Francisco Graciano has been creating art in San José for as long as he can remember. His multi-disciplinary practices include sculpture, painting, music, and tattoos. His work centers on themes of evolution and human experience that follow a ‘continuous line’ and the many factors encountered through life that develop who a person may become. The ‘continuous line’ used to describe his wire sculptures is literally manifested in the unbroken materials he used to create three-dimensional impressions of the natural world, life, and society.
In May 2024, Francisco was commissioned by Montalvo Arts Center to design and fabricate a ten-foot-tall hummingbird as part of their 2024 Marcus Exhibition. The exhibition, “A Path Forward: Honoring Ohlone Land & Spirit,” is a collaborative project led by our lead artist, Charlene Eigen-Vasquez, in partnership with the Confederation of Ohlone People and Santa Clara County Parks, dedicated to acknowledging and celebrating Ohlone Territories. Featuring a permanent pathway enhanced with augmented reality (AR) elements created by Jesus Rodriguez and Graciano’s hummingbird sculpture, the project will open on July 19th at the Montalvo Arts Center as part of “Future Dreaming,” an exploration of themes related to indigeneity. “Future Dreaming” will have its opening exhibition alongside “A Path Forward” and will also showcase works by Beatriz Cortez, including “Ilopango, The Volcano That Left” and “Cosmic Mirror,” Rayos Magos’s “Te Veo, Te Escucho, Te Honro,” and newly commissioned pieces by Ana Teresa Fernandez, such as “Circuitry” and “Pulse.”
Join Graciano and Montalvo Arts Center on Friday, July 19, 6–10 pm for their 2024 Marcus Festival, which celebrates the opening of their new outdoor art exhibition, Future Dreaming…A Path Forward.
Mariachi music has existed for decades in its current form, and it is an important part of Mexican culture and folklore. Their signature charro costumes and sombreros are iconic, and the traditional songs serve as a type of Mexican oral history. Learning to be a mariachi is a skill often passed down from one generation to another with great pride and reverence.
It is common to hire a mariachi group to celebrate family events, religious holidays, and other important occasions. While there are many mariachi groups all over Northern California to choose from, many people consider Mariachi Azteca to be the area’s finest.
The San Jose-based Mariachi Azteca was formed in 1981. Besides performing at private and public functions, Mariachi Azteca members also teach music lessons
to students of the San Jose School of Arts and Culture at the Mexican Heritage Plaza. The group, led by musician Juan Diaz, is made up of six members, though sometimes they perform with additional musicians.
There’s no need to wait around for the San Jose Mariachi Festival to catch a Mariachi Azteca performance, where they are the host mariachi group. Just head over to Tacos al Carbon on Story Road every Saturday and Sunday night at around 7:30 for dinner, and you’ll also be treated to a mariachi performance.
It’s not surprising that Keith Hames named his performance ensemble Akoma Arts. The Akan people of Ghana call the human heart “akoma.” This word represents not only love, but patience, tolerance, faithfulness, goodwill, and unity. These are his values and the ethos of his West African ancestors.
Since childhood, Hames has sung gospel and soul. At 12, he began playing the drums and forming bands, and while he may have come to San Jose for college, he stayed for the music. While raising a family with his wife, Melody, Hames worked as an art director for tech companies and performed with reggae, blues, and gospel groups. In the late 1970s, Hames became a devotee of the drum. He got hooked when he saw a group playing traditional West African music at San Jose City College, and in the 1990s, he joined Jaliya, a West African music troupe. In 2011, he and eleven others started Akoma Arts because they wanted to perform more and teach drum and dance classes.
Since 2011, Akoma Arts has used hundreds of performances, classes, and workshops to entertain and promote African music and culture. Twice a week, Hames holds drum and dance classes at the Alma Community Center in San Jose. The ensemble performs at community celebrations, civic events, weddings, museums, and at Santa Clara County Juvenile Hall. The East Side Union High School District brings Akoma Arts to their schools for assemblies and workshops.
The ensemble’s musicians play the ancestral music of West Africa on Ghanaian hand drums, bells, and rattles, accompanied by the group’s dancers. The heart of this music’s percussion is the djembe—a large, goblet-shaped, goatskin drum. The djembe’s name comes from the Mande phrase “anke djé anke bé,” which means “everyone gathers together in peace.”
In 2016, the School of Arts and Culture at Mexican Heritage Plaza gave a fiscal sponsorship to Akoma Arts, providing its 501(c)(3) nonprofit status to the group. Tamara Alvarado, executive director of the School of Arts and Culture, says this decision was a “no-brainer.” Alvarado is also a member of Calpulli Tonalehqueh, an Aztec dance and cultural diffusion group that holds classes and ceremonies at Mexican Heritage Plaza. “Keith’s a healer, he’s our trusted elder, and he is crystal clear,” says Alvarado, “that ceremony, culture, identity, resistance, and solidarity must be key in our lives if we want to make this world better.” Alvarado adds, “We are all ceremonial people. You’ve got your emails, your laptops, cell phones, and all those things, but if you don’t connect with some form of ceremony, you lose your humanity.”
Alvarado and Hames agree that Akoma Arts and Calpulli Tonalehqueh share a calling—the revival of their ancestors’ indigenous spiritual and cultural traditions. They were largely lost in the 15th through 19th centuries, when Europeans conquered Latin America and began a transatlantic slave trade.
Akoma Arts’ mission is to bring people together and create community through drum, dance, and song. “We engage our audiences and get them up to dance,” says Lisa Gains, Akoma Arts’ dance director. “They realize that we’re sharing our culture, and that breaks down barriers between us.” Akoma Arts engages young audiences by showing them how to dance and play the drums. This often introduc-es African American students to their African heritage for the first time. “Many of them don’t feel seen,” says Gains. “We have impact—we plant a seed and give them something they can hold on to, something to be proud of.”
Hames believes that traditional West African music can help people. He says that experiencing it promotes mental balance and can unify a group of strangers. When he sings and plays his djembe, he connects spiritually with his ancestors, and that’s a conduit to worship and well-being. This connection is available to everyone, which is why he’s so passionate about sharing it. “We’re stewards of African music, culture, and connection,” says Hames. “We’re sharing these songs, and we’re sharing an experience that opens your heart.”
The article originally appeared in issue 10.2, “Sight and Sound,” 2018.
