Manul Override at the Garden of Memory 2019

I have attended the Garden of Memory at the Chapel of the Chimes in Oakland many a summer solstice since moving to San Francisco – and written multiple reviews on these pages and even presented a CatSynth TV showcase last hear. But 2019 is the first time I have performed at this annual event as a named artist. It’s a very different experience from the inside looking out. This article describes the adventure.

My friend and sometime collaborator Serena Toxicat and I were excited to be accepted into this years program for our project Manul Override. We joined forces once again with Melne Murphy on guitar and also invited Thea Farhadian to sit in with us on violin.

I had a rather elaborate setup, anchored as usual by my trusty Nord Stage EX. The Sequential Prophet 12 has also become a mainstay of my smaller collaborations, providing rich ambient sounds. The Arturia MiniBrute 2, Moog Theremini, and a collection of Eurorack modules rounded out the rig.

Getting everything into place in the catacombs-like building – a renowned landmark designed by Julia Morgan – was a challenge in itself. Fortunately, I found parking nearby and was able to load everything onto carts or wheeled cases, and had plenty of help getting things downstairs where we were playing.

The acoustics of the space are also quite challenging. It is a set of oddly shaped stone chambers, some large, some small, so echoes abound from both the crowds and other performers. Figuring out how to balance our sound is not easy, and I don’t pretend to have gotten it right on the first try, but it’s a learning experience. But we did get ourselves sorted out and ready to play.

Photo by Annabelle Port

The set unfolded with an invocation, a drone in D mixolydian mode set to Serena’s text Mau Bast, read first in French and then in English. It seemed a perfect piece for the occasion. We then switched things up with a more humorous piece (Let’s Hear it for) Kitties, which was a crowd favorite. You can hear a bit of it in this video from the event.

I have learned how to best follow Serena’s style of speaking and singing, with a more open quality; and Melne and I know how to work together well both in terms of timing and timbre. Thea’s violin added an interesting counterpoint to the voice and electronics. Her sound was sometimes masked by the other instruments and the acoustics but when it came through it added a distinct character and texture. The remaining two pieces were more improvised. One was a free improvisation against one of Serena’s books Consciousness is a Catfish, and another was based on a graphical score with 16 symbols that I first created in 2010 but have revised and reused over the use. The newest version included a cartoon pigeon in honor of my bird-loving co-conspirator Melne.

The performance was well received. Crowds came and went throughout the evening, but many people stayed for extended periods of time to watch us, and others came back a few times. We played two hour-long sets, and in between I had a small amount of time to check out some of the other performs. In particular, I enjoyed hearing Kevin Robinson’s trio, with whom we shared our section of the space.

His spare group and arrangements with saxophone, upright bass, and drum, provided a distinct contrast to our thick sound. The moved between long drawn-out tones and fast runs with short notes that reverberated around the space in between. Robinson’s music often has a meditative quality, even when it is more energetic, so it fit well.

Around the corner from us was the Stanford Laptop Orchestra (SLOrk). They had a quiet set featuring performs seated on meditation cushions with laptops as well as various percussive objects as sound sources.

I was particularly inspired by Anne Hege and her Tape Machine, an instrument with a free-moving magnetic tape and several heads, pickups and tiny speakers. She sang into it at various points and moved the tape, created an instrumental piece that was part DIY-punk, part futuristic, and somehow quite traditional at the same time.

Her performance gave me ideas of a future installation, perhaps even to bring to the Garden of Memory in years to come…

Thea pulled double duty during the evening, also performing as part of a duo with Dean Santomieri, sharing a space with Pamela Z. Our friends Gino Robair and Tom Djll brought the duo Unpopular Electronics to one of the darker columbariums, and IMA (Nava Dunkelman and Amma Arteria) performed on the lower level. In retrospect, our group might have been better placed sharing a space with them, as we are both electronic groups (all women) with large dynamic range.

Overall, it was a wonderful experience, and with the opportunity to play as well as listen it’s my favorite to date. Thank you Sarah Cahill, Lucy Mattingly, and the rest of the crew at New Music Bay Area as well as the Chapel of the Chimes staff for letting us be a part of this event!

