, ‘w o w m o m’ Is a Multimedia Dance Ode to the Planets | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>For many, astrology is part jest and part moral compass. It’s how people either understand (or diagnose) themselves and their loved ones, but it’s also a belief framework for interpreting the past, present and an unknown future. And for \u003ca href=\"https://www.kqed.org/arts/13872290/how-larry-arrington-integrated-astrology-and-dance-to-confront-cosmic-tumult\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area dancer Larry Arrington\u003c/a>, astrology carries a serious ethos of artistic practice and research.\u003c/p>\n\u003cp>Humans have practiced astrology for centuries (long before \u003ca href=\"https://www.npr.org/2020/07/08/888641022/walter-mercado-remembered-with-mucho-mucho-amor\" rel=\"noopener noreferrer\" target=\"_blank\">Walter Mercado\u003c/a> was immortalized as a queer icon), though the practice seems to be reaching an apex of popularity in mainstream culture. Astrology memes have proliferated on Instagram, and \u003ca href=\"https://www.washingtonpost.com/religion/2021/12/10/tarot-cards-pandemic-trend/\" rel=\"noopener noreferrer\" target=\"_blank\">tarot card sales boomed in the pandemic\u003c/a>. In 2021, a special tarot deck was even released \u003ca href=\"https://www.kqed.org/arts/13896413/a-new-tarot-deck-celebrates-bay-area-queer-burlesque-and-alt-culture\" rel=\"noopener noreferrer\" target=\"_blank\">to celebrate Bay Area queer and burlesque culture\u003c/a>.\u003c/p>\n\u003cp>“To everything there is a season,” says Arrington.\u003c/p>\n\u003cp>Enter \u003cem>w o w m o m\u003c/em>, Arrington’s latest work that continues her multidisciplinary exploration of astrological archetypes and planetary cycles. “Dance and performance—and now film—are the instruments I use to practice astrology.” In collaboration with mixed-media artist Alexa Burrell, the performance collages film with live dance, using Burrell’s sampling of sonic and video media. It premieres at ODC in San Francisco in two performances, on April 29 and 30.\u003c/p>\n\u003cfigure id=\"attachment_13912276\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912276\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-800x450.jpg\" alt=\"A close up of an African-American man's face in purple light.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brontez Purnell in a still from ‘w o w m o m.’ \u003ccite>(Courtesy of Larry Arrington and Alexa Burrell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>w o w m o m\u003c/em>, a portmanteau of two palindromes that also appears the same upside down, centers the concept of motherhood and reflection. Venus was the mother of Cupid (Eros), and her iconography is often reflected in water. Here, water symbolizes the reflection of faith and love back to oneself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burrell’s mixed media accentuates Joel St. Julien’s film score and Clement Hill Goldberg’s stop-animation work for the centerpiece film. It’s all punctuated by live performances by Maurya Kerr, Brontez Purnell, Chelsea Reichert, Grisel Torres, Keith Hennessy, Gizeh Muniz-Vengel and Amy Wasielewski.\u003c/p>\n\u003cp>[aside postID='arts_13872290']Combining a variety of art forms is exactly the point, explains Arrington: “Collaboration and hybridity are important for the astrological configuration we’re dancing under.” \u003c/p>\n\u003cp>The timing of the work’s development and its premiere also mirrors current astrological phenomena. Filming was done in the summer of 2021, so the artists could work with the first pass of Jupiter in Pisces, and the work will premiere next week when Venus is ruling the solar eclipse.\u003c/p>\n\u003cp>“It’s a wildly different configuration than the astrology we’ve been in for the last few years, that has amplified literal isolation and separation,” says Arrington. \u003cem>w o w m o m\u003c/em>’s staged premiere will soon align with a “wet mutable blend of astrology,” adds the artist, where isolation is ending and community is being called back together in a post-COVID world.\u003c/p>\n\u003cp>Even if your knowledge of astrology is limited, don’t worry. Arrington asks audiences for an open mind following the planetary chaos provided by the past couple years: “Expectation is disappointment’s mother. Everyone is so exhausted. We’ve all been through so much. We’re trying to work with that in mind and in heart.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘w o w m o m’ premieres April 29 and 30 at ODC Theater in San Francisco at 7:30pm. \u003ca href=\"https://odc.dance/wowmom\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In the latest work from dancer Larry Arrington and artist Alexa Burrell, astrology helps guide us into a post-COVID universe.","status":"publish","parent":0,"modified":1705006949,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":576},"headData":{"title":"At ODC, 'w o w m o m' Is a Multimedia Dance Ode to the Planets | KQED","description":"In the latest work from dancer Larry Arrington and artist Alexa Burrell, astrology helps guide us into a post-COVID universe.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At ODC, 'w o w m o m' Is a Multimedia Dance Ode to the Planets","datePublished":"2022-04-22T01:00:43.000Z","dateModified":"2024-01-11T21:02:29.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13912270/odc-larry-arrington-alexa-burrell-wowmom-astrology-preview","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For many, astrology is part jest and part moral compass. It’s how people either understand (or diagnose) themselves and their loved ones, but it’s also a belief framework for interpreting the past, present and an unknown future. And for \u003ca href=\"https://www.kqed.org/arts/13872290/how-larry-arrington-integrated-astrology-and-dance-to-confront-cosmic-tumult\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area dancer Larry Arrington\u003c/a>, astrology carries a serious ethos of artistic practice and research.\u003c/p>\n\u003cp>Humans have practiced astrology for centuries (long before \u003ca href=\"https://www.npr.org/2020/07/08/888641022/walter-mercado-remembered-with-mucho-mucho-amor\" rel=\"noopener noreferrer\" target=\"_blank\">Walter Mercado\u003c/a> was immortalized as a queer icon), though the practice seems to be reaching an apex of popularity in mainstream culture. Astrology memes have proliferated on Instagram, and \u003ca href=\"https://www.washingtonpost.com/religion/2021/12/10/tarot-cards-pandemic-trend/\" rel=\"noopener noreferrer\" target=\"_blank\">tarot card sales boomed in the pandemic\u003c/a>. In 2021, a special tarot deck was even released \u003ca href=\"https://www.kqed.org/arts/13896413/a-new-tarot-deck-celebrates-bay-area-queer-burlesque-and-alt-culture\" rel=\"noopener noreferrer\" target=\"_blank\">to celebrate Bay Area queer and burlesque culture\u003c/a>.\u003c/p>\n\u003cp>“To everything there is a season,” says Arrington.\u003c/p>\n\u003cp>Enter \u003cem>w o w m o m\u003c/em>, Arrington’s latest work that continues her multidisciplinary exploration of astrological archetypes and planetary cycles. “Dance and performance—and now film—are the instruments I use to practice astrology.” In collaboration with mixed-media artist Alexa Burrell, the performance collages film with live dance, using Burrell’s sampling of sonic and video media. It premieres at ODC in San Francisco in two performances, on April 29 and 30.\u003c/p>\n\u003cfigure id=\"attachment_13912276\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912276\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-800x450.jpg\" alt=\"A close up of an African-American man's face in purple light.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brontez Purnell in a still from ‘w o w m o m.’ \u003ccite>(Courtesy of Larry Arrington and Alexa Burrell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>w o w m o m\u003c/em>, a portmanteau of two palindromes that also appears the same upside down, centers the concept of motherhood and reflection. Venus was the mother of Cupid (Eros), and her iconography is often reflected in water. Here, water symbolizes the reflection of faith and love back to oneself.\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>Burrell’s mixed media accentuates Joel St. Julien’s film score and Clement Hill Goldberg’s stop-animation work for the centerpiece film. It’s all punctuated by live performances by Maurya Kerr, Brontez Purnell, Chelsea Reichert, Grisel Torres, Keith Hennessy, Gizeh Muniz-Vengel and Amy Wasielewski.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13872290","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Combining a variety of art forms is exactly the point, explains Arrington: “Collaboration and hybridity are important for the astrological configuration we’re dancing under.” \u003c/p>\n\u003cp>The timing of the work’s development and its premiere also mirrors current astrological phenomena. Filming was done in the summer of 2021, so the artists could work with the first pass of Jupiter in Pisces, and the work will premiere next week when Venus is ruling the solar eclipse.\u003c/p>\n\u003cp>“It’s a wildly different configuration than the astrology we’ve been in for the last few years, that has amplified literal isolation and separation,” says Arrington. \u003cem>w o w m o m\u003c/em>’s staged premiere will soon align with a “wet mutable blend of astrology,” adds the artist, where isolation is ending and community is being called back together in a post-COVID world.\u003c/p>\n\u003cp>Even if your knowledge of astrology is limited, don’t worry. Arrington asks audiences for an open mind following the planetary chaos provided by the past couple years: “Expectation is disappointment’s mother. Everyone is so exhausted. We’ve all been through so much. We’re trying to work with that in mind and in heart.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘w o w m o m’ premieres April 29 and 30 at ODC Theater in San Francisco at 7:30pm. \u003ca href=\"https://odc.dance/wowmom\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13912270/odc-larry-arrington-alexa-burrell-wowmom-astrology-preview","authors":["11771"],"programs":["arts_140"],"categories":["arts_1","arts_966"],"tags":["arts_9548","arts_1831","arts_879","arts_1406","arts_585"],"featImg":"arts_13912274","label":"arts_140"},"arts_13879497":{"type":"posts","id":"arts_13879497","meta":{"index":"posts_1591205157","site":"arts","id":"13879497","score":null,"sort":[1588197622000]},"guestAuthors":[],"slug":"how-dancers-maintain-their-well-being-in-quarantine","title":"How Dancers Maintain Their Well-Being in Quarantine","publishDate":1588197622,"format":"standard","headTitle":"How Dancers Maintain Their Well-Being in Quarantine | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>Note: This is the second in a three-part series about the effect of the coronavirus crisis on Bay Area dance companies. Find part one \u003ca href=\"https://www.kqed.org/arts/13879355/the-precarity-and-ingenuity-of-bay-area-dance-in-isolation\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>To get a full snapshot of Bay Area dance during the coronavirus pandemic, one has to look at a wide variety of organizations—from small, project-based, pick-up companies to one of the largest ballet companies in America. But the true measure of impact goes beyond dance companies, to the individual level. One theme emerges: in what suddenly feels like an existential time for dance, organizational survival is inextricably tied to dancer well-being.\u003c/p>\n\u003cp>\u003ca href=\"http://odc.dance/executive-leadership\" target=\"_blank\" rel=\"noopener noreferrer\">As \u003cstrong>Brenda Way\u003c/strong>\u003c/a>, founder and artistic director of\u003ca href=\"http://odc.dance/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong> ODC\u003c/strong>\u003c/a>, says, “We have to work to keep young people from being terribly depressed. Speaking for myself, we’ve been through a lot of hard stuff in our time, so we kind of know how to handle it, but young people don’t.