Tiye Garrett began dancing professionally with the West African dance group Akoma Arts, founded by Keith Hames. When Akoma eventually closed its doors, Garrett tried to fill the void by dancing alone. She quickly realized she needed to share her expression, and the community felt the same way. She founded Kuumba LLC in 2022, emphasizing West African Dance and rhythms, community, and providing spaces for creativity to thrive.
‘Kuumba’ means creativity in the African Language of Swahili and is the sixth principle of the annual celebration of Kwanzaa. That sixth principle guides followers ‘to always do as much as we can, in the way we can, to leave our community more beautiful than when we inherited it.’ That meaning exemplifies Kuumba’s purpose in promoting self-care, fitness, educational growth, and overall wellness through body movement. Kuumba works to create spaces where all are welcome, where there is a sense of belonging, connection, health, and serving others.
Join Kuumba at Creekside Socials on Friday, July 12, 6-7 pm for an educational West African dance session with live drumming. This welcoming space nurtures connection and belonging, fostering community health. Dance with them and celebrate diversity as they embark on a fun, educational fitness journey. RSVP Here.
Kimberly Snyder developed a love for creative artmaking from a young age and was inspired by sewing and crocheting with her grandmother. Her passion for art history began with classes at the University of Santa Cruz (UCSC), where she explored the narratives, historical contexts, and rebellious nature of some artworks. These combined interests eventually led her to a career in art museums.
Snyder began her journey at NUMU as a curatorial intern in 2014. She has held various positions before, most recently becoming the executive director. Through her work at the museum, she discovered a love for building connections with volunteers, members, and staff while spotting their potential contributions to the organization. Over the past ten years, Snyder has seen the growth of programs such as NUMU’s Annual Juried High School ArtNow Exhibition. This educational program provides student artists real-world experience by participating in a juried museum exhibition.
As executive director, Snyder aims to bolster NUMU’s community presence and elevate its Bay Area profile through strategic programming. She envisions the museum as an interactive hub that continues to engage with Los Gatos’s history. She hopes to enhance existing programs, such as establishing a council of teachers and producing an ArtNow retrospective exhibition celebrating the program’s impact on students.
In our conversation, we discuss Snyder’s journey to becoming NUMU’s executive director, her experience as a mother, her hobbies, which include cooking and bringing folks together, and the words she tries to live by: “It’s not about waiting for the storm to pass; it’s about learning to dance in the rain.”
Join New Museum Los Gatos for its upcoming “Boundaries: the 4th Annual Experimental Exhibition,” produced in partnership with genARTS Silicon Valley and opening on July 19.
OPEN HOURS Apr-Oct THU – SUN 10 AM-4 PM Sep-Mar FRI – SUN 10 AM-4 PM
A (Still) Life of Avocados, Lemons, Oranges, and Strawberries.
The morning before an art event, you might find James Mertke unloading the Tetris puzzle of art pieces and display shelves from his car. It’s been a little over a year since James started participating in art markets, and although he’s still learning the ropes, he’s grown a lot since his first event. He’s created an eye-catching display with hand-painted signage and a variety of shelves.
James can’t remember a time he wasn’t painting. He loves pushing color vibrancy and emphasizing shadows. “I’ve landed on acrylic paints because I enjoy the vibrancy that can be achieved and the fast drying times that encourage me to work quickly and deliberately.”
Talk with James for a few minutes, and you’ll find there’s a story behind each brightly colored still life—sliced fruit, donuts, Botan Rice Candy, strawberry “grandma” candies—simple and happy childhood memories captured on canvas. “That’s one of my favorite things about the things I paint. Just on the surface, it’s a lemon to someone. But when I tell them the story about the lemon tree, maybe they’ll share something about how their grandparents had a lemon tree that they remember.”
During high school, academics became the priority while art took the back burner. James discovered a love of mechanical engineering in 2018 at Santa Clara University. Practicing art became something reserved for weekends at home. But when many doors closed during the pandemic, a door opened for James to pursue art. Commuting time could instead be dedicated to painting.
Looking for new ways to practice his craft, James noticed a 100-day painting challenge on Instagram. Over the summer, he painted a new piece every day for 100 days in a row. With a time constraint, he spent less time adjusting the same painting and simply applied different techniques to his next piece. The subject of his paintings also shifted. “Before the pandemic, I was mostly painting ocean scenes…I would take reference photos when I went to Santa Cruz or Monterey…When the pandemic happened, I started transitioning to the still lifes because I was looking for things around my house to paint.”
A prevalent subject in James’s art is lemon slices. He finds eye-catching glassware from the thrift store, arranging and rearranging lemon slices around them to get the right reference shot. James details the strong shadows and vibrant yellows in his art, but the connection behind the lemons is personal and sweeter. The lemons come from the tree in his grandpa’s backyard. “I always say it’s a giant lemon tree, but it’s a dwarf one—I’m taller than it—but it’s the most prolific thing,” he says. His grandpa remains one of James’s biggest supporters and is always thrilled to offer him lemons. After an art market, James will call him to share how it went. “He likes hearing when I make a sale…he’ll be so excited and smiling all the time.”
After the 100-day challenge, James improved his skills—and his inventory. “I had boxes and boxes of paintings.” He made it a project to get himself into events and shows to sell his work. Since James didn’t study art or take any art classes, he didn’t naturally find himself surrounded by an art community. He’s worked to find community by joining his school’s art club, frequenting art events, and exchanging art pieces with new friends. The art community he’s found is extremely supportive. “Art is about abundance. There’s not limited space for all the artists,” he explains. “The more art people create, the more opportunities people create for people to appreciate art, and the more people appreciate art, the more people will want to support artists.”
Early this year, James was invited to show his work at the Elliott Fouts Gallery in Sacramento. His pieces have been curated into an exhibit titled, The Still Life. James also connects with the local community for opportunities to display art at businesses like Voyager Craft Coffee and Fox Tale Fermentation Project.
Recently, James introduced mechanical engineering pieces into his work by snapping reference photos in the machine shop for mechanical engineering–themed paintings. He submitted a series featuring LED lights, electrical resistors, and 3D-printed items to an art show sponsored by the School of Engineering at SCSU to celebrate the art of engineers. The paintings were acquired by the Department of Mechanical Engineering and now hang in the office.
Mechanical engineering and painting used to be two unrelated interests, but James has found they go hand in hand. “I’m an artist and engineer. I feel like when people think of engineering, it’s all math and logic…but I also like expressing my creative side,” he says. “Engineering is creative too, in a different way. I think engineering and art coexist and create some really cool combinations.”
The current San José Museum of Art Exhibition, Seeing through Stone, is on view through Sunday, January 5, 2025.
