Is Bay Area Ballroom Doing Fashion Better Than Everyone Else?
The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission
The Rainin Foundation Announces Its 2024 Fellows, Receiving $100,000 Each
Your Phone is Haunted
The Artistry of SF Ballet’s ‘Dos Mujeres’ Begins at the Curtain
San Jose Day Returns to Celebrate the 408 in Japantown
The Dancer Who Helped Start the Black Panthers’ Free Breakfast Program
‘Kooza’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco
‘Mere Mortals’ Launches a Bold New Era at SF Ballet
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See other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Gericault De La Rose — a.k.a. Bimbo Moschino — is glowing on a warm afternoon in April, twin butterflies fluttering around her in the garden behind her apartment. She’s in head-to-toe pastels, poised and Sailor Moon chic. [aside postid='arts_13952566']\u003c/p>\n\u003cp>When she first moved to Oakland from Chicago in 2021 to get her MFA at UC Berkeley, De La Rose didn’t feel this sure of herself. She didn’t have a community.\u003c/p>\n\u003cp>“I had to start over,” she says. “I literally cried every weekend.”\u003c/p>\n\u003cp>Unbeknownst to her, the revival of a queer subculture was just starting to pop off in her neighborhood. It would redefine her life in the Bay — and it was just a short walk from her front door.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One fall morning, while boredom-scrolling on Instagram in bed, she stopped on a flyer for a ballroom event at Soundwave Studios in Oakland.\u003c/p>\n\u003cp>“I was like, ‘Oh my god, Oakland has a ballroom scene?’” she remembers. “I went over by myself later that week.”\u003c/p>\n\u003cfigure id=\"attachment_13955603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s ballroom scene was where Gericault De La Rose found community. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was dark, and the music was pumping at full volume. De La Rose was wearing black tights, black short shorts, a tank top and Adidas Superstars. Her hair was long at the time, and she felt confident and elegant. The night began with the traditional “Legends, Statements, Stars” acknowledgements, which honor all the local ballroom icons who have paved the way.\u003c/p>\n\u003cp>Back then, even after years of being in the Chicago ballroom scene, De La Rose didn’t really know how to vogue. But she decided to join in anyway. That night, she got 10s from the judges for the first time in her life. [aside postid='arts_13913584']\u003c/p>\n\u003cp>De La Rose, who belongs to The Kiki House of Moschino, is part of a ballroom legacy that began in the ’70s and ’80s in New York City. Per tradition, De La Rose and her siblings compete against other houses in runway, vogue and other categories. Though ballroom has gotten mainstream attention and \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">counts Beyoncé among its fans\u003c/a>, it remains a vital way for queer and gender-nonconforming people of color come together as \u003ca href=\"https://www.kqed.org/arts/13913584/oakland-to-all-ballroom-vogue-lgbtq-mental-health\">chosen families\u003c/a> in the face of societal rejection and other forms of adversity.\u003c/p>\n\u003cp>https://www.instagram.com/p/CuHppZLRufC/?hl=en&img_index=1\u003c/p>\n\u003cp>Ballroom was the first home De La Rose found in the Bay Area. It’s also been a space where she’s been able to explore her relationship with style as a trans woman of color.\u003c/p>\n\u003cp>“It was something that I really craved,” she said. “Because yeah, there’s a lot of queer spaces in Oakland, but a lot of them are white.”\u003c/p>\n\u003cfigure id=\"attachment_13956812\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956812\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1365x2048.jpg 1365w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Gericault De La Rose appreciates personal style with a point of view. \u003ccite>(Martin Do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From normcore to Pokémon trainer\u003c/h2>\n\u003cp>De La Rose started medically transitioning when she was 25 years old. She says that before then, she didn’t really know what she was doing when it came to clothes.\u003c/p>\n\u003cp>“It was 100% giving Kohl’s,” she laughs. “Khakis, polo shirts — it was very normcore.”\u003c/p>\n\u003cp>But then something clicked, and an aesthetic fell into place.\u003c/p>\n\u003cp>“I was like, OK: pastels, pink,” she says. “I kind of just want to look like a Pokémon trainer, not gonna lie. Also Jules from \u003cem>Euphoria\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13956810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956810\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pastel colors are part of Gericault De La Rose’s signature look. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>De La Rose’s quintessential silhouette is a short pleated skirt, knee-high socks, chunky sneakers and legs for days. Her proclivity for the whimsically feminine shows up in her work as a visual artist, too. For her MFA thesis show at the Berkeley Art Museum and Pacific Film Archive, De La Rose made a \u003ca href=\"https://www.instagram.com/p/CvASvGbLDhw/?hl=en&img_index=1\">chandelier\u003c/a> out of draped pastel pink, purple, yellow and blue fabric meant to “capture the splendor of transformation.”\u003c/p>\n\u003cp>“For me, being trans was not wanting to be a secret anymore,” she says. “I want to be vibrant. I want to be seen.”\u003c/p>\n\u003cp>And when De La Rose is wearing an outfit that does all that, she feels “like the baddest bitch in the world.”\u003c/p>\n\u003cp>Still, clothes shopping as a trans woman comes with its challenges.\u003c/p>\n\u003cp>“Not all clothing brands are tailored to six-foot-tall women,” she explains. “It’s really hard for me to find pants that have a feminine cut, that accentuate the hips more.”\u003c/p>\n\u003cp>So De La Rose does what queer and trans folks have always done: alter, transform and experiment, needle and thread in hand.\u003c/p>\n\u003cfigure id=\"attachment_13955720\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955720\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">For Gericault De La Rose, it’s all about unique details like her safety pin ‘baby’ earring. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The category is: best dressed\u003c/h2>\n\u003cp>“The best dressed people are in the ballroom scene, no shade,” De La Rose says. “Let’s say I go to the Castro, and I go to these gay clubs. It’s giving jeans, maybe a white T-shirt and maybe a black leather jacket, copy-pasted onto everyone.”\u003c/p>\n\u003cp>De La Rose doesn’t just mean in the Bay Area: Ballroom scenes are part of LGBTQ+ communities all over the world, with some of the most influential ones in Paris and New York.\u003c/p>\n\u003cp>So what makes ballroom folks more stylish?\u003c/p>\n\u003cp>“They know their brands, and they also know how to experiment with their silhouette,” she explains. “The spectrum of masculinity to femininity is all explored.”\u003c/p>\n\u003cp>In a world of binary clothes, ballroom folks have dreamt up looks that aren’t just new and custom. They can also compete.\u003c/p>\n\u003cp>“Everything is intentional,” she says. “Because the minute you step into ballroom, the competition starts.” [aside postid='arts_13951605']\u003c/p>\n\u003cp>That innovation at a high level is what sets ballroom apart. And you know it when you see it, says De La Rose. To get her point across, she pulls up a \u003ca href=\"https://www.instagram.com/p/Cs1SLGVRkoX/?hl=en&img_index=2\">photo of her ballroom mentor, Soho,\u003c/a> after a recent Oakland to All ball.\u003c/p>\n\u003cp>He’s in a look to turns heads: long, lime green leather gloves, a white tee printed with a pointy-eared Doberman, a midi cargo skirt and a crocheted, lime green balaclava with dozens of knitted tentacles cascading from chin to chest with the caption, “Urban Streetwear w/ a touch of Futurama Cunt 👽🛸.”\u003c/p>\n\u003cp>The outfit is stunning, daring and tells an otherworldly story. It’s a feast in texture alone. It’s the anti-copy paste. And it’s exactly what De La Rose is talking about.\u003c/p>\n\u003cp>De La Rose pulls up another photo, this one of her ballroom brother, Clover, in a look that masters layering and proportions.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Creativity,” she says, zooming in. “Like, hello! You see what I mean?”\u003c/p>\n\n","blocks":[],"excerpt":"Performer Bimbo Moschino offers her take on who’s giving normcore and who’s setting the standard.","status":"publish","parent":0,"modified":1714440813,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":35,"wordCount":1227},"headData":{"title":"Is Bay Area Ballroom Doing Fashion Better Than Everyone Else? | KQED","description":"Performer Bimbo Moschino offers her take on who’s giving normcore and who’s setting the standard.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Is Bay Area Ballroom Doing Fashion Better Than Everyone Else?","datePublished":"2024-04-30T11:00:30.000Z","dateModified":"2024-04-30T01:33:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956808/fit-check-gericault-de-la-rose-bimbo-moschino-ballroom-fashion","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> Fit Check is a series about style and personal expression in the Bay Area. See other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Gericault De La Rose — a.k.a. Bimbo Moschino — is glowing on a warm afternoon in April, twin butterflies fluttering around her in the garden behind her apartment. She’s in head-to-toe pastels, poised and Sailor Moon chic. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952566","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When she first moved to Oakland from Chicago in 2021 to get her MFA at UC Berkeley, De La Rose didn’t feel this sure of herself. She didn’t have a community.\u003c/p>\n\u003cp>“I had to start over,” she says. “I literally cried every weekend.”\u003c/p>\n\u003cp>Unbeknownst to her, the revival of a queer subculture was just starting to pop off in her neighborhood. It would redefine her life in the Bay — and it was just a short walk from her front door.\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>One fall morning, while boredom-scrolling on Instagram in bed, she stopped on a flyer for a ballroom event at Soundwave Studios in Oakland.\u003c/p>\n\u003cp>“I was like, ‘Oh my god, Oakland has a ballroom scene?’” she remembers. “I went over by myself later that week.”\u003c/p>\n\u003cfigure id=\"attachment_13955603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s ballroom scene was where Gericault De La Rose found community. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was dark, and the music was pumping at full volume. De La Rose was wearing black tights, black short shorts, a tank top and Adidas Superstars. Her hair was long at the time, and she felt confident and elegant. The night began with the traditional “Legends, Statements, Stars” acknowledgements, which honor all the local ballroom icons who have paved the way.\u003c/p>\n\u003cp>Back then, even after years of being in the Chicago ballroom scene, De La Rose didn’t really know how to vogue. But she decided to join in anyway. That night, she got 10s from the judges for the first time in her life. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13913584","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>De La Rose, who belongs to The Kiki House of Moschino, is part of a ballroom legacy that began in the ’70s and ’80s in New York City. Per tradition, De La Rose and her siblings compete against other houses in runway, vogue and other categories. Though ballroom has gotten mainstream attention and \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">counts Beyoncé among its fans\u003c/a>, it remains a vital way for queer and gender-nonconforming people of color come together as \u003ca href=\"https://www.kqed.org/arts/13913584/oakland-to-all-ballroom-vogue-lgbtq-mental-health\">chosen families\u003c/a> in the face of societal rejection and other forms of adversity.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"CuHppZLRufC"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ballroom was the first home De La Rose found in the Bay Area. It’s also been a space where she’s been able to explore her relationship with style as a trans woman of color.\u003c/p>\n\u003cp>“It was something that I really craved,” she said. “Because yeah, there’s a lot of queer spaces in Oakland, but a lot of them are white.”\u003c/p>\n\u003cfigure id=\"attachment_13956812\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956812\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1365x2048.jpg 1365w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Gericault De La Rose appreciates personal style with a point of view. \u003ccite>(Martin Do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From normcore to Pokémon trainer\u003c/h2>\n\u003cp>De La Rose started medically transitioning when she was 25 years old. She says that before then, she didn’t really know what she was doing when it came to clothes.\u003c/p>\n\u003cp>“It was 100% giving Kohl’s,” she laughs. “Khakis, polo shirts — it was very normcore.”\u003c/p>\n\u003cp>But then something clicked, and an aesthetic fell into place.\u003c/p>\n\u003cp>“I was like, OK: pastels, pink,” she says. “I kind of just want to look like a Pokémon trainer, not gonna lie. Also Jules from \u003cem>Euphoria\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13956810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956810\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pastel colors are part of Gericault De La Rose’s signature look. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>De La Rose’s quintessential silhouette is a short pleated skirt, knee-high socks, chunky sneakers and legs for days. Her proclivity for the whimsically feminine shows up in her work as a visual artist, too. For her MFA thesis show at the Berkeley Art Museum and Pacific Film Archive, De La Rose made a \u003ca href=\"https://www.instagram.com/p/CvASvGbLDhw/?hl=en&img_index=1\">chandelier\u003c/a> out of draped pastel pink, purple, yellow and blue fabric meant to “capture the splendor of transformation.”\u003c/p>\n\u003cp>“For me, being trans was not wanting to be a secret anymore,” she says. “I want to be vibrant. I want to be seen.”\u003c/p>\n\u003cp>And when De La Rose is wearing an outfit that does all that, she feels “like the baddest bitch in the world.”\u003c/p>\n\u003cp>Still, clothes shopping as a trans woman comes with its challenges.\u003c/p>\n\u003cp>“Not all clothing brands are tailored to six-foot-tall women,” she explains. “It’s really hard for me to find pants that have a feminine cut, that accentuate the hips more.”\u003c/p>\n\u003cp>So De La Rose does what queer and trans folks have always done: alter, transform and experiment, needle and thread in hand.\u003c/p>\n\u003cfigure id=\"attachment_13955720\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955720\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">For Gericault De La Rose, it’s all about unique details like her safety pin ‘baby’ earring. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The category is: best dressed\u003c/h2>\n\u003cp>“The best dressed people are in the ballroom scene, no shade,” De La Rose says. “Let’s say I go to the Castro, and I go to these gay clubs. It’s giving jeans, maybe a white T-shirt and maybe a black leather jacket, copy-pasted onto everyone.”\u003c/p>\n\u003cp>De La Rose doesn’t just mean in the Bay Area: Ballroom scenes are part of LGBTQ+ communities all over the world, with some of the most influential ones in Paris and New York.\u003c/p>\n\u003cp>So what makes ballroom folks more stylish?\u003c/p>\n\u003cp>“They know their brands, and they also know how to experiment with their silhouette,” she explains. “The spectrum of masculinity to femininity is all explored.”\u003c/p>\n\u003cp>In a world of binary clothes, ballroom folks have dreamt up looks that aren’t just new and custom. They can also compete.\u003c/p>\n\u003cp>“Everything is intentional,” she says. “Because the minute you step into ballroom, the competition starts.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951605","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That innovation at a high level is what sets ballroom apart. And you know it when you see it, says De La Rose. To get her point across, she pulls up a \u003ca href=\"https://www.instagram.com/p/Cs1SLGVRkoX/?hl=en&img_index=2\">photo of her ballroom mentor, Soho,\u003c/a> after a recent Oakland to All ball.\u003c/p>\n\u003cp>He’s in a look to turns heads: long, lime green leather gloves, a white tee printed with a pointy-eared Doberman, a midi cargo skirt and a crocheted, lime green balaclava with dozens of knitted tentacles cascading from chin to chest with the caption, “Urban Streetwear w/ a touch of Futurama Cunt 👽🛸.”\u003c/p>\n\u003cp>The outfit is stunning, daring and tells an otherworldly story. It’s a feast in texture alone. It’s the anti-copy paste. And it’s exactly what De La Rose is talking about.\u003c/p>\n\u003cp>De La Rose pulls up another photo, this one of her ballroom brother, Clover, in a look that masters layering and proportions.\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>“Creativity,” she says, zooming in. “Like, hello! You see what I mean?”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956808/fit-check-gericault-de-la-rose-bimbo-moschino-ballroom-fashion","authors":["11872"],"categories":["arts_1","arts_966","arts_76","arts_235"],"tags":["arts_1696","arts_10278","arts_10422","arts_21953","arts_3226"],"featImg":"arts_13955604","label":"arts"},"arts_13956554":{"type":"posts","id":"arts_13956554","meta":{"index":"posts_1591205157","site":"arts","id":"13956554","score":null,"sort":[1713993863000]},"guestAuthors":[],"slug":"loco-bloco-mission-district-carnaval-jediah-pratt","title":"The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission","publishDate":1713993863,"format":"standard","headTitle":"The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 22-26, we’re publishing content by high school students from all over the Bay Area.