Julius Caesar by Théâtre National de Bretagne

Today we look back at Théâtre National de Bretagne’s unusual production of Shakespeare’s Julius Caesar. We at CatSynth had the opportunity to see it at Zellerbach Hall in Berkeley, California a couple of weeks ago.

It is a play we know well, having read the original and recently revisited Joseph L. Mankiewicz’s epic 1953 film version starring Marlon Brando, James Mason, and John Gielgud. In contrast to that version which places the play in a grand realization of ancient Rome with large sets and hundreds of extras, this production directed by Arthur Nauzyciel with set design Scott Zielinski, was abstract and spare: a mostly empty stage surrounded by a backdrop of empty theater seats. The cast was stripped down to a small set of players, some pulling multiple roles – both Portia and Calpurnia were played by Sara Kathryn Bakker, for example. Their costumes (by James Schuette) were inspired by the 1960s, as were the furniture. We see the characters as mostly upper-class individuals in suits and dresses in spare rooms with modernist furniture, something directly out of Mad Men. We first see Brutus (James Waterson), Cassius (Mark Montgomery), and Julius Caesar (Dylan Kyussman) in simple tuxedos, with Mark Antony (Daniel Pettrow) bounding in wearing an Adidas tracksuit – a nice touch that harkened back to Brando’s jockish first scene as Antony in the 1953 film. One cannot consider these things anachronistic, seeing as how the Shakespeare play in itself is an anachronism, with its mentioning of clocks, doublets, etc., not to leave out the fact that it was written and generally performed in English.  The drama is what is most important in the play, the interaction of the characters, and the mechanics of politics and public opinion. 

Theatre is fundamentally about illusion and representation.  Sometimes, perhaps most of the time, in older forms of theatre, minimalism accentuates the essence of what a dramatic piece is trying to convey.  All of the information is conveyed through the words and actions, with the dressing secondary.  As I believe it should be with Shakespeare.  So I felt the right tone was taken with the way the visual aspect was handled.

Sara Kathryn Bakker as Portia. Photo by Frédéric Nauczyciel.

Of course, the central element of such a play is the acting and interpretation of the text. Kyussman’s portrayal of Caesar brought the right mixture of pomp and gravitas to his character.  Waterson’s Brutus came across as conflicted in his feelings, ultimately choosing reason over loyalty. And Montgomery’s Cassius was a thoughtful but odd fellow. Bakker’s double-duty as Portia and Calpurnia was beautifully played but also served to highlight the overall lack of women characters in the play. Something I was ambivalent about was the decision to excise the scene with Cinna the Poet, and his being swept up by the angry mob and killed, having been confused with Cinna of the conspirators.  This scene is excised from many stage productions and most films of the play, for purposes of pacing, which is unfortunate.  I feel it is a crucial scene which shows the madness of crowds, the way opinio publica can be twisted by those who seek to further their own ends = “The abuse of greatness is when it disjoins remorse from power”, indeed.

The lighting was also a major player in this production. For most of the early scenes, the stage was shrouded in a mixture of darkness and low lighting. It is only when we get to the Capitol and the chamber of the Senate that the lights become bright, drawing us to a very stylized and choreographed assassination of Caesar. This continues into the speeches of Brutus and Antony before changing again into an eerie fog-filled atmosphere for the war scenes of the final act.

The assassination of Caesar. Photo by Yann Peucat.

Perhaps the most unusual aspect of this production was the use of a live jazz trio, who performed between acts, and occasionally between scenes. The musicians (Marianne Solivan on vocals, Dmitry Ishenko on bass, and Leandro Pelligrino on guitar) were all top-notch and performed extremely well.  But we were anticipating original music.  What was presented was a selection of standards.  In itself, this was not disappointing – and the joining in by Bakker as Portia and Montgomery as Cassius was fun.  However, the selection of pieces – which, lyrically, commented upon the action with a winking, postmodern irony – in some ways undercut the otherwise serious and austere quality of the production and interpretation of the play. After the scene between Brutus and Portia, we were given “You’ve Changed”.  In the entr’acte, we heard “Is That All There Is?”  I felt by the end of the performance, it had become something close to a parody.  