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=l-FV79d9Qy4&list=PLJ4iJTHU2yqRqFDmE8ld-_DtT59A7OofA&index=13&t=0s\u003c/p>\n\u003cp>The organization operates as a “mother ship” for emerging and mid-size dance companies, with 10 dancers of its own, 28 full-time employees, 132 teachers and 40 accompanists. It supports a school, theater, dance company, clinic, café and Pilates center on a budget of about $7.6 million, which is roughly 50% earned and 50% contributed. That budget is now unstable: “It’s a perfect storm, in that our loyal supporters, including foundations, are seeing the value of their assets fall in the markets,” says Way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://dancersgroup.org/2018/12/lessons-learned-pulling-double-duty-conversation-robert-dekkers/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Robert Dekkers\u003c/strong>\u003c/a> runs his own small company, \u003ca href=\"https://www.postballet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Post:Ballet\u003c/strong>\u003c/a>, in addition to the community and pre-professional programs at \u003ca href=\"http://www.berkeleyballet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Berkeley Ballet Theater\u003c/strong>\u003c/a>. This is “a precarious moment” for BBT, he says, with the closure of the school and transition to a reduced online curriculum. But he says that as it marks its 40th anniversary, there is a strong sense of community, and he is confident of support for the school.\u003c/p>\n\u003cfigure id=\"attachment_13879118\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879118\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Robert-Sandrine-Christian-800x1065.jpg\" alt=\"\" width=\"800\" height=\"1065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Robert-Sandrine-Christian-800x1065.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Robert-Sandrine-Christian-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Robert-Sandrine-Christian-768x1022.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Robert-Sandrine-Christian-1020x1358.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Robert-Sandrine-Christian-1920x2556.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Dekkers sheltering at the barre with Sandrine Cassini and Christian Squires. (Photo courtesy Robert Dekkers)\u003c/figcaption>\u003c/figure>\n\u003cp>He likens Post:Ballet to “a speedboat, which can shift quickly from live performances to video.” With eight dancers at the core, it operates on a budget of $100–$130k, one-third each coming from ticket sales, foundations and individuals. (“No government!” he says.) Dekkers recently directed a short film as part of a larger project, titled \u003cem>Lyra\u003c/em>, that interprets the Orpheus and Eurydice myth for modern times. He now aims to produce a few more film sketches and delay the live dance production, hoping that film will increase access to the work of Post:Ballet beyond the Bay Area.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pvYWU0hZm0k\u003c/p>\n\u003cp>Yet he’s always mindful of his dancers and students, who are desperate to get into the studio. “They have such a narrow window to perform,” he says. “A year of missed opportunities when you’re at your prime is so hard.”\u003c/p>\n\u003ch2>Piecing it Together\u003c/h2>\n\u003cp>Of the dancers who perform professionally in the Bay Area, the majority work short gigs. \u003cstrong>Robert Moses\u003c/strong> notes, “If you’re a gig worker dancer, you work for maybe three dance companies for a certain number of hours, and the rest you’re driving Uber. All of that is gone. Maybe some of that won’t come back, because attitudes about live performance—which is its own particular wonderful thing—may change, may not be valued the same way. That’s my concern. All that time you take building an audience of people interested in the experience of being in a room with other people, sharing reactions to something that moves them, touches them.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dsQQiLQhvSw\u003c/p>\n\u003cp>\u003ca href=\"http://sonsheree.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Sonsherée Giles\u003c/strong>\u003c/a>, who dances with AXIS, Jo Kreiter’s Flyaway Productions and Nancy Karp & Dancers, says the impact of the shutdown has been “phenomenal, emotionally draining, surreal. You start to learn of [those around you] getting sick. The degrees of separation are shrinking on everybody.”\u003c/p>\n\u003cp>Giles tries to stay healthy by teaching and taking classes online. “I resisted at first. I’m not a computer person, now I’m excited to be in front of the computer… a new low in my life!” Meetings and teaching for AXIS helps to structure her day: “Some people are in a bathroom, some in a kitchen, improvising in small spaces. A lot of breathing and meditating and stretching, finding ways to strengthen and still warm up.”\u003c/p>\n\u003cp>“I thought I was going to have all this time. But I think I’m grieving,” she said. She and her partner are mostly living on savings. “I know a lot of people not paying rent to save money for food. I did pay April rent. But I’m using my credit card to buy food.”\u003c/p>\n\u003cp>Independent choreographer \u003ca href=\"http://www.kristindamrow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Kristin Damrow\u003c/strong>\u003c/a> says “dancers are used to the hustle, but when you can’t hustle… “\u003c/p>\n\u003cp>Yet now that reliance on the internet (“a platform that many people have a love/hate relationship with in this community”) as the new home for dance has peaked, she welcomes the chance to win a wider national and global audience for Bay Area dance. She hosts a meet-up called ‘\u003ca href=\"https://www.facebook.com/groups/441391729394406/\" target=\"_blank\" rel=\"noopener noreferrer\">Choreographers & Coffee\u003c/a>’ which has gone virtual and expanded from the Bay Area to Berlin, Los Angeles, Philadelphia, Hawaii, and Switzerland. The series has sparked conversations on “how we have shifted our own creative process, how we are continuing to engage our audiences, challenges we have felt in funding, dreaming up what the perfect dance community might look like, and changes we can make to get there.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sFuH-A5kscs\u003c/p>\n\u003cp>A lot of Damrow’s audience is younger, she says, and some work in the tech world. “This could also be an opportunity for resurgence in live performance, when the younger generation sees the value in experiencing art and supporting dance. When it’s suddenly gone.” Her new work, called \u003cem>Acclimate\u003c/em>, about human adaptation to environmental change, had been set to premiere at YBCA in April.\u003c/p>\n\u003ch2>At San Francisco Ballet, ‘Creating a Playbook as We Go’\u003c/h2>\n\u003cp>Largely protected from the gig economy, a minority of dancers are attached to single companies, working under contracts that run no more than 44 weeks per year. These include the dancers of \u003ca href=\"https://www.sfballet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Ballet\u003c/strong>\u003c/a>, the second largest ballet company in the country, and the oldest. For these dancers, the opening night of \u003cem>A Midsummer Night’s Dream\u003c/em> turned out to be closing night of the entire season with the abrupt closure of the War Memorial Opera House on March 7, ahead of nearly every other venue for dance in the country.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Hjn0s33ezoY\u003c/p>\n\u003cp>For principal dancer \u003ca href=\"https://www.sfballet.org/artist/wei-wang/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Wei Wang\u003c/strong>\u003c/a>, who was to have danced the role of Oberon later in the run, the shutdown feels particularly isolating—not just because he misses the contact with his peers in the studio, but because his family was in lockdown in China, and he had no chance of seeking refuge with them. As the company started to stream content, Wang teamed up with San Francisco Ballet Orchestra violist Caroline Lee to create a video that conveys both desolation and hopefulness.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yTRopJfMwyY\u003c/p>\n\u003cp>Ballet master \u003ca href=\"https://www.sfballet.org/artist/tina-leblanc/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Tina LeBlanc\u003c/strong>\u003c/a> has also parachuted into the void, teaching a virtual company class accompanied by pianist Mongo Buriad, both sheltering in place in their homes. Wang tries to take class every day: “It’s a good way to start the day, helps on some level to keep from driving myself crazy.”\u003c/p>\n\u003cp>Like many, LeBlanc is wrestling for the first time with the technology and the logistics of teaching a technique that requires close physical fine-tuning, and that feeds off the energy of a roomful of bodies bounding in unison across the acreage of a dance studio.\u003c/p>\n\u003cp>Without that kind of space at home, or a sprung floor with the matte covering needed to support jumping and turning, virtual training in isolation is at best a way to maintain human connection—but not the rigorous training needed for this team activity. So much in dance involves precision movement, the fine-tuning of spacing and partnering mechanics that can only be achieved by many hours of working together in a studio under the guidance of a choreographer or ballet master.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ecGV-rMwTtY\u003c/p>\n\u003cp>Prolonged isolation poses a unique threat, too. Dancers’ bodies are instruments which swiftly deteriorate without a regimen of daily class and rehearsals. And their careers are so short that a lost season is the equivalent of a lost decade for other artists.\u003c/p>\n\u003cp>Governor Newsom has indicated that a phased return to normalcy will likely delay large gatherings. San Francisco Ballet, says executive director \u003cstrong>Kelly Tweeddale\u003c/strong>, is now focusing on “how to get dancers back into the studios. We’re creating a playbook as we go. Because their own training, athleticism, ability to perform at the level that they need, will take four to six weeks before even thinking about performances.”\u003c/p>\n\u003cp>In the meantime, the company is releasing a new ballet from its archives every Friday that will be available for streaming for a week:\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/videoseries?controls=0&list=PLQ7A49bWFwYBeqeq3J46C86nlQUZhmZeO\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>With 78 dancers and a monthly payroll of $2.5–$3 million, the company launched \u003ca href=\"https://www.sfballet.org/support-us/critical-relief-fund/\" target=\"_blank\" rel=\"noopener noreferrer\">a fundraising campaign\u003c/a> that has so far raised over $700K with gifts from nearly 850 donors, plus a $500K gift from the Hearst Foundation. The company’s also fortunate to have been approved for Paycheck Protection Program (PPP) funding under the Federal CARES Act. This, Tweeddale says, will allow them to fund payroll through the end of June.\u003c/p>\n\u003cp>“Yet we’re mindful,” Tweeddale adds, “of the many organizations in our community who are still in the queue, and for whom additional funding may be required through the CARES Act.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Part III of this series will run on Thursday.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"From small outfits to one of the largest ballet companies in America, dancers struggle in quarantine.","status":"publish","parent":0,"modified":1705020831,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1730},"headData":{"title":"How Dancers Maintain Their Well-Being in Quarantine | KQED","description":"From small outfits to one of the largest ballet companies in America, dancers struggle in quarantine.