A New Eagle Camera Is Going Live to the Delight of Global Viewers
In 1978, Napa’s State Psychiatric Hospital Hosted a Now-Legendary Punk Show
Five Dance Films to Celebrate Latinx Heritage Month
Follow a Capoeirista’s Journey From the Bay Area to Brazil
Why I Hope More Black Americans Discover the Afro-Brazilian Art of Capoeira
A Queer Dance Love Story: How This Non-Binary Couple Leads—and Follows—in Salsa
Transgender Dancer Sean Dorsey Dreams of a Limitless Future for Trans and Queer Communities
Lindy Hop Dancers Bring Back the Roots of this Black American Dance
Indigenous Enterprise Brings Powwow Dancing to the World Stage
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s not really breeding season right now,” she said. “We expect them to start bringing new branches and new nesting material into the nest over the next several months, when their courtship behavior will start ramping up. And when that happens, they actively build the nest together, showing their dedication to each other and their worthiness of being a partner.”\u003c/p>\n\u003cp>The female is expected to lay two or three eggs sometime around February, she said, and they’ll take about 35 days to hatch. Both adults typically care for their chicks, constantly bringing them dead fish to satisfy their enormous appetites.\u003c/p>\n\u003cp>As for “Nancy and Beau” — the DNR doesn’t name the animals it follows — it wasn’t feasible to run power to and install a camera at their new nest, where they successfully raised two chicks last season. So the agency launched an extensive search before settling on the new, more accessible location with a healthy tree. They installed the camera in early October at a total cost of about $5,000. Minneapolis-based Xcel Energy provided the bucket lift truck and other services to set up the new camera at no charge, as it did with the original.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The eagles serve as ambassadors for the Nongame Wildlife Program, which is supported by direct donations and a voluntary checkoff on the state’s personal income tax form. It funds a range of wildlife projects across the state to benefit struggling species. The cameras are going live on Thursday to leverage a statewide charity event, although as a government agency the DNR isn’t an official participant.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In 1978, Napa’s State Psychiatric Hospital Hosted a Now-Legendary Punk Show",
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"content": "\u003cp>On June 13, 1978, Joe Rees, the videographer that ran Mission District live venue/punk rock archive \u003ca href=\"https://www.kqed.org/arts/13938024/old-san-francisco-punk-venues-deaf-club-farm-sound-music-tool-die\">Target Video\u003c/a>, packed up a portable Sony black-and-white camera and drove to Napa with his cohort, Jill Hoffman-Kowal.\u003c/p>\n\u003cp>The two were hitting the road to film a live show — something they did all the time. As documentarians that saw the importance of capturing every grimy little punk show they could, they were accustomed to making things work under chaotic circumstances.\u003c/p>\n\u003cp>Even by Target Video standards, however, this set would be a little bit different.\u003c/p>\n\u003cp>[aside postid='arts_13967161']That sunny June afternoon, The Cramps would play a free concert at Napa State Hospital, a psychiatric facility that had been around since 1875, and which provided mental health services to resident patients. San Francisco’s The Mutants — easily as anarchic as their New York City stagemates — had agreed to perform too.\u003c/p>\n\u003cp>By the time punk rock got to it, the Napa State Hospital already had quite the reputation. It first opened inside a beautiful brick building, complete with elegant arches and towers, to ease overcrowding at the Stockton State Hospital. But by 1891, Napa State itself housed more than 1,300 psychiatric patients — double the population it was designed for. By 1920, wards meant for 26 people were accommodating as many as 64, and \u003ca href=\"https://www.pbs.org/newshour/health/analysis-californias-forced-sterilization-programs-once-harmed-thousands-especially-latinas\">sterilization procedures became common\u003c/a>. In 1950, the hospital’s gorgeous architecture was demolished to build more practical, utilitarian structures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s what The Cramps and The Mutants encountered in 1978, as they set up their equipment in the courtyard outside the hospital building, next to the gym. How both bands got there was a series of twists masterminded by music impresario Howie Klein. Back then, Klein was best known as the host of punk rock radio show \u003ci>\u003ca href=\"https://radiothrills.com/outcastes.htm\">The Outcastes\u003c/a> \u003c/i>and the founder of \u003ca href=\"https://www.discogs.com/label/16439-415-Records\">415 Records\u003c/a>. When the San Francisco date of their tour fell through, The Cramps approached Klein and asked for advice. He took it upon himself to book the Napa State show and, already a big fan of the local band’s live antics, invited The Mutants along.\u003c/p>\n\u003cfigure id=\"attachment_13968185\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968185\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108.jpg\" alt=\"\" width=\"2000\" height=\"1346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1536x1034.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1920x1292.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Mutants perform live at an outdoor show in the courtyard of Napa State Hospital, a psychiatric hospital in Napa, California, on June 13, 1978. \u003ccite>(Ruby Ray/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>(Remarkably, there was precedence for this in the North Bay: Sebastopol art-punks $27 Snap On Face had \u003ca href=\"https://bohemian.com/what-happened-to-those-guys-1/\">previously played at Sonoma State Hospital for the developmentally disabled\u003c/a>, and included the applause of patients on 1977’s \u003ca href=\"https://www.discogs.com/release/2778143-27-Snap-On-Face-Heterodyne-State-Hospital\">\u003cem>Heterodyne State Hospital\u003c/em>\u003c/a> album.)\u003c/p>\n\u003cp>Sally Webster of The Mutants later stated in 2021 documentary, \u003ca href=\"https://www.youtube.com/watch?v=KwwRQVgW-0g\">\u003cem>We Were There to Be There\u003c/em>\u003c/a>: “We were not thinking of it as ironic or weird or anything like that at the time. This is just an adventure for everyone.” Webster also admitted that she and a number of friends she brought along that day had taken LSD, which gave her a heightened sense of unity with everyone at the show. “It was just an inclusive situation,” she explained, “where the audience and the band were kinda one.”\u003c/p>\n\u003cp>[aside postid='arts_13845645']She may have been intoxicated at the time, but Webster was not exaggerating. During the Cramps’ eight-song set, hospital patients jumped onstage, mimed along, danced with band members and took over the mic and screamed into it. No one seemed at all concerned that some of those patients had come from a special unit at Napa State that housed individuals considered a danger to themselves or others.\u003c/p>\n\u003cp>“It was a beautiful, beautiful thing,” Rees later said of the show. “I mean, you don’t know who’s who in that video. The band members and the mental patients are the same.”\u003c/p>\n\u003cp>“Some people told me you people are crazy,” vocalist Lux Interior stated after The Cramps’ opening song, “Mystery Plane.” “But I’m not so sure about that. You seem to be alright to me…”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-JnkW2JhHJc\u003c/p>\n\u003cp>As can be clearly seen in Rees’ footage above, The Cramps were a hit with the Napa State residents that day.\u003c/p>\n\u003cp>“They were the people that were just discarded,” the filmmaker stated in his \u003cem>We Were There to Be There\u003c/em> interview, “and they were so overwhelmed by someone even caring to put on a show, and they got so into it.”\u003c/p>\n\u003cp>So into it, in fact, that rumors swirled afterward of several successful escape attempts by patients. “I think someone left with us, to be honest,” Webster vaguely recalled.\u003c/p>\n\u003cp>[aside postid='arts_13938024']Klein’s memories of the ride home were more specific. “There was this one woman,” he recalled. “She was basically wearing a nightgown and she was running down the road, and I stopped and she jumped in [the van], and we drove back to San Francisco with her. And she became a stalwart in the San Francisco scene. She became a respected and loved member of the community.”\u003c/p>\n\u003cp>Alan Gill, a psychiatric technician at Napa State throughout the 1970s and ’80s noted that the show was most definitely not a hit with one very specific faction: the administration of the hospital.\u003c/p>\n\u003cp>“There was a lot of pushback,” he remembered. “Administrators obviously are the older folk — the suit-and-tie gang — and they were not at all pleased … I think there might even have been disciplinary action.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Mutants’ set from Napa State is not currently streaming, but can be seen in\u003c/em> ‘\u003cem>\u003ca href=\"https://www.ebay.com/itm/196542461769?chn=ps&norover=1&mkevt=1&mkrid=711-117182-37290-0&mkcid=2&mkscid=101&itemid=196542461769&targetid=2299003535995&device=c&mktype=pla&googleloc=9032200&poi=&campaignid=21203633013&mkgroupid=162035688435&rlsatarget=pla-2299003535995&abcId=9407526&merchantid=101492502&gad_source=1&gclid=Cj0KCQiA_9u5BhCUARIsABbMSPtvlqrnnDOnRx5-MWYhjCC_9kD4bji3zHbAIHVnbFa7k30iRQTNWpcaAqc9EALw_wcB\">The Cramps and the Mutants: The Napa State Tapes\u003c/a>,’ available on DVD.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On June 13, 1978, Joe Rees, the videographer that ran Mission District live venue/punk rock archive \u003ca href=\"https://www.kqed.org/arts/13938024/old-san-francisco-punk-venues-deaf-club-farm-sound-music-tool-die\">Target Video\u003c/a>, packed up a portable Sony black-and-white camera and drove to Napa with his cohort, Jill Hoffman-Kowal.\u003c/p>\n\u003cp>The two were hitting the road to film a live show — something they did all the time. As documentarians that saw the importance of capturing every grimy little punk show they could, they were accustomed to making things work under chaotic circumstances.\u003c/p>\n\u003cp>Even by Target Video standards, however, this set would be a little bit different.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That sunny June afternoon, The Cramps would play a free concert at Napa State Hospital, a psychiatric facility that had been around since 1875, and which provided mental health services to resident patients. San Francisco’s The Mutants — easily as anarchic as their New York City stagemates — had agreed to perform too.\u003c/p>\n\u003cp>By the time punk rock got to it, the Napa State Hospital already had quite the reputation. It first opened inside a beautiful brick building, complete with elegant arches and towers, to ease overcrowding at the Stockton State Hospital. But by 1891, Napa State itself housed more than 1,300 psychiatric patients — double the population it was designed for. By 1920, wards meant for 26 people were accommodating as many as 64, and \u003ca href=\"https://www.pbs.org/newshour/health/analysis-californias-forced-sterilization-programs-once-harmed-thousands-especially-latinas\">sterilization procedures became common\u003c/a>. In 1950, the hospital’s gorgeous architecture was demolished to build more practical, utilitarian structures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s what The Cramps and The Mutants encountered in 1978, as they set up their equipment in the courtyard outside the hospital building, next to the gym. How both bands got there was a series of twists masterminded by music impresario Howie Klein. Back then, Klein was best known as the host of punk rock radio show \u003ci>\u003ca href=\"https://radiothrills.com/outcastes.htm\">The Outcastes\u003c/a> \u003c/i>and the founder of \u003ca href=\"https://www.discogs.com/label/16439-415-Records\">415 Records\u003c/a>. When the San Francisco date of their tour fell through, The Cramps approached Klein and asked for advice. He took it upon himself to book the Napa State show and, already a big fan of the local band’s live antics, invited The Mutants along.