This sense that the music played against the other dimensions was highlighted in the final song-and-dance number, set to some recently recorded, faceless, autotuned pop song (I’m pretty sure it was a Lady Gaga song, but I can’t confirm). It really seemed to be negating much of what I feel is at the core of this play, very serious ideas about morality, duty, and civic responsibility.

This may be the director’s intention, I don’t know for sure, and I can’t say.  The director took many chances with the production and created a fairly unique take on a work which has been performed so many times, in different ways.  “How many ages hence shall this, our lofty scene, be acted over in states unborn and accents yet unknown”, indeed.

Overall we enjoyed the performance, the design, and the acting. And I like to see productions of Shakespeare’s plays take chances with new directions rather than simply redoing the same thing over and over again. But with any experiment, sometimes things work and sometimes things do not. The end result here was mixed and ambiguous. But perhaps that was the point.

[Jason Berry contributed to this review.]

Word Performances and The Nunnery

After a couple of months away from live performance, I found myself playing two shows in one weekend, both in the Mission District of San Francisco. They were an exercise in contrasts artistically, but both were delightful in different ways.

Word Performances is a “variety show” of poets, musicians, and dancers produced by Cybele Zufolo Siegel and Todd Siegel. The latest incarnation took place at the Lost Church, a favorite venue of mine for its cozy theater and visual vibe reminiscent of David Lynch.

Like any good variety show, it features a staple of regular players that includes both Cybele and Todd, but also Pitta of the Mind as a recurring act. There were of course new participants as well, especially among the poets. You can see a bit of everyone in our video from the evening.

As is clear from the short excerpts, there was a diversity of styles and subject-matter. There were the spartan settings of the readings by Rose Heredia, Jon Sindell, Crystal Jo Reiss, and William Taylor, Jr. Todd and Cybele also gave readings, but with violin accompaniment provided by Hannah Glass. And flamenco Dancer Damian Alvarez stole the show with his tightly choreographed dance to the music of James Brown.

For Pitta of the Mind – myself and poet Maw Shein Win – we performed a brand new set with new poems, and a new color theme of green. The instruments were the same as for our previous performances, combining the Nord Stage, Prophet 12, and modular synthesizers. The consistency in structure and instrumentation helps in our ability to quickly come up with a new set.

Other than my psychedelic lights not working as expected, it was a solid set overall, and we are always happy to be part of the Word Performances shows.


If Word Performances provided a diversity of styles and media, the show later that weekend was very focused on invented instruments, unusual sounds, and the birthday of our friend David Michalak. You can see a bit of everyone in our CatSynth TV video (with David giving the valedictory tag).

This was the first time I performed as a duo with Scott Looney, but I was quite happy with the results. We are both skilled improvisers and were able to blend our sounds and ideas together seamlessly, with my performing on an Arturia MiniBrute 2 and Scott on a custom string instrument with various preparations.

Our set as well as the one that followed us featuring Tom Nunn, David Michalak, and Aurora Josephson had a similar texture: a lot of wisps, scrapes, and staccato elements. It was interesting to see how much musically David could get out of a flat piece of cardboard! The opening set with Tom Nunn on skatchbox and Ron Heglin on voice also had a very pointed and sparse texture.

The final set featuring Ghost in the House had a softer, longer, and more liquidy quality. This time David Michalak was performing with a processed harmonica and lap steel guitar, with long tones matched by Polly Moller Springhorn on bass flute and Cindy Webster on musical saw – and this was no ordinary musical saw, it seemed built specifically for music.

Overall, it was a fun show, and of high quality musically. It’s a shame more people weren’t able to hear it live – it was a private event – but the video captures much of the experience in a compact form.

NAMM 2019: Arturia MicroFreak (First Look)

One of the most talked-about releases at NAMM (at least within our circles) was the new MicroFreak from Arturia. So, of course, we at CatSynth had to check it out.