\u003c/em>\u003c/p>\n\u003cp>The booming sounds can be heard in the Mission District all the way down the block. From inside a brightly painted building on 24th Street, upstairs at the Brava Theater Center, 20 drummers pound out a rhythm for nearly three dozen dancers, shaking the floor as they move. \u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot-160x190.jpg\" alt=\"\" width=\"160\" height=\"190\" class=\"alignright size-thumbnail wp-image-13956328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>This is a typical weeknight rehearsal for \u003ca href=\"https://www.locoblocosf.org/\">Loco Bloco\u003c/a>, whose performers are currently working for hours on end to master intricate choreography and complex drum patterns for their performance at San Francisco’s massive \u003ca href=\"https://carnavalsanfrancisco.org/\">Carnaval celebration\u003c/a> in May. \u003c/p>\n\u003cp>A donations-based organization offering free dance and music classes to young people, Loco Bloco primarily serves the Latin and Afro-Latino communities in the Bay Area. Since its founding in 1994, Loco Bloco has influenced countless young participants, giving them a sense of community, stability and core values.\u003c/p>\n\u003cfigure id=\"attachment_13956568\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Antonio ‘Tico’ Dos Santos leads a Loco Bloco drum lesson at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A prime example of this is 15-year-old dancer Jediah Pratt, who began dancing with Loco Bloco when she was just 6 years old. When asked about the benefits of the program, she emphasizes the group’s tight-knit bond, and how much it means to her and her family since moving out of San Francisco with its rising costs. Now living an hour away, she says the program has kept her connected to the city where her family lived for generations. \u003c/p>\n\u003cfigure id=\"attachment_13956565\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt (center right), 15, practices with a Loco Bloco dance group lead by artistic director Mayela Carrasco at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jediah’s family has a long history with Loco Bloco. Her mother Ramona was introduced to the program by one of its founders, Jose Carrasco, when she was 11, and would watch rehearsals from the sidelines after school before joining in herself as a drummer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many years later, when Jediah was just 5, she saw the group perform — feathers, floats, colors and all — and begged her mom to join. In first grade, her wish came true, and she dutifully showed up to rehearsals, rain or shine. (Once, when a family member died, she remembers wanting to go to Loco Bloco rehearsal instead of their funeral.)\u003c/p>\n\u003cfigure id=\"attachment_13956564\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, stands outside Brava Theater in San Francisco on April 22, 2024, before dance practice with the group Loco Bloco to prepare for Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s grown up with Loco Bloco, which I think is a beautiful thing,” says Ramona of her daughter. “I’ve asked over and over again, ‘Is this what you really want to do? Because you’re really good at it.’” \u003c/p>\n\u003cp>Three years ago, the closeness and familial bond of the program gave Jediah and her family a sense of stability after moving to Concord due to high costs and inflation. It was a difficult time, and her new home and school were vastly different from San Francisco. Yet Jediah and her three siblings still attended Loco Bloco every Monday and Wednesday. \u003c/p>\n\u003cfigure id=\"attachment_13956569\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Loco Bloco managing director Jose Carrasco leads a drum group during practice at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Jediah is really the best,” said Jose Carrasco, now Loco Bloco’s managing director. “She has really developed into a beautiful artist, and through the years I’ve watched her blossom.” Jediah helps out with the younger kids and their stilts lessons, Carrasco is quick to point out, while Ramona spends her time drumming and volunteering for the program. \u003c/p>\n\u003cp>Two years ago, Jediah’s family moved to Fairfield, an hour away from San Francisco without traffic, where her routine and environment changed once again. She began high school in Fairfield this year, which she described as rough. She didn’t know anybody at first, and went to a school with thousands of kids and “fights every day on the schoolyard.” \u003c/p>\n\u003cfigure id=\"attachment_13956567\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, talks with friends during Loco Bloco dance practice at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, every Monday and Wednesday at 5 p.m., Ramona drives the family down I-80 and through the city’s traffic to Loco Bloco, where Jediah and her siblings dance and drum for hours. They don’t get back home until 11 p.m. While it may sound strenuous, when asked about it, Jediah says, “I feel like everybody is kind of like family. Everyone knows everyone, and we’re always there for each other, looking out for each other.” \u003c/p>\n\u003cp>For this year’s Carnaval, Jediah is one of just two teens dancing with the adults. Though the rehearsals and dances are difficult, the hardest part of preparing for Carnaval is the costumes, she says. Each year the dancers are given costumes to decorate with rhinestones or other accouterments and make their own. Jediah recalls staying up until one a.m. the night before last year’s Carnaval, trying to finish her outfit and falling asleep with the hot glue gun in hand.\u003c/p>\n\u003cfigure id=\"attachment_13956563\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, helps stilt walkers for the group Loco Bloco practice outside Brava Theater in San Francisco on April 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Jediah continues to navigate the challenges of adjusting to a new environment and the demands of high school life, her dedication to Loco Bloco remains a testament to the power of community and art. Through Loco Bloco, she not only hones her skills as an artist but also cultivates resilience, perseverance, and a sense of belonging.\u003c/p>\n\u003cp>At the upcoming Carnaval performance, there’ll be drums, dancing and colorful costumes — and for Jediah, there’ll also be the enduring impact of cultural expression and the bonds forged through shared experiences.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Loco Bloco performs as part of this year’s San Francisco’s Carnaval, running May 25–26 in the Mission District. \u003ca href=\"https://carnavalsanfrancisco.org/\">Details here\u003c/a>. \u003c/em> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Binnie Kenvin is a Junior at University High School. She is passionate about screenwriting, dancing and playing bass, and loves to hang out with her three dogs. In the future she hopes to be a screenwriter. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"As rehearsals heat up for this year's Carnaval, one 15-year-old dancer calls Loco Bloco 'like family.' ","status":"publish","parent":0,"modified":1714494942,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1122},"headData":{"title":"The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission | KQED","description":"As rehearsals heat up for this year's Carnaval, one 15-year-old dancer calls Loco Bloco 'like family.' ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Drumbeat of Home: How Loco Bloco Keeps One Family Tethered to the Mission","datePublished":"2024-04-24T21:24:23.000Z","dateModified":"2024-04-30T16:35:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"the-drumbeat-of-home-how-loco-bloco-keeps-one-family-tethered-to-the-mission","nprByline":"Binnie Kenvin","nprStoryId":"kqed-13956554","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956554/loco-bloco-mission-district-carnaval-jediah-pratt","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 22-26, we’re publishing content by high school students from all over the Bay Area.\u003c/em>\u003c/p>\n\u003cp>The booming sounds can be heard in the Mission District all the way down the block. From inside a brightly painted building on 24th Street, upstairs at the Brava Theater Center, 20 drummers pound out a rhythm for nearly three dozen dancers, shaking the floor as they move. \u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot-160x190.jpg\" alt=\"\" width=\"160\" height=\"190\" class=\"alignright size-thumbnail wp-image-13956328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Binnie.headshot.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>This is a typical weeknight rehearsal for \u003ca href=\"https://www.locoblocosf.org/\">Loco Bloco\u003c/a>, whose performers are currently working for hours on end to master intricate choreography and complex drum patterns for their performance at San Francisco’s massive \u003ca href=\"https://carnavalsanfrancisco.org/\">Carnaval celebration\u003c/a> in May. \u003c/p>\n\u003cp>A donations-based organization offering free dance and music classes to young people, Loco Bloco primarily serves the Latin and Afro-Latino communities in the Bay Area. Since its founding in 1994, Loco Bloco has influenced countless young participants, giving them a sense of community, stability and core values.\u003c/p>\n\u003cfigure id=\"attachment_13956568\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-44-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Antonio ‘Tico’ Dos Santos leads a Loco Bloco drum lesson at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A prime example of this is 15-year-old dancer Jediah Pratt, who began dancing with Loco Bloco when she was just 6 years old. When asked about the benefits of the program, she emphasizes the group’s tight-knit bond, and how much it means to her and her family since moving out of San Francisco with its rising costs. Now living an hour away, she says the program has kept her connected to the city where her family lived for generations. \u003c/p>\n\u003cfigure id=\"attachment_13956565\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-31-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt (center right), 15, practices with a Loco Bloco dance group lead by artistic director Mayela Carrasco at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jediah’s family has a long history with Loco Bloco. Her mother Ramona was introduced to the program by one of its founders, Jose Carrasco, when she was 11, and would watch rehearsals from the sidelines after school before joining in herself as a drummer.\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>Many years later, when Jediah was just 5, she saw the group perform — feathers, floats, colors and all — and begged her mom to join. In first grade, her wish came true, and she dutifully showed up to rehearsals, rain or shine. (Once, when a family member died, she remembers wanting to go to Loco Bloco rehearsal instead of their funeral.)\u003c/p>\n\u003cfigure id=\"attachment_13956564\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-16-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, stands outside Brava Theater in San Francisco on April 22, 2024, before dance practice with the group Loco Bloco to prepare for Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s grown up with Loco Bloco, which I think is a beautiful thing,” says Ramona of her daughter. “I’ve asked over and over again, ‘Is this what you really want to do? Because you’re really good at it.’” \u003c/p>\n\u003cp>Three years ago, the closeness and familial bond of the program gave Jediah and her family a sense of stability after moving to Concord due to high costs and inflation. It was a difficult time, and her new home and school were vastly different from San Francisco. Yet Jediah and her three siblings still attended Loco Bloco every Monday and Wednesday. \u003c/p>\n\u003cfigure id=\"attachment_13956569\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-48-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Loco Bloco managing director Jose Carrasco leads a drum group during practice at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Jediah is really the best,” said Jose Carrasco, now Loco Bloco’s managing director. “She has really developed into a beautiful artist, and through the years I’ve watched her blossom.” Jediah helps out with the younger kids and their stilts lessons, Carrasco is quick to point out, while Ramona spends her time drumming and volunteering for the program. \u003c/p>\n\u003cp>Two years ago, Jediah’s family moved to Fairfield, an hour away from San Francisco without traffic, where her routine and environment changed once again. She began high school in Fairfield this year, which she described as rough. She didn’t know anybody at first, and went to a school with thousands of kids and “fights every day on the schoolyard.” \u003c/p>\n\u003cfigure id=\"attachment_13956567\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-35-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, talks with friends during Loco Bloco dance practice at Brava Theater in San Francisco on April 22, 2024, to prepare for their performance in Carnaval. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, every Monday and Wednesday at 5 p.m., Ramona drives the family down I-80 and through the city’s traffic to Loco Bloco, where Jediah and her siblings dance and drum for hours. They don’t get back home until 11 p.m. While it may sound strenuous, when asked about it, Jediah says, “I feel like everybody is kind of like family. Everyone knows everyone, and we’re always there for each other, looking out for each other.” \u003c/p>\n\u003cp>For this year’s Carnaval, Jediah is one of just two teens dancing with the adults. Though the rehearsals and dances are difficult, the hardest part of preparing for Carnaval is the costumes, she says. Each year the dancers are given costumes to decorate with rhinestones or other accouterments and make their own. Jediah recalls staying up until one a.m. the night before last year’s Carnaval, trying to finish her outfit and falling asleep with the hot glue gun in hand.\u003c/p>\n\u003cfigure id=\"attachment_13956563\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13956563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240422-LOCOBLOCO-09-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jediah Pratt, 15, helps stilt walkers for the group Loco Bloco practice outside Brava Theater in San Francisco on April 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Jediah continues to navigate the challenges of adjusting to a new environment and the demands of high school life, her dedication to Loco Bloco remains a testament to the power of community and art. Through Loco Bloco, she not only hones her skills as an artist but also cultivates resilience, perseverance, and a sense of belonging.\u003c/p>\n\u003cp>At the upcoming Carnaval performance, there’ll be drums, dancing and colorful costumes — and for Jediah, there’ll also be the enduring impact of cultural expression and the bonds forged through shared experiences.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Loco Bloco performs as part of this year’s San Francisco’s Carnaval, running May 25–26 in the Mission District. \u003ca href=\"https://carnavalsanfrancisco.org/\">Details here\u003c/a>. \u003c/em> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Binnie Kenvin is a Junior at University High School. She is passionate about screenwriting, dancing and playing bass, and loves to hang out with her three dogs. In the future she hopes to be a screenwriter. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956554/loco-bloco-mission-district-carnaval-jediah-pratt","authors":["byline_arts_13956554"],"categories":["arts_1","arts_835","arts_966","arts_76","arts_11615","arts_69","arts_235"],"tags":["arts_10342","arts_10278","arts_1257","arts_1146","arts_4533"],"featImg":"arts_13956570","label":"arts"},"arts_13956359":{"type":"posts","id":"arts_13956359","meta":{"index":"posts_1591205157","site":"arts","id":"13956359","score":null,"sort":[1713982102000]},"guestAuthors":[],"slug":"rainin-grants-ayodele-nzinga-antoine-hunter-adrian-burrell-tnt-traysikel","title":"The Rainin Foundation Announces Its 2024 Fellows, Receiving $100,000 Each","publishDate":1713982102,"format":"standard","headTitle":"The Rainin Foundation Announces Its 2024 Fellows, Receiving $100,000 Each | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The Kenneth Rainin Foundation announced its 2024 class of fellows on Wednesday, giving unrestricted grants of $100,000 each to three individual artists and one trio of creatives.\u003c/p>\n\u003cp>The list includes filmmaker \u003ca href=\"https://www.instagram.com/adrianlburrell/\" target=\"_blank\" rel=\"noopener\">Adrian L. Burrell\u003c/a>, dancer \u003ca href=\"https://www.danceforallbodies.org/antoinehunter\" target=\"_blank\" rel=\"noopener noreferrer\">Antoine Hunter, a.k.a. Purple Fire Crow\u003c/a>, poet and thespian \u003ca href=\"https://www.ayodelenzinga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ayodele ‘WordSlanger’ Nzinga\u003c/a>, and the trio of Mike Arcega, Paolo Asuncion, and Rachel Lastimosa of the \u003ca href=\"https://arcega.us/section/501274-TNT%20Traysikel.html\" target=\"_blank\" rel=\"noopener\">TNT Traysikel\u003c/a> mobile art exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13956437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956437\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg\" alt=\"TNT Traysikel, a roaming sculpture that represents the Filipino-American community, parked in front of the Golden Gate Bridge. \" width=\"800\" height=\"621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1536x1192.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25.jpg 1572w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TNT Traysikel, a roaming sculpture that represents the Filipino-American community, seen parked in front of the Golden Gate Bridge. \u003ccite>(Mark Baugh-Sasaki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When asked what it feels like to receive the award, Oakland Poet Laureate Ayodele Nzinga says: “Liberated… It affords me a tiny bit of security here in the Bay.”\u003c/p>\n\u003cp>A playwright and owner of the \u003ca href=\"https://www.kqed.org/arts/13933205/ayodele-nzinga-opens-curtain-at-bam-house-a-new-home-for-black-arts\" target=\"_blank\" rel=\"noopener\">BAM House\u003c/a> theatre, Nzinga has produced shows in Oakland for more than two decades. She founded the theatre company the Lower Bottom Playaz in 1999, and in 2021 was awarded the title of \u003ca href=\"https://www.npr.org/2021/07/15/1013730633/meet-oaklands-first-poet-laureate-dr-ayodele-wordslanger-nzinga\" target=\"_blank\" rel=\"noopener\">Oakland’s first Poet Laureate.