Traci Bartlow In The News!
The Gallery Experience at B-Love's Guest House is in the News
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I am proud to be a part of an EMMY award winning documentary! 🏆
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If Cities Could Dance
Oakland Boogaloo: The Funk Freestyle Dance that Defined the Town’s Culture has won the San Francisco/Northern California Regional Emmy in Arts & Entertainment Short Form content! Here is what the director Spencer Wilkerson said about my contributions, 'Thank you for all you brought to the piece Traci! And for the foundational work you did to support the culture - over all the years that proceeded this.' |
World renown photojournalist Jamel Shabazz recognizes Ms. Bartlow's photography for Women's History Month.
Women Dancers Reclaim Their Power - KQED ARTS
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Traci Bartlow and dance partner Ray F. Davis are featured on the Frankie Manning Foundation website and San Francisco Chronicle.
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Mama we made it!
We were recently featured in Travel Noire in Deanna Taylor’s (@brokeandbroadlife) recent article “48 Hours in Black-Owned Oakland”. What a privilege to be share the page with Red Bay Coffee, Oakland Museum of California, Beastmode Apparel, Brown Sugar Kitchen, Betti Ono Art Gallery and Marcus Book Store.
Deanna writes, “Check in to your accommodation at B-Love’s Guest House. This Black-woman owned flat provides a chill and laid back environment for artists and business travelers to get a little R&R while in Oakland”.
We couldn’t have said it better ourselves! Click here to check out the full article and please share.
Mural by @trustyourstrugglecollective
We were recently featured in Travel Noire in Deanna Taylor’s (@brokeandbroadlife) recent article “48 Hours in Black-Owned Oakland”. What a privilege to be share the page with Red Bay Coffee, Oakland Museum of California, Beastmode Apparel, Brown Sugar Kitchen, Betti Ono Art Gallery and Marcus Book Store.
Deanna writes, “Check in to your accommodation at B-Love’s Guest House. This Black-woman owned flat provides a chill and laid back environment for artists and business travelers to get a little R&R while in Oakland”.
We couldn’t have said it better ourselves! Click here to check out the full article and please share.
Mural by @trustyourstrugglecollective
RESPECT: Hip-Hop Style and Wisdom exhibition at the Oakland Museum of California is named in the Best Museum Exhibits in the USA for the Summer of 2018!!!
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Check out this podcast Poli-Tea where I'm a special guest! Ify & Turquoise continue their "Spill the Tea" series, speaking with leaders making a difference in communities across the globe. Today's episode features Traci Bartlow, Creative Director. of Starchild Enterprise, dancer, choreographer, photographer, owner of B-Love's Guest House in Oakland, and agent for social change in a discussion on reconnecting Black people with the dance and music of the Harlem Renaissance and the African diaspora through Lindy Hop and other genres, creating a hospitality space for Black artists in a gentrified Oakland, and capturing hip-hop history in the bay area.
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I love the way my image is described in this article from the Eastbay Express. Be sure to check out RESPECT: Hip Hop Style & Wisdom at the Oakland Museum on exhibit now through August 12!
"Visitors to "RESPECT: Hip-Hop Style & Wisdom." a new exhibition at the Oakland Museum of California, first encounter a massive, black-and-white Traci Bartlow photograph of an underground rap gig in San Francisco. A performer bounds across the stage. Front-row attendees wear expressions of excruciating delight. "Before anything else, hip-hop was a party," goes the wall text. The picture of devotional fervor and sheer presence evokes the thrill of collectivity found in images of protests, which doesn't seem coincidental: Hip-hop, the show suggests, has a reciprocal relationship between the club and the commons."
Click the link HERE for the full article.
"Visitors to "RESPECT: Hip-Hop Style & Wisdom." a new exhibition at the Oakland Museum of California, first encounter a massive, black-and-white Traci Bartlow photograph of an underground rap gig in San Francisco. A performer bounds across the stage. Front-row attendees wear expressions of excruciating delight. "Before anything else, hip-hop was a party," goes the wall text. The picture of devotional fervor and sheer presence evokes the thrill of collectivity found in images of protests, which doesn't seem coincidental: Hip-hop, the show suggests, has a reciprocal relationship between the club and the commons."
Click the link HERE for the full article.
On March 30th I was one of the panelist in conversation with 3 other Hip-Hop luminaries on KQED's Forum radio program. Here are the guest:
Eric Arnold, journalist; consulting curator, Respect: Hip-Hop Style & Wisdom; communications director, Community Rejuvenation Project
Adisa Banjoko, president, Hip-Hop Chess Federation; principal consultant, Respect exhibition
Traci Bartlow, dancer; hip-hop dance scholar and photojournalist
Mystic, musician; Bay Area coordinator, Hip-Hop Caucus
Check out the full show here.
Eric Arnold, journalist; consulting curator, Respect: Hip-Hop Style & Wisdom; communications director, Community Rejuvenation Project
Adisa Banjoko, president, Hip-Hop Chess Federation; principal consultant, Respect exhibition
Traci Bartlow, dancer; hip-hop dance scholar and photojournalist
Mystic, musician; Bay Area coordinator, Hip-Hop Caucus
Check out the full show here.