\u003c/p>\n\u003cfigure id=\"attachment_13968185\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968185\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108.jpg\" alt=\"\" width=\"2000\" height=\"1346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1536x1034.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1920x1292.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Mutants perform live at an outdoor show in the courtyard of Napa State Hospital, a psychiatric hospital in Napa, California, on June 13, 1978. \u003ccite>(Ruby Ray/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>(Remarkably, there was precedence for this in the North Bay: Sebastopol art-punks $27 Snap On Face had \u003ca href=\"https://bohemian.com/what-happened-to-those-guys-1/\">previously played at Sonoma State Hospital for the developmentally disabled\u003c/a>, and included the applause of patients on 1977’s \u003ca href=\"https://www.discogs.com/release/2778143-27-Snap-On-Face-Heterodyne-State-Hospital\">\u003cem>Heterodyne State Hospital\u003c/em>\u003c/a> album.)\u003c/p>\n\u003cp>Sally Webster of The Mutants later stated in 2021 documentary, \u003ca href=\"https://www.youtube.com/watch?v=KwwRQVgW-0g\">\u003cem>We Were There to Be There\u003c/em>\u003c/a>: “We were not thinking of it as ironic or weird or anything like that at the time. This is just an adventure for everyone.” Webster also admitted that she and a number of friends she brought along that day had taken LSD, which gave her a heightened sense of unity with everyone at the show. “It was just an inclusive situation,” she explained, “where the audience and the band were kinda one.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She may have been intoxicated at the time, but Webster was not exaggerating. During the Cramps’ eight-song set, hospital patients jumped onstage, mimed along, danced with band members and took over the mic and screamed into it. No one seemed at all concerned that some of those patients had come from a special unit at Napa State that housed individuals considered a danger to themselves or others.\u003c/p>\n\u003cp>“It was a beautiful, beautiful thing,” Rees later said of the show. “I mean, you don’t know who’s who in that video. The band members and the mental patients are the same.”\u003c/p>\n\u003cp>“Some people told me you people are crazy,” vocalist Lux Interior stated after The Cramps’ opening song, “Mystery Plane.” “But I’m not so sure about that. You seem to be alright to me…”\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/-JnkW2JhHJc'\n title='//www.youtube.com/embed/-JnkW2JhHJc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As can be clearly seen in Rees’ footage above, The Cramps were a hit with the Napa State residents that day.\u003c/p>\n\u003cp>“They were the people that were just discarded,” the filmmaker stated in his \u003cem>We Were There to Be There\u003c/em> interview, “and they were so overwhelmed by someone even caring to put on a show, and they got so into it.”\u003c/p>\n\u003cp>So into it, in fact, that rumors swirled afterward of several successful escape attempts by patients. “I think someone left with us, to be honest,” Webster vaguely recalled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Klein’s memories of the ride home were more specific. “There was this one woman,” he recalled. “She was basically wearing a nightgown and she was running down the road, and I stopped and she jumped in [the van], and we drove back to San Francisco with her. And she became a stalwart in the San Francisco scene. She became a respected and loved member of the community.”\u003c/p>\n\u003cp>Alan Gill, a psychiatric technician at Napa State throughout the 1970s and ’80s noted that the show was most definitely not a hit with one very specific faction: the administration of the hospital.\u003c/p>\n\u003cp>“There was a lot of pushback,” he remembered. “Administrators obviously are the older folk — the suit-and-tie gang — and they were not at all pleased … I think there might even have been disciplinary action.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Mutants’ set from Napa State is not currently streaming, but can be seen in\u003c/em> ‘\u003cem>\u003ca href=\"https://www.ebay.com/itm/196542461769?chn=ps&norover=1&mkevt=1&mkrid=711-117182-37290-0&mkcid=2&mkscid=101&itemid=196542461769&targetid=2299003535995&device=c&mktype=pla&googleloc=9032200&poi=&campaignid=21203633013&mkgroupid=162035688435&rlsatarget=pla-2299003535995&abcId=9407526&merchantid=101492502&gad_source=1&gclid=Cj0KCQiA_9u5BhCUARIsABbMSPtvlqrnnDOnRx5-MWYhjCC_9kD4bji3zHbAIHVnbFa7k30iRQTNWpcaAqc9EALw_wcB\">The Cramps and the Mutants: The Napa State Tapes\u003c/a>,’ available on DVD.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "five-dance-films-to-celebrate-latinx-heritage-month",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://bit.ly/SubscribeKQEDArts\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube channel\u003c/a> to never miss an episode of If Cities Could Dance. And \u003ca href=\"https://www.youtube.com/channel/UCS7Oxr5knNkZ8SlryFZnq0g/community?lb=UgkxTT1ph5x5nlxlXNk5VpCX_Wzof4sdIHV8\" target=\"_blank\" rel=\"noopener noreferrer\">tell us what you like most about our series\u003c/a> in our community poll!\u003c/em>\u003c/p>\n\u003cp>This Latinx Heritage Month, we’re looking back on bold artists from across the country who expand our ideas of identity, community and dance.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13916333/if-cities-could-dance-austin-salsa\" target=\"_blank\" rel=\"noopener noreferrer\">Angie and Audrey\u003c/a>\u003c/h2>\n\u003cp>Angie Egea and Audrey Guerrero, a non-binary couple who came together through their love of Latin dancing, are making the Austin, Texas, salsa scene more inclusive. Angie and Audrey challenge the traditional binary in salsa—where the man leads and the woman follows. Instead, they take turns leading and following, often switching roles within a dance. And don’t miss their \u003ca href=\"https://www.youtube.com/watch?v=_uNxJ4-WPAY\" target=\"_blank\" rel=\"noopener noreferrer\">dance tutorial\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Queer Salsa: How One Nonbinary Couple Leads and Follows | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/_tFMmU9SFGI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13880670/if-cities-could-dance-san-francisco-la-mezcla\">La Mezcla\u003c/a>\u003c/h2>\n\u003cp>San Francisco’s \u003ca href=\"https://vanessasanchez.net/lamezcla/\" target=\"_blank\" rel=\"noopener noreferrer\">La Mezcla dance company\u003c/a>, founded and led by Vanessa Sanchez, blends tap dance and zapateado (rhythmic footwork from Mexico) to tell stories of Chicana history, culture and resistance. For their work \u003ca href=\"https://vanessasanchez.net/pachuquismo-2/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pachuquísmo\u003c/em>\u003c/a>, dancers embody zoot-suited Chicanas of 1940s Los Angeles and take their movement to the streets of the Mission District. Check out Vanessa’s \u003ca href=\"https://youtu.be/jtiD3lC1X88\" target=\"_blank\" rel=\"noopener noreferrer\">basic tap dance tutorial\u003c/a> too.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Chicana Dance Crew Blends Tap and Mexican Footwork | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/U_vm9EU0YBU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13912474/latinx-dancers-honor-migrant-stories-from-the-borderlands\">Safos Dance Theatre\u003c/a>\u003c/h2>\n\u003cp>Pursuing a professional dance career in Tucson, Arizona, Yvonne Montoya didn’t see brown bodies like hers on stage. So she founded \u003ca href=\"https://www.safosdance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Safos Dance Theatre\u003c/a> to nurture a local community of dance artists who are Latinx, immigrants, queer and other dancers of color. In one work inspired by Montaya’s own family’s history, Safos Dance Theatre tells the story of braceros, migrant farm workers from Mexico who provided seasonal labor to the U.S.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Latina Choreographer Uplifts Stories from U.S.-Mexico Borderlands | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Ub_CXFmF4sA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13881446/if-cities-could-dance-bomba\" target=\"_blank\" rel=\"noopener noreferrer\">Mar and María Cruz\u003c/a>\u003c/h2>\n\u003cp>Sisters Mar and María Cruz, born and raised in Puerto Rico, represent a new movement of Afro Latinos who are reclaiming their cultural traditions to celebrate Black pride and acknowledge the island’s complex history of racism. Mar also teaches the foundation of Bomba, and breaks down the steps in \u003ca href=\"https://youtu.be/4nFyLdsyIgk\" target=\"_blank\" rel=\"noopener noreferrer\">this dance tutorial\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Puerto Rico's Bomba, A Dance of The African Diaspora | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z0vzkGKEWX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13855686/if-cities-could-dance-fresno\">Los diablos de Juxtlahuaca Oaxaca\u003c/a>\u003c/h2>\n\u003cp>In Fresno, California, farm workers and community members—many of whom are Mexican immigrants—carry on a tradition from the Oaxacan community of Casa San Miguel. Dancers don traditional masks and costumes, all made in Oaxaca; spin to thumping drums and horn blasts; and move in a whip-wielding, barely controlled frenzy called the Danza de los Diablos.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Mexican Folk Dance in Fresno | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ndhCv9PLfH8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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And \u003ca href=\"https://www.youtube.com/channel/UCS7Oxr5knNkZ8SlryFZnq0g/community?lb=UgkxTT1ph5x5nlxlXNk5VpCX_Wzof4sdIHV8\" target=\"_blank\" rel=\"noopener noreferrer\">tell us what you like most about our series\u003c/a> in our community poll!\u003c/em>\u003c/p>\n\u003cp>This Latinx Heritage Month, we’re looking back on bold artists from across the country who expand our ideas of identity, community and dance.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13916333/if-cities-could-dance-austin-salsa\" target=\"_blank\" rel=\"noopener noreferrer\">Angie and Audrey\u003c/a>\u003c/h2>\n\u003cp>Angie Egea and Audrey Guerrero, a non-binary couple who came together through their love of Latin dancing, are making the Austin, Texas, salsa scene more inclusive. Angie and Audrey challenge the traditional binary in salsa—where the man leads and the woman follows. Instead, they take turns leading and following, often switching roles within a dance. And don’t miss their \u003ca href=\"https://www.youtube.com/watch?v=_uNxJ4-WPAY\" target=\"_blank\" rel=\"noopener noreferrer\">dance tutorial\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Queer Salsa: How One Nonbinary Couple Leads and Follows | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/_tFMmU9SFGI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13880670/if-cities-could-dance-san-francisco-la-mezcla\">La Mezcla\u003c/a>\u003c/h2>\n\u003cp>San Francisco’s \u003ca href=\"https://vanessasanchez.net/lamezcla/\" target=\"_blank\" rel=\"noopener noreferrer\">La Mezcla dance company\u003c/a>, founded and led by Vanessa Sanchez, blends tap dance and zapateado (rhythmic footwork from Mexico) to tell stories of Chicana history, culture and resistance. For their work \u003ca href=\"https://vanessasanchez.net/pachuquismo-2/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pachuquísmo\u003c/em>\u003c/a>, dancers embody zoot-suited Chicanas of 1940s Los Angeles and take their movement to the streets of the Mission District. Check out Vanessa’s \u003ca href=\"https://youtu.be/jtiD3lC1X88\" target=\"_blank\" rel=\"noopener noreferrer\">basic tap dance tutorial\u003c/a> too.