\u003c/a>\u003c/p>\n\u003cp>“I spent most of the time as Poet Laureate hoping that I could stay in Oakland for the term of laureatecy,” says Nzinga, adding that the ability to “root” both personally and professionally is her biggest takeaway from the grant.\u003c/p>\n\u003cfigure id=\"attachment_13956481\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg\" alt=\"\" width=\"1000\" height=\"1250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-768x960.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Adrian L. Burrell. \u003ccite>(Dondre Stutley )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Adrian L. Burrell echoes Nzinga’s plan to invest the funds into personal and professional development.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burrell is a filmmaker, photographer and proud third-generation Oakland representative. He makes multimedia works comprised of his personal sojourns, family video archives and elements of Afrocentric spirituality. His work has received national acclaim; earlier this year, he was the recipient of \u003ca href=\"https://thegrio.com/2024/02/27/meet-adrian-burrell-the-first-recipient-of-thegrios-emerging-filmmaker-fellowship/\" target=\"_blank\" rel=\"noopener\">TheGrio’s Emerging Filmmaker Fellowship\u003c/a>.\u003c/p>\n\u003cp>But the Rainin Fellowship has special meaning to him. “It feels good to be supported by the soil,” Burrell says. As an independent artist, with no official gallery representation, he knows such recognition is rare.\u003c/p>\n\u003cp>“It’s been cool to be in a position where I can make my work and it touches people,” says Burrell, who will be at the \u003ca href=\"https://museumca.org/event/book-release-and-conversation-with-filmmaker-artist-and-author-adrian-burrell/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> on May 4 for a Q&A about his book, \u003cem>Sugarcane & Lighting\u003c/em>, and a screening of his short film, \u003cem>The Saints Step in Kongo Time\u003c/em>. Burrell says support from local institutions is important: “That allows me to grow my practice, and continue to try to grow toward being a practicing sustainable artist.”\u003c/p>\n\u003cfigure id=\"attachment_13956558\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956558 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg\" alt=\"Antoine Hunter (Purple Fire Crow) poses for a photo while wearing a golden-brown cloth draped over his upper body. \" width=\"1170\" height=\"1476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-800x1009.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-1020x1287.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-768x969.jpg 768w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">Award-winning dancer Antoine ‘Purple Fire Crow’ Hunter. \u003ccite>(Mark Kitoaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sustainability, for self and community, are on the mind of dancer Antoine Hunter as he receives the fellowship. Hunter, also known as Purple Fire Crow, says when he learned about the award, he was hit with a mixture of emotion — joy and gratitude, as well as the “stress to stay the best human being I can be to support my community.” He was reminded, he says, of how there’s more work to do, as his goal is to open more doors for people to come after him.\u003c/p>\n\u003cp>An award winning-dancer and choreographer from Oakland, Hunter is Deaf and creates work for people living with disabilities. “This award is a milestone blessing that adds on the layer to the story of my career with the \u003ca href=\"https://www.realurbanjazzdance.com/\" target=\"_blank\" rel=\"noopener\">Urban Jazz Dance Company\u003c/a> (UJDC),” Hunter writes in an email. He adds that the fellowship is a way of recognizing the challenges faced by members of the Deaf and Disabled communities who are working to overcome ableism, and that it will deepen the impact of his work in the Bay Area arts community — “particularly in advocating for Deaf (and) Disabled folks of many kinds of artists, and promoting inclusivity in dance.”\u003c/p>\n\u003cfigure id=\"attachment_13956574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956574 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg\" alt=\"The TNT Traysikel trio and their three-wheeled vehicle. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The TNT Traysikel trio and their three-wheeled vehicle. \u003ccite>(Alvin Dizon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike Arcega of TNT Traysikel says the fellowship feels like validation for the group’s work. They created a vehicle that speaks to the culture of the Philippines and connects Filipino community members here in the Bay, and it’s paying off.\u003c/p>\n\u003cp>TNT Traysikel’s Rachel Lastimosa says the stipulation-free grant “signals that artists know what they’re doing, and that they know how to get the job done.” She adds that “the job” isn’t always about producing. “There’s more parts to being an artist that are very human — like housing, healthcare, childcare for example — that contribute to the work we do,” says Lastimosa. “It’s validating to get this sense of self-determination.” \u003c/p>\n\u003cp>Paolo Asuncion, the third member of TNT Traysikel, says the group plans on taking their vehicle on the road, connecting with Filipino communities in Stockton, Morro Bay and as far as \u003ca href=\"https://filipinola.com/st-malo/\" target=\"_blank\" rel=\"noopener\">Bayou St. Malo in Louisiana\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The plan is to ride TNT across the states,” Asuncion says, “to collect stories from all of these people and to spread the joy outward from San Francisco Bay.” \u003c/p>\n\n","blocks":[],"excerpt":"Three artists and one trio will receive the unrestricted grants, which one calls 'a milestone blessing.'","status":"publish","parent":0,"modified":1713982102,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":847},"headData":{"title":"The Rainin Foundation Announces Its 2024 Fellows, Receiving $100,000 Each | KQED","description":"Three artists and one trio will receive the unrestricted grants, which one calls 'a milestone blessing.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Rainin Foundation Announces Its 2024 Fellows, Receiving $100,000 Each","datePublished":"2024-04-24T18:08:22.000Z","dateModified":"2024-04-24T18:08:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956359","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956359/rainin-grants-ayodele-nzinga-antoine-hunter-adrian-burrell-tnt-traysikel","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Kenneth Rainin Foundation announced its 2024 class of fellows on Wednesday, giving unrestricted grants of $100,000 each to three individual artists and one trio of creatives.\u003c/p>\n\u003cp>The list includes filmmaker \u003ca href=\"https://www.instagram.com/adrianlburrell/\" target=\"_blank\" rel=\"noopener\">Adrian L. Burrell\u003c/a>, dancer \u003ca href=\"https://www.danceforallbodies.org/antoinehunter\" target=\"_blank\" rel=\"noopener noreferrer\">Antoine Hunter, a.k.a. Purple Fire Crow\u003c/a>, poet and thespian \u003ca href=\"https://www.ayodelenzinga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ayodele ‘WordSlanger’ Nzinga\u003c/a>, and the trio of Mike Arcega, Paolo Asuncion, and Rachel Lastimosa of the \u003ca href=\"https://arcega.us/section/501274-TNT%20Traysikel.html\" target=\"_blank\" rel=\"noopener\">TNT Traysikel\u003c/a> mobile art exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13956437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956437\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg\" alt=\"TNT Traysikel, a roaming sculpture that represents the Filipino-American community, parked in front of the Golden Gate Bridge. \" width=\"800\" height=\"621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1536x1192.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25.jpg 1572w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TNT Traysikel, a roaming sculpture that represents the Filipino-American community, seen parked in front of the Golden Gate Bridge. \u003ccite>(Mark Baugh-Sasaki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When asked what it feels like to receive the award, Oakland Poet Laureate Ayodele Nzinga says: “Liberated… It affords me a tiny bit of security here in the Bay.”\u003c/p>\n\u003cp>A playwright and owner of the \u003ca href=\"https://www.kqed.org/arts/13933205/ayodele-nzinga-opens-curtain-at-bam-house-a-new-home-for-black-arts\" target=\"_blank\" rel=\"noopener\">BAM House\u003c/a> theatre, Nzinga has produced shows in Oakland for more than two decades. She founded the theatre company the Lower Bottom Playaz in 1999, and in 2021 was awarded the title of \u003ca href=\"https://www.npr.org/2021/07/15/1013730633/meet-oaklands-first-poet-laureate-dr-ayodele-wordslanger-nzinga\" target=\"_blank\" rel=\"noopener\">Oakland’s first Poet Laureate.\u003c/a>\u003c/p>\n\u003cp>“I spent most of the time as Poet Laureate hoping that I could stay in Oakland for the term of laureatecy,” says Nzinga, adding that the ability to “root” both personally and professionally is her biggest takeaway from the grant.\u003c/p>\n\u003cfigure id=\"attachment_13956481\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg\" alt=\"\" width=\"1000\" height=\"1250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-768x960.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Adrian L. Burrell. \u003ccite>(Dondre Stutley )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Adrian L. Burrell echoes Nzinga’s plan to invest the funds into personal and professional development.\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 is a filmmaker, photographer and proud third-generation Oakland representative. He makes multimedia works comprised of his personal sojourns, family video archives and elements of Afrocentric spirituality. His work has received national acclaim; earlier this year, he was the recipient of \u003ca href=\"https://thegrio.com/2024/02/27/meet-adrian-burrell-the-first-recipient-of-thegrios-emerging-filmmaker-fellowship/\" target=\"_blank\" rel=\"noopener\">TheGrio’s Emerging Filmmaker Fellowship\u003c/a>.\u003c/p>\n\u003cp>But the Rainin Fellowship has special meaning to him. “It feels good to be supported by the soil,” Burrell says. As an independent artist, with no official gallery representation, he knows such recognition is rare.\u003c/p>\n\u003cp>“It’s been cool to be in a position where I can make my work and it touches people,” says Burrell, who will be at the \u003ca href=\"https://museumca.org/event/book-release-and-conversation-with-filmmaker-artist-and-author-adrian-burrell/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> on May 4 for a Q&A about his book, \u003cem>Sugarcane & Lighting\u003c/em>, and a screening of his short film, \u003cem>The Saints Step in Kongo Time\u003c/em>. Burrell says support from local institutions is important: “That allows me to grow my practice, and continue to try to grow toward being a practicing sustainable artist.”\u003c/p>\n\u003cfigure id=\"attachment_13956558\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956558 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg\" alt=\"Antoine Hunter (Purple Fire Crow) poses for a photo while wearing a golden-brown cloth draped over his upper body. \" width=\"1170\" height=\"1476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-800x1009.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-1020x1287.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-768x969.jpg 768w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">Award-winning dancer Antoine ‘Purple Fire Crow’ Hunter. \u003ccite>(Mark Kitoaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sustainability, for self and community, are on the mind of dancer Antoine Hunter as he receives the fellowship. Hunter, also known as Purple Fire Crow, says when he learned about the award, he was hit with a mixture of emotion — joy and gratitude, as well as the “stress to stay the best human being I can be to support my community.” He was reminded, he says, of how there’s more work to do, as his goal is to open more doors for people to come after him.\u003c/p>\n\u003cp>An award winning-dancer and choreographer from Oakland, Hunter is Deaf and creates work for people living with disabilities. “This award is a milestone blessing that adds on the layer to the story of my career with the \u003ca href=\"https://www.realurbanjazzdance.com/\" target=\"_blank\" rel=\"noopener\">Urban Jazz Dance Company\u003c/a> (UJDC),” Hunter writes in an email. He adds that the fellowship is a way of recognizing the challenges faced by members of the Deaf and Disabled communities who are working to overcome ableism, and that it will deepen the impact of his work in the Bay Area arts community — “particularly in advocating for Deaf (and) Disabled folks of many kinds of artists, and promoting inclusivity in dance.”\u003c/p>\n\u003cfigure id=\"attachment_13956574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956574 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg\" alt=\"The TNT Traysikel trio and their three-wheeled vehicle. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The TNT Traysikel trio and their three-wheeled vehicle. \u003ccite>(Alvin Dizon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike Arcega of TNT Traysikel says the fellowship feels like validation for the group’s work. They created a vehicle that speaks to the culture of the Philippines and connects Filipino community members here in the Bay, and it’s paying off.\u003c/p>\n\u003cp>TNT Traysikel’s Rachel Lastimosa says the stipulation-free grant “signals that artists know what they’re doing, and that they know how to get the job done.” She adds that “the job” isn’t always about producing. “There’s more parts to being an artist that are very human — like housing, healthcare, childcare for example — that contribute to the work we do,” says Lastimosa. “It’s validating to get this sense of self-determination.” \u003c/p>\n\u003cp>Paolo Asuncion, the third member of TNT Traysikel, says the group plans on taking their vehicle on the road, connecting with Filipino communities in Stockton, Morro Bay and as far as \u003ca href=\"https://filipinola.com/st-malo/\" target=\"_blank\" rel=\"noopener\">Bayou St. Malo in Louisiana\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The plan is to ride TNT across the states,” Asuncion says, “to collect stories from all of these people and to spread the joy outward from San Francisco Bay.” \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956359/rainin-grants-ayodele-nzinga-antoine-hunter-adrian-burrell-tnt-traysikel","authors":["11491"],"categories":["arts_1","arts_73","arts_966","arts_74","arts_967","arts_70"],"tags":["arts_22106","arts_7624","arts_10278","arts_3590","arts_22105"],"featImg":"arts_13956434","label":"arts"},"arts_13956215":{"type":"posts","id":"arts_13956215","meta":{"index":"posts_1591205157","site":"arts","id":"13956215","score":null,"sort":[1713544938000]},"guestAuthors":[],"slug":"jen-liu-ghost-world-slash-the-lab-review","title":"Your Phone is Haunted","publishDate":1713544938,"format":"standard","headTitle":"Your Phone is Haunted | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Distance doesn’t really make the heart grow fonder. It makes it colder and harder. We can calculate that distance by our waning attention on events in faraway places, or our lack of curiosity about them. It’s present in our relationship to the objects that surround us, all of which have come \u003ci>from\u003c/i> somewhere and been made \u003ci>by\u003c/i> someone, but which we regard with indifference, as if they blipped into existence just for our use.\u003c/p>\n\u003cp>It’s this distance that artist \u003ca href=\"https://jenliu.info/\">Jen Liu\u003c/a> is trying to bridge — through video work, sculpture, painting, augmented reality and dance — by summoning the ghostly presence of South China’s labor activists and female electronics workers. “If you don’t see the labor, they don’t exist,” she said at \u003ca href=\"https://vimeo.com/886619818\">a recent screening\u003c/a> at California College of the Arts. “And then they don’t suffer and you don’t have to fight for them.”\u003c/p>\n\u003cfigure id=\"attachment_13956235\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487.jpg\" alt=\"White gallery with large painting, sculptures in back and freestanding wall with embedded video screen\" width=\"2500\" height=\"1875\" class=\"size-full wp-image-13956235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1920x1440.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Jen Liu: GHOST__WORLD’ at / (Slash) in San Francisco. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu’s newest body of work, \u003ci>GHOST__WORLD\u003c/i>, has arrived in San Francisco as a Tanya Zimbardo-curated \u003ca href=\"https://www.slashart.org/ghost__world/\">solo show at /\u003c/a> (Slash) and two upcoming nights of \u003ca href=\"https://www.thelab.org/projects/2024/4/27/jen-liu-ghostworld\">dance performances at The Lab\u003c/a>. Informing each are Liu’s primary sources: first-hand interviews with electronics and e-waste workers, and a mixture of articles and documents, like “Precious Metals Investment Terms A to Z” and “Health Consequences of Exposure to E-Waste: A Systematic Review.”\u003c/p>\n\u003cp>If this all sounds heavy, well, it \u003ci>is\u003c/i>. But Liu also skillfully deploys tactics of humor and beauty. The / show, for instance, is filled with frogs. Last summer, people wearing inflatable “\u003ca href=\"https://knowyourmeme.com/memes/chinese-frog-mascot\">frog mother\u003c/a>” costumes began appearing in the streets of China, selling frog balloons, issuing crisp military salutes and performing Buster Keaton-esque acts of physical comedy, both for the benefit of in-person audiences and viral online shares. \u003c/p>\n\u003cp>Designed by an artist frustrated with her job prospects, the frog costume appealed to Liu as a way of tying together multiple interests: the trend of “\u003ca href=\"https://en.wiktionary.org/wiki/%E8%BA%BA%E5%B9%B3\">lying flat\u003c/a>,” China’s youth opting out of over-work and ambition; the precarity of economic prospects outside of factory work; and previous incarnations of political performance art. \u003c/p>\n\u003cfigure id=\"attachment_13956236\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000.jpg\" alt=\"L: Image of hand holding phone in front of QR code, showing video on screen; R: blown glass on pedestal connected to glass on floor through black tube\" width=\"2000\" height=\"1316\" class=\"size-full wp-image-13956236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1536x1011.