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Dancers Maintain Their Well-Being in Quarantine","datePublished":"2020-04-29T22:00:22.000Z","dateModified":"2024-01-12T00:53:51.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13879497/how-dancers-maintain-their-well-being-in-quarantine","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Note: This is the second in a three-part series about the effect of the coronavirus crisis on Bay Area dance companies. Find part one \u003ca href=\"https://www.kqed.org/arts/13879355/the-precarity-and-ingenuity-of-bay-area-dance-in-isolation\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>To get a full snapshot of Bay Area dance during the coronavirus pandemic, one has to look at a wide variety of organizations—from small, project-based, pick-up companies to one of the largest ballet companies in America. But the true measure of impact goes beyond dance companies, to the individual level. One theme emerges: in what suddenly feels like an existential time for dance, organizational survival is inextricably tied to dancer well-being.\u003c/p>\n\u003cp>\u003ca href=\"http://odc.dance/executive-leadership\" target=\"_blank\" rel=\"noopener noreferrer\">As \u003cstrong>Brenda Way\u003c/strong>\u003c/a>, founder and artistic director of\u003ca href=\"http://odc.dance/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong> ODC\u003c/strong>\u003c/a>, says, “We have to work to keep young people from being terribly depressed. Speaking for myself, we’ve been through a lot of hard stuff in our time, so we kind of know how to handle it, but young people don’t.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/l-FV79d9Qy4'\n title='//www.youtube.com/embed/l-FV79d9Qy4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The organization operates as a “mother ship” for emerging and mid-size dance companies, with 10 dancers of its own, 28 full-time employees, 132 teachers and 40 accompanists. It supports a school, theater, dance company, clinic, café and Pilates center on a budget of about $7.6 million, which is roughly 50% earned and 50% contributed. That budget is now unstable: “It’s a perfect storm, in that our loyal supporters, including foundations, are seeing the value of their assets fall in the markets,” says Way.\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>\u003ca href=\"https://dancersgroup.org/2018/12/lessons-learned-pulling-double-duty-conversation-robert-dekkers/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Robert Dekkers\u003c/strong>\u003c/a> runs his own small company, \u003ca href=\"https://www.postballet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Post:Ballet\u003c/strong>\u003c/a>, in addition to the community and pre-professional programs at \u003ca href=\"http://www.berkeleyballet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Berkeley Ballet Theater\u003c/strong>\u003c/a>. This is “a precarious moment” for BBT, he says, with the closure of the school and transition to a reduced online curriculum. But he says that as it marks its 40th anniversary, there is a strong sense of community, and he is confident of support for the school.\u003c/p>\n\u003cfigure id=\"attachment_13879118\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879118\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Robert-Sandrine-Christian-800x1065.jpg\" alt=\"\" width=\"800\" height=\"1065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Robert-Sandrine-Christian-800x1065.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Robert-Sandrine-Christian-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Robert-Sandrine-Christian-768x1022.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Robert-Sandrine-Christian-1020x1358.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Robert-Sandrine-Christian-1920x2556.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Dekkers sheltering at the barre with Sandrine Cassini and Christian Squires. (Photo courtesy Robert Dekkers)\u003c/figcaption>\u003c/figure>\n\u003cp>He likens Post:Ballet to “a speedboat, which can shift quickly from live performances to video.” With eight dancers at the core, it operates on a budget of $100–$130k, one-third each coming from ticket sales, foundations and individuals. (“No government!” he says.) Dekkers recently directed a short film as part of a larger project, titled \u003cem>Lyra\u003c/em>, that interprets the Orpheus and Eurydice myth for modern times. He now aims to produce a few more film sketches and delay the live dance production, hoping that film will increase access to the work of Post:Ballet beyond the Bay Area.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pvYWU0hZm0k'\n title='//www.youtube.com/embed/pvYWU0hZm0k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yet he’s always mindful of his dancers and students, who are desperate to get into the studio. “They have such a narrow window to perform,” he says. “A year of missed opportunities when you’re at your prime is so hard.”\u003c/p>\n\u003ch2>Piecing it Together\u003c/h2>\n\u003cp>Of the dancers who perform professionally in the Bay Area, the majority work short gigs. \u003cstrong>Robert Moses\u003c/strong> notes, “If you’re a gig worker dancer, you work for maybe three dance companies for a certain number of hours, and the rest you’re driving Uber. All of that is gone. Maybe some of that won’t come back, because attitudes about live performance—which is its own particular wonderful thing—may change, may not be valued the same way. That’s my concern. All that time you take building an audience of people interested in the experience of being in a room with other people, sharing reactions to something that moves them, touches them.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dsQQiLQhvSw'\n title='//www.youtube.com/embed/dsQQiLQhvSw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"http://sonsheree.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Sonsherée Giles\u003c/strong>\u003c/a>, who dances with AXIS, Jo Kreiter’s Flyaway Productions and Nancy Karp & Dancers, says the impact of the shutdown has been “phenomenal, emotionally draining, surreal. You start to learn of [those around you] getting sick. The degrees of separation are shrinking on everybody.”\u003c/p>\n\u003cp>Giles tries to stay healthy by teaching and taking classes online. “I resisted at first. I’m not a computer person, now I’m excited to be in front of the computer… a new low in my life!” Meetings and teaching for AXIS helps to structure her day: “Some people are in a bathroom, some in a kitchen, improvising in small spaces. A lot of breathing and meditating and stretching, finding ways to strengthen and still warm up.”\u003c/p>\n\u003cp>“I thought I was going to have all this time. But I think I’m grieving,” she said. She and her partner are mostly living on savings. “I know a lot of people not paying rent to save money for food. I did pay April rent. But I’m using my credit card to buy food.”\u003c/p>\n\u003cp>Independent choreographer \u003ca href=\"http://www.kristindamrow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Kristin Damrow\u003c/strong>\u003c/a> says “dancers are used to the hustle, but when you can’t hustle… “\u003c/p>\n\u003cp>Yet now that reliance on the internet (“a platform that many people have a love/hate relationship with in this community”) as the new home for dance has peaked, she welcomes the chance to win a wider national and global audience for Bay Area dance. She hosts a meet-up called ‘\u003ca href=\"https://www.facebook.com/groups/441391729394406/\" target=\"_blank\" rel=\"noopener noreferrer\">Choreographers & Coffee\u003c/a>’ which has gone virtual and expanded from the Bay Area to Berlin, Los Angeles, Philadelphia, Hawaii, and Switzerland. The series has sparked conversations on “how we have shifted our own creative process, how we are continuing to engage our audiences, challenges we have felt in funding, dreaming up what the perfect dance community might look like, and changes we can make to get there.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sFuH-A5kscs'\n title='//www.youtube.com/embed/sFuH-A5kscs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A lot of Damrow’s audience is younger, she says, and some work in the tech world. “This could also be an opportunity for resurgence in live performance, when the younger generation sees the value in experiencing art and supporting dance. When it’s suddenly gone.” Her new work, called \u003cem>Acclimate\u003c/em>, about human adaptation to environmental change, had been set to premiere at YBCA in April.\u003c/p>\n\u003ch2>At San Francisco Ballet, ‘Creating a Playbook as We Go’\u003c/h2>\n\u003cp>Largely protected from the gig economy, a minority of dancers are attached to single companies, working under contracts that run no more than 44 weeks per year. These include the dancers of \u003ca href=\"https://www.sfballet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Ballet\u003c/strong>\u003c/a>, the second largest ballet company in the country, and the oldest. For these dancers, the opening night of \u003cem>A Midsummer Night’s Dream\u003c/em> turned out to be closing night of the entire season with the abrupt closure of the War Memorial Opera House on March 7, ahead of nearly every other venue for dance in the country.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Hjn0s33ezoY'\n title='//www.youtube.com/embed/Hjn0s33ezoY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For principal dancer \u003ca href=\"https://www.sfballet.org/artist/wei-wang/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Wei Wang\u003c/strong>\u003c/a>, who was to have danced the role of Oberon later in the run, the shutdown feels particularly isolating—not just because he misses the contact with his peers in the studio, but because his family was in lockdown in China, and he had no chance of seeking refuge with them. As the company started to stream content, Wang teamed up with San Francisco Ballet Orchestra violist Caroline Lee to create a video that conveys both desolation and hopefulness.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yTRopJfMwyY'\n title='//www.youtube.com/embed/yTRopJfMwyY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ballet master \u003ca href=\"https://www.sfballet.org/artist/tina-leblanc/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Tina LeBlanc\u003c/strong>\u003c/a> has also parachuted into the void, teaching a virtual company class accompanied by pianist Mongo Buriad, both sheltering in place in their homes. Wang tries to take class every day: “It’s a good way to start the day, helps on some level to keep from driving myself crazy.”\u003c/p>\n\u003cp>Like many, LeBlanc is wrestling for the first time with the technology and the logistics of teaching a technique that requires close physical fine-tuning, and that feeds off the energy of a roomful of bodies bounding in unison across the acreage of a dance studio.\u003c/p>\n\u003cp>Without that kind of space at home, or a sprung floor with the matte covering needed to support jumping and turning, virtual training in isolation is at best a way to maintain human connection—but not the rigorous training needed for this team activity. So much in dance involves precision movement, the fine-tuning of spacing and partnering mechanics that can only be achieved by many hours of working together in a studio under the guidance of a choreographer or ballet master.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ecGV-rMwTtY'\n title='//www.youtube.com/embed/ecGV-rMwTtY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Prolonged isolation poses a unique threat, too. Dancers’ bodies are instruments which swiftly deteriorate without a regimen of daily class and rehearsals. And their careers are so short that a lost season is the equivalent of a lost decade for other artists.