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Chicana Dance Crew Blends Tap and Mexican Footwork | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/U_vm9EU0YBU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13912474/latinx-dancers-honor-migrant-stories-from-the-borderlands\">Safos Dance Theatre\u003c/a>\u003c/h2>\n\u003cp>Pursuing a professional dance career in Tucson, Arizona, Yvonne Montoya didn’t see brown bodies like hers on stage. So she founded \u003ca href=\"https://www.safosdance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Safos Dance Theatre\u003c/a> to nurture a local community of dance artists who are Latinx, immigrants, queer and other dancers of color. In one work inspired by Montaya’s own family’s history, Safos Dance Theatre tells the story of braceros, migrant farm workers from Mexico who provided seasonal labor to the U.S.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Latina Choreographer Uplifts Stories from U.S.-Mexico Borderlands | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Ub_CXFmF4sA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13881446/if-cities-could-dance-bomba\" target=\"_blank\" rel=\"noopener noreferrer\">Mar and María Cruz\u003c/a>\u003c/h2>\n\u003cp>Sisters Mar and María Cruz, born and raised in Puerto Rico, represent a new movement of Afro Latinos who are reclaiming their cultural traditions to celebrate Black pride and acknowledge the island’s complex history of racism. Mar also teaches the foundation of Bomba, and breaks down the steps in \u003ca href=\"https://youtu.be/4nFyLdsyIgk\" target=\"_blank\" rel=\"noopener noreferrer\">this dance tutorial\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Puerto Rico's Bomba, A Dance of The African Diaspora | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z0vzkGKEWX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13855686/if-cities-could-dance-fresno\">Los diablos de Juxtlahuaca Oaxaca\u003c/a>\u003c/h2>\n\u003cp>In Fresno, California, farm workers and community members—many of whom are Mexican immigrants—carry on a tradition from the Oaxacan community of Casa San Miguel. 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"title": "Follow a Capoeirista’s Journey From the Bay Area to Brazil",
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"content": "\u003cp>\u003cem>Join the conversation \u003ca href=\"https://youtu.be/kQhQML6mqrU\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a> and \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">subscribe to our YouTube channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>When capoeirista Ricky Lawson II teaches new students in the Afro-Brazilian art form of capoeira, he often speaks about the deep spiritual energy in capoeira’s birthplace—Salvador, Bahia.\u003c/p>\n\u003cp>“It’s an ancestral energy, and it’s seen and felt and heard in the music, the songs that we sing, and in the movement. People who are more connected, when they move, they move from the soul,” says the founder of \u003ca href=\"http://capoeirabayarea.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Filhos de Bimba Escola de Capoeira, Bay Area\u003c/a>, who has trained thousands of students in the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13918829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918829\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-800x450.jpg\" alt=\"A group of capoeiristas are playing in the circle on a beach in Salvador, Brazil.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Capoeiristas play in the roda at the Ribeira Beach in Salvador, Brazil. \u003ccite>(Wendel Assis, Maria Correia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lawson, better known as Malandro in the Bay Area capoeira community, has traveled to Bahia nearly a dozen times since he began training more than 20 years ago in the art form that combines elements of martial arts, dance, music, philosophy and history. Each trip has deepened his practice and relationships with some of capoeira’s most important tradition bearers, including Mestre Nenel, the son of the late Mestre Bimba, who is considered the king of capoeira and helped bring it back from near extinction.\u003c/p>\n\u003cfigure id=\"attachment_13918827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918827\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Preguica_roda-800x450.jpg\" alt=\"A group of people are playing capoeira in a small room indoors.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malandro plays in the roda with Mestra Preguiça (right), the first and only woman to earn the white scarf — the highest level of achievement in Capoeira Regional. \u003ccite>(Wendel Assis, Maria Correia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enslaved Africans in Brazil developed capoeira, and the art form has evolved and survived through the generations, despite attempts over the years to outlaw and eliminate the practice after the abolition of slavery in 1888. Today one of the main lineages practiced is called Capoeira Regional, created by Mestre Bimba.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Watch Malandro on a recent trip to the mecca of capoeira and experience what’s considered the most African city outside of the continent, including scenes from one of Salvador’s historic districts, the Pelourinho, and a roda (circle) of capoeiristas playing at the idyllic Ribeira Beach. Learn more about the origins of the art form from the direct descendants of Mestre Bimba, culture keepers who continue to protect both his legacy and the art form he championed.\u003c/p>\n\u003cp>\u003cem>Check out part one of this special two-part installment exploring how the Bay Area became a West Coast hub for capoeira and why If Cities Could Dance Producer Chinwe Oniah thinks more Black Americans should try it.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/ICCD_BerkeleyRSVP\" target=\"_blank\" rel=\"noopener noreferrer\">Join our YouTube Live\u003c/a>, Sept. 14, 2022, 6pm, with Chinwe Oniah, capoeira student and filmmaker, who will answer your questions and share what it was like to direct and produce two If Cities Could Dance episodes on the art form she loves so much.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Why More Black Americans Should Try Capoeira | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/XFkbU9iGwUQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Join the conversation \u003ca href=\"https://youtu.be/kQhQML6mqrU\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a> and \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">subscribe to our YouTube channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>When capoeirista Ricky Lawson II teaches new students in the Afro-Brazilian art form of capoeira, he often speaks about the deep spiritual energy in capoeira’s birthplace—Salvador, Bahia.\u003c/p>\n\u003cp>“It’s an ancestral energy, and it’s seen and felt and heard in the music, the songs that we sing, and in the movement. People who are more connected, when they move, they move from the soul,” says the founder of \u003ca href=\"http://capoeirabayarea.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Filhos de Bimba Escola de Capoeira, Bay Area\u003c/a>, who has trained thousands of students in the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13918829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918829\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-800x450.jpg\" alt=\"A group of capoeiristas are playing in the circle on a beach in Salvador, Brazil.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Beach-Playing-5-color-corrected-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Capoeiristas play in the roda at the Ribeira Beach in Salvador, Brazil. \u003ccite>(Wendel Assis, Maria Correia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lawson, better known as Malandro in the Bay Area capoeira community, has traveled to Bahia nearly a dozen times since he began training more than 20 years ago in the art form that combines elements of martial arts, dance, music, philosophy and history. Each trip has deepened his practice and relationships with some of capoeira’s most important tradition bearers, including Mestre Nenel, the son of the late Mestre Bimba, who is considered the king of capoeira and helped bring it back from near extinction.\u003c/p>\n\u003cfigure id=\"attachment_13918827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918827\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Preguica_roda-800x450.jpg\" alt=\"A group of people are playing capoeira in a small room indoors.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Preguica_roda-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malandro plays in the roda with Mestra Preguiça (right), the first and only woman to earn the white scarf — the highest level of achievement in Capoeira Regional. \u003ccite>(Wendel Assis, Maria Correia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enslaved Africans in Brazil developed capoeira, and the art form has evolved and survived through the generations, despite attempts over the years to outlaw and eliminate the practice after the abolition of slavery in 1888. Today one of the main lineages practiced is called Capoeira Regional, created by Mestre Bimba.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watch Malandro on a recent trip to the mecca of capoeira and experience what’s considered the most African city outside of the continent, including scenes from one of Salvador’s historic districts, the Pelourinho, and a roda (circle) of capoeiristas playing at the idyllic Ribeira Beach. Learn more about the origins of the art form from the direct descendants of Mestre Bimba, culture keepers who continue to protect both his legacy and the art form he championed.\u003c/p>\n\u003cp>\u003cem>Check out part one of this special two-part installment exploring how the Bay Area became a West Coast hub for capoeira and why If Cities Could Dance Producer Chinwe Oniah thinks more Black Americans should try it.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/ICCD_BerkeleyRSVP\" target=\"_blank\" rel=\"noopener noreferrer\">Join our YouTube Live\u003c/a>, Sept. 14, 2022, 6pm, with Chinwe Oniah, capoeira student and filmmaker, who will answer your questions and share what it was like to direct and produce two If Cities Could Dance episodes on the art form she loves so much.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Why More Black Americans Should Try Capoeira | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/XFkbU9iGwUQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why I Hope More Black Americans Discover the Afro-Brazilian Art of Capoeira",
