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On the Fly
At the Museum of the African Disapora the film "Sabar: Life is a Drum" is screening this month. I discovered (not as in Columbus--I would never be so presumptious) a new gallery in Oakland, the 57th Street Gallery which is having an opening this month featuring the work of women artists. The gallery is really spacious and sports a grand piano. Their forte is jazz and initially when they opened a year ago, the art all had a musical edge. For February the gallery mixed it up and had art which looked at the historic legacy of Africans in America like Carter G. Woodson and movements like Civil Rights and Black Power. Milton Bowens had a lovely series of conversations on the Black Panther Party on the walls. There were also paintings of Oscar Grant and Jimi Hendrix. There is a Golden Voice concert this month or next, featuring the music of Hendrix. Check the radio show frequently. In fact you can follow it with an rss feed. I also post to the blog photos which I can't post here. The Black Choreographers Here and Now was strong this year, really strong thematically and artistically. Laura Elaine Ellis and Kendra Kimbrough Barnes have created and expanded an important tradition here which seems to be filling an ever enlarging void as dance ethnographers and pioneers like Ms. Ruth Beckford, Ms. Nonsizi Cayote, Deborah Vaughn and Dr. Albirda Rose and so on and so on retire and so goes an opportunity for a black boy or girl who wants to dance. BCHN encourages such chidren, especially this year with an expanded New Wave and the first Dance Conference for youth. The master classes which happen throughout the year and the presence of these two women in public instrutions of higher education also gives access to the philosophy that black bodies need to be out front and at center stage shaping the genre aesthetically and politically. Destiny Art is having its annual dance concert this month at the Malonga Center for the Arts. Visit www.destinyarts.org
Don't forget to visit www.lapena.org and Dance Mission, the collaborating presenting organization. There is a fundraiser for Dance Mission and La Pena is hosting a Haiti Fundraiser this month as well. I am hosting one in April 30, 2010 at the mosque on Madison. At the African American Art and Culture Complex, the Obama 1 year later comes down in a couple of weeks--don't want to miss this.
Luis Alfaro's adaptation of Sophocles' "Oedipus el Rey at the Magic Theatre in San Francisco, is another great play not to be missed since the run was extended a few weeks. The story of the man cursed to kill his father and marry his mother is set in the Central Valley in one of California's many prisons. When we meet Oedipus he's getting ready to be released from custody, young, alone and cocky--ingredients for trouble. The language is poetic and Loretta Greco's direction is creatively refreshing. When young blood meets the melancholy woman, Jocasta, the sparks fly quickly into flames, as passions long dormat are ignited. Its said they stayed in bed for three months--what beautiful bodies...the rest of the ensemble fill in the story details as time passes and the two lovers come to know their identity.
I'm sure the imagery--two naked bodies, was an intentional reference to Adam and Eve, the snake and the garden and what happens when the two innocents taste the fruit.
I must have blinked because I got lost when Oedipus wandered back into California State Corrections: Prison. If it weren't prison, I might say the reunion between Oedipus and his father (the man who raised him) might have been poignant, but the frequency of black and brown men arrested and tried and convicted to life inside prison walls makes one wonder about the metaphor and the oracle and the curse and if Oedipus could have avoided his fate if he wasn't so impetuous and impulsive. Are the men inside prison there to escape an even more unsavory distination or fate?
The Magic Theatre also has a series called Virgin Plays which take place over the month of March, beginning March 1 with Six by Zohar Tirosh-Polk at the Commonwealth Club. The next play, "What We're Up Against," by Theresa Rebeck is at the Space Gallery, 1141 Polk Street in San Francisco, on March 8. Marinheiro March 22 at the Magic looks really interesting. It takes place in Brazil. Visit www.magictheatre.org or call for reservations(415) 240-4454 for the free series. Oh they all start at 6 p.m. March 1-29.
Cultural Odyssey is 30 this year and their anniversary season is as differently challenging for today's audience who often have to be cohersed into participation. Check out my website: www.blogtalkradio.com/wandas-picks Love of Art at Studio 750A
Art from the Heart featuring: Jimi Evins, Ronnie Prosser, James Reid, Ted Pontiflet, through March 21, 2010, 750A 14th St. @ Brush, Oakland, CA 94612. The gallery is open on Weekends & First Friday, March 5th 5 p.m. to 8 p.m. Other Minds 15
Kidd Jordan, saxophonist, a legend in avant-garde jazz circles and knighted by the Republic of France. He has taught at Southern University of New Orleans, among his students Branford and Winton Marsalis. Jordan is one of the artists featured this year in Other Minds 15 concert series beginning Thursday, March 4, 2010; his concert featuring new music with William Parker, bass (OM 9 artist) and Warren Smith, percussion, is on Friday, March 5, 8 p.m., at the Jewish Community Center of San Francisco, 3200 California Street (at Presidio Avenue) in San Francisco. Call (415) 292-1233 and visit www.otherminds.org The Kidd will also be appearing with Eddie Gale at the Bach Beach House in Half Moon Bay Sunday, March 7, and Monday, March 8 at Kuumba in Santa Cruz.