It is a unique-looking instrument. The panel is etched with a variety of iconography; and then there is the flat PCB in place of the traditional keyboard. No moving parts here. But it is quite expressive, including polyphonic aftertouch.

Beyond its looks and keyboard, the main feature of the MicroFreak is its digital oscillator. There are several different “types” for the oscillator, including wavetable, sampling, physical modeling, virtual analog, and something called “texturizer”. Within each there are selections for parameters labeled wave, timbre, and shape, that do different things in different types. These can be selected in real time via the knobs, and wave and timbre can also be destinations for modulation.

The digital oscillator followed in the signal chain by an analog filter, specifically an Oberheim SEM-style filter, which sounds quite good when the oscillator is set to a rich source. There also the usual array of modulators, including envelope (one-shot and cycled), LFO, and arpeggiator. The sequencer includes a bunch of compositional functions with cute names like “Spice” and “Dice” to help build and modify patterns, which then can be routed via the modulation matrix.

It is quite a powerful instrument, but attempting to play it was a bit intimidating at first. Unlike the MiniBrute (analog) or even the Sequential Prophet 12 (hybrid), the knobs weren’t quite as intuitive for someone used to a lot of subtractive or semi-modular synthesizers, especially the oscillator with its various modes and the composition functions. I suspect it was an easier first-experience for those who use beat and sample boxes like those from Elektron. Indeed, I was able to get more out of it by turning on the arpeggiator and then turning knobs. You can see a bit of my initial attempts in our recent video.

In order to really understand what this little beast has to offer, a deep dive in the studio would be required. We at CatSynth hope to be able to arrange that in the not-to-distant future, and will report back here and on CatSynth TV.

NAMM 2019: Qu-Bit Electronix

One of our first stops at NAMM 2019 was to visit our friends at Qu-Bit Electronix. This year they had three new modules to share.

The first of the three was the Prism (center in the picture above). It combines three audio processors that are mapped to a three-dimension “prism” control space. One axis controls a comb filter, another a bit crusher, and the third is time/speed control. The audio processors operate on a buffer, which can either be continuously updated from audio input or “frozen” in time and looped. Finally, there is a multi-state filter that can either operate at the beginning or end of the signal chain. Of the three, this one perhaps intrigued me the most with the possibilities of mapping these different functions to CV input (e.g., from a Maths or a sequencer) in ways that push traditional music. You can hear a bit of it, along with the other two modules, in our video which features all three modules.

The second module was the Chord, or rather the new incarnation of the chord. It’s a four-voice polyphonic oscillator with both traditional waveforms (continuously morphable) and a new set of wavetables. The oscillators can be stacked into chords, or in this new version each controlled separately for polyphony in the music-theory sense of the word – yes, with the right sequencer, this module can do four-voice counterpoint. The chord mode includes a variety of standard western four-voice chords (i.e., with a seventh degree), but also the ability to add custom chords that include microtones or dense tone clusters. It’s also more compact than the original, slimmed down to just 14hp.

The final module was the Bloom, a sequencer that could generate variations on the fly using a proprietary fractal algorithm. The amount of variation, from none to completely random, can be controlled dynamically via CV, as can the number of steps in the sequence, for quite a range of variety. And with two channels, it would seem to pair nicely the Chord.

As always, it’s fun to visit with Qu-Bit and see what they up to, especially as they are CatSynth superfans. And we look forward to seeing these modules out in the wild over the course of the year. The Prism is due in March, the Chord in late spring, and the Bloom in the fall.

Kwang Young Chun Aggregations and Infinite Blue, Brooklyn Museum

After seeing Kwang Young Chun’s Aggregations at Sundaram Tagore Gallery (read our review of that show), I knew I needed to check out his solo exhibition at the Brooklyn Museum. I expected more of the same style of abstract triangulated paper constructions, but on a larger scale. And I was not disappointed.

Kwang Young Chun: Aggregations. Installation view.

These large other-worldly constructions are formed from small tightly folded prisms of mulberry paper.  This thin and delicate paper is prized as an artistic material but also has mundane uses as wrappers.  Chun primarily sources his paper from old books.