\u003c/p>\n\u003cp>Governor Newsom has indicated that a phased return to normalcy will likely delay large gatherings. San Francisco Ballet, says executive director \u003cstrong>Kelly Tweeddale\u003c/strong>, is now focusing on “how to get dancers back into the studios. We’re creating a playbook as we go. Because their own training, athleticism, ability to perform at the level that they need, will take four to six weeks before even thinking about performances.”\u003c/p>\n\u003cp>In the meantime, the company is releasing a new ballet from its archives every Friday that will be available for streaming for a week:\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/videoseries?controls=0&list=PLQ7A49bWFwYBeqeq3J46C86nlQUZhmZeO\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>With 78 dancers and a monthly payroll of $2.5–$3 million, the company launched \u003ca href=\"https://www.sfballet.org/support-us/critical-relief-fund/\" target=\"_blank\" rel=\"noopener noreferrer\">a fundraising campaign\u003c/a> that has so far raised over $700K with gifts from nearly 850 donors, plus a $500K gift from the Hearst Foundation. The company’s also fortunate to have been approved for Paycheck Protection Program (PPP) funding under the Federal CARES Act. This, Tweeddale says, will allow them to fund payroll through the end of June.\u003c/p>\n\u003cp>“Yet we’re mindful,” Tweeddale adds, “of the many organizations in our community who are still in the queue, and for whom additional funding may be required through the CARES Act.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\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>Part III of this series will run on Thursday.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13879497/how-dancers-maintain-their-well-being-in-quarantine","authors":["11206"],"categories":["arts_1","arts_966"],"tags":["arts_10126","arts_879","arts_10278","arts_1406","arts_1643"],"featImg":"arts_13879513","label":"arts"},"arts_13849573":{"type":"posts","id":"arts_13849573","meta":{"index":"posts_1591205157","site":"arts","id":"13849573","score":null,"sort":[1548810047000]},"guestAuthors":[],"slug":"dancing-about-architecture-literally-in-kristin-damrows-impact","title":"Dancing About Architecture, Literally, in Kristin Damrow's IMPACT","publishDate":1548810047,"format":"standard","headTitle":"Dancing About Architecture, Literally, in Kristin Damrow’s IMPACT | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Raw concrete was, in the mid-20th century, the material of the future. Structures built in the \u003ca href=\"https://www.theguardian.com/artanddesign/2014/feb/13/jonathan-meades-brutalism-a-z\" target=\"_blank\" rel=\"noopener\">Brutalist\u003c/a> style—stark, cyclopean, rough-hewn and rain-streaked, in shades of gunmetal—owed something to \u003ca href=\"https://timeline.com/hitlers-flak-towers-were-fortresses-of-nazi-military-might-b18b7627fe91\" target=\"_blank\" rel=\"noopener\">Nazi fortifications\u003c/a>. In a remarkable post-war adaptation, this grim military architecture was recast to serve \u003ca href=\"https://www.newyorker.com/culture/culture-desk/the-unrepeatable-architectural-moment-of-yugoslavias-concrete-utopia\" target=\"_blank\" rel=\"noopener\">utopian visions\u003c/a> of social housing and public spaces.\u003c/p>\n\u003cp>Tastes are fickle, however, and those buildings would later be decried as “\u003ca href=\"https://www.bbc.co.uk/programmes/articles/1CPtMYghnVMJVv1YphFrWDc/the-brutalist-divide-concrete-monsters-or-architectural-icons\" target=\"_blank\" rel=\"noopener\">concrete monstrosities\u003c/a>.” Yet Brutalism has acquired many 21st century fans, fueled by sharing platforms like \u003ca href=\"https://www.instagram.com/explore/tags/brutalism/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> and \u003ca href=\"http://fuckyeahbrutalism.tumblr.com\" target=\"_blank\" rel=\"noopener\">Tumblr\u003c/a>, and a hazy nostalgia for \u003ca href=\"https://www.jacobinmag.com/2018/10/brutalism-architecture-public-housing-urban-planning\" target=\"_blank\" rel=\"noopener\">vanishing socialist ideals\u003c/a>.\u003c/p>\n\u003cp>Concrete’s image at the moment is in urgent need of repair, thanks to the U.S. president’s obsession with a border wall. His dream \u003ca href=\"https://www.npr.org/2019/01/27/689121159/no-wall-after-all-the-partial-government-shutdown-is-over-for-now\" rel=\"noopener\" target=\"_blank\">may be shot down\u003c/a>, but concrete will recover; artists like \u003ca href=\"https://www.kristindamrow.com\" target=\"_blank\" rel=\"noopener\">Kristin Damrow\u003c/a> are seeing to that. The spunky 32-year-old choreographer has drawn inspiration for her third evening-length work, titled \u003ca href=\"https://www.kristindamrow.com/impact/\" target=\"_blank\" rel=\"noopener\">\u003cem>IMPACT\u003c/em>\u003c/a>, from Bay Area icons of Brutalist architecture such as the Glen Park BART Station, the Oakland Museum of California, and the original Berkeley Art Museum. Together with collaborator and composer \u003ca href=\"https://aaron-gold-kf2l.squarespace.com\" target=\"_blank\" rel=\"noopener\">Aaron M. Gold\u003c/a>, she has prowled their interiors, listening for sounds that pierce and echo in the soaring, airy spaces. These sounds resurface in the electronic compositions which Gold has created to guide her dancers through the work.\u003c/p>\n\u003cfigure id=\"attachment_13849590\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849590\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-800x424.jpg\" alt=\"\" width=\"800\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-800x424.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-768x407.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-1020x540.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-1200x636.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-1920x1017.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allegra Bautista for Kristin Damrow’s ‘IMPACT.’ Photo: RJ Muna\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent afternoon, I planted myself in a corner of a rehearsal studio at the ODC Commons, where mysterious and enchanting sounds emanated from Gold’s laptop as Damrow ran her dancers through the piece. She is tiny; a live wire yet serene, with big expressive eyes, who occasionally sings out instructions in a deep-throated mezzo.\u003c/p>\n\u003cp>The ensemble of 10 coalesced into various structures—here an embankment, there an assembly line. At other times, they projected the vibe of a loyal army, or a menacing mob. As in Brutalist design, strict geometric patterns unexpectedly gave way to the improbable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Five lead dancers entered into fraught territorial negotiations. And in one moving quartet, three women went to great lengths to rescue a man buffeted by unseen terrors. In this work, when dancers are called on to physically support each other, they are as likely to provide that support with their feet as they are with their hands, which made for some intriguing interactions. The score felt warm and organic, shot through with industrial and environmental sounds, like the whooshing of jets taking off into the ether, wind whipping through a canyon, the earth crackling under seismic pressure, the clanging of prison doors.\u003c/p>\n\u003cp>Even in the studio, without the added drama of stage lighting and sets, it seemed clear that events were unfolding on an epic scale. At the Yerba Buena Center for the Arts, as if to create a new Brutalist skyline, scenic designer Alice Malia will hang a series of Brutalist-inspired forms from the tension grid.\u003c/p>\n\u003cp>In post-rehearsal conversation, Damrow described her growing interest in architecture and design and “how that can be translated either through the body or through a narrative story line on stage.” Researching her last project, about mid-century designers \u003ca href=\"https://www.kqed.org/arts/13819418/a-new-dance-show-about-ray-and-charles-eames\" target=\"_blank\" rel=\"noopener\">Ray and Charles Eames\u003c/a>, she came across Brutalism, as their time frames overlapped. The stark differences between Modernism and Brutalism lit a spark.\u003c/p>\n\u003cp>Even before that, she recalls the time when \u003ca href=\"https://www.kristindamrow.com\" target=\"_blank\" rel=\"noopener\">Kristin Damrow & Company\u003c/a> was just getting off the ground and she was scouting a location for an outdoor, site-specific work. She wanted a place that got plenty of foot traffic, and wandered by the old Berkeley Art Museum (which, like a number of older Brutalist buildings, is deemed seismically unsound and has been shuttered.)\u003c/p>\n\u003cp>“That backdrop was really stunning,” she noted. “So, one of our very first performances as a company was in front of a Brutalist building, though we didn’t know at the start what it was. I also traveled through Glen Park BART station a lot and the magnitude of that station always got me… Brutalist buildings have been in my dance life for quite a while.”\u003c/p>\n\u003cfigure id=\"attachment_13849589\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849589\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-800x1002.jpg\" alt=\"\" width=\"800\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-800x1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-768x962.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-1020x1277.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-958x1200.jpg 958w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-1920x2404.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna.jpg 1636w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hien Huynh for Kristin Damrow’s ‘IMPACT.’ Photo: RJ Muna\u003c/figcaption>\u003c/figure>\n\u003cp>She describes the setting of \u003cem>IMPACT \u003c/em>as dystopian, reminding us that “lots of Brutalist buildings have been seen in movies like \u003cem>Bladerunner\u003c/em> and \u003cem>A Clockwork Orange\u003c/em>, where the overall monolithic feel of these hulking structures gives this timeless visual sensation.” While the piece is largely abstract, there are tangible characters embodied by her lead dancers, whom she explains are “struggling through something that feels dystopian.”\u003c/p>\n\u003cp>But they also “represent different elements in this world more than just characters. In their movement style, how they interact with each other, I played a lot with different ways that we could perceive the buildings through movement—their expressionism, monolithic feel, their formlessness… Many times, what the architect was going for was this image where you can’t tell which end is up, smooth lines fold into a different place altogether, creating a visual play when you look at the building. We pulled that kind of inspiration from Brutalism and asked how can a character interpret different elements of Brutalism through our bodies.”\u003c/p>\n\u003cp>Choreographers have often been inspired by landscapes and architecture to make site-specific work, to tell very human stories centered historically on the sites. But it’s less common for a dance-maker to try and project onto her dancers the qualities of buildings and building materials themselves. With Brutalism in particular, the danger is that the dancing will be overwhelmed by the massive scale of the structures.\u003c/p>\n\u003cp>Damrow meets this challenge head-on. A striking film trailer for the live work she’s created feels like an integral and expansive element of the project rather than just a teaser.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Zf_VdaQmf_s\u003c/p>\n\u003cp>“I do have hopes to continue this project,” she says, “filming around the U.S. and worldwide at Brutalist buildings. I feel like this project has life beyond this.”