The stories told by museums hold profound implications for how society understands history and power dynamics. San José Museum of Art Chief Curator Lauren Schell Dickens has partnered with The Institute of the Arts and Sciences at the University of California, Santa Cruz, and Santa Cruz Barrios Unidos to curate the museum’s current exhibition, “Seeing through Stone,” part of their ongoing Visualizing Abolition series. At the heart of this project lies a critical examination of the agency wielded by artists, activists, and institutions in imagining a world without prisons.
Seeing Through Stone challenges dominant narratives surrounding incarceration and stands as a testament to the power of art in confronting societal injustices. Featuring the works of 80 artists, It delves into themes of prison abolition, offering a platform for marginalized voices and a vision for creating a world beyond prison walls. Through poignant imagery and evocative installations, artists provoke viewers to confront the harsh realities of the prison-industrial complex while envisioning a world free from the constraints of incarceration. By centering the experiences of system-impacted individuals and their allies, the exhibition aims to spark dialogue and catalyze action toward dismantling oppressive systems.
Visualizing Abolition extends beyond the confines of the museum walls by fostering networks between abolition activists and artists. Through public programs and engagements, they seek to deepen community involvement and amplify the voices of those affected by incarceration.
Lauren Schell Dickens, most recently featured in Content Magazine Issue 15.4, “Profiles,” was born in the South Bay and raised in Sonoma County. She received a BA in American Studies from Yale University and an MA in Modern Art History, Critical Studies from Columbia University in New York. Her original interest in lighting design for theater arts set the stage for her interest in the work required when sharing an artist’s work. As a curator, Lauren weaves together the voices of artists, creating narratives that hopefully have a transformational effect on viewers.
In this conversation, we discuss Lauren’s Journey to becoming a curator, the transformative potential of art in fostering collective imagination and social change, the importance of artists in challenging normative representations of prisons, and specific installations that guests should look out for.
Join The San José Museum of Art on Friday, June 21, for live musical performances that will activate the artworks in SJMA’s exhibition “Seeing Through Stone” in collaboration with the City of San José’s Make Music Day Celebrations. Acclaimed composer and theorist James Gordon Williams, assistant professor of music at UC Santa Cruz, will perform an improvisational piece using a sculpture by interdisciplinary artist Maria Gaspar made of iron bars from the Cook County Department of Corrections, the largest single-site jail in the US. Experimental composer and visual artist Guillermo Galindo will perform a piece on his artwork, Llantambores, an instrument made of materials found at the US-Mexico border.
Born in Lexington, Kentucky, and raised in San Jose, California, internet sensation DaQuane Fox, better known as Flammy Marciano, tends to be ahead of the curve when it comes to gaming, streaming, and even music. He began his music career in the late 2000s under the name Young Marvel before releasing viral songs such as ‘Jerry Rice’ and ‘Mood Right Now’ in the early 2010s under his current moniker, Flammy Marciano. Along with blending humor into his raps, Marciano has pioneered gaming and streaming into his musical career, building a large fanbase on platforms like Twitch and YouTube.
Marciano credits his love for music to his late uncle, Sultan Banks, widely known as Traxamillion. This love for music and relationship with his uncle led to Marciano’s passion for entertainment outlets that resemble television and cinema. Marciano gets deep when discussing how fatherhood has molded his life and impacted his career. Despite gaining recognition in a modern world that rewards being ahead of trends, Marciano never strays from his affinity for television shows of the 1970s and anime of the 1990s. His current success as a public figure has made his potential to become an internationally recognized influencer a real possibility.
In addition to being a father, rapper, and streamer, Marciano founded his record label, 88 Entertainment, and continues to release music that displays his evolution in sound. His upcoming project, currently referred to as ‘Yourself’ (final title pending), will be released in late Spring 2024. However, Marciano has released several exclusive early-cut tracks on Patreon before the final release.
In this conversation, we discuss Flammy Marciano’s journey as a rapper, streamer, and father, the inspiration behind his work, and the evolution of his career. You can find Flammy Marciano on all major music streaming platforms, Twitch and YouTube @flamgawdfaming, and Instagram @flammymarciano.
Host Troy Ewers is a journalist and personality from Southside San Jose, CA, with a background in music, film, and sports. Hey aims to highlight art and culture through music, fashion, film, and sports. Check out Troy Ewers on the Content Magazine Podcast, Instagram @trizzyebaby, and YouTube @topkatfilms.
Since its founding in 2018, Chopsticks Alley Art has been a platform that elevates the perspectives and cultures of Southeast Asian Americans through a blend of cultural events, traditional art forms education, and carefully curated gallery exhibitions. The programming at Chopsticks Alley Art has provided a voice for young artists and empowered them to create positive changes within their communities.
Trami Nguyen Cron, author and visionary behind Chopsticks Alley Art, has a personal connection to the organization’s mission. Growing up amidst a tapestry of diverse world cultures, she experienced the struggles of Vietnamese immigrants fleeing post-war Vietnam. Her journey as a Vietnamese American, chronicled in her work, is a testament to her commitment to empowering her community and reclaiming their narrative. Trami’s inspiring story has been featured in episode #31 of the Content Magazine Podcast and Issue 12.2, “Sight & Sound.”
Bree Karpavage and Ann Hazels are breathing new life into the Santa Cruz art scene.
First Friday Santa Cruz is celebrating its 20th anniversary in 2024. As part of the celebration, First Friday Santa Cruz and Radius Gallery, also celebrating their 10th anniversary this year, have teamed up to host an exhibition entitled “Changing Spaces,” opening on the First Friday in June. “Changing Spaces” features the work of 39 artists and is an homage to this monthly event that presents both emerging and established artists showing in small businesses, galleries, and art spaces across the county.
Radius Gallery was founded in 2014 by Ann Hazels to create a space for contemporary art with an edge. As a commercial gallery, Radius partners with other regional arts organizations while maintaining its vision for curation and creating a platform for local artists. A practicing artist herself, Hazels believes in the power of art to change the world and works hard to create shows at Radius that resonate with visitors, knowing artists are working just as hard to make the same things happen.
Bree Karpavage, the new face of First Friday Santa Cruz since 2020, has injected fresh energy into the organization. Her focus has been on uplifting venues and artists, all while fostering a sense of community. Karpavage’s vision for First Friday Santa Cruz extends beyond downtown or traditional art galleries. She envisions it as a platform that showcases the artistic talent of the entire region. First Friday Santa Cruz is a bridge that connects the community to art and small businesses, firmly believing in the transformative potential of art experiences.