Close-up of Aggregation 15-JL038 . Kwang Young Chun

The freestanding central piece, which I believe was Aggregation 15-JL038 (his titles all rather cryptic alphanumeric combinations), was particularly intense and seemed like a cratered surface of a large asteroid. The remaining pieces were wall-mounted, but still combined light and shadow, roughness and smoothness, in a similar way.

Aggregation 09-D071, Blue (2009)

There is something I find deeply captivating about Chun’s sculptures. They seem like something I might have generated on the computer, but they are made of paper. They seem solid and heavy, but fragile at the same time. I also liked the juxtaposition of blue with the otherwise grayscale elements. I found myself sitting in the middle of the gallery and contemplating each of them for a long time, longer than I usually sit with individual pieces on a whirlwind trip through a museum.

Aggregation 17-NV089 (2017)

Blue seemed to be the color of the day. Even before reaching Kwang Young Chun’s exhibition, I was greeted by Infinite Blue, a survey of art and design objects from the museum’s collection.

Installation view

I have long been drawn to blue – along with purple, it is a color I welcome into my own art and design, and one of the few colors that I wear. It’s also historically a rarer color and one that is not often found in nature (other than the blue tint of the sky and water). The exhibition goes through different places and periods of art and craft incorporating blue, often juxtaposing traditional objects with contemporary art. For example, the Chinese porcelain in the image above was paired with contemporary paintings by Chinese artist Su Xiaobai.

Su Xiaobai. Moonlight Halo, 2013.

I tend to be most drawn to objects that are more abstract and geometric. As such, the section featuring 19th-century American decorative arts did nothing for me. By contrast, I enjoyed seeing a Korean 19th-century porcelain bottle with 20th-century American designs in blue glass.

Installation views

I do, however, have a soft spot for fish.

The most powerful element tying the entire exhibition together was the opening piece, one of Joseph Kosuth’s neon text works 276 (On Color Blue).

Joseph Kosuth. 276 (On Color Blue), 1993.

And this is perhaps a fitting way to close this article. There was more to see and share from this visit to the Brooklyn Museum, but we shall save that for a subsequent article.

Rova Saxophone Quartet and Life’s Blood Trio at VAMP, Oakland

As 2018 draws to a close, we look back a recent show we saw at VAMP (vintage – art and music – for the people) in Oakland. It was the subject of our most recent CatSynth TV.

As one can see at the start of the video, it was pouring rain that night. And it did not let up for the entire evening. But that did not stop an intrepid collection of music lovers from settling into VAMP’s small and quirky space to hear two great ensembles.

Rova Saxophone Quartet

The venerable Rova Saxophone Quartet have been performing together for 40 years, so it’s not surprising that they have coalesced into a sound all their own. Each of the four members, Bruce Ackley, Steve Adams, Larry Ochs, and Jon Raskin, have their own character, but as a group they function as one instrument. This is true even during fast runs, as they did in the latter half of the set, and when various members drop out or “solo” for a section.

Life's Blood Trio

Rounding out the evening was the Life’s Blood Trio, led by Rent Romus (saxophones) and featuring Safa Shokrai on upright bass and Timothy Orr on drums. This is a version of the larger Life’s Blood Ensemble pared down to its essentials. But there is still a rich and full sound in the spartan setting, with the three members filling the full harmonic and textural space. Romus’ performance is always expressive and frenetic, filled with emotion. Shokrai played an amazing extended bass solo. Orr kept things grounded, including during a solo of his own.

VAMP is a bit of a performance in an of itself, with its odd collection of items for sale and a record collection that requires one to sift through and look for surprises. They’ve been holding on, even as Oakland changes in myriad ways. We look forward to seeing more music there – and perhaps playing there again – in 2019

μHausen (micro-Hausen) 2018

Today we look back at this year’s μHausen, a “micro-festival” of experimental electronics that takes place every summer deep at a secure undisclosed location in the Santa Cruz Mountains.  It was the subject of our most recent CatSynth TV episode.