Traci Bartlow is a featured artist in the Oakland Museums of California's upcoming exhibition RESPECT: Hip-Hop Style & Wisdom. She has a few images from her upcoming exhibition of 90's Bay Area Hip-Hop in the Oakland Museums show. One of her images is featured on the museums WEBSITE. You can also check out a mini profile of her HERE.
Be on the lookout for her exhibition of original fine art photographs, collages, and a podcast of short stories called, Oakland Picture Lady: Tales of a 90's Girl in the fall of 2018.
Be on the lookout for her exhibition of original fine art photographs, collages, and a podcast of short stories called, Oakland Picture Lady: Tales of a 90's Girl in the fall of 2018.
Starchild Dance #7 out 10 Best in Dance in 2015
San Francisco Chronicle
By Allan Ulrich December 21, 2015
10 best in dance 2015 (in chronological order)
1. “Giselle,” San Francisco Ballet (Jan. 29): Bolshoi-trained Maria Kochetkova gave us the complete character — the innocent peasant girl and the spirit who redeems from beyond the grave — and she broke our hearts in the process.
2. Kyle Abraham, “Pavement” (Feb. 19): A leading member of the younger generation of African American choreographers paints a movement portrait of contemporary urban life in all its malaise, indifference and cruelty.
3. “Dances at a Gathering,” San Francisco Ballet (Feb. 26): The revival of Jerome Robbins’ great romantic classic found the company ingratiatingly musical and emotionally vulnerable.
4. Alexander Ekman’s “Episode 31,” the Joffrey Ballet (March 14): This Scandinavian import exuded some of the zany cross-genre wit associated with the Joffrey of its vintage years.
5. “Promethean Fire,” Paul Taylor Dance Company (April 16): Even with the inevitable cast changes brought by time, this haunting response to 9/11 has remained Taylor’s most galvanizing and hopeful classic.
6. “Pupil Suitem,” Gallim Dance, Walking Distance Dance Festival (June 5): The local debut of this Brooklyn company, a kind of offshoot of Batsheva, combined far-out humor with a striking visual sense.
7. Starchild Dance, San Francisco Ethnic Dance Festival (June 13): Credit Artistic Director Traci Bartlow and Ray Davis for this snazzy re-creation of dances from the Harlem Renaissance, Lindy Hop and all.
8. “Broken Open,” Smuin Ballet (Sept. 18): Choreographer Amy Seiwert’s growing mastery in moving large groups of dancers is one of the best reasons to attend this chamber company’s performances.
9. Twyla Tharp’s 50th anniversary tour (Oct. 16): The veteran choreographer was back on form with premieres set to Bach and early American jazz, proving you can go home again if you have style.
10. DanceFAR benefit (Nov. 10): The performances from a starry roster ranged wide and generally thrilled, but it was the sight of the dance community rising to a universal challenge that impressed most. — Allan Ulrich
1. “Giselle,” San Francisco Ballet (Jan. 29): Bolshoi-trained Maria Kochetkova gave us the complete character — the innocent peasant girl and the spirit who redeems from beyond the grave — and she broke our hearts in the process.
2. Kyle Abraham, “Pavement” (Feb. 19): A leading member of the younger generation of African American choreographers paints a movement portrait of contemporary urban life in all its malaise, indifference and cruelty.
3. “Dances at a Gathering,” San Francisco Ballet (Feb. 26): The revival of Jerome Robbins’ great romantic classic found the company ingratiatingly musical and emotionally vulnerable.
4. Alexander Ekman’s “Episode 31,” the Joffrey Ballet (March 14): This Scandinavian import exuded some of the zany cross-genre wit associated with the Joffrey of its vintage years.
5. “Promethean Fire,” Paul Taylor Dance Company (April 16): Even with the inevitable cast changes brought by time, this haunting response to 9/11 has remained Taylor’s most galvanizing and hopeful classic.
6. “Pupil Suitem,” Gallim Dance, Walking Distance Dance Festival (June 5): The local debut of this Brooklyn company, a kind of offshoot of Batsheva, combined far-out humor with a striking visual sense.
7. Starchild Dance, San Francisco Ethnic Dance Festival (June 13): Credit Artistic Director Traci Bartlow and Ray Davis for this snazzy re-creation of dances from the Harlem Renaissance, Lindy Hop and all.
8. “Broken Open,” Smuin Ballet (Sept. 18): Choreographer Amy Seiwert’s growing mastery in moving large groups of dancers is one of the best reasons to attend this chamber company’s performances.
9. Twyla Tharp’s 50th anniversary tour (Oct. 16): The veteran choreographer was back on form with premieres set to Bach and early American jazz, proving you can go home again if you have style.
10. DanceFAR benefit (Nov. 10): The performances from a starry roster ranged wide and generally thrilled, but it was the sight of the dance community rising to a universal challenge that impressed most. — Allan Ulrich