Kamau Amu Patton
Kamau Amu Patton: Icons of Attention curated by Julio Cesar Morales, adjunct curator at Yerba Buena Center for the Arts, closes March 7.
I went to a reception for another exhibit Friday night after seeing Robert Moses Kin's "The Cinderella Principle: Try These On, See If They Fit," which I really enjoyed, the entire program and the world premiere. So I stumbled sleepily over to the galleries and the party to check out the exhibit and was captivated by the installations of Kamau Amu Patton speaking on jazz and audience and sound. They kicked us out before I could listen to a 44 minute tape. I found his thoughts really enlightening and want to go back and spend a couple of
hours there. It's like that.
When I went by YBCA Thursday, March 4, to visit Icons of Attention and to play, I met the artist who has created a space where one can play with sound--microphones, soundboard, gongs, wooden circles, cymbals, cork on walls, swinging metal rods, sheets of tin and my favorite a bow and string--all of this broadcast live to those within a certain frequency of YBCA. Too bad I missed the dancers from Mills College a couple of weeks before--able to adjust the freqency of the sound measures--one could hear one's footsteps, the musicality of shoes on a wooden surface, the syncopation emphasized once one was aware of its inclusion.
It's a pretty cool room. I was reminded of Chinaka Hodge's play, Mirror's in Everyone Corner (now at Intersection for the Arts through the end of the month). Here set invites conversation, community building as the audience finds itself on the walls and seated at the bid whist table, rocking the empty cradle--Icons, like the exhibit in the larger gallery below Renee Green's "Endless Dreams and Time-Based Streams," multilayered media installations, up through June 20, 2010. Friday, March 5, 2010, 6-8 PM in the Screening Room, the artist will give a talk.
I didn't get to many installations my first visit, there was so much to see and each piece was a significant investment in time--two installations took over an hour to experience. What I recall most from the longer of the two was the artists concentration on the role of audience on performance, that the role of artist and spectator colide or merge becoming one--the two dependent, one upon the other. It is a dialectic conversation.
It is the same with Kamau's. Art is moving away from walls into spaces where the lines blur and art becomes the through line into humanity's interior spaces only art can touch. In a minute art is going to be our collective saving grace. I remember the last time I was at an Open Mind event, my friend, Billy Bang was one of the artists that season. We were listening to music at his concert and it made us feel strange so we left until her finished. One of the band said that the composer was irresponsible to manipulate people with his music that way, that this was not a proper use of the medium.
Art is responsiblity. Art is fair. Art is truth.
Oh, did you get by the King Tut exhibit? It's up through March 28. Afro-Haitian Dance at San Francisco State March 4-6, 8 p.m.
Monumental Movement: A Repertory Showcase by University Dance Theatre features work by guest choreographers: Adia Whitaker, Mark Foehringer, along with faculty members: Cathleen McCarthy, Albirda Rose, Ray Tadio and Susan Whipp, students: Sierrah Deitz. The concert celebrates the legacies of Professor Emeritus Jerry Duke and Dr. Rose, who will retire at the end of the spring. She will be celebrated April 17 in another dance concert. The concert is in McKenna Theatre, Creative Arts Building, San Francisco State University, 1600 Holloway Avenue (at 19th Avenue), San Francisco, (415) 388-2467. Tickets are $13/$8. Theatre
Mahalia: A Gospel Musical at Lorraine Hansberry Theatre through March 7, 2010 What a wonderful story…and the music is superb. One could say that Tom Stolz’s "Mahalia" is a gospel tribute to an amazing woman, who could be called if she isn’t already the Queen of Gospel Music. In the hands of Jeanie Tracy under the musical direction of Kevan Peabody and able stage direction of Stanley E. Williams, LHT co-founder, this play rocks as in the buxom of Hagar and her heavenly chorus. At first I wondered why Mahalia as a child, a young woman and then an adult were portrayed by one actress, why we had to imagine the other people mentioned like the members of Mahalia's ensemble, then the magic took over as Jeanie Tracy’s Mahalia filled the room. Larger than the old LHT on Sutter, this space is wider and deeper, the balcony higher, but opening night the house was significant. I say this to say that Tracy's ability to fill the room was no small feat. The writing is so marvelous. I just loved Mahalia’s lines, especially when she was talking about her lord and savior. The other cast was equally fine, especially John Borens who plays all the male characters, sings and plays the Hammond 3-B organ well. He is Mahalia’s cousin Fred, who convinces her mother to let young Mahalia go to nursing school in