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"content": "\u003cp>\u003cem>Join the conversation \u003ca href=\"https://youtu.be/XFkbU9iGwUQ\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a> and \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">subscribe to our YouTube channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>I first became aware of capoeira at a young age, through Eddy Gordo in the video game \u003cem>Tekken\u003c/em>, and I instantly knew it was for me. Gordo’s maneuvers were like nothing I’d ever seen before, and his movement captivated me. A Black man with locs, wasting these other martial artists with this half-dance, half-fight? Little Nigerian me was in awe.\u003c/p>\n\u003cp>Decades later, I finally took a capoeira class at a friend’s invitation and was instantly hooked. It felt less like a fitness class, and more like reconnecting with a way of living that I’d become lost from.\u003c/p>\n\u003cp>Along my capoeira journey, two major things have stuck out to me. One, I’m usually the only Black girl in a class for an explicitly African-derived art form. And two, I can’t believe capoeira has been so close to me for so long, and that I never knew.\u003c/p>\n\u003cfigure id=\"attachment_13917998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-800x533.jpg\" alt=\"A woman is practicing a capoeira move similar to breakdancing on a golden field in front of the bay in Berkeley, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chinwe Oniah at the César Chávez Park in Berkeley, CA on May 27, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often described as a dance-like fight—or a fight-like dance—capoeira is an Afro-Brazilian art form that combines several elements: dance, martial arts, music, spirituality, history and philosophy. Some elements of breakdancing are said to come from the acrobatic moves found in capoeira.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“People have described capoeira to me as a martial art, and people have described capoeira to me as a dance. I think overall, capoeira changes on the necessity of the person,” says Ricky Lawson II, the Bay Area professor with whom I’ve trained for three years. Better known as Malandro, he’s the founder of \u003ca href=\"http://capoeirabayarea.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Filhos de Bimba Escola de Capoeira, Bay Area\u003c/a>. A notable figure with over 20 years as a professor in the local capoeira scene, Malandro is part of a long line of capoeiristas from across the country and Brazil who’ve come to the Bay Area for capoeira.\u003c/p>\n\u003cfigure id=\"attachment_13917986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/ICCD508A_Roda-800x450.jpg\" alt=\"A group of men is standing on a field and is about to play capoeira.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricky Lawson II (pictured on the left), better known as Malandro, is the founder of Filhos de Bimba Escola de Capoeira, Bay Area. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Capoeira is all over the world, and its story in the United States begins in two places. One is New York. The other is the Bay Area, which became a major hub for capoeira due to the work of Ubirajara Almeida, better known as Mestre Acordeon. From Bahia, Brazil, the birthplace of the art form, he’s widely known to be the first capoeira master to bring capoeira to the States.\u003c/p>\n\u003cp>“When I came here, there was a lot of people that had ideas about capoeira,” said Mestre Acordeon. “I [had] a whole bunch of friends that [were] enchanted with capoeira, because it is the one art that is not only fight—it’s a fight, it’s a dance, it’s music, all of that.”\u003c/p>\n\u003cfigure id=\"attachment_13917989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917989\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Mestre_Acordeon_1-800x450.jpg\" alt=\"An older man with a white beard and mustache is looking into the camera while playing the berimbau.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ubirajara Almeida, better known as Mestre Acordeon, is widely known to be the first capoeira master to bring capoeira to the United States. \u003ccite>(Shaandiin Tome)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was initially drawn to capoeira’s martial arts and self-defense elements, but it quickly developed into something greater. It was a return to form, a return to self. It surprises me that more Black people haven’t found interest in capoeira. To be clear, it’s a beautiful art form for everyone, no matter one’s age or walk of life. But capoeira is firmly part of Black people’s cultural legacy, and one that continues to thrive centuries after its beginnings.\u003c/p>\n\u003cp>As a producer for \u003cem>If Cities Could Dance\u003c/em>, I help others tell their stories. But for this episode, I’ve stepped in front of the camera to share my journey in capoeira. Along with Malandro, and featuring music from Mestre Acordeon, we hit some popular places around the East Bay to play capoeira, like Lake Merritt and Linden Park. You’ll even see some of the next generation of young Bay Area capoeira practitioners.\u003c/p>\n\u003cp>Be sure to \u003ca href=\"https://youtu.be/kQhQML6mqrU\" target=\"_blank\" rel=\"noopener noreferrer\">tune back in for a follow-up episode\u003c/a> on Wednesday, Sept. 7, when Malandro and I travel to Bahia to meet one of the original tradition-bearing Bahian families of capoeira.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/ICCD_BerkeleyRSVP\" target=\"_blank\" rel=\"noopener noreferrer\">Join our YouTube Live\u003c/a>, Sept. 14, 2022, 6pm, with Chinwe Oniah, capoeira student and filmmaker, who will answer your questions and share what it was like to direct and produce two If Cities Could Dance episodes on the art form she loves so much.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Join the conversation \u003ca href=\"https://youtu.be/XFkbU9iGwUQ\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a> and \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">subscribe to our YouTube channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>I first became aware of capoeira at a young age, through Eddy Gordo in the video game \u003cem>Tekken\u003c/em>, and I instantly knew it was for me. Gordo’s maneuvers were like nothing I’d ever seen before, and his movement captivated me. A Black man with locs, wasting these other martial artists with this half-dance, half-fight? Little Nigerian me was in awe.\u003c/p>\n\u003cp>Decades later, I finally took a capoeira class at a friend’s invitation and was instantly hooked. It felt less like a fitness class, and more like reconnecting with a way of living that I’d become lost from.\u003c/p>\n\u003cp>Along my capoeira journey, two major things have stuck out to me. One, I’m usually the only Black girl in a class for an explicitly African-derived art form. And two, I can’t believe capoeira has been so close to me for so long, and that I never knew.\u003c/p>\n\u003cfigure id=\"attachment_13917998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-800x533.jpg\" alt=\"A woman is practicing a capoeira move similar to breakdancing on a golden field in front of the bay in Berkeley, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/004_KQEDArts_IfCitiesCouldDance_Capoeira_05272022-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chinwe Oniah at the César Chávez Park in Berkeley, CA on May 27, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often described as a dance-like fight—or a fight-like dance—capoeira is an Afro-Brazilian art form that combines several elements: dance, martial arts, music, spirituality, history and philosophy. Some elements of breakdancing are said to come from the acrobatic moves found in capoeira.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“People have described capoeira to me as a martial art, and people have described capoeira to me as a dance. I think overall, capoeira changes on the necessity of the person,” says Ricky Lawson II, the Bay Area professor with whom I’ve trained for three years. Better known as Malandro, he’s the founder of \u003ca href=\"http://capoeirabayarea.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Filhos de Bimba Escola de Capoeira, Bay Area\u003c/a>. A notable figure with over 20 years as a professor in the local capoeira scene, Malandro is part of a long line of capoeiristas from across the country and Brazil who’ve come to the Bay Area for capoeira.\u003c/p>\n\u003cfigure id=\"attachment_13917986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/ICCD508A_Roda-800x450.jpg\" alt=\"A group of men is standing on a field and is about to play capoeira.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ICCD508A_Roda.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricky Lawson II (pictured on the left), better known as Malandro, is the founder of Filhos de Bimba Escola de Capoeira, Bay Area. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Capoeira is all over the world, and its story in the United States begins in two places. One is New York. The other is the Bay Area, which became a major hub for capoeira due to the work of Ubirajara Almeida, better known as Mestre Acordeon. From Bahia, Brazil, the birthplace of the art form, he’s widely known to be the first capoeira master to bring capoeira to the States.\u003c/p>\n\u003cp>“When I came here, there was a lot of people that had ideas about capoeira,” said Mestre Acordeon. “I [had] a whole bunch of friends that [were] enchanted with capoeira, because it is the one art that is not only fight—it’s a fight, it’s a dance, it’s music, all of that.”\u003c/p>\n\u003cfigure id=\"attachment_13917989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917989\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Mestre_Acordeon_1-800x450.jpg\" alt=\"An older man with a white beard and mustache is looking into the camera while playing the berimbau.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mestre_Acordeon_1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ubirajara Almeida, better known as Mestre Acordeon, is widely known to be the first capoeira master to bring capoeira to the United States. \u003ccite>(Shaandiin Tome)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was initially drawn to capoeira’s martial arts and self-defense elements, but it quickly developed into something greater. It was a return to form, a return to self. It surprises me that more Black people haven’t found interest in capoeira. To be clear, it’s a beautiful art form for everyone, no matter one’s age or walk of life. But capoeira is firmly part of Black people’s cultural legacy, and one that continues to thrive centuries after its beginnings.\u003c/p>\n\u003cp>As a producer for \u003cem>If Cities Could Dance\u003c/em>, I help others tell their stories. But for this episode, I’ve stepped in front of the camera to share my journey in capoeira. Along with Malandro, and featuring music from Mestre Acordeon, we hit some popular places around the East Bay to play capoeira, like Lake Merritt and Linden Park. You’ll even see some of the next generation of young Bay Area capoeira practitioners.\u003c/p>\n\u003cp>Be sure to \u003ca href=\"https://youtu.be/kQhQML6mqrU\" target=\"_blank\" rel=\"noopener noreferrer\">tune back in for a follow-up episode\u003c/a> on Wednesday, Sept. 7, when Malandro and I travel to Bahia to meet one of the original tradition-bearing Bahian families of capoeira.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/ICCD_BerkeleyRSVP\" target=\"_blank\" rel=\"noopener noreferrer\">Join our YouTube Live\u003c/a>, Sept. 14, 2022, 6pm, with Chinwe Oniah, capoeira student and filmmaker, who will answer your questions and share what it was like to direct and produce two If Cities Could Dance episodes on the art form she loves so much.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>When salsa dancers Audrey Guerrero and Angie Egea first got together, their love opened up new expressions and possibilities both on the dance floor and off. “I probably wouldn’t be out if I hadn’t met my wife,” says Guerrero, who married Egea in 2019.\u003c/p>\n\u003cp>For Egea, creating art together gives the couple power and strength to “step into who we really are.”\u003c/p>\n\u003cp>Part of a new generation of dancers embracing fluidity of gender roles in salsa dancing, the non-binary couple performs and teaches classes in Austin, Texas. They are known in the dance community as \u003ca href=\"https://www.instagram.com/angieandaudrey/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Angie & Audrey\u003c/a>, a.k.a. “The Kueen & Queen of Non-Binary Afro Latin Dance.”