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1920x1263.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L: Jen Liu, ‘GHOST__WORLD: AUGMENTED REALITY,’ 2024; R: Jen Liu, ‘GHOST__WORLD: FROGS,’ 2024. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>QR codes on the show’s walls activate “embedded” videos with found social media footage of the frog mothers. (You may find yourself developing a different relationship to your phone during this show.) On the exhibition’s largest screen, a looping video cycles through several days in a CG marshland, frogs bobbing between air and water, one jumping onto the back of a plane before it flies off. Large-scale, wonderfully textured and loopily cartoonish paintings on paper merge all the imagery of the show into surreal depictions of frog eyes, an unfortunate Clippy, office-appropriate pumps and manicured nails. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the back of the gallery, blown glass blobs resembling frog heads are linked with tubes that release atomized scents (“marshy swamp, popcorn, green apple, chainsaw, exhaust, etc.”). While I didn’t catch a whiff during my opening night visit, the gently steaming arrangement did suggest a science lab gone wrong. It’s an off-kilter tone that carries through to the show’s central work, the half-hour video \u003ci>PINK SLIME CAESAR SHIFT: GOLD LOOP\u003c/i>.\u003c/p>\n\u003cp>Made with a combination of CG animation and live action, \u003ci>GOLD LOOP\u003c/i> was filmed in futuristic settings in Dishui, China (about an hour outside of Shanghai), and Birmingham, UK. “In my head, they became like sister cities,” Liu says. “Again, development for who? For what? Beautiful geometric structures down to perfectly circular lakes, circular economies and circular design. But then it’s serving a kind of ghost population and creating all this toxicity for the real people.”\u003c/p>\n\u003cp>The video is haunted by circles and spheres. Chemicals depicted as gold balls are pulled out of mouths; other, larger spheres roll eerily across emptied-out architectural spaces. A woman lectures fellow workers about “circular economics” as they spin their pens. Throughout, heightened sound effects and pop songs lend the entire video a jokey edge that keeps viewers entranced, chuckling with both delight and discomfort.\u003c/p>\n\u003cfigure id=\"attachment_13956242\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-scaled.jpg\" alt=\"Two hands with green nails hold open a book against red surface\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13956242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘A BETTER LIFE FOR THE WORKERS (I),’ 2021. The book is a translation of Hong Kong-based NGO Worker Empowerment’s publication of the same title. Proceeds from sales go to Chinese labor organizers and activists. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My advice for all of the above is to block off a solid hour to spend looking at, listening to and thinking about \u003ci>GHOST__WORLD\u003c/i>. Be sure not to miss a shiny pink-covered copy of \u003ci>A Better Life for the Workers (1)\u003c/i>, a translated 2013 text that came out of discussions in a workers’ center in Shenzhen.\u003c/p>\n\u003cp>Then, you’ll be well-primed for The Lab on either April 27 or 28, when \u003ci>GHOST__WORLD: a performance for 4 dancers\u003c/i>, featuring Tracey Lindsay Chan, SanSan Kwan, Miche Wong and Áine Dorman, takes place. The performance touches on Chinese Lion Dance, the frog mothers’ synchronized routines, worker interviews and (wildcard!) those \u003ca href=\"https://www.youtube.com/watch?v=0eEG5LVXdKo&ab_channel=AngusLo\">Apple versus PC ads\u003c/a> from the mid-2000s.\u003c/p>\n\u003cp>Liu says the choreography, which she developed with the dancers, is driven by the sense that the body is missing from every stage of technology’s creation, production and use. “The body has been deeply sidelined, which leaves it open to exploitation,” she says. “These languages never leave the body. It’s just deeply repressed.”\u003c/p>\n\u003cp>\u003cem>GHOST__WORLD\u003c/em> asks: Once that repression creates enough distance, how do our hearts react? \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.slashart.org/ghost__world/\">Jen Liu: GHOST__WORLD\u003c/a>’ is on view at / (Slash, 1150 25th St., Building B, San Francisco) through Aug. 24, 2024. ‘\u003ca href=\"https://www.thelab.org/projects/2024/4/27/jen-liu-ghostworld\">GHOST__WORLD: a performance for 4 dancers\u003c/a>’ takes place at The Lab (2948 16th St., San Francisco) on April 27 at 7 p.m. and April 28 at 5 p.m.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"In ‘GHOST__WORLD,’ Jen Liu summons the voices of China’s labor activists and electronics workers.","status":"publish","parent":0,"modified":1713544938,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1057},"headData":{"title":"Jen Liu’s ‘GHOST__WORLD’ Haunts Slash and The Lab | KQED","description":"In ‘GHOST__WORLD,’ Jen Liu summons the voices of China’s labor activists and electronics workers.","ogTitle":"Your Phone is Haunted","ogDescription":"","ogImgId":"","twTitle":"Your Phone is Haunted","twDescription":"","twImgId":"","socialTitle":"Jen Liu’s ‘GHOST__WORLD’ Haunts Slash and The Lab %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Your Phone is Haunted","datePublished":"2024-04-19T16:42:18.000Z","dateModified":"2024-04-19T16:42:18.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956215/jen-liu-ghost-world-slash-the-lab-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Distance doesn’t really make the heart grow fonder. It makes it colder and harder. We can calculate that distance by our waning attention on events in faraway places, or our lack of curiosity about them. It’s present in our relationship to the objects that surround us, all of which have come \u003ci>from\u003c/i> somewhere and been made \u003ci>by\u003c/i> someone, but which we regard with indifference, as if they blipped into existence just for our use.\u003c/p>\n\u003cp>It’s this distance that artist \u003ca href=\"https://jenliu.info/\">Jen Liu\u003c/a> is trying to bridge — through video work, sculpture, painting, augmented reality and dance — by summoning the ghostly presence of South China’s labor activists and female electronics workers. “If you don’t see the labor, they don’t exist,” she said at \u003ca href=\"https://vimeo.com/886619818\">a recent screening\u003c/a> at California College of the Arts. “And then they don’t suffer and you don’t have to fight for them.”\u003c/p>\n\u003cfigure id=\"attachment_13956235\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487.jpg\" alt=\"White gallery with large painting, sculptures in back and freestanding wall with embedded video screen\" width=\"2500\" height=\"1875\" class=\"size-full wp-image-13956235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_15_Slash4487-1920x1440.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Jen Liu: GHOST__WORLD’ at / (Slash) in San Francisco. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu’s newest body of work, \u003ci>GHOST__WORLD\u003c/i>, has arrived in San Francisco as a Tanya Zimbardo-curated \u003ca href=\"https://www.slashart.org/ghost__world/\">solo show at /\u003c/a> (Slash) and two upcoming nights of \u003ca href=\"https://www.thelab.org/projects/2024/4/27/jen-liu-ghostworld\">dance performances at The Lab\u003c/a>. Informing each are Liu’s primary sources: first-hand interviews with electronics and e-waste workers, and a mixture of articles and documents, like “Precious Metals Investment Terms A to Z” and “Health Consequences of Exposure to E-Waste: A Systematic Review.”\u003c/p>\n\u003cp>If this all sounds heavy, well, it \u003ci>is\u003c/i>. But Liu also skillfully deploys tactics of humor and beauty. The / show, for instance, is filled with frogs. Last summer, people wearing inflatable “\u003ca href=\"https://knowyourmeme.com/memes/chinese-frog-mascot\">frog mother\u003c/a>” costumes began appearing in the streets of China, selling frog balloons, issuing crisp military salutes and performing Buster Keaton-esque acts of physical comedy, both for the benefit of in-person audiences and viral online shares. \u003c/p>\n\u003cp>Designed by an artist frustrated with her job prospects, the frog costume appealed to Liu as a way of tying together multiple interests: the trend of “\u003ca href=\"https://en.wiktionary.org/wiki/%E8%BA%BA%E5%B9%B3\">lying flat\u003c/a>,” China’s youth opting out of over-work and ambition; the precarity of economic prospects outside of factory work; and previous incarnations of political performance art. \u003c/p>\n\u003cfigure id=\"attachment_13956236\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000.jpg\" alt=\"L: Image of hand holding phone in front of QR code, showing video on screen; R: blown glass on pedestal connected to glass on floor through black tube\" width=\"2000\" height=\"1316\" class=\"size-full wp-image-13956236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1536x1011.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AR_Glass_comp_2000-1920x1263.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L: Jen Liu, ‘GHOST__WORLD: AUGMENTED REALITY,’ 2024; R: Jen Liu, ‘GHOST__WORLD: FROGS,’ 2024. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>QR codes on the show’s walls activate “embedded” videos with found social media footage of the frog mothers. (You may find yourself developing a different relationship to your phone during this show.) On the exhibition’s largest screen, a looping video cycles through several days in a CG marshland, frogs bobbing between air and water, one jumping onto the back of a plane before it flies off. Large-scale, wonderfully textured and loopily cartoonish paintings on paper merge all the imagery of the show into surreal depictions of frog eyes, an unfortunate Clippy, office-appropriate pumps and manicured nails. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the back of the gallery, blown glass blobs resembling frog heads are linked with tubes that release atomized scents (“marshy swamp, popcorn, green apple, chainsaw, exhaust, etc.”). While I didn’t catch a whiff during my opening night visit, the gently steaming arrangement did suggest a science lab gone wrong. It’s an off-kilter tone that carries through to the show’s central work, the half-hour video \u003ci>PINK SLIME CAESAR SHIFT: GOLD LOOP\u003c/i>.\u003c/p>\n\u003cp>Made with a combination of CG animation and live action, \u003ci>GOLD LOOP\u003c/i> was filmed in futuristic settings in Dishui, China (about an hour outside of Shanghai), and Birmingham, UK. “In my head, they became like sister cities,” Liu says. “Again, development for who? For what? Beautiful geometric structures down to perfectly circular lakes, circular economies and circular design. But then it’s serving a kind of ghost population and creating all this toxicity for the real people.”\u003c/p>\n\u003cp>The video is haunted by circles and spheres. Chemicals depicted as gold balls are pulled out of mouths; other, larger spheres roll eerily across emptied-out architectural spaces. A woman lectures fellow workers about “circular economics” as they spin their pens. Throughout, heightened sound effects and pop songs lend the entire video a jokey edge that keeps viewers entranced, chuckling with both delight and discomfort.\u003c/p>\n\u003cfigure id=\"attachment_13956242\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-scaled.jpg\" alt=\"Two hands with green nails hold open a book against red surface\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13956242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Book_2-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘A BETTER LIFE FOR THE WORKERS (I),’ 2021. The book is a translation of Hong Kong-based NGO Worker Empowerment’s publication of the same title. Proceeds from sales go to Chinese labor organizers and activists. \u003ccite>(Courtesy of the artist; Blindspot Gallery, Hong Kong; Upstream Gallery, Amsterdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My advice for all of the above is to block off a solid hour to spend looking at, listening to and thinking about \u003ci>GHOST__WORLD\u003c/i>. Be sure not to miss a shiny pink-covered copy of \u003ci>A Better Life for the Workers (1)\u003c/i>, a translated 2013 text that came out of discussions in a workers’ center in Shenzhen.\u003c/p>\n\u003cp>Then, you’ll be well-primed for The Lab on either April 27 or 28, when \u003ci>GHOST__WORLD: a performance for 4 dancers\u003c/i>, featuring Tracey Lindsay Chan, SanSan Kwan, Miche Wong and Áine Dorman, takes place. The performance touches on Chinese Lion Dance, the frog mothers’ synchronized routines, worker interviews and (wildcard!) those \u003ca href=\"https://www.youtube.com/watch?v=0eEG5LVXdKo&ab_channel=AngusLo\">Apple versus PC ads\u003c/a> from the mid-2000s.\u003c/p>\n\u003cp>Liu says the choreography, which she developed with the dancers, is driven by the sense that the body is missing from every stage of technology’s creation, production and use. “The body has been deeply sidelined, which leaves it open to exploitation,” she says. “These languages never leave the body. It’s just deeply repressed.”\u003c/p>\n\u003cp>\u003cem>GHOST__WORLD\u003c/em> asks: Once that repression creates enough distance, how do our hearts react? \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.slashart.org/ghost__world/\">Jen Liu: GHOST__WORLD\u003c/a>’ is on view at / (Slash, 1150 25th St., Building B, San Francisco) through Aug. 24, 2024. ‘\u003ca href=\"https://www.thelab.org/projects/2024/4/27/jen-liu-ghostworld\">GHOST__WORLD: a performance for 4 dancers\u003c/a>’ takes place at The Lab (2948 16th St., San Francisco) on April 27 at 7 p.m. and April 28 at 5 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956215/jen-liu-ghost-world-slash-the-lab-review","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_966","arts_70"],"tags":["arts_5391","arts_879","arts_10278","arts_769","arts_585","arts_901"],"featImg":"arts_13956234","label":"arts_140"},"arts_13954510":{"type":"posts","id":"arts_13954510","meta":{"index":"posts_1591205157","site":"arts","id":"13954510","score":null,"sort":[1712001883000]},"guestAuthors":[],"slug":"sf-ballet-dos-mujeres-maria-guzman-capron-scenic-artists","title":"The Artistry of SF Ballet’s ‘Dos Mujeres’ Begins at the Curtain","publishDate":1712001883,"format":"standard","headTitle":"The Artistry of SF Ballet’s ‘Dos Mujeres’ Begins at the Curtain | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>When audiences make their way into the War Memorial Opera House for San Francisco Ballet’s \u003ci>\u003ca href=\"https://www.sfballet.org/productions/dos-mujeres/\">Dos Mujeres\u003c/a>\u003c/i>, a double-bill presentation of Arielle Smith’s \u003ci>Carmen\u003c/i> (a world premiere) and Annabelle Lopez Ochoa’s \u003ci>Broken Wings\u003c/i>, they will rest their eyes upon a very different kind of curtain.\u003c/p>\n\u003cp>Instead of gold velvet drapery, they’ll be looking at a 30-by-60-foot mural on canvas, a hand-painted translation of a textile piece created by Oakland artist \u003ca href=\"https://www.instagram.com/mariaguzmancapron/\">Maria A. Guzmán Capron\u003c/a>.\u003c/p>\n\u003cp>Far in advance of opening night — with warehouse space at a premium — SF Ballet’s scenic artists put the finishing touches on the piece, before all 229 pounds of the painting were folded up to await its eventual unveiling on April 4. (Even this is a big to-do, involving scissor-lifts and hours of steaming.)\u003c/p>\n\u003cp>Walking across the painted canvas surface in early February, Capron was thrilled to take in the dense design of trompe-l’oeil patterns and colored stitching. “It is a wild experience because I never get to do that with my work, to feel really immersed by it,” she said. “It makes me feel more part of it in some way, like I am \u003ci>in\u003c/i> it.”\u003c/p>\n\u003cfigure id=\"attachment_13951445\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951445\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED.jpg\" alt=\"Two people talk, one gestures with arms in front of brightly painted large canvas on floor\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Capron talks with Charge Scenic Artist Robert Burg in the SF Ballet’s San Francisco scene shop in February 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s the way we feel about everything we work on,” agreed Robert Burg, charge scenic artist for SF Ballet. “There’s a very personal connection to the pieces we work on, especially the backdrops we paint.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burg, along with Scenic Artists David Dunn and Garrett Lowe, translated Capron’s 43-by-48-inch textile piece into mural form, tracing the images out in charcoal on paper, priming the massive stapled-down canvas, then creating stencils and special tools to more accurately capture the depth and texture of the original work.\u003c/p>\n\u003cp>The three men stood over the canvas for about a month, a print-out in one hand and a paintbrush attached to a long stick in the other, rendering cotton, satins and lace at a monumental scale.\u003c/p>\n\u003cp>One specially made tool, a notched foam roller, was the result of weeks of pondering how to get Capron’s stitches just right. “When we came up with the idea, it worked even better than we thought,” Burg said.\u003c/p>\n\u003cfigure id=\"attachment_13954565\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut.jpg\" alt=\"circular foam roller with notches cut into it traces a dotted line across a painted canvas\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scenic artist demonstrates how a foam roller was used to create the ‘stitching’ in Capron’s mural. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dunn concurred: “It just was such a satisfying kind of way to finish.”\u003c/p>\n\u003cp>(“I always say, nobody ever loved a tool on a stick as much as David,” Burg said.)\u003c/p>\n\u003cp>The mural is a merger of the shop’s classic scenic art techniques and SF Ballet’s new direction under Artistic Director Tamara Rojo. “This is just a fun project for us because it’s a little outside of our usual scope of old architecture,” Burg said, describing their traditional fare as “somebody’s cottage or palace.”\u003c/p>\n\u003cp>“But our company is doing \u003ca href=\"https://www.kqed.org/arts/13950883/mere-mortals-sf-ballet-tamara-rojo-floating-points-aszure-barton\">a lot of unusual and new stuff these days\u003c/a>, which is wonderful because it’s about keeping the art alive,” he added.