\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>‘IMPACT’ runs from Jan. 31–Feb. 2 at Yerba Buena Center for the Arts. Details \u003ca href=\"https://www.kristindamrow.com/impact/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Concrete buildings and brutalist design inform Damrow's newest work at YBCA.","status":"publish","parent":0,"modified":1705026685,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1063},"headData":{"title":"Dancing About Architecture, Literally, in Kristin Damrow's IMPACT | KQED","description":"Concrete buildings and brutalist design inform Damrow's newest work at YBCA.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Dancing About Architecture, Literally, in Kristin Damrow's IMPACT","datePublished":"2019-01-30T01:00:47.000Z","dateModified":"2024-01-12T02:31:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13849573/dancing-about-architecture-literally-in-kristin-damrows-impact","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Raw concrete was, in the mid-20th century, the material of the future. Structures built in the \u003ca href=\"https://www.theguardian.com/artanddesign/2014/feb/13/jonathan-meades-brutalism-a-z\" target=\"_blank\" rel=\"noopener\">Brutalist\u003c/a> style—stark, cyclopean, rough-hewn and rain-streaked, in shades of gunmetal—owed something to \u003ca href=\"https://timeline.com/hitlers-flak-towers-were-fortresses-of-nazi-military-might-b18b7627fe91\" target=\"_blank\" rel=\"noopener\">Nazi fortifications\u003c/a>. In a remarkable post-war adaptation, this grim military architecture was recast to serve \u003ca href=\"https://www.newyorker.com/culture/culture-desk/the-unrepeatable-architectural-moment-of-yugoslavias-concrete-utopia\" target=\"_blank\" rel=\"noopener\">utopian visions\u003c/a> of social housing and public spaces.\u003c/p>\n\u003cp>Tastes are fickle, however, and those buildings would later be decried as “\u003ca href=\"https://www.bbc.co.uk/programmes/articles/1CPtMYghnVMJVv1YphFrWDc/the-brutalist-divide-concrete-monsters-or-architectural-icons\" target=\"_blank\" rel=\"noopener\">concrete monstrosities\u003c/a>.” Yet Brutalism has acquired many 21st century fans, fueled by sharing platforms like \u003ca href=\"https://www.instagram.com/explore/tags/brutalism/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> and \u003ca href=\"http://fuckyeahbrutalism.tumblr.com\" target=\"_blank\" rel=\"noopener\">Tumblr\u003c/a>, and a hazy nostalgia for \u003ca href=\"https://www.jacobinmag.com/2018/10/brutalism-architecture-public-housing-urban-planning\" target=\"_blank\" rel=\"noopener\">vanishing socialist ideals\u003c/a>.\u003c/p>\n\u003cp>Concrete’s image at the moment is in urgent need of repair, thanks to the U.S. president’s obsession with a border wall. His dream \u003ca href=\"https://www.npr.org/2019/01/27/689121159/no-wall-after-all-the-partial-government-shutdown-is-over-for-now\" rel=\"noopener\" target=\"_blank\">may be shot down\u003c/a>, but concrete will recover; artists like \u003ca href=\"https://www.kristindamrow.com\" target=\"_blank\" rel=\"noopener\">Kristin Damrow\u003c/a> are seeing to that. The spunky 32-year-old choreographer has drawn inspiration for her third evening-length work, titled \u003ca href=\"https://www.kristindamrow.com/impact/\" target=\"_blank\" rel=\"noopener\">\u003cem>IMPACT\u003c/em>\u003c/a>, from Bay Area icons of Brutalist architecture such as the Glen Park BART Station, the Oakland Museum of California, and the original Berkeley Art Museum. Together with collaborator and composer \u003ca href=\"https://aaron-gold-kf2l.squarespace.com\" target=\"_blank\" rel=\"noopener\">Aaron M. Gold\u003c/a>, she has prowled their interiors, listening for sounds that pierce and echo in the soaring, airy spaces. These sounds resurface in the electronic compositions which Gold has created to guide her dancers through the work.\u003c/p>\n\u003cfigure id=\"attachment_13849590\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849590\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-800x424.jpg\" alt=\"\" width=\"800\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-800x424.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-768x407.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-1020x540.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-1200x636.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-1920x1017.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Allegra-Bautista-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allegra Bautista for Kristin Damrow’s ‘IMPACT.’ Photo: RJ Muna\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent afternoon, I planted myself in a corner of a rehearsal studio at the ODC Commons, where mysterious and enchanting sounds emanated from Gold’s laptop as Damrow ran her dancers through the piece. She is tiny; a live wire yet serene, with big expressive eyes, who occasionally sings out instructions in a deep-throated mezzo.\u003c/p>\n\u003cp>The ensemble of 10 coalesced into various structures—here an embankment, there an assembly line. At other times, they projected the vibe of a loyal army, or a menacing mob. As in Brutalist design, strict geometric patterns unexpectedly gave way to the improbable.\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>Five lead dancers entered into fraught territorial negotiations. And in one moving quartet, three women went to great lengths to rescue a man buffeted by unseen terrors. In this work, when dancers are called on to physically support each other, they are as likely to provide that support with their feet as they are with their hands, which made for some intriguing interactions. The score felt warm and organic, shot through with industrial and environmental sounds, like the whooshing of jets taking off into the ether, wind whipping through a canyon, the earth crackling under seismic pressure, the clanging of prison doors.\u003c/p>\n\u003cp>Even in the studio, without the added drama of stage lighting and sets, it seemed clear that events were unfolding on an epic scale. At the Yerba Buena Center for the Arts, as if to create a new Brutalist skyline, scenic designer Alice Malia will hang a series of Brutalist-inspired forms from the tension grid.\u003c/p>\n\u003cp>In post-rehearsal conversation, Damrow described her growing interest in architecture and design and “how that can be translated either through the body or through a narrative story line on stage.” Researching her last project, about mid-century designers \u003ca href=\"https://www.kqed.org/arts/13819418/a-new-dance-show-about-ray-and-charles-eames\" target=\"_blank\" rel=\"noopener\">Ray and Charles Eames\u003c/a>, she came across Brutalism, as their time frames overlapped. The stark differences between Modernism and Brutalism lit a spark.\u003c/p>\n\u003cp>Even before that, she recalls the time when \u003ca href=\"https://www.kristindamrow.com\" target=\"_blank\" rel=\"noopener\">Kristin Damrow & Company\u003c/a> was just getting off the ground and she was scouting a location for an outdoor, site-specific work. She wanted a place that got plenty of foot traffic, and wandered by the old Berkeley Art Museum (which, like a number of older Brutalist buildings, is deemed seismically unsound and has been shuttered.)\u003c/p>\n\u003cp>“That backdrop was really stunning,” she noted. “So, one of our very first performances as a company was in front of a Brutalist building, though we didn’t know at the start what it was. I also traveled through Glen Park BART station a lot and the magnitude of that station always got me… Brutalist buildings have been in my dance life for quite a while.”\u003c/p>\n\u003cfigure id=\"attachment_13849589\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849589\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-800x1002.jpg\" alt=\"\" width=\"800\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-800x1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-768x962.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-1020x1277.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-958x1200.jpg 958w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna-1920x2404.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hien-Huynh-for-Kristin-Damrows-Impact.-Photo-by-RJ-Muna.jpg 1636w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hien Huynh for Kristin Damrow’s ‘IMPACT.’ Photo: RJ Muna\u003c/figcaption>\u003c/figure>\n\u003cp>She describes the setting of \u003cem>IMPACT \u003c/em>as dystopian, reminding us that “lots of Brutalist buildings have been seen in movies like \u003cem>Bladerunner\u003c/em> and \u003cem>A Clockwork Orange\u003c/em>, where the overall monolithic feel of these hulking structures gives this timeless visual sensation.” While the piece is largely abstract, there are tangible characters embodied by her lead dancers, whom she explains are “struggling through something that feels dystopian.”\u003c/p>\n\u003cp>But they also “represent different elements in this world more than just characters. In their movement style, how they interact with each other, I played a lot with different ways that we could perceive the buildings through movement—their expressionism, monolithic feel, their formlessness… Many times, what the architect was going for was this image where you can’t tell which end is up, smooth lines fold into a different place altogether, creating a visual play when you look at the building. We pulled that kind of inspiration from Brutalism and asked how can a character interpret different elements of Brutalism through our bodies.”\u003c/p>\n\u003cp>Choreographers have often been inspired by landscapes and architecture to make site-specific work, to tell very human stories centered historically on the sites. But it’s less common for a dance-maker to try and project onto her dancers the qualities of buildings and building materials themselves. With Brutalism in particular, the danger is that the dancing will be overwhelmed by the massive scale of the structures.\u003c/p>\n\u003cp>Damrow meets this challenge head-on. A striking film trailer for the live work she’s created feels like an integral and expansive element of the project rather than just a teaser.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Zf_VdaQmf_s'\n title='//www.youtube.com/embed/Zf_VdaQmf_s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I do have hopes to continue this project,” she says, “filming around the U.S. and worldwide at Brutalist buildings. I feel like this project has life beyond this.”\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>‘IMPACT’ runs from Jan. 31–Feb. 2 at Yerba Buena Center for the Arts. Details \u003ca href=\"https://www.kristindamrow.com/impact/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13849573/dancing-about-architecture-literally-in-kristin-damrows-impact","authors":["11206"],"programs":["arts_140"],"categories":["arts_966"],"tags":["arts_1118","arts_596","arts_1406","arts_1334","arts_626","arts_1040"],"featImg":"arts_13849636","label":"arts_140"},"arts_13843662":{"type":"posts","id":"arts_13843662","meta":{"index":"posts_1591205157","site":"arts","id":"13843662","score":null,"sort":[1540857647000]},"guestAuthors":[],"slug":"bobbi-jene-smith-no-stranger-to-extremes-on-new-work-with-care","title":"Bobbi Jene Smith, No Stranger to Extremes, on New Work ‘With Care’","publishDate":1540857647,"format":"image","headTitle":"Bobbi Jene Smith, No Stranger to Extremes, on New Work ‘With Care’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Bobbi Jene Smith has amassed serious frequent flyer miles on her journey through the dance world.