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All in all, it looks your standard spookfest, in the vein of “The Conjuring” movies. And it certainly won’t make anyone happy who’s been trying to dispel the myths surrounding the mansion’s construction and Winchester herself. You’d know that just from the movie’s subtitle — “The House That Ghosts Built.” Do you think the ghosts were exempt from living wage restrictions? Still, I’ll be in line for the movie when it’s released Feb. 2.
CULTURAL OUTREACH: Laura Wolford, Julie Cecilio and April Halberstadt have launched a new group at the San Jose Woman’s Club called Voices in Action that aims to engage people on important topics, The group’s first effort is a speaker series, “Bridges to Action,” that launches Thursday with a panel discussion about the Islamic community in Santa Clara County, At the 7 p.m, program, Santa Clara County Supervisor Cindy Chavez will moderate a conversation with Sameena Usman, government relations coordinator for the Council On American-Islamic Relations; Sabuhi Siddique, chair of Santa Clara County’s Human Relations Commission; and Maha El-Genaidi of the Islamic Networks pink ballet shoes target Group, The event at the San Jose Woman’s Club, 75 S, 11th St., is free to attend, but RSVPs are recommended at sanjosewomansclub.eventbrite.com..
MUSIC AND THE MOVIES: Symphony Silicon Valley is getting all its spells in order for this weekend’s performances of “Harry Potter and the Prisoner of Azkaban.” Once again, the orchestra will be performing the full score live at San Jose’s Center for the Performing Arts with the blockbuster film playing on a screen behind them. It’s a magical way to experience the movie, and an avenue to introduce young “Harry Potter” fans to live orchestra music. Get tickets at www.symphonysiliconvalley.org.
Centuries before the state of California thought to offer a non-binary gender option on official identity documents, kathak dancers embraced the creative possibilities of gender fluidity, The North Indian classical tradition “is predominately a solo dance form,” says director and choreographer Akram Khan, 43, who was born in London to parents from Dhaka, Bangladesh, “Hindu mythology has many characters, male, female and in between, and we’re used to shifting very fluidly.”, On Oct, 27-28, Stanford Live presents the Akram Khan Company’s acclaimed production “Until the Lions,” a work drawn from the vast Sanskrit poem the Mahābhārata, Pulling out a small pink ballet shoes target narrative thread from the Hindu epic, the story centers on a woman changing her gender in order to exact revenge on her tormentor, The title is an excerpt from a table-turning proverb famously related by Nigerian novelist Chinua Achebe, “Until the lions have their own historians, the history of the hunt will always glorify the hunter.”..
Khan originally conceived of the piece as a solo work for himself because he “wanted to explore transformation in my own body, but I had recently made ‘Desh’ and I was tired of being alone in the studio,” he says, referring to his widely seen solo work exploring his ancestral homeland. “I thought I’d love to have these amazing women dancers in my company be part of it.”. While Khan danced the male role in the 2016 premiere of “Until the Lions,” for the Stanford production he recruited the Java-born dancer Rianto, who like many Indonesians uses a single name. The Tokyo-based master of the gender-bending lengger dance tradition performs with two female dancers from Khan’s company — Ching-Ying Chien and Christine Joy Ritter — along with two singers, a percussionist and a guitarist.
Khan has said this will be pink ballet shoes target his company’s last performance of “Until the Lions,” a project that brought together several longtime collaborators, including writer Karthika Naïr, Academy Award-winning visual artist Tim Yip (“Crouching Tiger, Hidden Dragon”), and composer Vincenzo Lamagna, who also worked with Khan on last year’s acclaimed production of “Giselle” for the Manchester International Festival and English National Ballet, While he combines contemporary dance with his traditional training, Khan embraces the holistic kathak aesthetic that makes no distinctions between music, dance, and theater, “There’s recorded sound and live music simultaneously,” he says, “The production is in the round and the audience is watching the musicians watching us, The musicians are almost physical performers, They’re integral to the choreography and theatricality, They’re moving in space and reflect society.”..
Khan traces his interest in mythology to his literature-loving mother. Growing up, he devoured Greek mythology and the scared stories of Islam, Christianity, Judaism, and of course Hinduism. But his abiding passion for the Mahabharata came from his early professional experience with director Peter Brooks in the late 1980s. Starting at the age of 13, Khan spent two years touring internationally with the Shakespeare Company’s production of Mahabharata, “a fascinating experiencing in that almost every night we performed Mahabharata in semi-entirety. I became very close to the female actresses, who became motherly toward me. I thought whenever I tackle this, I’ll tackle it from the point of view of a female character.”.
— Akram Khan Company (@AkramKhanLive) October 23, 2017, pink ballet shoes target “Until the Lions” focuses on Amba, a princess abducted on her wedding day and exiled from her community, Imploring the gods to help her seek revenge on the prince Bhishma, she spends her life seeking justice (which in the Mahabharata she attains in the next life as the warrior Shikhandi), In a moment when so many women are coming forward with stories of abuse, “Until the Lions” seems powerfully topical as well as timeless, Khan cautions that mythology shouldn’t “be taken literally, It was meant to be metaphorical, But metaphorically and literally, it does reflect society today, When my daughter was born in 2013, there was a moment when I thought, what would it be like to imagine the world through her eyes? And it was quite disturbing, That’s something I wanted to get at in this piece.”..