\u003c/p>\n\u003cp>Capron was given a video of rehearsals of \u003ci>Carmen\u003c/i>, and footage from previous performances of \u003ci>Broken Wings\u003c/i>. Her figures’ overlapping stance, tangled below and heart-shaped above, comes from \u003ci>Carmen\u003c/i>’s choreography. The swirl of flowers that surrounds them is an homage to the twirling skirts of the dancers in \u003ci>Broken Wings\u003c/i>, a ballet about the life of Frida Kahlo.\u003c/p>\n\u003cfigure id=\"attachment_13951444\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951444\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED.jpg\" alt=\"Print-outs of mural design propped on stand in front of the painted mural\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Print-outs of Capron’s textile collage sit on a table near a large-scale version made by scenic artists in the SF Ballet warehouse. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s fitting for a ballet about a visual artist to so involve the work of other visual artists. After the San Francisco Opera moved their scene shop to Burlingame, and American Conservatory Theater closed theirs, SF Ballet now runs the last scene shop in San Francisco, in a cavernous yet unassuming warehouse off Cesar Chavez Street.\u003c/p>\n\u003cp>The Ballet’s scenic artists are committed to their trade — and the responsibilities that come with this role, which involves painting the backdrops, built scenery, furniture and props for several new productions a year, along with maintenance on older productions being revived.\u003c/p>\n\u003cp>“Most of what we use to do this job are things we were able to purchase locally,” Dunn said. “Robert prioritizes that. We really are trying to support local businesses and the arts because we need them, right? And they need us.”\u003c/p>\n\u003cp>For Capron, this commission required releasing her work into a completely foreign process — very different from overseeing studio assistants. “They have so much knowledge already on their own that just the first time I came, I was like, ‘Oh, I feel in great hands,’ you know?” she said. “I don’t even feel like I have to worry in any way.”\u003c/p>\n\u003cp>On April 4, she plans to be in the Opera House audience, seeing her piece from its proper vantage point alongside her family. But as Burg warns, “It’s never going to look bigger to us than it does now.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>San Francisco Ballet’s ‘Dos Mujeres’ takes place at the War Memorial Opera House (301 Van Ness Ave., San Francisco) April 4–14. \u003ca href=\"https://www.sfballet.org/productions/dos-mujeres/\">Find tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The ballet’s scenic artists translated Maria A. Guzmán Capron’s textile piece into a 30-by-60-foot mural. ","status":"publish","parent":0,"modified":1712001883,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":958},"headData":{"title":"The Artistry of SF Ballet’s ‘Dos Mujeres’ Begins at the Curtain | KQED","description":"The ballet’s scenic artists translated Maria A. Guzmán Capron’s textile piece into a 30-by-60-foot mural. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Artistry of SF Ballet’s ‘Dos Mujeres’ Begins at the Curtain","datePublished":"2024-04-01T20:04:43.000Z","dateModified":"2024-04-01T20:04:43.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954510/sf-ballet-dos-mujeres-maria-guzman-capron-scenic-artists","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When audiences make their way into the War Memorial Opera House for San Francisco Ballet’s \u003ci>\u003ca href=\"https://www.sfballet.org/productions/dos-mujeres/\">Dos Mujeres\u003c/a>\u003c/i>, a double-bill presentation of Arielle Smith’s \u003ci>Carmen\u003c/i> (a world premiere) and Annabelle Lopez Ochoa’s \u003ci>Broken Wings\u003c/i>, they will rest their eyes upon a very different kind of curtain.\u003c/p>\n\u003cp>Instead of gold velvet drapery, they’ll be looking at a 30-by-60-foot mural on canvas, a hand-painted translation of a textile piece created by Oakland artist \u003ca href=\"https://www.instagram.com/mariaguzmancapron/\">Maria A. Guzmán Capron\u003c/a>.\u003c/p>\n\u003cp>Far in advance of opening night — with warehouse space at a premium — SF Ballet’s scenic artists put the finishing touches on the piece, before all 229 pounds of the painting were folded up to await its eventual unveiling on April 4. (Even this is a big to-do, involving scissor-lifts and hours of steaming.)\u003c/p>\n\u003cp>Walking across the painted canvas surface in early February, Capron was thrilled to take in the dense design of trompe-l’oeil patterns and colored stitching. “It is a wild experience because I never get to do that with my work, to feel really immersed by it,” she said. “It makes me feel more part of it in some way, like I am \u003ci>in\u003c/i> it.”\u003c/p>\n\u003cfigure id=\"attachment_13951445\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951445\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED.jpg\" alt=\"Two people talk, one gestures with arms in front of brightly painted large canvas on floor\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-21-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Capron talks with Charge Scenic Artist Robert Burg in the SF Ballet’s San Francisco scene shop in February 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s the way we feel about everything we work on,” agreed Robert Burg, charge scenic artist for SF Ballet. “There’s a very personal connection to the pieces we work on, especially the backdrops we paint.”\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>Burg, along with Scenic Artists David Dunn and Garrett Lowe, translated Capron’s 43-by-48-inch textile piece into mural form, tracing the images out in charcoal on paper, priming the massive stapled-down canvas, then creating stencils and special tools to more accurately capture the depth and texture of the original work.\u003c/p>\n\u003cp>The three men stood over the canvas for about a month, a print-out in one hand and a paintbrush attached to a long stick in the other, rendering cotton, satins and lace at a monumental scale.\u003c/p>\n\u003cp>One specially made tool, a notched foam roller, was the result of weeks of pondering how to get Capron’s stitches just right. “When we came up with the idea, it worked even better than we thought,” Burg said.\u003c/p>\n\u003cfigure id=\"attachment_13954565\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut.jpg\" alt=\"circular foam roller with notches cut into it traces a dotted line across a painted canvas\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240201-TextileArtist-23-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scenic artist demonstrates how a foam roller was used to create the ‘stitching’ in Capron’s mural. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dunn concurred: “It just was such a satisfying kind of way to finish.”\u003c/p>\n\u003cp>(“I always say, nobody ever loved a tool on a stick as much as David,” Burg said.)\u003c/p>\n\u003cp>The mural is a merger of the shop’s classic scenic art techniques and SF Ballet’s new direction under Artistic Director Tamara Rojo. “This is just a fun project for us because it’s a little outside of our usual scope of old architecture,” Burg said, describing their traditional fare as “somebody’s cottage or palace.”\u003c/p>\n\u003cp>“But our company is doing \u003ca href=\"https://www.kqed.org/arts/13950883/mere-mortals-sf-ballet-tamara-rojo-floating-points-aszure-barton\">a lot of unusual and new stuff these days\u003c/a>, which is wonderful because it’s about keeping the art alive,” he added.\u003c/p>\n\u003cp>Capron was given a video of rehearsals of \u003ci>Carmen\u003c/i>, and footage from previous performances of \u003ci>Broken Wings\u003c/i>. Her figures’ overlapping stance, tangled below and heart-shaped above, comes from \u003ci>Carmen\u003c/i>’s choreography. The swirl of flowers that surrounds them is an homage to the twirling skirts of the dancers in \u003ci>Broken Wings\u003c/i>, a ballet about the life of Frida Kahlo.\u003c/p>\n\u003cfigure id=\"attachment_13951444\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951444\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED.jpg\" alt=\"Print-outs of mural design propped on stand in front of the painted mural\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240201-TEXTILEARTIST-11-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Print-outs of Capron’s textile collage sit on a table near a large-scale version made by scenic artists in the SF Ballet warehouse. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s fitting for a ballet about a visual artist to so involve the work of other visual artists. After the San Francisco Opera moved their scene shop to Burlingame, and American Conservatory Theater closed theirs, SF Ballet now runs the last scene shop in San Francisco, in a cavernous yet unassuming warehouse off Cesar Chavez Street.\u003c/p>\n\u003cp>The Ballet’s scenic artists are committed to their trade — and the responsibilities that come with this role, which involves painting the backdrops, built scenery, furniture and props for several new productions a year, along with maintenance on older productions being revived.\u003c/p>\n\u003cp>“Most of what we use to do this job are things we were able to purchase locally,” Dunn said. “Robert prioritizes that. We really are trying to support local businesses and the arts because we need them, right? And they need us.”\u003c/p>\n\u003cp>For Capron, this commission required releasing her work into a completely foreign process — very different from overseeing studio assistants. “They have so much knowledge already on their own that just the first time I came, I was like, ‘Oh, I feel in great hands,’ you know?” she said. “I don’t even feel like I have to worry in any way.”\u003c/p>\n\u003cp>On April 4, she plans to be in the Opera House audience, seeing her piece from its proper vantage point alongside her family. But as Burg warns, “It’s never going to look bigger to us than it does now.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>San Francisco Ballet’s ‘Dos Mujeres’ takes place at the War Memorial Opera House (301 Van Ness Ave., San Francisco) April 4–14. \u003ca href=\"https://www.sfballet.org/productions/dos-mujeres/\">Find tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954510/sf-ballet-dos-mujeres-maria-guzman-capron-scenic-artists","authors":["61"],"categories":["arts_1","arts_966","arts_70"],"tags":["arts_10278","arts_21890"],"featImg":"arts_13951447","label":"arts"},"arts_13954716":{"type":"posts","id":"arts_13954716","meta":{"index":"posts_1591205157","site":"arts","id":"13954716","score":null,"sort":[1711986334000]},"guestAuthors":[],"slug":"san-jose-day-returns-to-celebrate-the-408","title":"San Jose Day Returns to Celebrate the 408 in Japantown","publishDate":1711986334,"format":"standard","headTitle":"San Jose Day Returns to Celebrate the 408 in Japantown | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When Haley Cardamon interviewed \u003ca href=\"https://www.kqed.org/arts/13950855/underground-rap-playa-sht-political-joints-equipto-has-bars\">rapper and activist Equipto\u003c/a> in 2016, she was inspired by how hard he repped his hometown of San Francisco.\u003c/p>\n\u003cp>Cardamon — at the time a community college student running a local arts publication, \u003ca href=\"https://www.awesomefoundation.org/en/projects/80940-bay-area-creatives-klub-magazine\">\u003ci>B.A.C.K Magazine\u003c/i>\u003c/a> — learned from the Filipino lyricist about \u003ca href=\"https://www.kqed.org/arts/13895377/rightnowish-baghead-cerealforthekids\">415 Day\u003c/a>, a celebratory gathering for San Franciscans to uplift one another. The event officially debuted that same year at Dolores Park.\u003c/p>\n\u003cp>As someone born and raised in San Jose’s East Side and downtown neighborhoods, Cardamon realized the hometown she loved didn’t have any equivalent. “Girl, you could do it,” Cardamon recalls Equipto telling her.\u003c/p>\n\u003cp>That’s how San Jose Day, formerly known as 408 Day, was born, with its first iteration held downtown in 2017. It gained traction and continued annually until 2020, when the event was shut down by the pandemic. It made its return in 2023.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j793qAWhjqA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>This year, the event is back and bigger than ever. Feeling reinvigorated, Cardamon believes San Jose is primed for a cultural renaissance.\u003c/p>\n\u003cp>“I’ll be honest, I don’t have a big interest in going to San Francisco and Oakland,” Cardamon says. “San Jose has so much going on. It’s very creative, and our culture has blossomed and grown in a way where people are collaborative and respectful of each other’s lanes. We survive in one of the toughest cities to make a living, and we hustle for each other.”\u003c/p>\n\u003cp>The 6th Annual San Jose Day will include live music, food vendors, Aztec and folklórico dancers, educational awareness groups, gallery artists and more. Among them, Cardamon is especially proud of the \u003ca href=\"https://siliconvalleydownsyndromenetwork.wildapricot.org/\">Silicon Valley Down Syndrome Network\u003c/a>, which is hosting a Japanese Taiko performance.\u003c/p>\n\u003cp>“I’m excited about that; I’ve never seen a festival host a special needs group of youth doing a performance,” says Cardamon. “And everyone’s getting paid. That’s special to me.”\u003c/p>\n\u003cfigure id=\"attachment_13954723\" class=\"wp-caption alignnone\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954723\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize.jpg\" alt=\"a musical performer is on stage in front of a large audience in San Jose\" width=\"1600\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">A San Jose performer captivates the crowd during San Jose Day in 2023. \u003ccite>(Alex Knowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cardamon is a San Jose ride-or-die advocate. Having experienced housing insecurity during the 2008 recession in the city as a youth, she’s intimately familiar with the region’s struggles and the often inaccessible pathways for artists to thrive. That’s especially true in Silicon Valley, where tech innovation frequently eclipses the work of art innovators — both economically and culturally.\u003c/p>\n\u003cp>Like Cardamon herself, the event has roamed around San Jose’s diverse communities. It’s been held in the Gordon Biersch lot in downtown San Jose as well as the famed Mexican Heritage Plaza on Alum Rock Avenue. On April 6, \u003ca href=\"https://www.instagram.com/empire7studios/?hl=en\">Empire Seven Studios\u003c/a> in Japantown — \u003ca href=\"https://www.kqed.org/arts/13952476/san-jose-japantown-photo-night-cukui\">which has a bubbling creative scene\u003c/a> — hosts this year’s edition.\u003c/p>\n\u003cp>Having brought in more than 7,500 attendees last year, Cardamon feels a surging momentum in her city.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X9cSIPpBz9Q\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>“The energy was vividly euphoric and positive, so much love,” says Cardamon of last year’s festivities. “It was a pivotal moment for our event to know, and people were like ‘Oh shit, we’ve never heard of it before.’ We had over 98 artists involved. That made me realize I could do this. I want to give more of myself to this.”\u003c/p>\n\u003cp>Cardamon is in the process of finalizing her 501(c)(3) status as a nonprofit, and has also developed an arts and culture board to review applications for participating artists, vendors and community members.\u003c/p>\n\u003cp>Though not quite yet at the level of recognition as 415 Day or 510 Day, San Jose Day — in the hub of the Bay Area’s most populous county — is bound to keep growing. And as it does, Cardamon will be at the center, waving her San Jose flag.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.sanjoseday.org/sjd2024\">San Jose Day\u003c/a> takes place on Saturday, April 6, from noon–6 p.m., at 525 N. 7th St., San Jose. Entry is free. \u003ca href=\"https://www.sanjoseday.org/sjd2024\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"This year’s edition of the cultural festival takes place in San Jose’s thriving Japantown.","status":"publish","parent":0,"modified":1712082255,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":704},"headData":{"title":"San Jose Day Returns to Celebrate the 408 in Japantown | KQED","description":"This year’s edition of the cultural festival takes place in San Jose’s thriving Japantown.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Jose Day Returns to Celebrate the 408 in Japantown","datePublished":"2024-04-01T15:45:34.000Z","dateModified":"2024-04-02T18:24:15.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954716/san-jose-day-returns-to-celebrate-the-408","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Haley Cardamon interviewed \u003ca href=\"https://www.kqed.org/arts/13950855/underground-rap-playa-sht-political-joints-equipto-has-bars\">rapper and activist Equipto\u003c/a> in 2016, she was inspired by how hard he repped his hometown of San Francisco.\u003c/p>\n\u003cp>Cardamon — at the time a community college student running a local arts publication, \u003ca href=\"https://www.awesomefoundation.org/en/projects/80940-bay-area-creatives-klub-magazine\">\u003ci>B.A.C.K Magazine\u003c/i>\u003c/a> — learned from the Filipino lyricist about \u003ca href=\"https://www.kqed.org/arts/13895377/rightnowish-baghead-cerealforthekids\">415 Day\u003c/a>, a celebratory gathering for San Franciscans to uplift one another. The event officially debuted that same year at Dolores Park.\u003c/p>\n\u003cp>As someone born and raised in San Jose’s East Side and downtown neighborhoods, Cardamon realized the hometown she loved didn’t have any equivalent. “Girl, you could do it,” Cardamon recalls Equipto telling her.\u003c/p>\n\u003cp>That’s how San Jose Day, formerly known as 408 Day, was born, with its first iteration held downtown in 2017. It gained traction and continued annually until 2020, when the event was shut down by the pandemic. It made its return in 2023.\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/j793qAWhjqA'\n title='//www.youtube.com/embed/j793qAWhjqA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>This year, the event is back and bigger than ever. Feeling reinvigorated, Cardamon believes San Jose is primed for a cultural renaissance.