\u003c/p>\n\u003cp>The couple take turns leading and following, and often switch roles within a dance. “There is this connection that you have to build with your partner, you have to be vulnerable, open to connecting,” says Egea. “It almost creates this bubble of energy, and that’s exhilarating.”\u003c/p>\n\u003cfigure id=\"attachment_13916375\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/image00001-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/image00001-800x1067.jpeg\" alt=\"two salsa dancers perform in light clothes on a bridge against the backdrop of Austin, Texas, while a videographer films\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1536x2048.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-scaled.jpeg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Salsa dancers Audrey Guerrero and Angie Egea dance on the Congress Avenue Bridge in Austin while Chafic Saad films. \u003ccite>(Rayna Stackhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2008, Egea emigrated from Colombia to Boston to pursue a professional dance career, and started out dancing with a male partner; she wasn’t out about her queer identity in dance circles. But when she met Guerrero—who had emigrated there from the Dominican Republic—the couple decided to incorporate their queer identities on the dance floor. Initially, they say, they were met with resistance from members of the dance community.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That wasn’t too surprising, says Egea, given the machismo and the heteronormative ideology of the scene: it’s still deeply entrenched in salsa that a man leads and a woman follows. “People really just want to protect the idea that salsa is binary,” adds Guerrero. “Traditionally, it has been portrayed that way for hundreds and hundreds of years.”\u003c/p>\n\u003cp>Eager to build a queer dance community, the couple moved to Austin, Texas, in 2021, where they connected with local dance leaders like Monica Caivano, founder of the dance studio \u003ca href=\"https://www.esquinatango.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Esquina Tango Austin\u003c/a>. “It’s a goal of ours to break down stereotypes and make an all-inclusive space,” says Caivano, who provided studio space for Angie and Audrey to teach workshops.\u003c/p>\n\u003cp>So far, the couple has performed together in six salsa congresses, multi-day events that offer workshops, performances and competitions. “When you go to the salsa congresses, you always see the standard routines,” adds Caivano. “The women are going to have all the sexy dresses and the men are going to have the pants; it’s going to be your standard routine. So it’s good that they are going out there and mixing it up.”\u003c/p>\n\u003cfigure id=\"attachment_13916450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916450 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/AngieAudreyWP-800x450.jpg\" alt=\"two dancers in light blue bodysuits embrace in the middle of a dance on an outdoor plaza\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Salsa dancers Audrey Guerrero and Angie Egea embrace while dancing near the Capitol Building in Austin. \u003ccite>(Oliver Vo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.thumbtack.com/tx/austin/dance-lessons/robbie-sky/service/299616997076566149\" target=\"_blank\" rel=\"noopener noreferrer\">Robbie Sky\u003c/a>, who has been teaching Latin dance in Austin since 2011, met the couple at a retreat in 2015. Sky says the classes they teach provide lessons that go beyond the dance floor. “I think it’s really important to have classes where people are making choices on the role they want to have, not only in dance but in their life,” says Sky.\u003c/p>\n\u003cp>At the end of every Audrey and Angie performance, the two dancers end not just with a bow, but also a kiss. “We want to create a community and a space where people feel like they don’t have to fit into a box to be a dancer—[where] they feel accepted, seen, and they can express themselves, regardless of politics,” says Guerrero.\u003c/p>\n\u003cp>Watch Audrey and Angie dance in front of iconic Austin sites like the Capitol Building, locally beloved murals, the Love-Hate sculpture and on the Congress Avenue Bridge. \u003cem>— Text by Manjula Varghese and Kelly Whalen\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>When salsa dancers Audrey Guerrero and Angie Egea first got together, their love opened up new expressions and possibilities both on the dance floor and off. “I probably wouldn’t be out if I hadn’t met my wife,” says Guerrero, who married Egea in 2019.\u003c/p>\n\u003cp>For Egea, creating art together gives the couple power and strength to “step into who we really are.”\u003c/p>\n\u003cp>Part of a new generation of dancers embracing fluidity of gender roles in salsa dancing, the non-binary couple performs and teaches classes in Austin, Texas. They are known in the dance community as \u003ca href=\"https://www.instagram.com/angieandaudrey/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Angie & Audrey\u003c/a>, a.k.a. “The Kueen & Queen of Non-Binary Afro Latin Dance.”\u003c/p>\n\u003cp>The couple take turns leading and following, and often switch roles within a dance. “There is this connection that you have to build with your partner, you have to be vulnerable, open to connecting,” says Egea. “It almost creates this bubble of energy, and that’s exhilarating.”\u003c/p>\n\u003cfigure id=\"attachment_13916375\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/image00001-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/image00001-800x1067.jpeg\" alt=\"two salsa dancers perform in light clothes on a bridge against the backdrop of Austin, Texas, while a videographer films\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-1536x2048.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/image00001-scaled.jpeg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Salsa dancers Audrey Guerrero and Angie Egea dance on the Congress Avenue Bridge in Austin while Chafic Saad films. \u003ccite>(Rayna Stackhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2008, Egea emigrated from Colombia to Boston to pursue a professional dance career, and started out dancing with a male partner; she wasn’t out about her queer identity in dance circles. But when she met Guerrero—who had emigrated there from the Dominican Republic—the couple decided to incorporate their queer identities on the dance floor. Initially, they say, they were met with resistance from members of the dance community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That wasn’t too surprising, says Egea, given the machismo and the heteronormative ideology of the scene: it’s still deeply entrenched in salsa that a man leads and a woman follows. “People really just want to protect the idea that salsa is binary,” adds Guerrero. “Traditionally, it has been portrayed that way for hundreds and hundreds of years.”\u003c/p>\n\u003cp>Eager to build a queer dance community, the couple moved to Austin, Texas, in 2021, where they connected with local dance leaders like Monica Caivano, founder of the dance studio \u003ca href=\"https://www.esquinatango.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Esquina Tango Austin\u003c/a>. “It’s a goal of ours to break down stereotypes and make an all-inclusive space,” says Caivano, who provided studio space for Angie and Audrey to teach workshops.\u003c/p>\n\u003cp>So far, the couple has performed together in six salsa congresses, multi-day events that offer workshops, performances and competitions. “When you go to the salsa congresses, you always see the standard routines,” adds Caivano. “The women are going to have all the sexy dresses and the men are going to have the pants; it’s going to be your standard routine. So it’s good that they are going out there and mixing it up.”\u003c/p>\n\u003cfigure id=\"attachment_13916450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916450 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/AngieAudreyWP-800x450.jpg\" alt=\"two dancers in light blue bodysuits embrace in the middle of a dance on an outdoor plaza\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/AngieAudreyWP.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Salsa dancers Audrey Guerrero and Angie Egea embrace while dancing near the Capitol Building in Austin. \u003ccite>(Oliver Vo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.thumbtack.com/tx/austin/dance-lessons/robbie-sky/service/299616997076566149\" target=\"_blank\" rel=\"noopener noreferrer\">Robbie Sky\u003c/a>, who has been teaching Latin dance in Austin since 2011, met the couple at a retreat in 2015. Sky says the classes they teach provide lessons that go beyond the dance floor. “I think it’s really important to have classes where people are making choices on the role they want to have, not only in dance but in their life,” says Sky.\u003c/p>\n\u003cp>At the end of every Audrey and Angie performance, the two dancers end not just with a bow, but also a kiss. “We want to create a community and a space where people feel like they don’t have to fit into a box to be a dancer—[where] they feel accepted, seen, and they can express themselves, regardless of politics,” says Guerrero.\u003c/p>\n\u003cp>Watch Audrey and Angie dance in front of iconic Austin sites like the Capitol Building, locally beloved murals, the Love-Hate sculpture and on the Congress Avenue Bridge. \u003cem>— Text by Manjula Varghese and Kelly Whalen\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>As a choreographer and as a trans person, Sean Dorsey felt irresistibly drawn to San Francisco. “It was this deep gut calling,” he says. “For so many trans and queer folks, San Francisco is the only place that we can live.” And yet, the city he moved to in the early 2000s was not the city he had envisioned.\u003c/p>\n\u003cp>“I thought, ‘This is it, I’m finally going to live in this city and meet the hundreds of other \u003cspan style=\"font-weight: 400\">transgender modern dance choreographers \u003c/span>\u003cspan style=\"font-weight: 400\">who must be living here,’” he recalls. “And there were none. There were trans hip-hop artists, visual artists, musicians, playwrights and writers. But when it came to trans modern dance choreographers or dancers, it was like crickets. And nobody was putting trans artists onstage.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg\" alt=\"Four dancers in magenta gowns perform modern dance choreography against pillars at a cliff overlooking the Pacific ocean in San Francisco, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol Simonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dorsey spent the next two decades championing trans and queer performing arts in the city, hand in hand with his life partner, the musician, filmmaker and transgender activist Shawna Virago. Their \u003ca href=\"https://www.freshmeatfest.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Festival\u003c/a> is in its 21st season of showcasing trans and queer performance; Sean Dorsey Dance has toured innovative modern dance to more than 30 cities in the U.S. and abroad; and accolades have arrived in the form of prestigious national awards, commissions and grants.