Chicago; he’s pastor Lawrence who encourages Mahalia and baptizes her; he is also the Chicago preacher who doesn’t like the soul Mahalia brings to his Northern church---she dances too much; he plays Blues Man; Thomas Dorsey, the father of gospel music who wrote many songs for Mahalia; he’s Francis, her blind accompanist; and last he is Martin Luther King Jr. Actress Yvonne Cobbs-Bey is Aunt Duke and Mildred. She is so funny and Charlene Moore, is the most understated star on the stage...she plays for almost the entire show, she doesn't have any lines but she sings as well. She and Tracy have history and it shows; neither misses a cue. Together they are Mahalia, who calls herself, “Hallie.” I love the way the writer externalizes the character's thoughts so we can hear her thinking—Mahalia is witty and so true to what she believes that God blessed her with this gift and her job was to use it to heal people’s souls. She wasn’t interested in crossing over or becoming homogenized. What I found amazing was how this woman, born of parents who’d known slavery, had only a third grade education and couldn’t read music was such a huge success, not just monetarily—she had material success, but as a person. She was happy doing what she felt was the will of her lord. The story Mahalia, especially in the hands of Jeanie directed by Stanley Williams is the story of hope and faith. If Mahalia could reach such greatness with so little to support her then there is no excuse for any of us to not reach out potential. Other lessons were hard work, family and community support… The audience was clapping along and singing along as the popular songs filled the theatre. When Mahalia sang I Been Buked, I couldn’t help but think of Alvin Ailey’s Revelation where this song is one of the songs played. (Ailey is coming to town March 9-14 at UC Berkeley's Zellerbach Hall.) Mahalia made each moment a joyous one, even the moments when she was afraid, like the time when she went to Montgomery to share a song with those walking for freedom during the bus boycott. Mahalia’s story is literally a story which reflects the movement of this country from slavery to liberation…when one thinks about the soundtrack for a revolution one certainly hears Mahalia Jackson sing. For tickets call (415) 474-8800. Shows are Thursday-Sunday. Visit www.lhtsf.org The LHT is located at 450 Post Street, Union Square, San Francisco, CA. March 6, 2 p.m., is a Target Saturday, which means all seats are half-price, $20.00, and a meal is served at the close of the show. "Mirrors in Every Corner" by Chinaka Hodge, directed by Marc Bamuthi Joseph at Intersection for the Arts through March 21 The characters’ stories in Chinaka Hodge's debut as a playwright,"Mirrors in Every Corner," capture a sense of tragedy lurking near all of us. From Rodney King to Oscar Grant, Loma Pieta to urban removal, one sits on the edge of her seat waiting for the wrecking ball to fall. The title reminds me of the Sweet Honey in the Rock song about mirrors, and like the song, there really aren't any mirrors plural, just one, singular. No one wants to see the other in this family; everyone is hiding behind "Random"...as in random history lessons, random acts of unkindness--if there is such a word, "random" as in not purposeful, aimless misdirected and equally misguided. If one sees the white girl born into a black family as a metaphor—the not so inviting aspects of deep seated racism and self-hate that lives in us all, then Mirrors is the bad luck that comes when the glass shatters, the ghost in the reflection looking back at you. Hum? What does a family do when a child white, as in Caucasian is born into the family and her pigment doesn't change as she grows older? How do you get beyond the surface when superficial is survival? The movie Race: Power of Illusion is certainly apropos here. Mirrors brings to mind the true story of the South African white family who had a black child. They get her classified as white and dare their neighbors to see her any different, but they do. Is it the color of one’s skin or what one knows deep in one’s soul that makes one black or white? What do you do when or if the two are incongruent, that is, the surface reading gets confused with the reality? Close one's eyes and "Random" sounds like a black girl. But one has to eventually open her eyes. One would think the mother would know. One would think behind closed doors that no matter what the world knew or believed, truth would at least live there—but for Miranda, “Random” the anomaly never rests. The family plays bid whist, the suit wild, unnamed—which means control isn’t remotely possible so big brother "Watt" as in light bulb tries to think his way into acceptance of things he can’t change or the wisdom to know the difference. Such clichés, yet for this family there are no clichés. For this family love isn’t enough—blinded by Random’s whiteness, green eyes and blonde hair in the 20th century, post everything possible for America’s Negroes, they are stuck as Random