\u003c/p>\n\u003cp>“I’ll be honest, I don’t have a big interest in going to San Francisco and Oakland,” Cardamon says. “San Jose has so much going on. It’s very creative, and our culture has blossomed and grown in a way where people are collaborative and respectful of each other’s lanes. We survive in one of the toughest cities to make a living, and we hustle for each other.”\u003c/p>\n\u003cp>The 6th Annual San Jose Day will include live music, food vendors, Aztec and folklórico dancers, educational awareness groups, gallery artists and more. Among them, Cardamon is especially proud of the \u003ca href=\"https://siliconvalleydownsyndromenetwork.wildapricot.org/\">Silicon Valley Down Syndrome Network\u003c/a>, which is hosting a Japanese Taiko performance.\u003c/p>\n\u003cp>“I’m excited about that; I’ve never seen a festival host a special needs group of youth doing a performance,” says Cardamon. “And everyone’s getting paid. That’s special to me.”\u003c/p>\n\u003cfigure id=\"attachment_13954723\" class=\"wp-caption alignnone\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954723\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize.jpg\" alt=\"a musical performer is on stage in front of a large audience in San Jose\" width=\"1600\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SJD2023_FullSet-340_websize-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">A San Jose performer captivates the crowd during San Jose Day in 2023. \u003ccite>(Alex Knowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cardamon is a San Jose ride-or-die advocate. Having experienced housing insecurity during the 2008 recession in the city as a youth, she’s intimately familiar with the region’s struggles and the often inaccessible pathways for artists to thrive. That’s especially true in Silicon Valley, where tech innovation frequently eclipses the work of art innovators — both economically and culturally.\u003c/p>\n\u003cp>Like Cardamon herself, the event has roamed around San Jose’s diverse communities. It’s been held in the Gordon Biersch lot in downtown San Jose as well as the famed Mexican Heritage Plaza on Alum Rock Avenue. On April 6, \u003ca href=\"https://www.instagram.com/empire7studios/?hl=en\">Empire Seven Studios\u003c/a> in Japantown — \u003ca href=\"https://www.kqed.org/arts/13952476/san-jose-japantown-photo-night-cukui\">which has a bubbling creative scene\u003c/a> — hosts this year’s edition.\u003c/p>\n\u003cp>Having brought in more than 7,500 attendees last year, Cardamon feels a surging momentum in her city.\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/X9cSIPpBz9Q'\n title='//www.youtube.com/embed/X9cSIPpBz9Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>“The energy was vividly euphoric and positive, so much love,” says Cardamon of last year’s festivities. “It was a pivotal moment for our event to know, and people were like ‘Oh shit, we’ve never heard of it before.’ We had over 98 artists involved. That made me realize I could do this. I want to give more of myself to this.”\u003c/p>\n\u003cp>Cardamon is in the process of finalizing her 501(c)(3) status as a nonprofit, and has also developed an arts and culture board to review applications for participating artists, vendors and community members.\u003c/p>\n\u003cp>Though not quite yet at the level of recognition as 415 Day or 510 Day, San Jose Day — in the hub of the Bay Area’s most populous county — is bound to keep growing. And as it does, Cardamon will be at the center, waving her San Jose flag.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.sanjoseday.org/sjd2024\">San Jose Day\u003c/a> takes place on Saturday, April 6, from noon–6 p.m., at 525 N. 7th St., San Jose. Entry is free. \u003ca href=\"https://www.sanjoseday.org/sjd2024\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954716/san-jose-day-returns-to-celebrate-the-408","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_966","arts_69"],"tags":["arts_8167","arts_5684","arts_879","arts_14294","arts_1084","arts_3001","arts_2475","arts_585"],"featImg":"arts_13954721","label":"arts_140"},"arts_13950520":{"type":"posts","id":"arts_13950520","meta":{"index":"posts_1591205157","site":"arts","id":"13950520","score":null,"sort":[1707948014000]},"guestAuthors":[],"slug":"ruth-beckford-dance-black-panthers-free-breakfast-program","title":"The Dancer Who Helped Start the Black Panthers’ Free Breakfast Program","publishDate":1707948014,"format":"standard","headTitle":"The Dancer Who Helped Start the Black Panthers’ Free Breakfast Program | KQED","labelTerm":{"term":8978,"site":"arts"},"content":"\u003cp>[dropcap]I[/dropcap]n the late 1960s, an uncommonly energetic 43-year-old named Ruth Beckford was teaching an Afro-Haitian dance class in Oakland. A dancing pro since the age of eight, Beckford had a habit of taking a close personal interest in her students. She taught the youngest ones a combination of life skills and etiquette to set them up for bright futures. She encouraged teens and young women to love themselves and pursue their dreams. And when one of her students told Beckford about her involvement with the Black Panther Party, Beckford was keen to be of assistance with that, too.\u003c/p>\n\u003cp>The student in question was LaVerne Anderson, who happened to be the girlfriend of Huey P. Newton. Beckford began by accompanying Anderson to some of Newton’s 1968 trial dates. In September of that year, when the idea for the Panthers’ Free Breakfast for School Children Program first came up, it was Beckford who sprang into action and made it happen.\u003c/p>\n\u003cp>[aside postid='arts_13874853']Beckford had long been a parishioner at Oakland’s \u003ca href=\"https://staugepiscopal.org/\">St. Augustine’s Episcopal Church\u003c/a>, then situated at West and 27th Streets. Beckford approached her priest there, Father Earl A. Neil, to find out if St. Augustine’s was willing to host a daily program there to feed neighborhood kids. Father Neil agreed, and he and Beckford went about building a health code-safe kitchen and dining space, as well as a nutritionally balanced menu.\u003c/p>\n\u003cp>On the first day — a Monday in January 1969 — 11 children came to eat. By Friday, that number had swelled to 135. Beckford and Father Neil made such a success of the free breakfasts, the program was soon mandatory in all Black Panther chapters nationwide. It was also a shining example of Beckford’s ability to turn ideas into action, and to plant seeds that would one day create mighty forests. That’s something she had already been doing in her dance classes for 22 years before she got involved with the Panthers.\u003c/p>\n\u003cfigure id=\"attachment_13952106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952106\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-939585344-scaled-e1707777665615.jpg\" alt=\"Several young Black boys, one of whom is wearing a suit, raise their hands to speak as they sit around a table, paper plates of food in front of them.\" width=\"1920\" height=\"1298\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther Party’s Free Breakfast for Children program — like this one in New York City in 1969 — combined education and good nutrition. \u003ccite>(Bev Grant/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]B[/dropcap]eckford was born on Dec. 7, 1925 in Oakland’s \u003ca href=\"https://localwiki.org/oakland/Providence_Hospital\">Providence Hospital\u003c/a> to a Jamaican father and a mother from Los Angeles. Beckford was the youngest of four — she had a big sister and a pair of twin brothers — and was raised on 38th Avenue and MacArthur Boulevard. She grew up in a household so supportive that, when they saw her kicking along to music in her crib as a baby, her parents pledged to get her into dance class as soon as she was old enough.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At three years old, Beckford began training in “every kind of dance,” her dedicated mom sewing all her costumes. It was clear from the beginning that the young girl was naturally gifted, and that dance was indeed her calling. By eight, she was a vaudeville dancer. By 14, she was teaching other children. At 17, she toured with the prestigious Katherine Dunham Company, where she fully embraced African and Caribbean dance for the first time. Beckford loved the work but declined a seven-year contract from Dunham so she could attend UC Berkeley instead. (Dunham remained a mentor and friend for life, and Beckford taught in her New York dance school in 1953.)\u003c/p>\n\u003cp>[aside postID='arts_13926548,pop_102326,arts_13916612']During her studies, Beckford was the only Black dancer in UC Berkeley’s dance club, Orchesis. The experience prepared her for working in majority-white companies later on. In her 20s, as the only Black dancer with the \u003ca href=\"https://calisphere.org/item/8c65bcebbbc335b04faa0cd457e3ebd7/\">Anna Halprin and Welland Lathrop\u003c/a> modern dance company, Beckford said she could sometimes hear the audience gasp as she arrived on San Francisco’s Herbst Theatre stage.\u003c/p>\n\u003cp>Once Beckford had graduated with a modern dance degree, she was keen to serve her community while doing what she loved most. First, she started an annual modern dance showcase that ran for over a decade. Then in 1947, aged just 21, Beckford started the Oakland Recreation Modern Dance Department — the first city-funded dance classes in the United States — and remained project director there for 20 years. Beckford insisted the classes be free so that anyone, no matter their means, would be able to attend. By the time she left in 1967, the department was running 34 modern dance classes for 700 students of all ages and abilities.\u003c/p>\n\u003cp>Of the importance of this program, Beckford later stated: “My philosophy for the young girls was, I would get them in through dance, but my whole goal was to make them be strong, free spirits. The girls got a lot of doses of self-empowerment training, self-esteem training,” she said. “Out of the thousands of girls that I taught, I knew a few would be dancers, but they all had to become women. I wanted them all to be strong young ladies — and it worked.”\u003c/p>\n\u003cp>These relationships were so important to Beckford, she prioritized them over having children of her own. “I feel if I had had children,” she said in 2000, “I would not have been the mentor to the hundreds and hundreds of girls I mentored. I would give them all the attention. I would tell them they were special.”\u003c/p>\n\u003cp>From 1954 on, Beckford was also running her own company, the Ruth Beckford African Haitian Dance Company. Her understanding of traditional styles was so exhaustive, she was invited to choreograph a folk festival in Haiti in 1958. At home, her company’s performances — comprised of six dancers accompanied by three drummers — were unlike anything most dance fans had seen in the Bay Area before. For a start, the company was comprised entirely of Black dancers — a refreshing contrast to the companies Beckford had grown up in.\u003c/p>\n\u003cfigure id=\"attachment_13951198\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13951198 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-576842076-scaled-e1706578196329.jpg\" alt=\"A Black male dancer does the splits in mid-air, while two Black women dance either side of him.\" width=\"1920\" height=\"1516\">\u003cfigcaption class=\"wp-caption-text\">Students and members of Ruth Beckford’s dance group rehearse a number in Oakland. \u003ccite>(Ted Streshinsky/ CORBIS/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]A[/dropcap]fter Beckford retired from teaching in 1975, there was still no stopping her. She became an author, writing an autobiography, two cookbooks and a \u003ca href=\"https://www.jstor.org/stable/2784188\">Katherine Dunham biography\u003c/a>. She also co-authored \u003cem>\u003ca href=\"https://www.everand.com/book/502678421/The-Picture-Man-From-the-Collection-of-Bay-Area-Photographer-E-F-Joseph-1927-1979\">The Picture Man\u003c/a>,\u003c/em> about Black Bay Area photographer E.F. Joseph. Her final work, \u003ca href=\"https://www.amazon.com/Still-Groovin-Affirmations-Women-Second/dp/0829813373\">\u003cem>Still Groovin’\u003c/em>\u003c/a>, was a book of spiritual advice and affirmations aimed squarely at mature women. “Women are sort of out there by themselves,” she said, “and women have to mentor each other. My book is a tool to help them become stronger.”\u003c/p>\n\u003cp>\u003cem>Still Groovin’\u003c/em> wasn’t her only means of trying to empower her peers. Between 1984 and 1988, Beckford wrote a trilogy of plays titled \u003cspan style=\"font-weight: 400\">’\u003c/span>\u003cem>Tis the Morning of My Life\u003c/em>, about a woman named Roxie Youngblood who finds herself in a relationship with a much younger man. Beckford admitted the story was inspired by her own life.\u003c/p>\n\u003cp>[aside postid='pop_102855']“I have a different energy, I think, to most men my age,” she once explained. “As long as I have this energy, I’m going to use it and have fun with younger people. Younger men have the energy I have, and I feel mine is worthy of that.” On another occasion, she noted: “Older women are marrying younger men nowadays because they find they have much more in common.”\u003c/p>\n\u003cp>When a New York theater asked permission to stage her first play, Beckford agreed only if the original Bay Area cast could perform it. “It’s time for New York to see what the West Coast can do,” she insisted.\u003c/p>\n\u003cp>For a lot of people, co-founding the Black Panthers’ Free Breakfast program would have been the pinnacle achievement of a lifetime. That Beckford then went on to mentor generations of young Black women was a huge deal. And the sheer number of ways Beckford sought to be of service throughout her life is ultimately breathtaking.\u003c/p>\n\u003cp>She served on the Board of Oakland\u003cspan style=\"font-weight: 400\">’s\u003c/span> African American Museum and Library, where she also founded an oral history program. She counseled homeless people in Berkeley, and women in shelters and prisons around the state. She served on a dance panel at the National Endowment for the Arts and campaigned for better theater facilities in Oakland. She founded a women’s golf club. She even spent Thursday afternoons in the late 1990s volunteering in Jack London Square’s information booth so that she might pass on her passion for all things Oakland.\u003c/p>\n\u003cp>Ruth Beckford remained indefatigable (despite surviving five back surgeries and a hip replacement) until her death at age 93. Shortly before her passing on May 8, 2019, Beckford reflected on a life thoroughly well lived.\u003c/p>\n\u003cp>“I have a joyous life, I have a good time,” she said. “I choreographed my life. Step-by-step, year-by-year.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Ruth Beckford used dance as a means to mentor thousands of young women in Oakland. She never stopped serving her community.","status":"publish","parent":0,"modified":1710265590,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1542},"headData":{"title":"The Dancer Who Helped Start the Black Panthers’ Free Breakfast Program | KQED","description":"Ruth Beckford used dance as a means to mentor thousands of young women in Oakland. She never stopped serving her community.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Dancer Who Helped Start the Black Panthers’ Free Breakfast Program","datePublished":"2024-02-14T22:00:14.000Z","dateModified":"2024-03-12T17:46:30.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/6767ea25-cddc-42bd-baac-b12c0136bde8/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13950520/ruth-beckford-dance-black-panthers-free-breakfast-program","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n the late 1960s, an uncommonly energetic 43-year-old named Ruth Beckford was teaching an Afro-Haitian dance class in Oakland. A dancing pro since the age of eight, Beckford had a habit of taking a close personal interest in her students. She taught the youngest ones a combination of life skills and etiquette to set them up for bright futures. She encouraged teens and young women to love themselves and pursue their dreams. And when one of her students told Beckford about her involvement with the Black Panther Party, Beckford was keen to be of assistance with that, too.\u003c/p>\n\u003cp>The student in question was LaVerne Anderson, who happened to be the girlfriend of Huey P. Newton. Beckford began by accompanying Anderson to some of Newton’s 1968 trial dates. In September of that year, when the idea for the Panthers’ Free Breakfast for School Children Program first came up, it was Beckford who sprang into action and made it happen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13874853","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Beckford had long been a parishioner at Oakland’s \u003ca href=\"https://staugepiscopal.org/\">St. Augustine’s Episcopal Church\u003c/a>, then situated at West and 27th Streets. Beckford approached her priest there, Father Earl A. Neil, to find out if St. Augustine’s was willing to host a daily program there to feed neighborhood kids. Father Neil agreed, and he and Beckford went about building a health code-safe kitchen and dining space, as well as a nutritionally balanced menu.\u003c/p>\n\u003cp>On the first day — a Monday in January 1969 — 11 children came to eat. By Friday, that number had swelled to 135. Beckford and Father Neil made such a success of the free breakfasts, the program was soon mandatory in all Black Panther chapters nationwide. It was also a shining example of Beckford’s ability to turn ideas into action, and to plant seeds that would one day create mighty forests. That’s something she had already been doing in her dance classes for 22 years before she got involved with the Panthers.\u003c/p>\n\u003cfigure id=\"attachment_13952106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952106\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-939585344-scaled-e1707777665615.jpg\" alt=\"Several young Black boys, one of whom is wearing a suit, raise their hands to speak as they sit around a table, paper plates of food in front of them.