At the end of Kodomo no hi I am marveling at how many people are here to celebrate, at how many activities the Center has planned for the kids. I count on the event brochure: there are twenty partner organizations involved, including local businesses, community groups, performing arts groups.
James Watkins gives us more to think about than the City Council apparently has, in this open letter about the minimum wage proposal.
I’m a JA girl who celebrates Girls’ Day with mochi and pancakes, so I can’t expect authenticity in traditions. This year, as we took our young daughters, I couldn’t help feeling a certain nostalgia for a different kind of hanami, perhaps even a desire for a broader awareness of this tradition in Seattle.
So why celebrate? Part of the answer lies in presence: the desire to be connected with family, with some of the intentions of Girls’ Day: a day to wish the girls happiness in their futures: a day to sit around a table and share food. And yet part of why we celebrate Girls’ Day also lies in distance.
Rosalind Bell on directing: “What is on the stage now at Broadway Center For The Performing Arts is the gift of collaboration [that] Claude Purdy gave to me from the very first time I entered his rehearsal room (“Ma Rainey’s Black Bottom,” by August Wilson) at The American Conservatory Theatre in San Francisco, 1986, straight past 20 years and countless miles of working on words that matter.”
“When we tell stories, if we tell them well, our audience can’t help but imagine themselves in our shoes. That’s what story does, it creates a shared experience.”
Composer and performer Josh Parmenter discusses how he came to develop a software app for Phil Kline’s sound sculpture, Unsilent Night.
An open letter about the “most dangerous block in Seattle.” Or, call it privilege.
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