\u003c/p>\n\u003cp>And while San Francisco has offered Dorsey fertile ground for artmaking, and a community hungry to see itself represented onstage, he has returned the favor by enriching the city’s awareness of itself. “San Francisco is this incredible epicenter of trans and queer history of resistance,” he says. New York City’s Stonewall gets all the glory, but it was in the Tenderloin at \u003ca href=\"https://www.youtube.com/watch?v=G-WASW9dRBU\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Cafeteria \u003c/a>where drag queens and trans women of color first resisted police harassment and rioted for their rights, in August 1966—nearly three years before Stonewall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dorsey unearthed the city’s deep, rich, influential legacy of trans and queer lives in an epic dance-theater trilogy of \u003ci>\u003cspan style=\"font-weight: 400\">Uncovered: The Diary Project\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Secret History of Love\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Missing Generation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Theatrical, humorous, deeply compassionate and beautifully danced, those works made space for people of all identities to gather and truly see each other. “My goal is to make dances that people can relate to deeply and are transformed by in some way,” he says. “I want all of us to be breathing together, dreaming together, sharing compassion and story and embodiment.”\u003c/span>\u003c/p>\n\u003cp>That sense of hope is at the heart of Dorsey’s new work, \u003ca href=\"https://seandorseydance.com/works/the-lost-art-of-dreaming/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. It’s also the impetus for a new, forward-looking phase of Dorsey’s artistic life, focused on encouraging trans and nonbinary people to claim their right to a life they love. “So many trans people are told that we won’t have a future,” Dorsey says. “So many of us are discouraged from dreaming, are discouraged from imagining, finding love, finding community. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> invites us all to imagine expansive futures that are joyful and liberated, and in which we lift each other up with love.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg\" alt=\"Four dancers in blue and white gowns pose on a concrete sculpture resembling a bed on a grassy lawn situated near the San Francisco Bay\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol SImonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003cem>The Lost Art of\u003c/em> Dreaming\u003c/i>\u003cspan style=\"font-weight: 400\"> proposes a new paradigm through the embodied, kinesthetic art of dance. Dorsey’s modern choreography melds with the expressive dancers, spectacular couture costumes and an uninhibited, enthusiastic embrace of joy. Watching, you can sense the connection among the artists and between them and the city itself. “San Francisco is like a magical sanctuary,” Dorsey says. “It whispers to us from all across the country and around the world. Sean Dorsey Dance is by, of and for San Francisco. In this city, I stand on the shoulders of my Transcestors.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg\" alt=\"Four members of Sean Dorsey Dance are smiling and posing with filmmaker Lindsay Gauthier at the top of Twin Peaks with San Francisco's skyline behind them\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey and his dance company pose with filmmaker Lindsay Gauthier at Twin Peaks in San Francisco on May 12, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Experience Dorsey and members of Sean Dorsey Dance perform excerpts from \u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in some of San Francisco’s most inspiring settings—\u003c/span>\u003cspan style=\"font-weight: 400\">Twin Peaks, Hillpoint Park, and the Cliff House above Ocean Beach– \u003c/span>\u003cspan style=\"font-weight: 400\">then go see them in person! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i> \u003ca href=\"https://seandorseydance.com/calendar/upcoming-events/\">\u003cspan style=\"font-weight: 400\">premieres\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> November 17–20 at Z Space. \u003cem>– Written by Claudia Bauer\u003c/em>\u003cbr>\n\u003c/span>\u003c/p>\n\n",
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"excerpt": "As anti-trans attacks escalate, an audacious dance work encourages LGBTQ+ people to claim their right to a life they love.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>As a choreographer and as a trans person, Sean Dorsey felt irresistibly drawn to San Francisco. “It was this deep gut calling,” he says. “For so many trans and queer folks, San Francisco is the only place that we can live.” And yet, the city he moved to in the early 2000s was not the city he had envisioned.\u003c/p>\n\u003cp>“I thought, ‘This is it, I’m finally going to live in this city and meet the hundreds of other \u003cspan style=\"font-weight: 400\">transgender modern dance choreographers \u003c/span>\u003cspan style=\"font-weight: 400\">who must be living here,’” he recalls. “And there were none. There were trans hip-hop artists, visual artists, musicians, playwrights and writers. But when it came to trans modern dance choreographers or dancers, it was like crickets. And nobody was putting trans artists onstage.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg\" alt=\"Four dancers in magenta gowns perform modern dance choreography against pillars at a cliff overlooking the Pacific ocean in San Francisco, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol Simonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dorsey spent the next two decades championing trans and queer performing arts in the city, hand in hand with his life partner, the musician, filmmaker and transgender activist Shawna Virago. Their \u003ca href=\"https://www.freshmeatfest.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Festival\u003c/a> is in its 21st season of showcasing trans and queer performance; Sean Dorsey Dance has toured innovative modern dance to more than 30 cities in the U.S. and abroad; and accolades have arrived in the form of prestigious national awards, commissions and grants.\u003c/p>\n\u003cp>And while San Francisco has offered Dorsey fertile ground for artmaking, and a community hungry to see itself represented onstage, he has returned the favor by enriching the city’s awareness of itself. “San Francisco is this incredible epicenter of trans and queer history of resistance,” he says. New York City’s Stonewall gets all the glory, but it was in the Tenderloin at \u003ca href=\"https://www.youtube.com/watch?v=G-WASW9dRBU\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Cafeteria \u003c/a>where drag queens and trans women of color first resisted police harassment and rioted for their rights, in August 1966—nearly three years before Stonewall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dorsey unearthed the city’s deep, rich, influential legacy of trans and queer lives in an epic dance-theater trilogy of \u003ci>\u003cspan style=\"font-weight: 400\">Uncovered: The Diary Project\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Secret History of Love\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Missing Generation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Theatrical, humorous, deeply compassionate and beautifully danced, those works made space for people of all identities to gather and truly see each other. “My goal is to make dances that people can relate to deeply and are transformed by in some way,” he says. “I want all of us to be breathing together, dreaming together, sharing compassion and story and embodiment.”\u003c/span>\u003c/p>\n\u003cp>That sense of hope is at the heart of Dorsey’s new work, \u003ca href=\"https://seandorseydance.com/works/the-lost-art-of-dreaming/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. It’s also the impetus for a new, forward-looking phase of Dorsey’s artistic life, focused on encouraging trans and nonbinary people to claim their right to a life they love. “So many trans people are told that we won’t have a future,” Dorsey says. “So many of us are discouraged from dreaming, are discouraged from imagining, finding love, finding community. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> invites us all to imagine expansive futures that are joyful and liberated, and in which we lift each other up with love.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg\" alt=\"Four dancers in blue and white gowns pose on a concrete sculpture resembling a bed on a grassy lawn situated near the San Francisco Bay\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol SImonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003cem>The Lost Art of\u003c/em> Dreaming\u003c/i>\u003cspan style=\"font-weight: 400\"> proposes a new paradigm through the embodied, kinesthetic art of dance. Dorsey’s modern choreography melds with the expressive dancers, spectacular couture costumes and an uninhibited, enthusiastic embrace of joy. Watching, you can sense the connection among the artists and between them and the city itself. “San Francisco is like a magical sanctuary,” Dorsey says. “It whispers to us from all across the country and around the world. Sean Dorsey Dance is by, of and for San Francisco. In this city, I stand on the shoulders of my Transcestors.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg\" alt=\"Four members of Sean Dorsey Dance are smiling and posing with filmmaker Lindsay Gauthier at the top of Twin Peaks with San Francisco's skyline behind them\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey and his dance company pose with filmmaker Lindsay Gauthier at Twin Peaks in San Francisco on May 12, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Experience Dorsey and members of Sean Dorsey Dance perform excerpts from \u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in some of San Francisco’s most inspiring settings—\u003c/span>\u003cspan style=\"font-weight: 400\">Twin Peaks, Hillpoint Park, and the Cliff House above Ocean Beach– \u003c/span>\u003cspan style=\"font-weight: 400\">then go see them in person! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i> \u003ca href=\"https://seandorseydance.com/calendar/upcoming-events/\">\u003cspan style=\"font-weight: 400\">premieres\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> November 17–20 at Z Space. \u003cem>– Written by Claudia Bauer\u003c/em>\u003cbr>\n\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The jazz band is swinging hard as two Black dancers Charleston in the middle of a jam. The crowd roars as one kicks wildly in every direction and then drops into a jazz split. This isn’t 1922—it’s May 2022 in Harlem, New York.\u003c/p>\n\u003cp>“I feel called to learn more about these traditions,” says Tyedric Hill. “I do a lot to make it visible—making Black people aware that there is a history of theirs that is worth learning about and being proud of.” Hill is a Columbus, Ohio-based practitioner of Lindy Hop, an energetic, joyful dance that was born in Harlem in the 1920s.\u003c/p>\n\u003cp>Today, Lindy Hop is a global phenomenon with dance communities in places like Stockholm, Seoul and San Francisco. Much of that popularity can be traced back to a swing craze in the 1990s, fueled by movies like \u003ci>\u003cspan style=\"font-weight: 400\">Swingers\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swing Kids\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=XJ735krOiPo\">\u003cspan style=\"font-weight: 400\">a Gap clothing ad\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> featuring mostly white dancers jitterbugging in khakis. In popular media, the dance has been largely represented by white and non-Black dancers, obscuring its beginnings as a Black art form.\u003c/span>\u003c/p>\n\u003cp>But in recent years, an intergenerational group of Black dancers, through efforts like the \u003ca href=\"https://blacklindyhoppersfund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Black Lindy Hoppers Fund\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, have been fighting to ensure that their history and continued participation in this dance is \u003c/span>\u003ca href=\"https://www.npr.org/2021/12/22/1066965712/may-we-have-this-dance\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">recognized and honored\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13914861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914861\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Whiteys-800x606.jpg\" alt=\"\" width=\"800\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-1020x772.