puts it in antebellum West Oakland, a place the playwright knows intimately as it is her home and for 80 minutes, it is ours too. When one walks into the theatre the audience is struck by sensations of urban America, urban San Francisco Bay Area—there is aerial footage of West Oakland pre and post the 1989 earthquake, the twins: Ninth and Row sit in baseball caps, As and Giants caps and watch the World Series on TV when all of a sudden the room begins shaking. Dad who is terminally ill and the baby in a cradle, don't seem upset over the shaking. The mother and three other children sit at the table and play whist--the cure for what ails them. Willie who is trapped between her child who she wills black, lives in a world where ease is defined by how easily one fits into boxes that don’t fit. Mirrors in Every Cornermeans hiding is not an option because when one least expects it, there you are. The West Oakland in Mirrors is the one you read about, drugs and fatherless homes, yet in Willie’s house, how they get there is not by the typical route or maybe it is? All we know is Dad dies and Willie wants to disappear as well, but she has four children and they need her. What must slave mother’s have felt when the last child looked like the oppressor— Innocence is an unexamined notion on paper until Random is born. She is a white girl first, Willie’s child second. She never belongs in this family; she upsets the balance and they live sideways without the fourth wheel, tipped over about to fall into the space between love, the corners where bright shining metal reflects images that don’t
lie—racism, oppression, bigotry. “The girl is white as crack.” Her mom says of her as she then reflects on how this child in the cradle is going to have it so much easier than the rest of her family, stereotypical Row –unemployed and selling penny bags of marijuana while his little sister gets ready to enter the University of San Francisco, his twin, "Ninth" stationed in Iraq at the start of the war and then there is Watts as in “riot and light bulb,” really smart, the man of the house at ten when dad takes the “get out of life ‘free’ card.” We aren’t certain how he is so lucky, but we find out at the end of the tale and this information jars the already leaning edifice that is “Mirrors.” What we have is a new Oakland, one where Miranda (Random) says, her friends have to move out because they can no longer afford to live here. Chinaka Hodge takes us on a journey I trust because the landmarks are so familiar. I remember the freeway falling, the bodies and cars crushed under the cement—I had friends who thought their cars tires flat as they drove on I-880 what was called the Nimitz Freeway as it crumbled behind them. I remember walking West Oakland, looking down what is now Mandela Parkway, the renaming then a hope for a democratic and free Oakland (?) This was back when a few scrawny trees pushed up through the polluted landscape…the panhandle arid and vacant like squandered opportunities. This is the West Oakland Chinaka grew up in. I remember meeting her with her dad at
one of many meetings we called “Oakland revitalization.” She had her coloring book and toys, her legs too short to touch the floor. Aleta Canon was West Oakland’s city council representative and I don't remember who was mayor. Soon though, it was Elihu Harris. "Mirrors" is a collage both literally and figuratively. Hodge’s play takes us on a journey one thinks is past, but in Miranda’s family we see how far from absolution we really are. What does a family do when anonymity is not an option? When a lynch mob lives inside one’s soul? Talk about reaching back to incarnation stories. No, Mirrors is not as complicated as I am making it seem. This is a stream of consciousness piece, one where everything is important and none of it is, except, this, go see the play (smile). Ninth says early on in the story that the terrain is slippery, but we are invited along for the ride if we trust the vehicle—the set, a table with cards on it. The walls move out and the family on the mural disappear behind a wall covered in photos and text, narratives and self-portraits. A bookcase and a large mirror balance the room which has a white cradle hanging near the staircase where Random watches television and the father dies. Something’s leave and never come back. I even see a character reading Frantz Fanon makes sense in this psychological thriller. Ambrose Akinmusrie’s score –especially the lone trumpet solo at the end of a poignant scene where Random tells her ghost story, one all black people carry inside if unarticulated ignored or forgotten. This scene is absolutely haunting—and yet the family believes it, even as they try to ignore its implications, even as this adds to the burden Miranda or Random piles onto the edifice about to fall…and fall it does. I don’t know if I agree with the stereotypical medical diagnosis the playwright assigns to the deceased father—Willie already an unreliable narrator, contested only by her unreliability as a