In this conversation, Ann and Bree discuss the business of art, their own art practices, advice for emerging artists, and what they hope audiences take away from their work.
Be sure to attend First Friday Santa Cruz on June 7 and check out the opening of “Changing Spaces” at Radius Gallery. This exhibition celebrates 20 years of First Friday and features the work of 39 artists. It is an homage to this monthly event, which presents both emerging and established artists showing in small businesses, galleries, and art spaces across the county.
Kathryn Dunlevie has always possessed a magical perception of the world around her, even before she became an artist. Growing up all over the United States, Dunlevie developed a deep appreciation of what gives a particular area a sense of place. Nowadays, her artworks a connecting thread, bringing disparate places and ideas together in what she describes as “hazy vignettes are woven together.” She photographs the locales of her travels and sits on the pictures until she begins the process of collaging. Then, in construction, she finds a method of arranging her photos that poignantly displaces the observer’s sense of time and place. Being an artist located in Silicon Valley, Dunlevie is often inspired by San Jose’s diversity—not only in viewpoint but in its sense of locality. Given the difference in age and style that many San Jose neighborhoods possess, she believes that you can walk down the street and enter into a new world entirely. Alongside the San Jose art community, she happily stands with, Dunlevie’s work captures the ever-changing world we find ourselves wandering in.
“I have a fascination with history. I’ve always been riveted by old places, as if I can feel them. I’m always collecting images and trying new ways to combine them. My assignment to myself is to experiment with new approaches and see what ideas take shape. When something catches my eye, I grab it, often without any idea of where it will fit in. As for the themes of my projects, that inspiration finds me.”
At first glance, the Space Palette might appear to be an alien device. It consists of a large, oval frame filled with a series of holes (4 large and 12 small). If only observed, its function will remain a mystery. However, once you physically interact with the object, its purpose is revealed. By passing your hands through the smaller holes, different musical sounds are selected, while passing your hands through the larger holes allows the instrument to be played. Multicolored, abstract graphics on a nearby screen visually reflect your choices. Though the origins of the Space Palette may seem extraterrestrial, it is actually one of Tim Thompson’s many interactive installation pieces.
How would you describe your artwork?
Before 2002, I was a musician who developed nerdy software for algorithmic composition [the creation of music through the use of algorithms] and real-time musical performance [music performed through immediate computer responses]. This software was a platform for my creativity.
Since 2002, the first year I went to Burning Man, I’ve been developing interactive installations and instruments as platforms so others can be creative. Burning Man provides powerful inspiration, virtually unlimited and uncurated opportunities, and a large appreciative audience for interactive artwork. While music is still a key aspect, my artwork has expanded to include graphics, video, and physical structures.
Three-dimensional input devices are particularly interesting to me. Using a 3D input device can be as transformative as using a paintbrush instead of a pencil. The potential for 3D input in uniquely expressive instruments is exciting and only beginning to be realized.
You often combine art, technology, and music. What are some of the challenges of working with these mediums?
Dealing with complexity is a primary challenge. My installations are often intended to be “casual instruments” that can be enjoyed immediately, analogous to “casual games,” like Angry Birds. A simple interface is key to this, but simplicity shouldn’t limit an instrument’s creative use or depth of expression. I often make a comparison to finger painting—one of the simplest creative interfaces around. No one needs to be taught how to finger paint. A child doesn’t even need to be able to hold a paintbrush. Yet [finger painting] allows a depth of expression that can satisfy any artist. One of my most successful pieces is the Space Palette—its interface can essentially be described as finger painting in mid-air, where the “paint” is both visual and musical.
“Using a 3D input device can be as transformative as using a paintbrush instead of a pencil.”
Tim Thompson
In technology-based artwork, a simple interface usually corresponds with a great deal of underlying complexity. I have a lifetime of programming experience, so I’m well-prepared to deal with that complexity. I sometimes use a complex interface to contrast and complement a simple interface, incorporating both in the same artwork. The more challenging aspect for me is selecting the type of technology to use. New sensors and displays are being invented at a dizzying rate. It’s easy to find yourself always investigating the latest technology and never finishing anything. Deadlines work well to combat this tendency, and events like Burning Man make excellent deadlines.
What does being creative mean to you?
Being creative means creating something that didn’t exist previously, which applies both to me and the people using my installations. Up until recently, most of my efforts involved creating music and software out of “thin air.” With the help of TechShop San Jose, being creative with physical things is becoming easier and easier.
What are your plans for the future? Where do you think your work is going next?
I have been using and exploring three-dimensional input devices for over a decade. I will continue to explore their potential for the foreseeable future, in both casual and performing instruments as well as installations. I’m particularly looking forward to using the Sensel Morph, a new pressure-sensitive pad being developed in Mountain View.
What response are you hoping for when someone interacts with your art?
I want people to realize that they are in control and are creating their own art and experience, especially if they haven’t previously considered themselves a musician or otherwise creative. Most instruments require a long learning curve and finger dexterity, which are barriers to entry for creativity. My casual instruments attempt to break down these barriers without sacrificing the potential for expressiveness or creativity. The response to the Space Palette has been particularly gratifying. The most common things I’ve heard as people walk away from it, smiling, are: “I want one in my living room” and “I could stay here all night.”
Born in Mexico City and currently based in Silicon Valley, Taryn Curiel’s passion for art has been with her since early childhood and has culminated in a body of work filled with sensation and enigmatic energy.
Techniques involving texture, lines, and a muted color palette help her in her signature use of the figure with abstract elements. Her medium is watercolor, but in her own way. With continued experimentation, she is always learning and exploring but remains true to her overall mission: to intrigue the viewer.
Silicon Valley Open Studios 2024 takes place the first three weekends of May and showcases the studios of over 200 Silicon Valley Artists. Weekend three, May 18-19, will be hosted in the South Bay. Thirty-three artists at The Alameda Artworks in San José, including abstract watercolor painter Taryn Curiel, will open their studios to guests on May 18 and 19.
K nown simply as “Manik” to most, Dalton got his nickname while digging through his mother’s record collection as a kid. Jimi Hendrix’s 1967 album Are You Experienced caught his eye, and the song “Manic Depression” altered his name forever. Born and raised in San Jose, Dalton describes his love for downtown: “Skaters, indie bands, hip-hop, punks—it was a very colorful underground scene. You could have one conversation with someone, and your ideas could spark exponentially.”