\u003c/p>\n\u003cp>The Iowa-born, Juilliard-trained dancer-choreographer decamped to Tel Aviv at age 21 to join the renowned Batsheva Dance Company. After 10 years as a Batsheva mainstay, and still at the peak of her performing abilities, she made the wrenching decision to return to the U.S. to find her own voice as a dance-maker. On Nov. 1, Smith unveils \u003ca href=\"https://odc.dance/WithCare\" target=\"_blank\" rel=\"noopener\">\u003cem>With Care\u003c/em>\u003c/a>, her second evening-length work at San Francisco’s ODC Theatre. (Her first, called \u003cem>A Study in Effort\u003c/em>, made its West Coast debut there last fall.)\u003c/p>\n\u003cp>Smith is hardly the first dancer to make the career leap to choreographer. But rarely is this transition documented in the sort of frank and intimate detail traced by filmmaker Elvira Lind in her film \u003ca href=\"http://bobbijene.oscilloscope.net\" target=\"_blank\" rel=\"noopener\">\u003cem>Bobbi Jene\u003c/em>\u003c/a>, released in 2017. Lind captured the dancer’s emotional struggle of not only leaving the company that had become her home, but negotiating a long-distance relationship with her boyfriend, Or Meir Schraiber—another Batsheva dancer, 10 years her junior. Metaphors for Smith’s struggle played out in clips of her extraordinarily powerful dancing; in the film, she is seen both in the work of Ohad Naharin, Batsheva’s legendary founder, and as she hammers out her own choreography for what would become \u003cem>A Study in Effort\u003c/em>. A decade of working in Gaga, Naharin’s signature dance technique, is evident in the extremes of jaggedness and fluidity that characterize Smith’s movement.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EyKlh18eg-I\u003c/p>\n\u003cp>The quietly explosive documentary thrust Smith into the limelight. Much ink has been spilt over the nudity in her work, and a scene in which she reveals the effort required to achieve orgasm while grappling with a large sandbag.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet the single most revealing scene in the documentary revolves around effort of a different nature. On a handball court, Smith battles a concrete wall, pushing and straining to move it, the effort causing her slender frame to convulse. Later in the film those movements reappear in a dance, as Smith pushes furiously against an invisible barrier. Without a physical wall, the movement transforms from something mildly comical into something profound and heroic.\u003c/p>\n\u003cfigure id=\"attachment_13843670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-800x533.jpg\" alt=\"Or Meir Schraiber and Bobbi Jene Smith in 'With Care.' \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13843670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Or Meir Schraiber and Bobbi Jene Smith in ‘With Care.’ \u003ccite>(Matthew Placek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I caught up with Smith in New York City, her new home base, earlier this month. I asked her about the reactions to Lind’s documentary.\u003c/p>\n\u003cp>“When you put something vulnerable and exposing out in the world, either people will feel like they want to take care, to hold you and protect you,” she replied, cupping her hands together expressively, “or they will be indifferent.”\u003c/p>\n\u003cp>I wondered about the boundaries she’s crossed onstage—the nudity, and sex—especially now, at a time when charges of \u003ca href=\"https://www.diggitmagazine.com/papers/wetoo-what-dancers-talk-about-when-they-talk-about-sexism\" target=\"_blank\" rel=\"noopener\">misogyny\u003c/a> and \u003ca href=\"https://www.dancemagazine.com/metoo-dance-2569127206.html\" target=\"_blank\" rel=\"noopener\">harassment\u003c/a> are rocking the dance world. One \u003ca href=\"https://www.nytimes.com/2018/10/03/arts/dance/new-york-city-ballet-metoo.html\" target=\"_blank\" rel=\"noopener\">lawsuit\u003c/a> currently pending against New York City Ballet alleges that company management has fostered a “fraternity-like atmosphere” in which male dancers and a donor shared naked photographs of female dancers without their knowledge or consent. These are female dancers who have lost control over how their bodies, the finely-honed instruments of their profession, are seen. And then there’s Smith, very much in control of how her body is seen. Have these circumstances colored the way she thinks about her work?\u003c/p>\n\u003cp>“If anything,” she said, “I think it adds more fuel to the fire to do what I do, it makes me want to share it even more… For instance, with the sandbag, and the pleasure—it’s a comment on this society wanting to see women sexy, wanting to see pleasure. But what does that actually look like? Pleasure doesn’t look sexy, it might not look pretty. It might actually look more like something else. Wanting to say something about that comes from wanting to show strength, wanting to show that the female body—the human body—can be strong and vulnerable, delicate and powerful at the same time. And something that might seem ugly or vulgar can be the most beautiful.”\u003c/p>\n\u003cp>Is her work then in the nature of a protest, I asked? “No, it’s not a protest. It’s a poem. It’s a prayer.”\u003c/p>\n\u003cp>https://vimeo.com/296098076\u003c/p>\n\u003cp>\u003cem>With Care\u003c/em>, running Nov. 1–3 at ODC, features a quartet of Smith, Schraiber (now her husband), co-creator and violinist Keir GoGwilt, and violinist Miranda Cuckson. The idea sprung from the final ‘effort’ in \u003cem>A Study on Effort\u003c/em>, the ‘effort of taking care.’\u003c/p>\n\u003cp>In the course of their investigations, two characters whom they call the wounded spirit and the caretaker “kind of just appeared.” Smith and GoGwilt harvested stories from Oliver Sacks’ writings, including his accounts of \u003ca href=\"https://www.oliversacks.com/books-by-oliver-sacks/awakenings/\" target=\"_blank\" rel=\"noopener\">sleeping sickness\u003c/a>.\u003c/p>\n\u003cp>They were also struck by the tale of a woman “who would lose her identity because she would care too much. She would give and give and give and then she would have these bouts, these fugue states in which she would completely lose her sense of herself.”\u003c/p>\n\u003cfigure id=\"attachment_13843671\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843671\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-800x760.jpg\" alt=\"\" width=\"800\" height=\"760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-800x760.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-768x730.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-1020x969.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-1200x1140.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-1920x1825.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-1180x1121.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-960x912.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-240x228.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-375x356.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-520x494.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keir GoGwilt and Bobbi Jene Smith rehearsing ‘With Care.’ (Andrew Rogers)\u003c/figcaption>\u003c/figure>\n\u003cp>In order to show care, Smith thought, “we have to also show the lack of care. The destruction and the mania and the loss and vacancy and all those things that call for care.”\u003c/p>\n\u003cp>“Then it kind of went into—how do we fix what is already broken? How do we fix something that we know will be broken again?”\u003c/p>\n\u003cp>With two dancers and two musicians sharing the stage, the creative process was described by Smith as “trying to find where we meet, where the dance and the music are one. [The musicians] are not just accompaniment, they are dancers, too.” (All four artists belong to the \u003ca href=\"https://runningamoc.org/about/\" target=\"_blank\" rel=\"noopener\">American Modern Opera Company\u003c/a>, a collective of artists dismantling the traditional divide between music and theater.)\u003c/p>\n\u003cfigure id=\"attachment_13843672\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843672\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-800x704.jpg\" alt=\"\" width=\"800\" height=\"704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-800x704.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-160x141.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-768x676.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-1020x898.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-1200x1057.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-1920x1691.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-1180x1039.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-960x845.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-240x211.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-375x330.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-520x458.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keir GoGwilt and Bobbi Jene Smith rehearsing ‘With Care.’ (Andrew Rogers)\u003c/figcaption>\u003c/figure>\n\u003cp>Were there times, I wondered, when the violinists would say ‘That feels good,’ but Smith would think ‘No, it’s not?’\u003c/p>\n\u003cp>“Yeah. And there were times when I would do something and Keir would say ‘that doesn’t feel right.’ But physically, it does, to me. Dancers work so instinctually. And musicians work from a different place. How do those different entry points make something bigger, and not just collide?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘With Care’ runs Nov. 1–3 at San Francisco’s ODC Theatre. \u003ca href=\"https://odc.dance/WithCare\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The dancer-choreographer known for nudity, orgasms and physical extremes ","status":"publish","parent":0,"modified":1705027074,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1151},"headData":{"title":"Bobbi Jene Smith, No Stranger to Extremes, on New Work ‘With Care’ | KQED","description":"The dancer-choreographer known for nudity, orgasms and physical extremes ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bobbi Jene Smith, No Stranger to Extremes, on New Work ‘With Care’","datePublished":"2018-10-30T00:00:47.000Z","dateModified":"2024-01-12T02:37:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13843662/bobbi-jene-smith-no-stranger-to-extremes-on-new-work-with-care","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bobbi Jene Smith has amassed serious frequent flyer miles on her journey through the dance world.\u003c/p>\n\u003cp>The Iowa-born, Juilliard-trained dancer-choreographer decamped to Tel Aviv at age 21 to join the renowned Batsheva Dance Company. After 10 years as a Batsheva mainstay, and still at the peak of her performing abilities, she made the wrenching decision to return to the U.S. to find her own voice as a dance-maker. On Nov. 1, Smith unveils \u003ca href=\"https://odc.dance/WithCare\" target=\"_blank\" rel=\"noopener\">\u003cem>With Care\u003c/em>\u003c/a>, her second evening-length work at San Francisco’s ODC Theatre. (Her first, called \u003cem>A Study in Effort\u003c/em>, made its West Coast debut there last fall.)\u003c/p>\n\u003cp>Smith is hardly the first dancer to make the career leap to choreographer. But rarely is this transition documented in the sort of frank and intimate detail traced by filmmaker Elvira Lind in her film \u003ca href=\"http://bobbijene.oscilloscope.net\" target=\"_blank\" rel=\"noopener\">\u003cem>Bobbi Jene\u003c/em>\u003c/a>, released in 2017. Lind captured the dancer’s emotional struggle of not only leaving the company that had become her home, but negotiating a long-distance relationship with her boyfriend, Or Meir Schraiber—another Batsheva dancer, 10 years her junior. Metaphors for Smith’s struggle played out in clips of her extraordinarily powerful dancing; in the film, she is seen both in the work of Ohad Naharin, Batsheva’s legendary founder, and as she hammers out her own choreography for what would become \u003cem>A Study in Effort\u003c/em>. A decade of working in Gaga, Naharin’s signature dance technique, is evident in the extremes of jaggedness and fluidity that characterize Smith’s movement.