mother, falls headlong into a place only those walking on sanity's edges dare go. The one precious aspect of the tale is this relationship she and her husband share and then this is snatched away. I am almost as shocked by this revelation as I was by the surprising end…not that it was atypical, it was just so typical, convenient and easy for the fictive family. But these are my only complaints, overall Chinaka's Mirrors is a thought provoking spin on Black life that will have audiences spinning as the ground keeps pulling away. Makes one wonder, did Random really ever exist and the game Bid Whist…think about slave auctions where the word is: “Bid em in.” For information call (415) 626-2787 or visit www.theintersection.org The theatre is located in the Mission District of San Francisco, 446 Valencia Street. Mirrors runs Thursday-Sunday, through March 21. Thursdays are pay what you can. The collaborative nature of the work: Living Word Project, Campo Santo, and Intersection for the Arts, is another reason why this play, this new work is so marvelous. Mirrors is an opportunity for a young artist to enter the canon and treat so irreverently and do it so well, others will mark the path and follow. Bravo Chinaka, Bravo! Cutting Ball Theater presents …AND JESUS MOONWALKS THE MISSISSIPPI, A New Play By Marcus Gardley. It opens Friday, March 19, 8 p.m. at The Cutting Ball Theater in residence at EXIT on Taylor, 277 Taylor St., San Francisco. …AND JESUS MOONWALKS THE MISSISSIPPI, a new play by acclaimed playwright and Bay Area native Marcus Gardley (This World in a Woman’s Hands, Love is a Dream House in Lorin). Set on the banks of the Mississippi during the Civil War …AND JESUS MOONWALKS THE MISSISSIPPI is a poetic journey of forgiveness and redemption. Inspired by the myth of Demeter and Persephone, this deeply personal play combines traditional storytelling, gospel music, and a wicked sense of humor to create a rich, imaginative world that allows trees to preach, rivers to waltz, and Jesus to moonwalk. Amy Mueller directs this profoundly moving story, a co-production with Playwrights Foundation, featuring David Sinaiko, David Westley Skillman, Martin F. Grizzell, Jr., Nicole C. Julien, Sarah Mitchell, Jeanette Harrison, and Zac Schuman, along with Erica Richardson, Rebecca Frank, Halili Knox, and introducing Erika McCrary. Allen Toussaint
Allen Toussaint –solo piano, Wednesday, March 3, 2010, 8 PM (doors at 7 PM) at the Great American Music Hall, 859 O'Farrell Street, San Francisco, CA 94109 Allen Toussaint is one of America's greatest musical treasures. Singer, pianist, songwriter, arranger and producer — the New Orleans native has been making hit records for over forty years. His massive influence on American music reaches deep into the idioms of rhythm and blues, pop, country, musical theater, blues and jazz. Two years ago, Toussaint added yet another credit to his lengthy list of accomplishments, co-founder of NYNO Records. Launched in conjunction with the 1996 New Orleans Jazz and Heritage Festival, NYNO has to date released 11 albums covering a range of New Orleans music, led by Connected, Toussaint's first full-length national release in nearly two decades. Recorded in New Orleans at Toussaint's famed Sea-Saint Recording Studios, Connected offers Toussaint's trademark mix of Professor Longhair-inspired piano licks, funky R&B and sensitive balladry. The album's lyrics touch on the desire for love and the longing for oneness, both between individuals and among the world family. This recent collection includes performances from such New Orleans mainstays as trumpeter Dave Bartholomew, guitarist Leo Nocentelli (The Meters), drummer Russell Batiste (The Funky Meters), saxophonist Amadee Castenell and many other skilled musicians. Visit: http://www.gamh.com/artist_pages/allen_toussaint_030310.htm and http://www.allentoussaint.com/ Film
Human Rights Watch Film Festival at Yerba Buena Center for the Arts: Mar 4, 11, 14, 18, 25 & 28
Every March, YBCA present a selection of powerful films with distinctive human rights themes. Just a few of the remarkable works we’ve presented over the years include the Academy Award-winning Born into Brothels, War/Dance, Shakespeare Behind Bars, Mardi Gras: Made in China, and dozens more. The power of film cannot be underestimated to challenge the viewer and promote calls to action. Rather than wallow in despair, the films in this series will put a human face on threats to individual freedom and dignity, and celebrate the ability of the human spirit and intellect to prevail. Human Rights and Film – 701 Mission St., San Francisco, CA 94103 – YBCA Screening Room. For information call: (415) 978-2787 or ybca.org. Tickets are: $8 regular; $6 students, seniors, teachers & YBCA members. Visit www.ybca.org 8
By Jane Campion, Gus Van Sant, Wim Wenders, Mira Nair, Abderrahmane Sissako, Gaspar Noé, Gael Garcia Bernal & Jan Kounen
Thu, Mar 4, 7:30 pm