That kind of exponential spark has inspired Dalton’s most recent work. He explains, “During the pandemic, everything slowed down. That was my opportunity. I give it up to Francisco Ramirez, a friend and fellow artist. I would always start pieces and never finish them. It was great to see the process, but Francisco nudged me [with], ‘You should do a show. You should do more,’ got me to start painting backgrounds and framing pieces.”
As his nickname would suggest, Manik’s creative pursuits span multiple genres and disciplines. By day, Dalton is a craftsman, woodworking for his family business, Heritage Mill Work. He approaches his day job much like his art: “Definitely creative, but sometimes I am limited to what the client wants. I function as a manager, laborer, designer, quoter, sales, all of it.” Most of his art installations are framed in exotic wood, which he stains himself, explaining, “I am a builder, so I mixed the stains, and the frames are handmade with alder and poplar. If you don’t frame pieces with something nice, they lose some of their impact.”
Dalton’s artistic philosophy blends cultures of sight, sound, and spirituality. In his most recent work, he attempts to harness “something spontaneous, perfect, but perfect because it is organic. I came up with a concept called OCTMO, organic creations through mechanical operations. The perfect circle, a ray of light, waves, you see all of these things in nature.” Using his trade skills, he creates massive mechanical spinning turntables to spin his canvas. Once the mechanical processes are fabricated, he relies on meditative intentions, themes, and intuition to guide his painting. He explains, “I play really loud music, and most of the time, I start from the center. I like going with a theme when picking colors, but I also love seeing one color after the next pop, contrast, and move against the others. It never gets old. I try not to think about it too much. Just do.”
Meditation fuels the work Dalton calls “Circle Metaphysical”—his methodical practice of painting one circle after the next allows him the opportunity to zone in on the present. He explains, “Yeah, it’s hundreds of colors, but one hundred colors are nothing when you meditate.” Dalton hopes his introspective process is communicated to those who view his work, but he understands that each person will react differently, explaining, “It’s a vibe, a feeling. The colors are vibrations. Is it sucking you in, or is it blowing you out? I prefer to lightly focus on a piece and feel the pulse. If I am in a bad mental state, I might feel differently about all these colors.”
When Dalton is not painting in his warehouse or working his day job, you can find him in the studio creating ambient new-wave music, producing reggae, or hosting a Sunday morning radio show on KKUP. Dalton is currently recording his own ambient music: “I have been working on a huge arsenal of sound for years. I want to do large, colorful installations of interactive art and music. Step on the ground, and it makes a noise. Sit on a rock, and it twinkles.” Dalton’s upcoming plans are to explore color theory, collaborate with small businesses, and paint murals. “I can’t spin a wall, so I will have to work backward in my process. There are a few different ways I have worked out. I think the bigger the circles, the bigger the impact.”
Matt Kelsey, Printers’ Guild Member & Jim Gard, Chairman of the Printers’ Guild
For twenty-two years, volunteers at the San Jose Printers’ Guild have kept the art of printing alive.
In a world where books can be downloaded in digital format and sending messages is as easy as tapping on a phone screen, Jim Gard, chairman of the Printers’ Guild, and guild member Matt Kelsey, shed light on how the printing press serves as a reminder of the days when communication required a concentrated effort and skilled craftsmanship.
Jim, you have been with the Printers’ Guild since the beginning. Could you share a little history on how the Printers’ Guild came about?
Jim: The Print Shop exhibit opened in the ’70s, and although the San Jose Historical Museum had some volunteers, they worked independently and lacked organization. In 1992, the museum staff, as well as some of the printers, met and formed the Printers’ Guild to provide consistent printing demonstrations to the visiting public. From then on, the group has met monthly, maintaining a shop volunteer schedule, creating, printing exhibits, and repairing and acquiring equipment.
What types of equipment are used in the Print Shop?
Jim: Letterpress. We have small, table-top Kelsey presses, a Chandler & Price Pilot press, and some cylinder proof presses. But our main attraction is the F.M. Weiler Liberty press, circa 1884. This heavy floor model press gives visitors a close-up look at the workings of a treadle-powered “jobber.”
What are demonstrations at the Print Shop like?
Matt: Members of the San Jose Printers’ Guild continue to practice the skills mastered by printers of old, using some 200 cases of metal and wood type, including many rare and antique designs. The best experience, though, is when we put the Pilot press right up to the railing and let visitors operate it themselves.
Matt, you are the lead organizer for this year’s Bay Area Printers’ Fair, an event that celebrates letterpress printing and related arts. Does this event bring us back to the roots of graphic design?
Matt: Yes, the Printers’ Fair takes us back to the time when the printer was the graphic designer. The printer knew what sizes and styles of type were available in the shop and knew how to combine them to create the right look for the customer. A lot of graphic designers today really enjoy getting away from the computer and getting back to the roots of handling handset type and impressing ink into paper instead of manipulating pixels on a screen.
For visitors and Guild members alike, I am sure there is a bit of nostalgia that one feels when observing and participating in the printing process. What do Guild members and visitors take away from this shared historical experience?
Jim: The Guild brings together these enthusiasts with a purpose, which they can share with each other and the public.
Matt: Guild members enjoy keeping alive the “black art” using the same basic technology pioneered by Gutenberg over 500 years ago. I have taught a number of workshops at the Print Shop, and I am always energized by the enthusiasm and creativity of the students. In one day, they learn to handset type and arrange a short poem or quotation into an attractive layout. Everyone goes home with a feeling of creativity and accomplishment.
With technology constantly advancing, what does the art of printing serve as a reminder of?
Matt: The museum Print Shop replicates a typical print shop of the early 1900s, where local businesses would go when they needed flyers, stationery, business cards, labels, and myriad other forms of ink on paper. Now we think of a “printer” as a machine connected to the computer, that quickly produces copies on command; a hundred years ago, a “printer” was a skilled craftsman who consulted with the customer about their printing needs, found the right sizes and styles of type to design and compose the text from handset metal type, printed a proof for the customer’s approval, and then carefully prepared the job for press.
Jim: The art of printing serves as a reminder of the labor that was once involved in communication. With all this handset type, there used to be a lot more people involved: specialists in typesetting, press operation, proofreading.
Matt: It is a reminder that, back then, printing was an act of freedom. In the words of journalist A. J. Liebling, “Freedom of the press is guaranteed only to those who own one.”
Article originally appeared in Issue 6.2 “Device”
Print Version SOLD OUT
Wisper’s life resembles an uncanny stack of page-turners. Conversations with him dredge up metaphors, tuned specifically to the relationship between identity and outcome. Subjective as art and truth may be, the sublime coincidences within his experiences hint at more.