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-768x582.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-1536x1163.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-2048x1551.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-1920x1454.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whitey’s Lindy Hoppers was a professional group of exceptional dancers who formed in the 1920s at the Savoy Ballroom in Harlem, New York. \u003ccite>(Courtesy the Frankie Manning Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lindy Hop emerged as part of the 1918–1930s explosion of Black artistic creativity dubbed the “Harlem Renaissance.” \u003c/span>\u003cspan style=\"font-weight: 400\">Musical legends Duke Ellington, Count Basie, and Ella Fitzgerald helped create the era’s soundtrack.\u003c/span> \u003cspan style=\"font-weight: 400\">New York may have been the center of activity, but Black musicians, dancers, authors, poets and artists were producing incredible work from urban centers all over the United States. Columbus, particularly the King-Lincoln Bronzeville neighborhood, was one of those hubs, where theaters, jazz clubs and other Black-owned businesses flourished.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Lindy Hop was born out of the popular music of the time – swing jazz – and created by Black dancers who fused older dance traditions like the Black Bottom, the Breakaway, the Charleston and European partnered dances. These innovators also added their own unique styling and steps, such as the now iconic “airsteps” where one dancer propels their partner high into the air.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Watch as Tyedric Hill and his dance partner Shannon Varner swing out in Columbus, Ohio. Then we travel with them to New York City for the \u003c/span>\u003ca href=\"http://ilhc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">International Lindy Hop Championships\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, where the best of the best from all over the world compete and celebrate this quintessentially American dance. –\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Text by Rik Panganiban, editor-in-chief of \u003ca href=\"http://www.yehoodi.com\">Yehoodi.com,\u003c/a>\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\"> dedicated to all things Lindy Hop, swing dancing and swing jazz.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"excerpt": "After decades of white appropriation, dancers are reimagining the Lindy Hop scene to center Blackness.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The jazz band is swinging hard as two Black dancers Charleston in the middle of a jam. The crowd roars as one kicks wildly in every direction and then drops into a jazz split. This isn’t 1922—it’s May 2022 in Harlem, New York.\u003c/p>\n\u003cp>“I feel called to learn more about these traditions,” says Tyedric Hill. “I do a lot to make it visible—making Black people aware that there is a history of theirs that is worth learning about and being proud of.” Hill is a Columbus, Ohio-based practitioner of Lindy Hop, an energetic, joyful dance that was born in Harlem in the 1920s.\u003c/p>\n\u003cp>Today, Lindy Hop is a global phenomenon with dance communities in places like Stockholm, Seoul and San Francisco. Much of that popularity can be traced back to a swing craze in the 1990s, fueled by movies like \u003ci>\u003cspan style=\"font-weight: 400\">Swingers\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swing Kids\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=XJ735krOiPo\">\u003cspan style=\"font-weight: 400\">a Gap clothing ad\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> featuring mostly white dancers jitterbugging in khakis. In popular media, the dance has been largely represented by white and non-Black dancers, obscuring its beginnings as a Black art form.\u003c/span>\u003c/p>\n\u003cp>But in recent years, an intergenerational group of Black dancers, through efforts like the \u003ca href=\"https://blacklindyhoppersfund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Black Lindy Hoppers Fund\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, have been fighting to ensure that their history and continued participation in this dance is \u003c/span>\u003ca href=\"https://www.npr.org/2021/12/22/1066965712/may-we-have-this-dance\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">recognized and honored\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13914861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914861\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Whiteys-800x606.jpg\" alt=\"\" width=\"800\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-1020x772.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-768x582.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-1536x1163.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-2048x1551.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Whiteys-1920x1454.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whitey’s Lindy Hoppers was a professional group of exceptional dancers who formed in the 1920s at the Savoy Ballroom in Harlem, New York. \u003ccite>(Courtesy the Frankie Manning Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lindy Hop emerged as part of the 1918–1930s explosion of Black artistic creativity dubbed the “Harlem Renaissance.” \u003c/span>\u003cspan style=\"font-weight: 400\">Musical legends Duke Ellington, Count Basie, and Ella Fitzgerald helped create the era’s soundtrack.\u003c/span> \u003cspan style=\"font-weight: 400\">New York may have been the center of activity, but Black musicians, dancers, authors, poets and artists were producing incredible work from urban centers all over the United States. Columbus, particularly the King-Lincoln Bronzeville neighborhood, was one of those hubs, where theaters, jazz clubs and other Black-owned businesses flourished.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Lindy Hop was born out of the popular music of the time – swing jazz – and created by Black dancers who fused older dance traditions like the Black Bottom, the Breakaway, the Charleston and European partnered dances. These innovators also added their own unique styling and steps, such as the now iconic “airsteps” where one dancer propels their partner high into the air.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Watch as Tyedric Hill and his dance partner Shannon Varner swing out in Columbus, Ohio. Then we travel with them to New York City for the \u003c/span>\u003ca href=\"http://ilhc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">International Lindy Hop Championships\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, where the best of the best from all over the world compete and celebrate this quintessentially American dance. –\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Text by Rik Panganiban, editor-in-chief of \u003ca href=\"http://www.yehoodi.com\">Yehoodi.com,\u003c/a>\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\"> dedicated to all things Lindy Hop, swing dancing and swing jazz.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "indigenousenterprise",
"title": "Indigenous Enterprise Brings Powwow Dancing to the World Stage",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Kenneth Shirley, a \u003c/span>\u003cspan style=\"font-weight: 400\">Diné champion Fancy War dancer from Phoenix, Arizon\u003c/span>\u003cspan style=\"font-weight: 400\">a, grew up immersed in Native culture. He took pride in being from a region that recognized 22 Native tribes. So when he founded the intertribal dance troupe Indigenous Enterprise, and was later given the opportunity to perform at the \u003ca href=\"https://www.youtube.com/shorts/xk6p7SGB8aU\" target=\"_blank\" rel=\"noopener noreferrer\">Sydney Opera House\u003c/a> in Australia in 2018, he was surprised by an audience member’s comment: “I thought you [Native Americans] were extinct.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://indigenousenterprise.wordpress.com\" target=\"_blank\" rel=\"noopener noreferrer\">Indigenous Enterprise,\u003c/a> founded in 2016 and made up of Native dancers from across the U.S. and Canada, is on a missio\u003c/span>\u003cspan style=\"font-weight: 400\">n to increase the visibility of Native culture. By bringing Native dances experienced at powwows to new audiences, Shirley is making sure his community’s very existence will never be called into question again.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We’re trying to bring Indigenous representation to new heights,” Shirley explains. He wants to show audiences that Native Americans are “still thriving and the culture is very much still alive.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913185\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Phoenix_group7-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The members of Indigenous Enterprise \u003ccite>(Adam Conte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In just seven years, the troupe has built an international following, competing in the fourth season of NBC’s prime-time show \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">World of Dance\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, performing in a music video with Taboo of the Black Eyed Peas, and dancing for thousands of basketball fans at the NBA finals in 2021. The dancers have been featured in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Vogue\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">New York Times\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, and recently attended the Met Gala, where Shirley and fellow dancer Dominic Pablo showed up in full regalia.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We heard the theme of the Met Gala was America. So we thought we’d pull up and show them what the real America is,” \u003c/span>\u003ca href=\"https://www.instagram.com/p/CdEulCxrXTj/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Shirley wrote on social media.\u003c/span>\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The spirit of a powwow drum made a profound impression on Shirley when he was just two years old. “He heard the beat of the drum and he wanted to dance … and he wouldn’t stop,” says Mary White Shirley (Diné), Kenneth’s mother, who also grew up dancing at intertribal gatherings. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m so amazed, and I’m so proud of my son,” his mother says. “Nizhóní—beautiful! Kenneth is living his prayer. Our people, once upon a time, prayed for [him].”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913187\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Blythe_portrait-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blythe Norris (Diné, Tsalagi, Catawba) has practiced the Jingle Dress Dance for 10 years. \u003ccite>(Adam Conte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Founded on what Shirley calls the “Three Ps”—preservation, performance and progression—Indigenous Enterprise focuses on representation and uplifting sacred dances and rituals. The material they perform has survived various attempts at cultural erasure imposed by both political and religious groups over centuries. “A hundred years ago, Natives were being thrown in prison for what we are doing today,” says Shirley.