8 is comprised of eight shorts by some of the most acclaimed filmmakers in the world. Each was given complete freedom to address one issue from the United Nations “Millennium Development Goals.” The goals range from halving extreme poverty to halting the spread of HIV/AIDS and providing universal primary education, all by the target date of 2015. (2009, 107 min, digital video)
YOUTH PRODUCING CHANGE
Thu, Mar 11, 7 pm
Filmmakers in person
Young people are on the frontlines of many of the world’s human rights crises, but it’s all too rare that we get to hear their point of view. Armed with digital cameras, computers and their own boundless creativity, these young people bravely expose human rights issues faced by themselves and their communities. It’s time that we listen to what they have to say in this program of short films. Founding presenter: Adobe Youth Voices. (2005-2009, 62 min, digital video)
THE GLASS HOUSE
By Hamid Rahmanian
Sun, Mar 14, 2 pm
The Glass House follows four girls striving to pull themselves up by attending a one-of-kind rehabilitation center in Tehran. Forget about the Iran that you’ve seen before. With a virtually invisible camera, the film shows a side of the country few have access to: a society lost to its traditions with nothing meaningful to replace them, and a group of courageous women working to instill a sense of empowerment and hope into the minds and lives of otherwise discarded teenage girls. (2008, 92 min, digital video)
PETITION
By Zhao Liang
Thu, Mar 18, 7:30 pm
A harrowing investigation, Petition looks at the world of “petitioners,” people who come to Beijing from all parts of China in order to plead their case against injustices, and who find themselves embroiled in a no-exit situation which leaves them homeless and impoverished. Living in makeshift shelters in the now-demolished “Petition Village,” they wait for months or years to obtain justice. The director continued filming right up to the start of the Olympic Games, showing that the troubling contradictions of China continue in the midst of powerful economic expansion. (2009, 124 min, digital video)
PROMISED LANDS
By Susan Sontag
Thu, Mar 25, 7:30 pm
For decades essentially impossible to see, Susan Sontag’s third directorial effort and her only documentary scrutinizes the ongoing Arab-Israeli conflict and the growing divisions within Jewish thought over the question of Palestinian sovereignty, shot in Israel during the final days and immediate aftermath of the 1973 Yom Kippur War.
(1974, 87 min, digital video)
“Promised Lands hardly tells all the truths there are about the conflicts in the Middle East, about the October War, about the mood of Israel right now, about war and loss and memory and survival. But what the film does tell is true. It was like that. To tell the truth (even some of it) is already a marvelous privilege, responsibility, gift.” – Susan Sontag, Vogue
AMERICAN RADICAL: THE TRIALS OF NORMAN FINKELSTEIN
By David Ridgen & Nicolas Rossier
Sun, Mar 28, 2 pm
A probing documentary about American academic Norman Finkelstein. A devoted son of holocaust survivors, ardent critic of Israel and US Middle East policy, and author of five provocative books, including The Holocaust Industry, Finkelstein has been at the center of many intractable controversies. Called a lunatic and a self-hating Jew by some and an inspirational street-fighting revolutionary by others, Finkelstein is a deeply polarizing figure whose struggles arise from core questions about freedom,identity, and nationhood. (2009, 84 min, digital video)
Inaugural Oakland Running Festival March 27th and 28th, 2010
Experience all the sights and sounds that Oakland has to offer at the new Oakland Running Festival featuring Oakland's first marathon in 25 years! Runners will begin on Broadway, race along Piedmont and College Avenues, pass by beautiful Lake Temescal and then tackle the hills of Montclair. After a breathtaking view of the Cities by the Bay, runners will journey through the vibrant neighborhoods of Dimond, Fruitvale, Chinatown and historic Jack London Square. Then it's a final lap around sparkling Lake Merritt and a sprint to the finish at City Hall. Corrigan Sports is excited to bring its successful Running Festival formula to the west coast after ten years of hits with the Baltimore Running Festival and the Frederick Running Festival. We have earned a reputation for creating fun events with a party atmosphere and pride ourselves in listening to our participants to improve our event
year after year. Visit www.oaklandmarathon.com ITVS presents: The Eyes of Me
Tuesday, March 2 at 10:00 PM
(check local listings) How do you see yourself, when you can't see at all? At the Texas School for the Blind and Visually Impaired, students juggle all the usual pressures of high school along with the added challenges of growing up blind. Spend a year with four blind teens learning how to fit in and live independently. Forced to confront the world without sight, they share their inner visions of the outer world. Ultimately, you cannot understand their perceptions without challenging your own. Film