As teenagers, Wisper and his best friends—Sno, Poe, Shen Shen, and Bizr—formed the intersection of two arts groups: Together We Create, a collective of muralists (est. 1985), and LORDS Crew (Legends of Rare Designs, est. 1986), a graffiti crew whose members grew out of San Jose and drew international attention. For this tight group of young, talented artists, the potential for fame was palpable. But certain threads split the chapters of their lives into unraveled dichotomies. For Wisper, a path of criminality handed him a prison sentence of 26 to life—ultimately, an unknowable length of time for truth, beauty, justice, and their rivals to battle through his mind like restless gods.
He vividly remembers the first time he caught injustice red-handed. As the middle sibling in his mother’s home at the time, it baffled him that after his father’s death, social security payments owed to his mother—$300 per child—couldn’t bring the family clothes, food, or rent installments. He and his brothers were eating rice every day that summer. Then one night, as he performed his usual chore of cleaning his stepfather’s car, he found Burger King wrappers. Claims didn’t match the evidence.
“If you can learn how to operate from a place of peace while creating art, you can learn how to operate from a place of peace in all aspects of your life.” _Wisper
There was little he could do about it, other than rebel. As a creative kid with a knack for detail, Wisper looked for his identity in spaces where originality shined. In the world of hip-hop, among b-boys, DJs, and rappers, Wisper was hooked by the wave of graffiti that made its way over from the East Coast, bringing with it a culture that admired innovation. As the LORDS Crew formed and grew its membership, some of his friends and fellow founding members went to vocational school to pursue graphic design.
But for Wisper, gang membership stood out as the most attractive option. “Everything I was seeking—unconditional love, loyalty, recognition, notoriety, reputation, education—they were giving it.” His gift for teaching was cultivated by their discipline. He could come up with illustrations and analogies to help someone else learn and memorize the codes of membership, without having to write a single word.
The last year Wisper did graffiti was 1988. The following year he was arrested. Once inside prison, faced with a life sentence, he found no reason to change. To survive, he leveraged his street education and climbed the ranks until he was running the yard. The attention and his gang affiliation eventually sent him to solitary confinement in 1994, with other men in solitary confinement “deemed incorrigible.”
In the monotony, Wisper contemplated the value of his life. His path into crime had been a gradual progression of “becoming more and more empty.” As he explains today, “People who commit crimes don’t understand value. If I steal from you, if I vandalize your house…I don’t value you as a person. If my life doesn’t mean something, no one else’s does either.” Even a cup, he reasoned, had worth. It was created for a purpose. Yet like a cup left on the shelf, here he was, a human being locked away in sensory deprivation. If his life had purpose, it couldn’t come from this environment, not from his upbringing, his heritage, or ideologies—which he had been willing to die for. And which he was still affiliated with.
He knew he wanted to change, but change only began when he mustered the courage to revoke his prison gang status, fully aware of the punishment to follow.
Wisper credits supernatural intervention in the events that actually occurred once he lost his status. By the code, he should have died in prison—killed by his own cellmate to protect the rest of the gang. But his life was spared. By the law, he should have been rejected for parole. Involvement with prison gangs was deemed a greater offense than the crime that sentenced him in the first place. But the inmates who would have reported him had been removed from the yard weeks before his arrival.
By the time Wisper came home in 2013, nearly 24 years had passed. His former collaborator, Bizr, had written “FREE WISPER TOUR” on every art piece until Bizr’s passing in 2013, eight months before Wisper’s release. Of the friends who had kept in touch with him, Mesngr was the only one still in San Jose, doing art shows. As he slowly readjusted to life back in society, Wisper decided his goal was to “get my art out, make some money, provide for myself and my family.”
Wisper began looking for opportunities, at times initiating them by reaching out to connections and bringing plywood for the artists to live paint on. As he formed the groundwork to revitalize Together We Create, he also accepted opportunities to speak at high schools and colleges. There were youth who wanted to learn graffiti, and Wisper saw the chance to share about his mistakes so they could make better decisions.
“That’s where I developed a curriculum of teaching peace,” he explains. Acting from a place of courage is revered, but in that state, fear is still present—“you’re acting in spite of fear.” He teaches his mentees to accept responsibility for where they’re at and to apply a faith-based practice until they can believe in themselves. “If you don’t know who you are, you can’t create unique art.”
There are still threads to unravel. To this day, he fights to control the blaze of anger that slices through at injustice. Just like in his youth, he feels the pressure to stay on guard, to secure himself and his safety. “After 24 years of living like that, you don’t just come home and start expressing emotions.” But he knows himself, and he values his life. That deep sense of peace is unshakeable. Hanging around Wisper, friends might not notice how calm and collected he is until he laughs—then, they’re caught by the irreversible, unforgettable belly laugh flying out of him.
This year marks nine years since his release—nine years of using his freedom to help youth secure their self-identity. Often called on to speak and share his story, he is in the final stages of publishing three books that he hopes will aid their discernment. Wisper believes that all people hold a sense of justice, beauty, and truth—but an absence of self-identity spawns a perilous emptiness. “If you’re empty your whole life,” he says, “you don’t know what full is.”
His mission now is to inspire others to create art from a secure sense of identity, free of the pressure to fit a label or hide under a mask. “If you can learn how to operate from a place of peace while creating art,” he promises, “you can learn how to operate from a place of peace in all aspects of your life.”
As is the case with many a music fanatic, Kia Fay’s intimate relationship with sound stretches past the point of tangible memory. She remembers learning rhythm (and math) from beating on pieces of cardboard as a child, of singing practically her whole life, and the music of Michael Jackson, Duran Duran, and Beastie Boys being her first musical totems.
Coincidentally, it was her love for the immortal MJ that first got her on stage with Ash Maynor and Ghost & the City (GATC). They needed a singer for a Halloween show, and with “Thriller” on the set list, Fay jumped at the chance to sing her idol’s music. “I was like, ‘I get to wear a costume, I get to sing MJ. This is all golden,’ ” she fondly recalls. “I didn’t realize that was an audition of sorts.” That guest spot was the first collaboration in what’s now been a six-year journey with the group, whose sound features a brooding musical stew of soulful, jazzy, and electronic components.