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EyKlh18eg-I'\n title='//www.youtube.com/embed/EyKlh18eg-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The quietly explosive documentary thrust Smith into the limelight. Much ink has been spilt over the nudity in her work, and a scene in which she reveals the effort required to achieve orgasm while grappling with a large sandbag.\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>Yet the single most revealing scene in the documentary revolves around effort of a different nature. On a handball court, Smith battles a concrete wall, pushing and straining to move it, the effort causing her slender frame to convulse. Later in the film those movements reappear in a dance, as Smith pushes furiously against an invisible barrier. Without a physical wall, the movement transforms from something mildly comical into something profound and heroic.\u003c/p>\n\u003cfigure id=\"attachment_13843670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-800x533.jpg\" alt=\"Or Meir Schraiber and Bobbi Jene Smith in 'With Care.' \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13843670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Or-Meir-Schraiber-and-Bobbi-Jene-Smith-for-With-Care.-Photo-by-Matthew-Placek-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Or Meir Schraiber and Bobbi Jene Smith in ‘With Care.’ \u003ccite>(Matthew Placek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I caught up with Smith in New York City, her new home base, earlier this month. I asked her about the reactions to Lind’s documentary.\u003c/p>\n\u003cp>“When you put something vulnerable and exposing out in the world, either people will feel like they want to take care, to hold you and protect you,” she replied, cupping her hands together expressively, “or they will be indifferent.”\u003c/p>\n\u003cp>I wondered about the boundaries she’s crossed onstage—the nudity, and sex—especially now, at a time when charges of \u003ca href=\"https://www.diggitmagazine.com/papers/wetoo-what-dancers-talk-about-when-they-talk-about-sexism\" target=\"_blank\" rel=\"noopener\">misogyny\u003c/a> and \u003ca href=\"https://www.dancemagazine.com/metoo-dance-2569127206.html\" target=\"_blank\" rel=\"noopener\">harassment\u003c/a> are rocking the dance world. One \u003ca href=\"https://www.nytimes.com/2018/10/03/arts/dance/new-york-city-ballet-metoo.html\" target=\"_blank\" rel=\"noopener\">lawsuit\u003c/a> currently pending against New York City Ballet alleges that company management has fostered a “fraternity-like atmosphere” in which male dancers and a donor shared naked photographs of female dancers without their knowledge or consent. These are female dancers who have lost control over how their bodies, the finely-honed instruments of their profession, are seen. And then there’s Smith, very much in control of how her body is seen. Have these circumstances colored the way she thinks about her work?\u003c/p>\n\u003cp>“If anything,” she said, “I think it adds more fuel to the fire to do what I do, it makes me want to share it even more… For instance, with the sandbag, and the pleasure—it’s a comment on this society wanting to see women sexy, wanting to see pleasure. But what does that actually look like? Pleasure doesn’t look sexy, it might not look pretty. It might actually look more like something else. Wanting to say something about that comes from wanting to show strength, wanting to show that the female body—the human body—can be strong and vulnerable, delicate and powerful at the same time. And something that might seem ugly or vulgar can be the most beautiful.”\u003c/p>\n\u003cp>Is her work then in the nature of a protest, I asked? “No, it’s not a protest. It’s a poem. It’s a prayer.”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"vimeoLink","attributes":{"named":{"vimeoId":"296098076"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>With Care\u003c/em>, running Nov. 1–3 at ODC, features a quartet of Smith, Schraiber (now her husband), co-creator and violinist Keir GoGwilt, and violinist Miranda Cuckson. The idea sprung from the final ‘effort’ in \u003cem>A Study on Effort\u003c/em>, the ‘effort of taking care.’\u003c/p>\n\u003cp>In the course of their investigations, two characters whom they call the wounded spirit and the caretaker “kind of just appeared.” Smith and GoGwilt harvested stories from Oliver Sacks’ writings, including his accounts of \u003ca href=\"https://www.oliversacks.com/books-by-oliver-sacks/awakenings/\" target=\"_blank\" rel=\"noopener\">sleeping sickness\u003c/a>.\u003c/p>\n\u003cp>They were also struck by the tale of a woman “who would lose her identity because she would care too much. She would give and give and give and then she would have these bouts, these fugue states in which she would completely lose her sense of herself.”\u003c/p>\n\u003cfigure id=\"attachment_13843671\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843671\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-800x760.jpg\" alt=\"\" width=\"800\" height=\"760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-800x760.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-768x730.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-1020x969.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-1200x1140.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-1920x1825.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-1180x1121.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-960x912.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-240x228.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-375x356.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2-520x494.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keir GoGwilt and Bobbi Jene Smith rehearsing ‘With Care.’ (Andrew Rogers)\u003c/figcaption>\u003c/figure>\n\u003cp>In order to show care, Smith thought, “we have to also show the lack of care. The destruction and the mania and the loss and vacancy and all those things that call for care.”\u003c/p>\n\u003cp>“Then it kind of went into—how do we fix what is already broken? How do we fix something that we know will be broken again?”\u003c/p>\n\u003cp>With two dancers and two musicians sharing the stage, the creative process was described by Smith as “trying to find where we meet, where the dance and the music are one. [The musicians] are not just accompaniment, they are dancers, too.” (All four artists belong to the \u003ca href=\"https://runningamoc.org/about/\" target=\"_blank\" rel=\"noopener\">American Modern Opera Company\u003c/a>, a collective of artists dismantling the traditional divide between music and theater.)\u003c/p>\n\u003cfigure id=\"attachment_13843672\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843672\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-800x704.jpg\" alt=\"\" width=\"800\" height=\"704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-800x704.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-160x141.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-768x676.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-1020x898.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-1200x1057.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-1920x1691.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-1180x1039.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-960x845.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-240x211.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-375x330.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3-520x458.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Keir-GoGwilt-and-Bobbi-Jene-Smith-rehearsing-for-With-Care.-Photo-by-Andrew-Rogers_ODC-3.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keir GoGwilt and Bobbi Jene Smith rehearsing ‘With Care.’ (Andrew Rogers)\u003c/figcaption>\u003c/figure>\n\u003cp>Were there times, I wondered, when the violinists would say ‘That feels good,’ but Smith would think ‘No, it’s not?’\u003c/p>\n\u003cp>“Yeah. And there were times when I would do something and Keir would say ‘that doesn’t feel right.’ But physically, it does, to me. Dancers work so instinctually. And musicians work from a different place. How do those different entry points make something bigger, and not just collide?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘With Care’ runs Nov. 1–3 at San Francisco’s ODC Theatre. \u003ca href=\"https://odc.dance/WithCare\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13843662/bobbi-jene-smith-no-stranger-to-extremes-on-new-work-with-care","authors":["11206"],"categories":["arts_966"],"tags":["arts_1118","arts_596","arts_1406"],"featImg":"arts_13843870","label":"arts"},"arts_13831718":{"type":"posts","id":"arts_13831718","meta":{"index":"posts_1591205157","site":"arts","id":"13831718","score":null,"sort":[1525915177000]},"guestAuthors":[],"slug":"on-the-air-cy-gabe-and-a-lans-do-list-picks-for-may-11-2018","title":"On the Air: Cy, Gabe, and A-lan's Do List Picks for May 11, 2018","publishDate":1525915177,"format":"audio","headTitle":"On the Air: Cy, Gabe, and A-lan’s Do List Picks for May 11, 2018 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>I’m joined by two of my favorite co-hosts for this episode of The Do List: KQED Arts’ senior editor Gabe Meline, and Stanford Institute for Diversity in the Arts’ co-chair A-lan Holt. And the biggest reason was so they could hold my hand as I said goodbye to KQED and our listeners.\u003c/p>\n\u003cp>I’m leaving KQED and The Do List for the life of a country bumpkin, in the Sierra Foothills. Emphasis on the bumpkin.\u003c/p>\n\u003cp>It’s been the greatest joy of my life to work here at KQED, and to serve the people, as our late news director Raul Ramirez used to say.\u003c/p>\n\u003cp>The Do List is almost 10 years old, and it’s in good hands with Gabe Meline as our new host, and our new producer, Ashleyanne Krigbaum. They’ll bring fresh energy and voices to the show, while staying true to our mission of helping you, the listener, find great shows and good cheer. We share a love of discovering new talent, and performances that help us understand the world better; that help us be more empathetic; that make us better human beings.\u003c/p>\n\u003cp>Please keep listening and reading. Now here’s our show for this week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April 25-May 20: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13831746\" target=\"_blank\" rel=\"noopener\">A Suzan-Lori Parks play at the American Conservatory Theater confronts the desperate choices of a slave during the Civil War\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 18:\u003c/strong> \u003ca href=\"http://www.ubuntutheaterproject.com/topdog/\" target=\"_blank\" rel=\"noopener\">The nomadic Ubuntu Theater presents Suzan-Lori Parks’ Pulitzer Prize-winning \u003cem>Topdog/Underdog\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 15-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831765/a-wild-mix-of-movement-in-odcs-walking-distance-dance-festival\" rel=\"noopener\" target=\"_blank\">ODC’s Walking Distance Dance Festival offers an antidote to blandness\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 17 and 19: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13831791/ghost-ensemble-and-the-deep-listening-of-pauline-oliveros\" rel=\"noopener\" target=\"_blank\">Ghost Ensemble makes music for deep, deep listening\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 10-12:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831796/singer-jose-james-channels-bill-withers-on-his-latest-tour\" rel=\"noopener\" target=\"_blank\">José James performs a tribute to the music of the great Bill Withers\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 15:\u003c/strong> \u003ca href=\"https://www.cartoonart.org/event/toon-talk-keith-knight-homecoming/\" target=\"_blank\" rel=\"noopener\">Cartoonist Keith Knight delivers a “Toon Talk” at the Cartoon Art Museum\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 13:\u003c/strong> \u003ca href=\"https://www.theindependentsf.com/event/1611925-ezra-furman-san-francisco/\" target=\"_blank\" rel=\"noopener\">On Mother’s Day, Ezra Furman at the Independent in San Francisco, a great songwriter and energetic performer\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>May 17:\u003c/strong> \u003ca href=\"https://events.stanford.edu/events/763/76385/\" target=\"_blank\" rel=\"noopener\">A Conversation about thethe arts and social justice at Stanford’s Cubberley Auditorium with Linda Sarsour\u003c/a>, \u003c/span>\u003ca href=\"https://events.stanford.edu/events/763/76385/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Patrisse Cullors\u003c/span>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003cspan style=\"font-weight: 400\">Favianna Rodriguez\u003c/span>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003cspan style=\"font-weight: 400\">Raquel De Anda\u003c/span>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13831740\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-800x451.jpg\" alt=\"Stanford's A-lan Holt and KQED's Gabe Meline join Cy Musiker for his final episode as host of The Do List.