28th Annual San Francisco International Asian American Film Festival March 11-21, 2010
Visit www.asianamericanmedia.org Art
The Art of Living Black through March 13, 2010 at the Richmond Art Center, 2540 Barrett Avenue, Richmond, CA 94608.Visit www.therac.org or call (510) 620-6772. Hours are Tuesday-Saturday, 11-5 p.m. Pistols and Prayers
A Speak Out & Lyfe Productions World Premiere written and performed by Ise Lyfe, Friday, March 19, 2010 at Berkeley Repertory Thrust Theatre, 2025 Addison Street, Berkeley. $20/$10 for youth 17 and under. Visit www.speakoutnow.org The performance features Melanie Demore and Michael Fecskes with DC from KMEL 106.1 on the 1's and 2's. Call (510) 601-0182 for group rates and information. Bamako Chic: Women Cloth Dyers of Mali
A benefit to raise funds to complete the film is March 18, 7:30 p.m. at The Hillside Club, 2288 Cedar Street at Arch in Berkeley. For information call (510) 585-7926 or
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Scenes from the film will be shown; Malian musicians Mamadou and Vanessa Sidibe will perform, followed by a reception. NEA Jazz Masters
NEA Jazz Masters All-Stars featuring Bobby Hutcherson (2010), Jimmy Heath (2003), Slide Hampton (2005), and Cedar Walton (2010) with Eddie Marshall and Glenn Richman March 12-14 at Yoshi's San Francisco, 1330 Fillmore. "Umbo Weti: A Tribute to Leon Thomas" featuring: Babatunde Lea Quintet with Patrice Rushe, Ernie Watts, Gary Brown, and Dwight Trible @ Yoshis San Francisco, Thursday, March 18, 8 p.m. I Speak Fula: Basselou Kouyate & Ngoni Ba
Bassekou Kouyate & Ngoni Ba - Thursday, Mar. 18 at Slim's, 333 11th Street, San Francisco, CA 94103-4313, (415) 255-0333. Visit www.slims-sf.com. Malian maestro Bassekou Kouyate is a virtuoso picker and musical visionary whose work blurs the lines between West African and American roots music. Bassekou’s instrument, the ngoni, is a “spike lute” and an ancestor of the banjo, sharing its taut-skinned drum body, percussive attack, and varied picking techniques. Since 2005, Bassekou has led Ngoni Ba, the first-ever group built around not one but four ngonis—all played by members of his family. Bassekou’s longtime friend and booster Lucy Duran (a BBC radio host, record producer, and Mande music scholar) produced the band’s debut, Segu Blue. Before long, Bassekou and Ngoni Ba were touring Europe and in high demand. I Speak Fula builds on the success of Segu Blue. Its 11 tracks provide a star-studded tour of pan-Malian music, including collaborations with Toumani Diabaté, griot vocal legend Kasse Mady Diabaté, master of the horse-hair soku fiddle Zoumana Tereta, and guitarphenomenon Vieux Farka Toure, Ali’s precociously talented son. The release of I Speak Fula and Ngoni Ba’s first U.S. tour mark the latest leg of an extraordinary musical journey. Habib Koite & Bamada
April 1-4 at Yoshi's San Francisco. Visit www.yoshis.com Art
Joyce Gordon Gallery proudly presents: James Gayles's "Women of Music," March 5-31, 2010
The Opening Reception features Live Jazz by Sound Sculptress, DESTINY, Friday, March 5, 2010, 5:30 p.m. to 7:30 p.m. at the Oakland Marriott City Center, 1001 Broadway, Oakland, CA 94607, (510) 451-4000. Visit http://www.oakland-marriott.com For Colored Girls Only: A Celebration of all Women and a tribute to Women's History Month
February 12 – March 28, 2010 at Joyce Gordon Gallery, 406 14th St. (12th St. BART Exit) Oakland, CA 94612, (510) 465-8928.
This is a celebration of women from all color, size, age, gender, local and international as a form of politics/non-politics & as a body of thought. Erasing the indistinct lines ofclass, gender and geography, and celebrating even the contradicting facets of womanhood. Performances @ Joyce Gordon Gallery
March 6, 13, 20, 27, Saturdays from 3-6pm. $5-10 sliding scale donation. Music performances, dance, monologues, with an all-women repertoire in celebration of Women’s month. Poetry @ Joyce Gordon Gallery
March 7, 14, 21, and 28, Sundays from 3-6pm. $5-10 sliding scale donations:
With Nancy Hom, Marijo, Avotcja, Genny Lim, Phavia Kujichgulia, Wordslanger, Chinaka Hodge, Talia Taylor, hosted by Tureeda Mikell.
The African American Shakespeare Company presents: “OTHELLO”, March 26-April 18, 2010
Hell hath no fury like a black woman scorned. Rejected in a relationship and overlooked on a promotion, Iago sets on the ultimate revenge to destroy Othello's career and life. Told simultaneously from three (Othello, Desdemona, and Iago) points of view, African-American Shakespeare Company sets OTHELLO, one of The Bard’s greatest tragedies, during a modern-day military tribunal in Iraq, where race and sexual politics become the driving force for jealousy and revenge. Desdemona is courted by Othello, denounced by her father, greeted by her new husband, who then inexplicably turns on her. Reset. Othello courts Desdemona, pours his heart out about how and why they fell in love, then notices his wife flirting with another man. Reset. It becomes clear - Iago has been the evil backbone behind it all.