\" width=\"1920\" height=\"1298\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther Party’s Free Breakfast for Children program — like this one in New York City in 1969 — combined education and good nutrition. \u003ccite>(Bev Grant/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>eckford was born on Dec. 7, 1925 in Oakland’s \u003ca href=\"https://localwiki.org/oakland/Providence_Hospital\">Providence Hospital\u003c/a> to a Jamaican father and a mother from Los Angeles. Beckford was the youngest of four — she had a big sister and a pair of twin brothers — and was raised on 38th Avenue and MacArthur Boulevard. She grew up in a household so supportive that, when they saw her kicking along to music in her crib as a baby, her parents pledged to get her into dance class as soon as she was old enough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At three years old, Beckford began training in “every kind of dance,” her dedicated mom sewing all her costumes. It was clear from the beginning that the young girl was naturally gifted, and that dance was indeed her calling. By eight, she was a vaudeville dancer. By 14, she was teaching other children. At 17, she toured with the prestigious Katherine Dunham Company, where she fully embraced African and Caribbean dance for the first time. Beckford loved the work but declined a seven-year contract from Dunham so she could attend UC Berkeley instead. (Dunham remained a mentor and friend for life, and Beckford taught in her New York dance school in 1953.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13926548,pop_102326,arts_13916612","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>During her studies, Beckford was the only Black dancer in UC Berkeley’s dance club, Orchesis. The experience prepared her for working in majority-white companies later on. In her 20s, as the only Black dancer with the \u003ca href=\"https://calisphere.org/item/8c65bcebbbc335b04faa0cd457e3ebd7/\">Anna Halprin and Welland Lathrop\u003c/a> modern dance company, Beckford said she could sometimes hear the audience gasp as she arrived on San Francisco’s Herbst Theatre stage.\u003c/p>\n\u003cp>Once Beckford had graduated with a modern dance degree, she was keen to serve her community while doing what she loved most. First, she started an annual modern dance showcase that ran for over a decade. Then in 1947, aged just 21, Beckford started the Oakland Recreation Modern Dance Department — the first city-funded dance classes in the United States — and remained project director there for 20 years. Beckford insisted the classes be free so that anyone, no matter their means, would be able to attend. By the time she left in 1967, the department was running 34 modern dance classes for 700 students of all ages and abilities.\u003c/p>\n\u003cp>Of the importance of this program, Beckford later stated: “My philosophy for the young girls was, I would get them in through dance, but my whole goal was to make them be strong, free spirits. The girls got a lot of doses of self-empowerment training, self-esteem training,” she said. “Out of the thousands of girls that I taught, I knew a few would be dancers, but they all had to become women. I wanted them all to be strong young ladies — and it worked.”\u003c/p>\n\u003cp>These relationships were so important to Beckford, she prioritized them over having children of her own. “I feel if I had had children,” she said in 2000, “I would not have been the mentor to the hundreds and hundreds of girls I mentored. I would give them all the attention. I would tell them they were special.”\u003c/p>\n\u003cp>From 1954 on, Beckford was also running her own company, the Ruth Beckford African Haitian Dance Company. Her understanding of traditional styles was so exhaustive, she was invited to choreograph a folk festival in Haiti in 1958. At home, her company’s performances — comprised of six dancers accompanied by three drummers — were unlike anything most dance fans had seen in the Bay Area before. For a start, the company was comprised entirely of Black dancers — a refreshing contrast to the companies Beckford had grown up in.\u003c/p>\n\u003cfigure id=\"attachment_13951198\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13951198 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-576842076-scaled-e1706578196329.jpg\" alt=\"A Black male dancer does the splits in mid-air, while two Black women dance either side of him.\" width=\"1920\" height=\"1516\">\u003cfigcaption class=\"wp-caption-text\">Students and members of Ruth Beckford’s dance group rehearse a number in Oakland. \u003ccite>(Ted Streshinsky/ CORBIS/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>fter Beckford retired from teaching in 1975, there was still no stopping her. She became an author, writing an autobiography, two cookbooks and a \u003ca href=\"https://www.jstor.org/stable/2784188\">Katherine Dunham biography\u003c/a>. She also co-authored \u003cem>\u003ca href=\"https://www.everand.com/book/502678421/The-Picture-Man-From-the-Collection-of-Bay-Area-Photographer-E-F-Joseph-1927-1979\">The Picture Man\u003c/a>,\u003c/em> about Black Bay Area photographer E.F. Joseph. Her final work, \u003ca href=\"https://www.amazon.com/Still-Groovin-Affirmations-Women-Second/dp/0829813373\">\u003cem>Still Groovin’\u003c/em>\u003c/a>, was a book of spiritual advice and affirmations aimed squarely at mature women. “Women are sort of out there by themselves,” she said, “and women have to mentor each other. My book is a tool to help them become stronger.”\u003c/p>\n\u003cp>\u003cem>Still Groovin’\u003c/em> wasn’t her only means of trying to empower her peers. Between 1984 and 1988, Beckford wrote a trilogy of plays titled \u003cspan style=\"font-weight: 400\">’\u003c/span>\u003cem>Tis the Morning of My Life\u003c/em>, about a woman named Roxie Youngblood who finds herself in a relationship with a much younger man. Beckford admitted the story was inspired by her own life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_102855","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I have a different energy, I think, to most men my age,” she once explained. “As long as I have this energy, I’m going to use it and have fun with younger people. Younger men have the energy I have, and I feel mine is worthy of that.” On another occasion, she noted: “Older women are marrying younger men nowadays because they find they have much more in common.”\u003c/p>\n\u003cp>When a New York theater asked permission to stage her first play, Beckford agreed only if the original Bay Area cast could perform it. “It’s time for New York to see what the West Coast can do,” she insisted.\u003c/p>\n\u003cp>For a lot of people, co-founding the Black Panthers’ Free Breakfast program would have been the pinnacle achievement of a lifetime. That Beckford then went on to mentor generations of young Black women was a huge deal. And the sheer number of ways Beckford sought to be of service throughout her life is ultimately breathtaking.\u003c/p>\n\u003cp>She served on the Board of Oakland\u003cspan style=\"font-weight: 400\">’s\u003c/span> African American Museum and Library, where she also founded an oral history program. She counseled homeless people in Berkeley, and women in shelters and prisons around the state. She served on a dance panel at the National Endowment for the Arts and campaigned for better theater facilities in Oakland. She founded a women’s golf club. She even spent Thursday afternoons in the late 1990s volunteering in Jack London Square’s information booth so that she might pass on her passion for all things Oakland.\u003c/p>\n\u003cp>Ruth Beckford remained indefatigable (despite surviving five back surgeries and a hip replacement) until her death at age 93. Shortly before her passing on May 8, 2019, Beckford reflected on a life thoroughly well lived.\u003c/p>\n\u003cp>“I have a joyous life, I have a good time,” she said. “I choreographed my life. Step-by-step, year-by-year.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\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>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950520/ruth-beckford-dance-black-panthers-free-breakfast-program","authors":["11242"],"programs":["arts_8978"],"categories":["arts_1","arts_835","arts_966","arts_7862","arts_11615"],"tags":["arts_6775","arts_1346","arts_10278","arts_7408","arts_1143","arts_21841"],"featImg":"arts_13951421","label":"arts_8978"},"arts_13950961":{"type":"posts","id":"arts_13950961","meta":{"index":"posts_1591205157","site":"arts","id":"13950961","score":null,"sort":[1706213249000]},"guestAuthors":[],"slug":"review-cirque-du-soliel-kooza-san-francisco","title":"‘Kooza’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco","publishDate":1706213249,"format":"standard","headTitle":"‘Kooza’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>First of all: \u003cem>the core strength\u003c/em>.\u003c/p>\n\u003cp>My goodness. It’s consistently jaw-dropping what Cirque du Soleil acrobats can do with their bodies and balance and flexibility. Just had to get that out of the way.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i>, \u003ca href=\"https://www.cirquedusoleil.com/usa/san-francisco/kooza/buy-tickets?sc_campname=&gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RgRDRdHkHZ1sPGGQeKxsj0YBnxEFuxY1Ka3orRdi8bU13ApORBAbXEaAo_0EALw_wcB\">now playing\u003c/a> in San Francisco through March 17 before heading to San Jose in April, is a classic Cirque du Soleil show in all the good ways: dazzling tricks and feats of strength, accompanied by a live band performing world music mashups, and interwoven with some old-fashioned clowning.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i> was the first Cirque du Soleil show I ever attended. It was 2009, and I used my grad student discount (speaking of discounts, if you’re not picky about seat selection, you can almost always find \u003ca href=\"https://www.travelzoo.com/entertainment/san-francisco-northern-california/Save-25-Starting-this-week-Cirque-du-Soleil-in-Bay-Area-3071704/\">discounted tickets\u003c/a> on Travelzoo for select Cirque du Soleil dates). I remember the excitement, even before the show started, of being in a big-top tent.\u003c/p>\n\u003cfigure id=\"attachment_13950966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg\" alt=\"Three clowns in colorful clothes make funny faces.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Clowns of Cirque du Soleil’s ‘Kooza.’ \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cirque du Soleil and I go way back, to before that first live show. I first saw their acts on TV, when they aired as HBO specials in the late ’80s and early ’90s, before they became the massive, world-touring extravaganza of today. Today, they give me all the nostalgic feels; my sister and I collect show experiences like my nephew collects Pokémon cards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So I was happy to revisit \u003ci>Kooza\u003c/i> 15 years later, and brought my 8-year old nephew along for his first Cirque experience. His favorite segment — mine too — was “The Wheel of Death,” which opened the second half of the show under red lighting, accompanied by ominous music. It was just the right amount of eerie-creepy.\u003c/p>\n\u003cfigure id=\"attachment_13950965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950965\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg\" alt=\"A costumed man leaps in the air above a cylinder contraption.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers Jimmy Ibarra Zapata and Angelo Lyezkysky Rodriguez of Colombia in ‘The Wheel of Death’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The clowns of \u003ci>Kooza\u003c/i> are another standout, a Three Stooges-style trio that kept my nephew laughing. There’s a moment where they pull an audience member on stage, and next thing you know, you’re cheerleading a miming improv session. (Thankfully, the person selected on the night I went was a great sport, with a good sense of humor.)\u003c/p>\n\u003cp>And if you’re wondering if Cirque is truly a place where any and all creativity can run free, just look at \u003ci>Kooza\u003c/i>’s costumes, designed by Marie Chantale Vaillancourt. A costume that’s part devil, jester and merman all at once? Why not? How about Día de los Muertos-meets-Beetlejuice-meets carnaval? Sure! It’s wacky, it’s the circus, it’s the vibe.\u003c/p>\n\u003cfigure id=\"attachment_13950968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950968\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg\" alt=\"Performers in skeleton costumes with feather headdresses stand on stage.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the ‘Skeleton Dance’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not exactly notable in \u003ci>Kooza\u003c/i> are \u003ca href=\"https://open.spotify.com/album/7v5jSXpqcRMSTbospRZX8q\">the soundtrack\u003c/a> and the story, which centers on a sweet, naive clown looking for his place in the world. I’ve seen better, more cohesive storylines (the dreamy \u003ca href=\"https://www.cirquedusoleil.com/corteo\">\u003ci>Corteo\u003c/i>\u003c/a>, which ran last year at Oakland Arena, comes to mind). But do you go to a Cirque du Soleil show for the plot? Of course not.\u003c/p>\n\u003cp>So where does \u003ci>Kooza\u003c/i> rank among the handful of Cirque productions I’ve seen? It’s in the middle of the pack, but still worth a visit. Cirque du Soleil remains a solid brand that consistently produces moments where you think to yourself, “Oh, I know they’re not about to do\u003cem> that\u003c/em>…” Yet, indeed, they proceed to do \u003cem>that\u003c/em>. And it’s stunning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kooza’ plays now through March 17 under the big top next to Oracle Park in San Francisco, and in San Jose from April 18–May 26. \u003ca href=\"https://www.cirquedusoleil.com//kooza?gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RjzhemjVv_xzevc6GNpdLkbn-EdKl8-K7U6--Dka68mWNxR8h3L8PwaAvylEALw_wcB&gclsrc=aw.ds\">Details and ticket info here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Revisiting 'Kooza' at San Francisco's Oracle Park, with its dazzling tricks and feats of strength.","status":"publish","parent":0,"modified":1706549311,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":658},"headData":{"title":"Review: Cirque du Soleil's ‘Kooza’ in San Francisco Offers Classic Thrills | KQED","description":"Revisiting 'Kooza' at San Francisco's Oracle Park, with its dazzling tricks and feats of strength.","ogTitle":"‘Kooza,’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco","ogDescription":"","ogImgId":"","twTitle":"‘Kooza,’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco","twDescription":"","twImgId":"","socialTitle":"Review: Cirque du Soleil's ‘Kooza’ in San Francisco Offers Classic Thrills %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Kooza’ Is a Classic, Thrilling Cirque du Soleil Show, Now in San Francisco","datePublished":"2024-01-25T20:07:29.000Z","dateModified":"2024-01-29T17:28:31.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13950961/review-cirque-du-soliel-kooza-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>First of all: \u003cem>the core strength\u003c/em>.\u003c/p>\n\u003cp>My goodness. It’s consistently jaw-dropping what Cirque du Soleil acrobats can do with their bodies and balance and flexibility. Just had to get that out of the way.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i>, \u003ca href=\"https://www.cirquedusoleil.com/usa/san-francisco/kooza/buy-tickets?sc_campname=&gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RgRDRdHkHZ1sPGGQeKxsj0YBnxEFuxY1Ka3orRdi8bU13ApORBAbXEaAo_0EALw_wcB\">now playing\u003c/a> in San Francisco through March 17 before heading to San Jose in April, is a classic Cirque du Soleil show in all the good ways: dazzling tricks and feats of strength, accompanied by a live band performing world music mashups, and interwoven with some old-fashioned clowning.\u003c/p>\n\u003cp>\u003ci>Kooza\u003c/i> was the first Cirque du Soleil show I ever attended. It was 2009, and I used my grad student discount (speaking of discounts, if you’re not picky about seat selection, you can almost always find \u003ca href=\"https://www.travelzoo.com/entertainment/san-francisco-northern-california/Save-25-Starting-this-week-Cirque-du-Soleil-in-Bay-Area-3071704/\">discounted tickets\u003c/a> on Travelzoo for select Cirque du Soleil dates). I remember the excitement, even before the show started, of being in a big-top tent.\u003c/p>\n\u003cfigure id=\"attachment_13950966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg\" alt=\"Three clowns in colorful clothes make funny faces.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_0398-1.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Clowns of Cirque du Soleil’s ‘Kooza.’ \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cirque du Soleil and I go way back, to before that first live show. I first saw their acts on TV, when they aired as HBO specials in the late ’80s and early ’90s, before they became the massive, world-touring extravaganza of today. Today, they give me all the nostalgic feels; my sister and I collect show experiences like my nephew collects Pokémon cards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So I was happy to revisit \u003ci>Kooza\u003c/i> 15 years later, and brought my 8-year old nephew along for his first Cirque experience. His favorite segment — mine too — was “The Wheel of Death,” which opened the second half of the show under red lighting, accompanied by ominous music. It was just the right amount of eerie-creepy.\u003c/p>\n\u003cfigure id=\"attachment_13950965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950965\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg\" alt=\"A costumed man leaps in the air above a cylinder contraption.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/12_Wheel-of-Death_3107.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performers Jimmy Ibarra Zapata and Angelo Lyezkysky Rodriguez of Colombia in ‘The Wheel of Death’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The clowns of \u003ci>Kooza\u003c/i> are another standout, a Three Stooges-style trio that kept my nephew laughing. There’s a moment where they pull an audience member on stage, and next thing you know, you’re cheerleading a miming improv session. (Thankfully, the person selected on the night I went was a great sport, with a good sense of humor.)\u003c/p>\n\u003cp>And if you’re wondering if Cirque is truly a place where any and all creativity can run free, just look at \u003ci>Kooza\u003c/i>’s costumes, designed by Marie Chantale Vaillancourt. A costume that’s part devil, jester and merman all at once? Why not? How about Día de los Muertos-meets-Beetlejuice-meets carnaval? Sure! It’s wacky, it’s the circus, it’s the vibe.