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 1883, the U.S. government passed the Religious Crimes Code, banning Native communities from practicing dances and ceremonies central to their culture. This legislation would pave the way for other forced assimilation programs, including removing Native children from their families to attend residential schools. Shirley’s own grandfather, his namesake, was forced to attend a residential school, where he was beaten for speaking his Native language.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like many survivors of the policy, Shirley’s grandfather combatted the impact of forced assimilation by going to powwows and learning the songs, dances and traditions practiced by members of various tribes who would gather across the country. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913186\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Jorge_dancing2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancer Jorge Gonzales (Salt River Pima-Maricopa), a champion hoop dancer, learned the art form from Kevin Dakota Duncan (Arikara, Hidatsa, Mandan San Carlos Apache). \u003ccite>(Adam Conte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Powwows have become an integral space for Native communities to teach youth and preserve their culture. Powwow dancer Blythe Norris (Diné, Tsalagi, Iswa) is from Maricopa, Arizona, and has been performing the Jingle Dress Dance for 10 years. “It’s a safe haven … for youth to watch their elders [and] listen to their teachings,” Norris says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Indigenous Enterprise dancer Jorge Gonzales (Salt River Pima\u003c/span>\u003cspan style=\"font-weight: 400\">–\u003c/span>\u003cspan style=\"font-weight: 400\">Maricopa), a champion hoop dancer, was introduced to the art at the Boys & Girls Club on his reservation by his mentor, \u003ca href=\"https://www.instagram.com/kevindakotaduncan/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Dakota Duncan\u003c/a> (Arikara, Hidatsa, Mandan San Carlos Apache). Gonzales, who has been dancing since 2016, has mastered performing with 11 hoops s\u003c/span>\u003cspan style=\"font-weight: 400\">imultaneously\u003c/span>\u003cspan style=\"font-weight: 400\">. Gonzales joined Indigenous Enterprise to not only educate non-Native audiences, but to show Native youth “you can strive to be whatever you want to be.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913220\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913220\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Ty_portrait2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2.jpg 1622w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Lodgepole (Diné) practices the Prairie Chicken dance \u003ccite>(Adam Conte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">M\u003c/span>\u003cspan style=\"font-weight: 400\">en’s Prairie Chicken dancer and Shirley’s cousin Ty Lodgepole (Diné), who has been with the group since its creation, says he loves being a part of what he sees as a cultural and generational shift. “This is such a renaissance time for Native American culture, and we’ve gotten the okay from elders and mentors to present what we’re presenting,” he says, “to show true, authentic Native American culture.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Watch as Indigenous Enterprise takes us on a journey through Phoenix, dancing in front of the Smithsonian-affiliated \u003ca href=\"https://heard.org\" target=\"_blank\" rel=\"noopener noreferrer\">Heard Museum\u003c/a> dedicated to Native art; at Arizona State University Mountain; and in front of vibrant murals inspired by Native culture. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Krista Allen also contributed to this article.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Kenneth Shirley, a \u003c/span>\u003cspan style=\"font-weight: 400\">Diné champion Fancy War dancer from Phoenix, Arizon\u003c/span>\u003cspan style=\"font-weight: 400\">a, grew up immersed in Native culture. He took pride in being from a region that recognized 22 Native tribes. So when he founded the intertribal dance troupe Indigenous Enterprise, and was later given the opportunity to perform at the \u003ca href=\"https://www.youtube.com/shorts/xk6p7SGB8aU\" target=\"_blank\" rel=\"noopener noreferrer\">Sydney Opera House\u003c/a> in Australia in 2018, he was surprised by an audience member’s comment: “I thought you [Native Americans] were extinct.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://indigenousenterprise.wordpress.com\" target=\"_blank\" rel=\"noopener noreferrer\">Indigenous Enterprise,\u003c/a> founded in 2016 and made up of Native dancers from across the U.S. and Canada, is on a missio\u003c/span>\u003cspan style=\"font-weight: 400\">n to increase the visibility of Native culture. By bringing Native dances experienced at powwows to new audiences, Shirley is making sure his community’s very existence will never be called into question again.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We’re trying to bring Indigenous representation to new heights,” Shirley explains. He wants to show audiences that Native Americans are “still thriving and the culture is very much still alive.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913185\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Phoenix_group7-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Phoenix_group7-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The members of Indigenous Enterprise \u003ccite>(Adam Conte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In just seven years, the troupe has built an international following, competing in the fourth season of NBC’s prime-time show \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">World of Dance\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, performing in a music video with Taboo of the Black Eyed Peas, and dancing for thousands of basketball fans at the NBA finals in 2021. The dancers have been featured in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Vogue\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">New York Times\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, and recently attended the Met Gala, where Shirley and fellow dancer Dominic Pablo showed up in full regalia.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We heard the theme of the Met Gala was America. So we thought we’d pull up and show them what the real America is,” \u003c/span>\u003ca href=\"https://www.instagram.com/p/CdEulCxrXTj/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Shirley wrote on social media.\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The spirit of a powwow drum made a profound impression on Shirley when he was just two years old. “He heard the beat of the drum and he wanted to dance … and he wouldn’t stop,” says Mary White Shirley (Diné), Kenneth’s mother, who also grew up dancing at intertribal gatherings. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m so amazed, and I’m so proud of my son,” his mother says. “Nizhóní—beautiful! Kenneth is living his prayer. Our people, once upon a time, prayed for [him].”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913187\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Blythe_portrait-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Blythe_portrait.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blythe Norris (Diné, Tsalagi, Catawba) has practiced the Jingle Dress Dance for 10 years. \u003ccite>(Adam Conte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Founded on what Shirley calls the “Three Ps”—preservation, performance and progression—Indigenous Enterprise focuses on representation and uplifting sacred dances and rituals. The material they perform has survived various attempts at cultural erasure imposed by both political and religious groups over centuries. “A hundred years ago, Natives were being thrown in prison for what we are doing today,” says Shirley.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 1883, the U.S. government passed the Religious Crimes Code, banning Native communities from practicing dances and ceremonies central to their culture. This legislation would pave the way for other forced assimilation programs, including removing Native children from their families to attend residential schools. Shirley’s own grandfather, his namesake, was forced to attend a residential school, where he was beaten for speaking his Native language.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like many survivors of the policy, Shirley’s grandfather combatted the impact of forced assimilation by going to powwows and learning the songs, dances and traditions practiced by members of various tribes who would gather across the country. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913186\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Jorge_dancing2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Jorge_dancing2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancer Jorge Gonzales (Salt River Pima-Maricopa), a champion hoop dancer, learned the art form from Kevin Dakota Duncan (Arikara, Hidatsa, Mandan San Carlos Apache). \u003ccite>(Adam Conte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Powwows have become an integral space for Native communities to teach youth and preserve their culture. Powwow dancer Blythe Norris (Diné, Tsalagi, Iswa) is from Maricopa, Arizona, and has been performing the Jingle Dress Dance for 10 years. “It’s a safe haven … for youth to watch their elders [and] listen to their teachings,” Norris says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Indigenous Enterprise dancer Jorge Gonzales (Salt River Pima\u003c/span>\u003cspan style=\"font-weight: 400\">–\u003c/span>\u003cspan style=\"font-weight: 400\">Maricopa), a champion hoop dancer, was introduced to the art at the Boys & Girls Club on his reservation by his mentor, \u003ca href=\"https://www.instagram.com/kevindakotaduncan/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Dakota Duncan\u003c/a> (Arikara, Hidatsa, Mandan San Carlos Apache). Gonzales, who has been dancing since 2016, has mastered performing with 11 hoops s\u003c/span>\u003cspan style=\"font-weight: 400\">imultaneously\u003c/span>\u003cspan style=\"font-weight: 400\">. Gonzales joined Indigenous Enterprise to not only educate non-Native audiences, but to show Native youth “you can strive to be whatever you want to be.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913220\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913220\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Ty_portrait2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Ty_portrait2.jpg 1622w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Lodgepole (Diné) practices the Prairie Chicken dance \u003ccite>(Adam Conte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">M\u003c/span>\u003cspan style=\"font-weight: 400\">en’s Prairie Chicken dancer and Shirley’s cousin Ty Lodgepole (Diné), who has been with the group since its creation, says he loves being a part of what he sees as a cultural and generational shift. “This is such a renaissance time for Native American culture, and we’ve gotten the okay from elders and mentors to present what we’re presenting,” he says, “to show true, authentic Native American culture.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Watch as Indigenous Enterprise takes us on a journey through Phoenix, dancing in front of the Smithsonian-affiliated \u003ca href=\"https://heard.org\" target=\"_blank\" rel=\"noopener noreferrer\">Heard Museum\u003c/a> dedicated to Native art; at Arizona State University Mountain; and in front of vibrant murals inspired by Native culture. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Krista Allen also contributed to this article.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"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.",
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},
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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