As suggested in the video, I was thinking a lot about our natural surroundings as we made music with our thoroughly artificial electronic instruments.  The trees, the air, the light, all seemed to be of a piece with the music at times.  I also thought about the fact that I had not been able to attend the last three installments.  In 2015 and 2016 I had to cancel or decline because of medical issues, and I’m not sure what happened in 2017.  But I was back now and was great to see and hear everyone.

First up was Peter Elsea, recently retired from his longtime position as a professor of electronic music at UC Santa Cruz.  On this occasion, he performed with a small rig that included a modular synthesizer and an electronic wind instrument.

Peter Elsea

His set featured tones that were timbrally rich and often noisy, but still pitched.  This worked well with the wind controller which allowed the noisy tones to swell and fade musically.  But there were also some beautiful moments of quiet pure tones that evoked the natural surroundings.

Next up was Later Days, a project featuring Wayne Jackson with his iOS-based evolutionary synth  MendelTone, which allows patches to “breed” and evolve.

There was an urgent “machine-like” quality to the music, with low drones oms mixing with high swirls of sound and various percussive hits.  Wayne is also the founder of this event and often its leader, but this year he ceded organizing duties to R Duck (of the R Duck Show), who performed next.


[Photo by Later Days (Wayne Jackson)]

The first segment of his set featured beautiful drones of processed guitar. There were quick runs, but they were absorbed into the overall sound.  Over time, the tone and structure darkened, with more complex timbres and harmonies set against slow but anxious guitar riffs.  He also teamed up with Later Days to deliver his perennial incantation featuring chocolate.  (Did I mention that we at CatSynth love chocolate?)

Next up was synthesizer virtuoso Doug Lynner, who performed on a Eurorack-based Serge modular synthesizer.


[Photo by Later Days (Wayne Jackson)]

I have long come to expect very complex and intricate sounds from Doug, often set in a very sparse texture where one can clearly hear the details.  That was certainly the case in this performance, which opened with light sounds reminiscent of birds and whale songs.  It could have come from the surrounding woods rather than the synthesizer on stage (OK, the bird sounds could have, probably not the whale sounds).  After a period of rapid modulation, the music settled into a different pattern, with a contrapuntal texture of long ascending tones reminiscent of sirens.

Lynner was followed by Paul Nicholson who had a large Korg-centric rig that included both a Minilogue, an MS-20 and an SQ-1 sequencer among other instruments.

His opening piece was more traditionally harmonic compared to the preceding sets, with slowly changing harmonic patterns that evoked late-20th-century minimalism (think Steve Reich and John Adams).  The second portion of the set featured some harsher sounds and noise centered around Nicholson’s modular synth.

Then it was time for me to take the stage.  I brought a rig that included the large 9U modular, a Casio SK-1 and my trusty Moog Theremini.


[Photo by R Duck]

As with most of my recent solo work, I select one of my more formal compositions as a point of departure.  In this case, it was “White Wine”, with the melody set against one of the SK-1’s drum beats.  This them morphed into a broken and complex break of sound and eventually to a pure improvisation with the modular and theremin, though the beats never really disappeared.  As I was when listening to the other sets, I was thinking about the natural surroundings – in my case being the “city girl” mastering my place in space and sound, even if just for a few brief minutes.

The final set featured Lemon DeGeorge on harmonica and electronics.

Lemon DeGeorge

The harmonicas (like a true player of the instrument, he had more than one) added a unique dimension to the music, and the electronics followed with long breathy tones.  The sounds appeared to build up layers upon layers into something heavy and enveloping, but never overwhelming.  Compared to Nicholson’s sounds, DeGeorge’s lone tones and patterns were thoroughly inharmonic but no less beautiful or musical.

Overall it was a fine afternoon of weird electronic music in the woods, and not just for the music itself but for the fellowship with friends who I don’t get to see that often.   I remained in the mind space of the show, the environment, and the sounds for a while on the drive back, at least until reaching I-880 and heading first into Oakland and later home to San Francisco, where I snapped back into my everyday urban life.

 

New Video Review of Solo: A Star Wars Story

Our latest CatSynth TV episode features a review of the latest offering in the Star Wars franchise, Solo: A Star Wars Story.