The Time EP—which earned the band accolades from Afropunk and Bust magazines and slots opening for Hiatus Kaiyote and the Internet, has brought the brightest attention yet to GATC, whose latest album is the result of, in Fay’s words, an “executive decision to do only what we wanted in its pure form.” It’s their first work to feature Fay’s full creative input and the most direct outgrowth of her “mind-fi” with Maynor, the term for their near-telepathic musical connection. “I don’t fit specifically into one box or another in a lot of respects, so it’s cool to finally be able to make music where I don’t need to try to anymore,” notes Fay with a laugh.
Accepting authenticity rather than fighting it is a huge theme in Fay’s story. Despite years in choirs, she noticed that she never got to solo until she was at UC Berkeley singing with the female a cappella group the California Golden Overtones. It was a refreshing change for her voice—full-bodied, emotive, and powerful—to take the spotlight. Her voice feels like GATC’s secret ingredient, with the music seemingly shaped around her distinct delivery.
Yet music hasn’t been her only outlet for authenticity. Since relocating to San Jose, she’s also established herself as the Curl Consultant, advocating for clients to celebrate their hair in its natural state rather than modifying it to conform to societal standards. “I joke that it’s driven by stubbornness, but it seemed unacceptable to me that in a space as diverse as San Jose, with as many different permutations and beautiful combinations of humans that we have, there weren’t more folks dedicated to encouraging people to exist in their natural state as it relates to their hair,” says Fay.
“I don’t fit specifically into one box or another in a lot of respects, so it’s cool to finally be able to make music where I don’t need to try to anymore.”
She first started working with hair out of necessity. Fay spent time doing theater, where she became the de facto stylist because no one could properly style her hair. However, she never saw the trade as a viable career option until her move to San Jose propelled her to be the change and to establish a space the city desperately needed. “The bulk of the feedback I’ve received has been that the work I do is liberating,” admits Fay. “That’s the best-case scenario for me: freeing anybody from a restriction they thought they had that was only an artificial restriction. Hopefully I can plant that seed for other folks, and they in turn will stand as beacons wherever they are.”
As a person of mixed descent who struggled over the years with where she fit in, Fay’s now using her two creative pursuits to help others recognize and celebrate their own unique tastes and identities through communion and connection. “We have to stop being so wedded to [the idea that] ‘This is what beauty looks like. This is what music looks like,’ and just accept beauty when we see it and hopefully foster what comes naturally to people and stop encouraging them to resist their more authentic selves, in any capacity,” she says.
Tracing Roots: Trinh Mai Finds the Beauty in Life through Honoring Cultural Heritage
Heart first, Trinh Mai aims to bring people together through art. Finding comfort in color and peace in faith, her multidisciplinary works honor her Vietnamese cultural heritage and shine a light on larger stories of shared humanity.
“We have to draw strength from our community work, the people we love, art, and hope. We are drawing from a transcendent source. All beauty comes from that process of discovery.”
-Trinh Mai
Trinh Mai’s love of art is deep, rooted in family history, connecting past and present. As Trinh describes, she thinks in branches—uncovering stories—in search of healing, hope, and community. Her art is a prayer, a process of discovery, honoring her cultural heritage and family.
Shaped by her family’s experience escaping Vietnam during the War in 1975, Trinh uses art as a language to connect hearts to the stories of loved ones. Having passed through many countries, including the Philippines and Guam, on their journey to the United States, Trinh’s family arrived in Pennsylvania at one of four refugee camps in the US at the time. Born in Harrisburg, Pennsylvania, Trinh moved to Southern California at a young age and lived with extended family while her parents moved to Silicon Valley during the ’80s tech boom to find work. Trinh attributes her creative energy to her parents, who were both very meticulous, creative, and clever. Her dad nurtured a green thumb and loved cultivating bonsai trees. Trinh’s love of nature and desire to connect to the land threads through her work in symbolism and materiality. Trinh co-creates her art with history, informed by the heirlooms and stories of her family and the deep feeling of responsibility to honor her culture and share that love with the wider community.
“One of the things that the elders and people in general fear is being forgotten. And not just that they are forgotten, but their history is forgotten, the history of [their] people, the ways that [they] arrived here, traditions, food, family lineages, and the sacrifices they made. What a shame it would be to forget about the sacrifices that were made for us to be here. My fear is that their fear will be realized. It’s both a blessing and a burden to carry this responsibility to share. But one of the things that has encouraged the elders through my art is not just that they see themselves and I’m honoring their lives, but also knowing that the younger generation cares and wants to carry on the history. When families see heritage being passed down and honored, it takes that fear away. And it’s not just descendants that are inheriting that culture, it’s also the wider community that we are sharing it with.”
Trinh’s favorite mediums are oil paint and charcoal, but oil on canvas is her first true love and how she found her voice. Trinh’s love of oil painting began at San Jose State University (SJSU), creating abstract paintings. Painting on large canvases felt like creating an all-encompassing environment that she could step into. During her studies at SJSU, Trinh encountered a Mark Rothko painting at the San Francisco Museum of Modern Art. Initially skeptical of his work, seeing it in person was a very pivotal and transformational experience for her. It opened her eyes to how art could convey spiritual essence through color and form. Finding herself standing in front of the Rothko painting, Trinh was “consumed by the cadmium red.” Describing the experience as deeply real, it opened her heart to what she wanted her work to accomplish.
“I wanted to make paintings like that, so true to what they are that they speak for themselves. I would like for whatever spirit is living inside the painting to speak. I don’t need to be a part of that conversation, but I think maybe my role is to have an intimate relationship with the work, and then the work has its own relationship with the viewer.”
Trinh describes her relationship to art as “salvation to the fullest,” born out of a desperate need to find comfort through life’s hardships. Through abstract art, Trinh found her footing and fell in love with the comfort, light, and life that art brought about.
“As I started maturing in the art and really taking it seriously, I realized it’s teaching me to see, the art of observation. I realized that was the main lesson, and once I embraced that, I saw how free I could feel painting boxes and spheres.”
As a multidisciplinary artist, Trinh describes her use of various mediums as a beautiful and fulfilling symbiotic relationship, with each medium teaching her unique lessons. She appreciates the labor and lessons that each provides, allowing her to excavate ideas by digging deeply through experimentation. For example, stitching teaches her to slow down, be careful, and have patience. From painting portraits to writing poetry, Trinh creates her work from a place of deep intentionality. Art has opened doors for Trinh to speak to universal truths of unified humanity. “I started discovering things about my family history that are shared by so many other people, not just Vietnamese refugees, but people all over the world.” Motivated by a desire to serve the community, Trinh finds purpose in discovering the beauty of life that can arise despite tragedy. “I feel that my responsibility is to offer life to stories to give comfort to other people.” Art gives life back to objects and stories and sows seeds for future generations. Sharing these stories cultivates a shared cultural heritage.