\u003c/p>\n\u003cfigure id=\"attachment_13950968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950968\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg\" alt=\"Performers in skeleton costumes with feather headdresses stand on stage.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/11_Crooner_2822.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the ‘Skeleton Dance’ act of Cirque du Soleil’s ‘Kooza’. \u003ccite>(Matt Beard & Bernard Letendre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not exactly notable in \u003ci>Kooza\u003c/i> are \u003ca href=\"https://open.spotify.com/album/7v5jSXpqcRMSTbospRZX8q\">the soundtrack\u003c/a> and the story, which centers on a sweet, naive clown looking for his place in the world. I’ve seen better, more cohesive storylines (the dreamy \u003ca href=\"https://www.cirquedusoleil.com/corteo\">\u003ci>Corteo\u003c/i>\u003c/a>, which ran last year at Oakland Arena, comes to mind). But do you go to a Cirque du Soleil show for the plot? Of course not.\u003c/p>\n\u003cp>So where does \u003ci>Kooza\u003c/i> rank among the handful of Cirque productions I’ve seen? It’s in the middle of the pack, but still worth a visit. Cirque du Soleil remains a solid brand that consistently produces moments where you think to yourself, “Oh, I know they’re not about to do\u003cem> that\u003c/em>…” Yet, indeed, they proceed to do \u003cem>that\u003c/em>. And it’s stunning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kooza’ plays now through March 17 under the big top next to Oracle Park in San Francisco, and in San Jose from April 18–May 26. \u003ca href=\"https://www.cirquedusoleil.com//kooza?gad_source=1&gclid=Cj0KCQiAqsitBhDlARIsAGMR1RjzhemjVv_xzevc6GNpdLkbn-EdKl8-K7U6--Dka68mWNxR8h3L8PwaAvylEALw_wcB&gclsrc=aw.ds\">Details and ticket info here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950961/review-cirque-du-soliel-kooza-san-francisco","authors":["11296"],"programs":["arts_140"],"categories":["arts_1","arts_966","arts_76","arts_967"],"tags":["arts_1707","arts_21894","arts_769","arts_1146","arts_585"],"featImg":"arts_13950969","label":"arts_140"},"arts_13950883":{"type":"posts","id":"arts_13950883","meta":{"index":"posts_1591205157","site":"arts","id":"13950883","score":null,"sort":[1706137113000]},"guestAuthors":[],"slug":"mere-mortals-sf-ballet-tamara-rojo-floating-points-aszure-barton","title":"‘Mere Mortals’ Launches a Bold New Era at SF Ballet","publishDate":1706137113,"format":"standard","headTitle":"‘Mere Mortals’ Launches a Bold New Era at SF Ballet | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When San Francisco Ballet’s new Artistic Director Tamara Rojo first approached Aszure Barton about revisiting the myths of Prometheus and Pandora, the choreographer wasn’t exactly sold.\u003c/p>\n\u003cp>“I had to really sit with the idea for a while, because I did not like how Pandora had been represented in the past,” Barton remembers.\u003c/p>\n\u003cp>Then she listened to \u003ca href=\"https://www.bbc.co.uk/programmes/m000w9tj\">a podcast from Natalie Haynes\u003c/a>, in which the writer, classicist and comedian uncovers a story corrupted by “shaky translations and biased etymologies.” As her view shifted, Barton got excited to work with composer Sam Shepherd (Floating Points) on Rojo’s first commission as the artistic director of San Francisco Ballet.\u003c/p>\n\u003cp>The resulting production, \u003ci>\u003ca href=\"https://www.sfballet.org/productions/mere-mortals/\">Mere Mortals\u003c/a>\u003c/i>, is a bold departure — stylistically, musically and visually — from the era of previous artistic director Helgi Tómasson, who occupied the role for 37 years. SF Ballet’s first full-length commission from a female choreographer, it makes its world premiere on Jan. 26, with Shepherd performing live on the Buchla (a synthesizer created in the Bay Area in 1963) alongside the San Francisco Ballet Orchestra. \u003c/p>\n\u003cfigure id=\"attachment_13950919\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000.jpg\" alt=\"Two men lean over synthesizer with many colored cables\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13950919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sam Shepherd collaborating with San Francisco Ballet Orchestra. \u003ccite>(© Paige Green Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was Shepherd who brought the Greek myth to the table. “I was looking for a story,” he says, specifically a narrative structure that could support an hour’s worth of music. This one has plenty of arcs for sonic exploration: After Prometheus defied the gods and brought fire to man, they created Pandora, the first human woman, in retaliation. Sent to disrupt the world of men, she brought with her a jar — a gift from Zeus — that he warned her never to open. Curiosity won out, and she (or possibly Epithemeus, Prometheus’ brother) opened the jar, releasing evil into the world. All that remained trapped inside was hope, which Shepherd highlights in his composition as “a bit of birdsong” in the form of a violin solo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pandora, Haynes argues in her podcast, is neither good nor bad, but an agent of change, a morally neutral harbinger of new, complex ways of living. For Rojo, the myth tells a powerful story about the danger and allure of new technologies, and is especially important to revisit in a region actively advancing AI — and grappling with its implications. \u003c/p>\n\u003cp>“I felt that the moral questions that humanity goes through every time there is a technological leap are the same, whether that is the stealing of the fire, the opening of the box, the biting of the apple, the nuclear bomb,” she says. “Inevitably humanity moves forward without the answers, and then has to live with the consequences.”\u003c/p>\n\u003cfigure id=\"attachment_13950922\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000.jpg\" alt=\"Person in yellow shirt and person in black hoodie stand over synthesizer covered in many colored cables\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13950922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer Sam Shepherd and choreographer Aszure Barton during the ‘Mere Mortals’ artistic team residency. \u003ccite>(© Grady Brannan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite addressing a very non-human subject, \u003ci>Mere Mortals\u003c/i> is the product of some very in-person collaboration. It’s the first piece to come out of the new \u003ca href=\"https://www.sfballet.org/discover/artist-development/creation-house/\">Creation House\u003c/a> initiative, which brought Barton, Shepherd, costume designer Michelle Jank, production designers Hamill Industries and the dancers together for an artistic residency.\u003c/p>\n\u003cp>For Shepherd, some of the most exciting moments in his year-long process of composing have come in these final days before opening night. “I made some changes this morning,” he says, noting that’s only possible because of the crew’s technical skill, which has allowed so many moving parts to come together into a cohesive whole. \u003c/p>\n\u003cp>There are even elements of choreography to his orchestral arrangement. At certain points during the performance, musicians leave the pit to record in a sealed, separate room, which Shepherd then siphons through his Buchla synthesizer. “It’s quite complicated,” he says. “People are moving around all over the place!”\u003c/p>\n\u003cp>It’s aspects like this that signal just how much of a departure \u003ci>Mere Mortals\u003c/i> is from the status quo. There is risk involved, certainly, but “the bravery of our artists, I think, is unmatched anywhere else,” Rojo says. “I want them to collaborate with the very best, so that bravery is rewarded.”\u003c/p>\n\u003cfigure id=\"attachment_13950926\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-scaled.jpg\" alt=\"A pair of dancers lit by purple and pink light\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13950926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Ellen Rose Hummel and Cavan Conley during the ‘Mere Mortals’ artistic team residency. \u003ccite>(© Grady Brannan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its \u003ca href=\"https://www.sfballet.org/discover/backstage/a-brief-qa-on-ai-and-mere-mortals/\">promotional materials\u003c/a>, SF Ballet is very clear about how AI was used in the making of \u003ci>Mere Mortals\u003c/i>. It did not, for instance, contribute to any of the choreography, music composition or dramaturgy of the piece. It will appear, however, in some of the on-stage visuals created by Hamill Industries, and in the \u003ca href=\"https://www.sfballet.org/productions/mere-mortals/\">telltale many-fingered images\u003c/a> advertising the production. \u003c/p>\n\u003cp>In this way, SF Ballet hopes to show how AI can be used, ethically, as an artistic tool. “We have tried to lead by example in how you can engage living artists that are wanting and willing to work with this new tool, and are properly rewarded and properly paid,” Rojo says. \u003c/p>\n\u003cp>“We’re not here to lecture anybody,” she adds. “We just hope to inspire people to look at this new technology with the understanding of what’s at stake, but with the excitement of the possibilities that it can bring too — just like fire.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>San Francisco Ballet’s ‘Mere Mortals’ runs Jan. 26–Feb. 1 at the War Memorial Opera House. On Jan. 31, Natalie Haynes will be present for a pre-performance talk and book signing. \u003ca href=\"https://www.sfballet.org/productions/mere-mortals/\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Tamara Rojo’s first season as artistic director opens by revisiting the myth of Pandora in an age of AI.","status":"publish","parent":0,"modified":1706638007,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":937},"headData":{"title":"‘Mere Mortals’ Launches a Bold New Era at SF Ballet | KQED","description":"Tamara Rojo’s first season as artistic director opens by revisiting the myth of Pandora in an age of AI.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Mere Mortals’ Launches a Bold New Era at SF Ballet","datePublished":"2024-01-24T22:58:33.000Z","dateModified":"2024-01-30T18:06:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13950883/mere-mortals-sf-ballet-tamara-rojo-floating-points-aszure-barton","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When San Francisco Ballet’s new Artistic Director Tamara Rojo first approached Aszure Barton about revisiting the myths of Prometheus and Pandora, the choreographer wasn’t exactly sold.\u003c/p>\n\u003cp>“I had to really sit with the idea for a while, because I did not like how Pandora had been represented in the past,” Barton remembers.\u003c/p>\n\u003cp>Then she listened to \u003ca href=\"https://www.bbc.co.uk/programmes/m000w9tj\">a podcast from Natalie Haynes\u003c/a>, in which the writer, classicist and comedian uncovers a story corrupted by “shaky translations and biased etymologies.” As her view shifted, Barton got excited to work with composer Sam Shepherd (Floating Points) on Rojo’s first commission as the artistic director of San Francisco Ballet.\u003c/p>\n\u003cp>The resulting production, \u003ci>\u003ca href=\"https://www.sfballet.org/productions/mere-mortals/\">Mere Mortals\u003c/a>\u003c/i>, is a bold departure — stylistically, musically and visually — from the era of previous artistic director Helgi Tómasson, who occupied the role for 37 years. SF Ballet’s first full-length commission from a female choreographer, it makes its world premiere on Jan. 26, with Shepherd performing live on the Buchla (a synthesizer created in the Bay Area in 1963) alongside the San Francisco Ballet Orchestra. \u003c/p>\n\u003cfigure id=\"attachment_13950919\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000.jpg\" alt=\"Two men lean over synthesizer with many colored cables\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13950919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sam Shepherd collaborating with San Francisco Ballet Orchestra. \u003ccite>(© Paige Green Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was Shepherd who brought the Greek myth to the table. “I was looking for a story,” he says, specifically a narrative structure that could support an hour’s worth of music. This one has plenty of arcs for sonic exploration: After Prometheus defied the gods and brought fire to man, they created Pandora, the first human woman, in retaliation. Sent to disrupt the world of men, she brought with her a jar — a gift from Zeus — that he warned her never to open. Curiosity won out, and she (or possibly Epithemeus, Prometheus’ brother) opened the jar, releasing evil into the world. All that remained trapped inside was hope, which Shepherd highlights in his composition as “a bit of birdsong” in the form of a violin solo.\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>Pandora, Haynes argues in her podcast, is neither good nor bad, but an agent of change, a morally neutral harbinger of new, complex ways of living. For Rojo, the myth tells a powerful story about the danger and allure of new technologies, and is especially important to revisit in a region actively advancing AI — and grappling with its implications. \u003c/p>\n\u003cp>“I felt that the moral questions that humanity goes through every time there is a technological leap are the same, whether that is the stealing of the fire, the opening of the box, the biting of the apple, the nuclear bomb,” she says. “Inevitably humanity moves forward without the answers, and then has to live with the consequences.”\u003c/p>\n\u003cfigure id=\"attachment_13950922\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000.jpg\" alt=\"Person in yellow shirt and person in black hoodie stand over synthesizer covered in many colored cables\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13950922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer Sam Shepherd and choreographer Aszure Barton during the ‘Mere Mortals’ artistic team residency. \u003ccite>(© Grady Brannan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite addressing a very non-human subject, \u003ci>Mere Mortals\u003c/i> is the product of some very in-person collaboration. It’s the first piece to come out of the new \u003ca href=\"https://www.sfballet.org/discover/artist-development/creation-house/\">Creation House\u003c/a> initiative, which brought Barton, Shepherd, costume designer Michelle Jank, production designers Hamill Industries and the dancers together for an artistic residency.\u003c/p>\n\u003cp>For Shepherd, some of the most exciting moments in his year-long process of composing have come in these final days before opening night. “I made some changes this morning,” he says, noting that’s only possible because of the crew’s technical skill, which has allowed so many moving parts to come together into a cohesive whole. \u003c/p>\n\u003cp>There are even elements of choreography to his orchestral arrangement. At certain points during the performance, musicians leave the pit to record in a sealed, separate room, which Shepherd then siphons through his Buchla synthesizer. “It’s quite complicated,” he says. “People are moving around all over the place!”\u003c/p>\n\u003cp>It’s aspects like this that signal just how much of a departure \u003ci>Mere Mortals\u003c/i> is from the status quo. There is risk involved, certainly, but “the bravery of our artists, I think, is unmatched anywhere else,” Rojo says. “I want them to collaborate with the very best, so that bravery is rewarded.”\u003c/p>\n\u003cfigure id=\"attachment_13950926\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-scaled.jpg\" alt=\"A pair of dancers lit by purple and pink light\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13950926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Ellen Rose Hummel and Cavan Conley during the ‘Mere Mortals’ artistic team residency. \u003ccite>(© Grady Brannan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its \u003ca href=\"https://www.sfballet.org/discover/backstage/a-brief-qa-on-ai-and-mere-mortals/\">promotional materials\u003c/a>, SF Ballet is very clear about how AI was used in the making of \u003ci>Mere Mortals\u003c/i>. It did not, for instance, contribute to any of the choreography, music composition or dramaturgy of the piece. It will appear, however, in some of the on-stage visuals created by Hamill Industries, and in the \u003ca href=\"https://www.sfballet.org/productions/mere-mortals/\">telltale many-fingered images\u003c/a> advertising the production. \u003c/p>\n\u003cp>In this way, SF Ballet hopes to show how AI can be used, ethically, as an artistic tool. “We have tried to lead by example in how you can engage living artists that are wanting and willing to work with this new tool, and are properly rewarded and properly paid,” Rojo says. \u003c/p>\n\u003cp>“We’re not here to lecture anybody,” she adds. “We just hope to inspire people to look at this new technology with the understanding of what’s at stake, but with the excitement of the possibilities that it can bring too — just like fire.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>San Francisco Ballet’s ‘Mere Mortals’ runs Jan. 26–Feb. 1 at the War Memorial Opera House. On Jan. 31, Natalie Haynes will be present for a pre-performance talk and book signing. \u003ca href=\"https://www.sfballet.org/productions/mere-mortals/\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950883/mere-mortals-sf-ballet-tamara-rojo-floating-points-aszure-barton","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_966"],"tags":["arts_21891","arts_10342","arts_10278","arts_21890","arts_585"],"featImg":"arts_13950920","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png","officialWebsiteLink":"http://freakonomics.com/","airtime":"SUN 1am-2am, SAT 3pm-4pm","meta":{"site":"radio","source":"WNYC"},"link":"/radio/program/freakonomics-radio","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519","tuneIn":"https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/","rss":"https://feeds.feedburner.com/freakonomicsradio"}},"fresh-air":{"id":"fresh-air","title":"Fresh Air","info":"Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.","airtime":"MON-FRI 7pm-8pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/fresh-air/","meta":{"site":"radio","source":"npr"},"link":"/radio/program/fresh-air","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/Fresh-Air-p17/","rss":"https://feeds.npr.org/381444908/podcast.xml"}},"here-and-now":{"id":"here-and-now","title":"Here & Now","info":"A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. 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