The video has some spoilers in it, so we advise waiting to watch it until you have seen the movie.  For now, here are some non-spoiler takeaways:

  • The movie continues to fill in the storyline between Episode III and Episode IV, along with the Rebels TV series and Rogue One.
  • Donald Glover is great as Lando Calressian!
  • Star Wars does a good job with its gangsters and bar and club scenes, going all the way back to the Mos Eisley cantina.  There is no shortage of such scenes in this movie.
  • It’s a smaller scale story than the main movies or even Rogue One.  And force-wielders are less prominent than in any other movie or series.
  • Sadly, no cats.

We do recommend it for Star Wars nerds like us, as well as casual viewers. 😺

#KSW45 and CatSynth: A Personal History

As Kearny Street Workshop gets ready to celebrate its 45th anniversary, we at CatSynth look back in the many ways our histories have intertwined in the past decade, from a shy outsider writing reviews to becoming Board President!

In August 2009, I attended a guided tour of the Present Tense Biennial, an exhibition co-curated by the Chinese Cultural Center and an intriguing-sounding organization named Kearny Street Workshop – it seemed an apt name for organization hosting an exhibition on Kearny Street.  I wrote an article about it which was seen by the folks at KSW including then-executive-director Ellen Oh, who invited me to cover their flagship program APAture the next month.

I did go to several of the APAture programs, including the opening night and visual-arts showcase and the music showcase, writing more articles, making new friends, and probably drinking a bit too much.  This was an entirely new community quite apart from the experimental-music and jazz circles in which I traveled, or the other contemporary visual artists I was meeting.  I went on to attend KSW’s rollicking SF Thomassons Performance Tour in January 2010, and also befriend Truong Tran (himself a former executive director) at the opening of his first solo exhibition Lost and Found.

It was during these and other events that I became more acquainted with the history of the organization beyond the art and artists it was currently supporting.  I learned about the Asian American movement, about the history of the neighborhood from which KSW derived its name and about the fall of the I Hotel.  Kearny Street Workshop was not simply an arts organization, or eventhe “oldest organization in the U.S. focused on Asian American artists”, but a multi-generational group dedicated to local activism and community through the arts.  I became a regular donor and continued to attend events, including A Sensory Feast, and continued to write and share reports.  But in many ways, I was still an outsider looking in.

That all changed in 2013 when APAture returned after a four-year break and I was a performing artist for the opening night.

I performed an experimental electronic set with tabletop and modular synths and a dotara (Indian folk stringed instrument) for a large and diverse audience.  I felt more connected to the KSW community, but that was about to become even more so as then program director (and later executive director) TJ Basa invited me to get more deeply involved, recruiting me to join program committees, including the ever-popular Dumpling Wars.  This led to joining the board of directors in 2014.

During this time, KSW was in a process of rebuilding from its board down to its individual programs and partnerships, and returning to its activist and community-focused routes.  Under TJ and new programming manager (now Artistic Director) Jason Bayani we began to focus programming in this direction, including the resurgent APAture festival (which I performed at again that year).

[2014 Kearny Street Workshop / Antoine Duong]

Later that year, I became Board President and Chair as we grew the board into its strongest and most active team in many years.  It was quite an unexpected turn that I would never have anticipated when I first started attending events five years earlier.  KSW became a family, and I was now about as much an “insider” as one could be.  I learned a lot about individual and institutional fundraising, forging relationships with other groups, and the herding of cats that is a small and scrappy but ambitious arts non-profit.  But I still found joy in participating directly in events and writing reviews, including for last year’s APAture festival.  It coincided with the launch of CatSynth TV, and we featured the opening night and book-arts showcase in two of our early episodes.

Tomorrow night is our 45th Anniversary Gala, to be held at the Chinese Cultural Center, where I first encountered KSW nine years earlier.  In a way, it is coming full circle.  But instead of writing a review, I am writing a speech to recognize the 45 years and multiple generations of history.  If you are in San Francisco tomorrow evening and wish to join us, there are still a few tickets available for the general program.

 

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