\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13831740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1200x677.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771.jpg 1525w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stanford’s A-lan Holt and KQED’s Gabe Meline join Cy Musiker for his final episode as host of The Do List. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"On the Do List this week, we cover a Ghost Ensemble, a dance festival, a tribute to Bill Withers and more.","status":"publish","parent":0,"modified":1705027898,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":393},"headData":{"title":"On the Air: Cy, Gabe, and A-lan's Do List Picks for May 11, 2018 | KQED","description":"On the Do List this week, we cover a Ghost Ensemble, a dance festival, a tribute to Bill Withers and more.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On the Air: Cy, Gabe, and A-lan's Do List Picks for May 11, 2018","datePublished":"2018-05-10T01:19:37.000Z","dateModified":"2024-01-12T02:51:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/thedolist/2018/05/TDL20180511.mp3","sticky":false,"path":"/arts/13831718/on-the-air-cy-gabe-and-a-lans-do-list-picks-for-may-11-2018","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m joined by two of my favorite co-hosts for this episode of The Do List: KQED Arts’ senior editor Gabe Meline, and Stanford Institute for Diversity in the Arts’ co-chair A-lan Holt. And the biggest reason was so they could hold my hand as I said goodbye to KQED and our listeners.\u003c/p>\n\u003cp>I’m leaving KQED and The Do List for the life of a country bumpkin, in the Sierra Foothills. Emphasis on the bumpkin.\u003c/p>\n\u003cp>It’s been the greatest joy of my life to work here at KQED, and to serve the people, as our late news director Raul Ramirez used to say.\u003c/p>\n\u003cp>The Do List is almost 10 years old, and it’s in good hands with Gabe Meline as our new host, and our new producer, Ashleyanne Krigbaum. They’ll bring fresh energy and voices to the show, while staying true to our mission of helping you, the listener, find great shows and good cheer. We share a love of discovering new talent, and performances that help us understand the world better; that help us be more empathetic; that make us better human beings.\u003c/p>\n\u003cp>Please keep listening and reading. Now here’s our show for this week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 25-May 20: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13831746\" target=\"_blank\" rel=\"noopener\">A Suzan-Lori Parks play at the American Conservatory Theater confronts the desperate choices of a slave during the Civil War\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 18:\u003c/strong> \u003ca href=\"http://www.ubuntutheaterproject.com/topdog/\" target=\"_blank\" rel=\"noopener\">The nomadic Ubuntu Theater presents Suzan-Lori Parks’ Pulitzer Prize-winning \u003cem>Topdog/Underdog\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 15-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831765/a-wild-mix-of-movement-in-odcs-walking-distance-dance-festival\" rel=\"noopener\" target=\"_blank\">ODC’s Walking Distance Dance Festival offers an antidote to blandness\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 17 and 19: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13831791/ghost-ensemble-and-the-deep-listening-of-pauline-oliveros\" rel=\"noopener\" target=\"_blank\">Ghost Ensemble makes music for deep, deep listening\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 10-12:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831796/singer-jose-james-channels-bill-withers-on-his-latest-tour\" rel=\"noopener\" target=\"_blank\">José James performs a tribute to the music of the great Bill Withers\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 15:\u003c/strong> \u003ca href=\"https://www.cartoonart.org/event/toon-talk-keith-knight-homecoming/\" target=\"_blank\" rel=\"noopener\">Cartoonist Keith Knight delivers a “Toon Talk” at the Cartoon Art Museum\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 13:\u003c/strong> \u003ca href=\"https://www.theindependentsf.com/event/1611925-ezra-furman-san-francisco/\" target=\"_blank\" rel=\"noopener\">On Mother’s Day, Ezra Furman at the Independent in San Francisco, a great songwriter and energetic performer\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>May 17:\u003c/strong> \u003ca href=\"https://events.stanford.edu/events/763/76385/\" target=\"_blank\" rel=\"noopener\">A Conversation about thethe arts and social justice at Stanford’s Cubberley Auditorium with Linda Sarsour\u003c/a>, \u003c/span>\u003ca href=\"https://events.stanford.edu/events/763/76385/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Patrisse Cullors\u003c/span>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003cspan style=\"font-weight: 400\">Favianna Rodriguez\u003c/span>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003cspan style=\"font-weight: 400\">Raquel De Anda\u003c/span>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13831740\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-800x451.jpg\" alt=\"Stanford's A-lan Holt and KQED's Gabe Meline join Cy Musiker for his final episode as host of The Do List.\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13831740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1200x677.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Image-uploaded-from-iOS-1-e1525892416771.jpg 1525w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stanford’s A-lan Holt and KQED’s Gabe Meline join Cy Musiker for his final episode as host of The Do List. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13831718/on-the-air-cy-gabe-and-a-lans-do-list-picks-for-may-11-2018","authors":["32"],"programs":["arts_140"],"categories":["arts_1","arts_966","arts_69","arts_967"],"tags":["arts_1942","arts_1118","arts_596","arts_1406","arts_626","arts_1072"],"featImg":"arts_13831563","label":"arts_140"},"arts_13831765":{"type":"posts","id":"arts_13831765","meta":{"index":"posts_1591205157","site":"arts","id":"13831765","score":null,"sort":[1525914617000]},"guestAuthors":[],"slug":"a-wild-mix-of-movement-in-odcs-walking-distance-dance-festival","title":"A Wild Mix of Movement in ODC's Walking Distance Dance Festival","publishDate":1525914617,"format":"standard","headTitle":"A Wild Mix of Movement in ODC’s Walking Distance Dance Festival | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>ODC’s Walking Distance Dance Festival looks to be anything but bland. Among the highlights is Congolese-born, Bay Area choreographer Byb Chanel Bibene’s new evening-long piece, \u003cem>Nkisi Nkondi. \u003c/em>Bibene says the dance was inspired by a visit he made to a Paris museum where he first saw the statue of Nkisi Nkondi, the god of medicine and justice for the Kongo people in Central Africa.\u003c/p>\n\u003cp>“The sculpture of Nkisi Nkondi, everything was powerful,” he told me in a phone interview. “You could almost see the statue moving behind the glass.”\u003c/p>\n\u003cp>The statue got Bibene thinking about colonialism, and the looting of African culture by Europeans and Americans, and what Central Africa would be like politically and culturally, if the region had never colonized. (As it happens, that’s a theme in the recent Marvel film, \u003cem>Black Panther\u003c/em>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oAnzVPCyCNE\u003c/p>\n\u003cp>The Walking Distance Dance Festival also features Yara Travieso’s musical re-imagining of the Greek tragedy \u003cem>Medea\u003c/em>, in the style of a Latin-disco variety show, and former Merce Cunningham dancers Rashaun Mitchell and Silas Riener, improvising to the music of Philip Greenlief and the poetry of Claudia La Rocco and more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kunihYx854s\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"Among the highlights is Congolese-born, Bay Area choreographer Byb Chanel Bibene's new evening-long piece, 'Nkisi Nkondi.'","status":"publish","parent":0,"modified":1705027901,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":220},"headData":{"title":"A Wild Mix of Movement in ODC's Walking Distance Dance Festival | KQED","description":"Among the highlights is Congolese-born, Bay Area choreographer Byb Chanel Bibene's new evening-long piece, 'Nkisi Nkondi.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Wild Mix of Movement in ODC's Walking Distance Dance Festival","datePublished":"2018-05-10T01:10:17.000Z","dateModified":"2024-01-12T02:51:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13831765/a-wild-mix-of-movement-in-odcs-walking-distance-dance-festival","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>ODC’s Walking Distance Dance Festival looks to be anything but bland. Among the highlights is Congolese-born, Bay Area choreographer Byb Chanel Bibene’s new evening-long piece, \u003cem>Nkisi Nkondi. \u003c/em>Bibene says the dance was inspired by a visit he made to a Paris museum where he first saw the statue of Nkisi Nkondi, the god of medicine and justice for the Kongo people in Central Africa.\u003c/p>\n\u003cp>“The sculpture of Nkisi Nkondi, everything was powerful,” he told me in a phone interview. “You could almost see the statue moving behind the glass.”\u003c/p>\n\u003cp>The statue got Bibene thinking about colonialism, and the looting of African culture by Europeans and Americans, and what Central Africa would be like politically and culturally, if the region had never colonized. (As it happens, that’s a theme in the recent Marvel film, \u003cem>Black Panther\u003c/em>.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oAnzVPCyCNE'\n title='//www.youtube.com/embed/oAnzVPCyCNE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Walking Distance Dance Festival also features Yara Travieso’s musical re-imagining of the Greek tragedy \u003cem>Medea\u003c/em>, in the style of a Latin-disco variety show, and former Merce Cunningham dancers Rashaun Mitchell and Silas Riener, improvising to the music of Philip Greenlief and the poetry of Claudia La Rocco and more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kunihYx854s'\n title='//www.youtube.com/embed/kunihYx854s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13831765/a-wild-mix-of-movement-in-odcs-walking-distance-dance-festival","authors":["32"],"programs":["arts_140"],"categories":["arts_966"],"tags":["arts_1406"],"featImg":"arts_13831631","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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