Shows are: Friday, March 26 @ 8 p.m., Saturday, March 27 @ 8 p.m., Sunday, March 28 @ 3 p.m., Saturday, April 3 @ 8 p.m., Saturday, April 10 @ 8 p.m., Sunday, April 11@ 3 p.m., Saturday, April 17 @ 8p.m., Sunday, April 18 @ 3 p.m. Special Early Bird Ticket price of $10 ends on March 13th. Regular Ticket Price $30 General and $20
Students/Seniors
DANCERS’ GROUP’S ONSITE SERIES continues with Intimate Visibility by Levy Dance March 17-26
Intimate Visibility is a video performance installation that will spontaneously occur in several high-traffic public areas in San Francisco, engaging a flash mob, projected animation, and dance. Similar to ONSITE’s Hit & Run Hula performed by Patrick Makuakāne ’s company Nā Lei Hulu I Ka Wēkiu and Erika Chong Shuch’s Love Everywhere, LEVYdance will perform in several popular areas throughout the City including: North Beach, Chinatown, the corner of Castro and Market, the Ferry Building, Pier 39, Union Square, and United Nations Plaza. All of these performances are FREE and open to the general public. For more information visit www.dancersgroup.org, http://twitter.com/dancersgroup and http://www.facebook.com/event.php?invites&eid=360837591139 The performances will begin on St. Patrick’s Day, March 17, in North Beach and continue through March 26. Audiences can join Dancers’ Group’s twitter or facebook groups (see below calendar listing for twitter and facebook information) for updates on performance dates and times.
Following the ONSITE presentation, LEVYdance’s 2010 Home Season takes this site-specific work indoors to continue the company’s investigations on surveillance, separation, access and intimacy at Project Artaud, April 1-3, 2010.
Wednesday, March 17th
8pm- North Beach- Washington Square
9:00pm- Union Square
Friday, March 19th
8:00pm- outside of the Ferry building
9:00pm Pier 39
Saturday, March 20th
Castro corner of Market and Castro Streets- 2 performances
8:30pm, 10:00pm
Tuesday, March 23th
7:30pm United Nations Plaza.
8:30pm Powel Street Cable car turn around.
Thursday, March 25th
7:30pm 3rd Street between Mission and Howard
8:30pm Civic Center plaza (opposite of War Memorial Opera House)
Friday, March 26th
TBD
TICKETS:
Free
TICKETS:
Free
Comedy/Benefit
"Comic Relief for Haiti", Friday March 12, 2010, $15-$25 sliding scale - 8 p.m.
Join Global Women Intact as they present: Comic Relief for Haiti. Sia Amma hosts an evening of comedians to help the people of Haiti. Proceeds to benefit Doctors Without Borders.
Destiny Arts Youth Performance Company presents: Asylum At the Laney College Theatre, 900 Fallon Street, in Oakland, Friday, March 19 @ 7:30 p.m.
*Saturday, March 20 @ 7:30 p.m. special benifit performance to support Destiny Arts Center's Raise The Roof Campaign
$50.00 ticket includes reserved seating and post performance dessert reception with directors and cast. Limited non-benifet seating available at regular ticket prices. Sunday March 21 @ 2 p.m., Friday, March 26 @ 7:30 p.m., Saturday, March 27 @ 2pm and 7:30 p.m. Tickets are: Adults: $13-$25 sliding scale; Youth 18 and under: $6. Group rates are also available-email
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for information. The venue is wheel chair accessable-call (510) 597-1619 x119 for special instructions. To purchase tickets call 800-838-3006 or go to:
http://www.brownpapertickets.com/event/9999 The Destiny Arts Youth Performance Company (DAYPC) is a multicultural group of teens that create original performance art pieces, in collaboration withprofessional artists, that combine hip-hop, modern, and aerial dance, theater, martial arts, song and rap. The productions are a dynamic, creative forum for the young people to express their fears, hopes and strategies for confronting challenging personal and social issues. The company has performed locally and nationally since 1993 for over 20, 000 addiences annually.
Blues
300+ years of blues legends take one stage for one night in San Francisco, Wed. March 31st at the Great American Music Hall. Visit www.gamh.com The concert features: Pinetop Perkins, the oldest living Grammy winner and recipient of the country's highest arts honor, one of the top influential blues guitarist alive. Docu-Film Teaser: http://www.youtube.com/watch?v=L9KkmhkjzC4 |