Driven to discover what it means to have an intimate relationship with God, Trinh is deeply thankful for her faith and the peace and purpose that it brings her in daily life. For Trinh, it all comes back to an essential question: “In the midst of life’s trials, where do we turn for strength? We have to draw strength from our community work, the people we love, art, and hope. We are drawing from a transcendent source. All beauty comes from that process of discovery.”
Brandon “BQ” Quintanilla is a San Jose-born entrepreneur of Nicaraguan descent who founded media company EMLN (Early Morning Late Nights) to produce projects such as Any Given Bars YouTube Channel, San José’s Culture Night Market, and FeastMode. BQ has created a business and brand around his vision for San José.
In this conversation, BQ and introducing Content guest host Troy Ewers, @trizzyebaby, discuss BQ’s rise as an entrepreneur, the development of EMLN, organizing events, and personal growth. Listeners gain insight into what it takes to start and scale a business, difficulties with organizing events, and how to hustle through adversity.
Follow BQ, @bqallin, and EMLN, @emlnexclusive , on Instagram to keep up to date with what he has cooking for Silicon Valley.
Maxwell Borkenhagen and Hiver Van Geenhoven have known each other for years. More recently, they’ve become partners with a shared vision of attracting more people to downtown San Jose—SoFA, specifically. Van Geenhoven is the roaster at Chromatic Coffee, which is served at Cafe Stritch, the renamed and remodeled SoFA restaurant that has been in the Borkenhagen family for over 35 years. Maxwell Borkenhagen books the musical acts and art displayed in the restaurant and music venue, bringing new life and crowds to downtown San Jose. Both Borkenhagen and Van Geenhoven are optimistic about the future of downtown San Jose and want to share their passions with old friends and new customers alike.
How did you two meet?
MB: We had a lot of mutual acquaintances when I was in high school…
HVG: The way we met was actually over coffee. The guy that taught me how to roast coffee was hanging around with Maxwell. We just got along. Maxwell, your parents owned Eulipia before Cafe Stritch, so you’ve been a part of the restaurant business for a long time. Did you ever think you’d be here, running part of it?
MB: No. All throughout high school, I was very weary of getting into the family business. Mixing business with family can be good for the business but not as good for the family. It adds a level of strain. Part of why I moved back to San Jose is because I had started discussing reviving Eulipia, bringing it back to its origins, and modeling it after these places I encountered while in Portland.
When I moved back, I saw potential in this place to do more than a restaurant. There was potential for live music. For so long, that’s what I’ve wanted to do. Seeing that opportunity with this place gave me a new motivation to work for my family. I’ve come to embrace San Jose more. I love San Jose. I truly want to commit to building a better community here. When my parents opened this place in 1977, there was nothing here. They were the first young people to open up a cool, hip place down here.
What sets you guys apart from other businesses in downtown San Jose?
HVG: Passion. When it comes to Chromatic, it’s a dream that I had. I love what I do, and I love working toward it. I love seeing the reaction that people have of “Wow, this coffee is different.” That drive to provide an authentic experience…I want you to have something that’s unique.
MB: What sets us and a number of others apart is that we have a belief in San Jose that it does not have to be a secondary market. I want San Jose to be respected as a place where quality doesn’t have to always be less than San Francisco. Whether it’s in music, art, food, beverage, what have you. I don’t want to be better than SF, but there’s no reason we can’t be as good.
Hiver, where did your love of coffee come from?
HVG: I started working at Peet’s Coffee and learning about coffee. It caught my attention and held my attention. Nothing much had ever really held my attention. After a couple of years, Peet’s had moved their roasting facility, and they had an open house. I went and saw the machines and thought, “This is what I want to do: I want to roast coffee.”
I’ve thought of coffee as a medium of directing culture. The ideas that can be shared over coffee can be very interesting. I’m mainly interested in bringing coffee to the forefront and sharing the value of what that beverage is.
You’re both a part of businesses that are bringing people to downtown San Jose and breathe new life in the SoFA district. What else do you want to see happen here?
MB: Low-rent housing downtown. I see this as a huge resource. I would love to get to the point where San Jose State students make this community their home, but SJSU only accounts for a segment of the community that I’m a part of. If we had one high-rise that had rent that your average 20-something could afford, that could bring such a breath of life into this community. We need a bigger group of people concentrated down here.
HVG: We want to show the rest of the Bay Area that we too take things seriously.
You are both raising the bar in your respective fields in San Jose: downtown venues and coffee culture. Can you talk about your influence on your customers?
HVG: I’d like people to enjoy themselves. But if I can spark an interest to where they want to learn more or be exposed to more… For so long, this area has been inundated by mediocrity. Mediocre clubs, restaurants, food, shit on TV. We don’t overwhelm; we’re approachable.
MB: There’s a lack of tastemakers in the South Bay. Inevitably, if we’re going to build a culture here, it’s going to be much more embracing and unpretentious than in other cities.
I attribute the lack of this niche art and music culture that we’re trying to cultivate to a lack of people that have the confidence to take things they perceive to be good and expose those things to as many people as they can. I don’t claim to have better taste than anyone, but I do have the drive to take something I like and have the confidence to put it on stage and create an environment where all these people can be exposed to something. It’s not shoving things down anyone’s throat, but it’s “Hey, look at this, we think this is good.”
What’s next for each of you? What can we look forward to?
MB: A big motivating factor that drives me to try and build the art and music community is that I don’t want the youth in San Jose to have the same experience that I did. San Jose can be a cool place. You don’t have to just love it because it’s your hometown. I want to see South First Street be the central point of downtown San Jose.
HVG: We’re aware that there were these culminating points in SoFA history, but it always fell off. I feel determined that this is the last time that’s going to happen. We’re bringing authenticity. It’s important to me to create this sense of a little city in San Jose and allow that sense of community to evolve around music and coffee.
Entire article originally appeared in Issue 5.4 Form
Print Issue is Sold Out
President Dwight Eisenhower established the sister city program in 1956 to foster global awareness and peaceful relations. A design team from Okayama, Japan, one of San Jose’s sister cities, presents their view of their hometown.
Often called the “Gateway to West Japan,” Okayama is a quiet, modern city that serves as a transportation hub for travelers moving from eastern and central Japan into the further reaches of western Honshu, Shikoku Island, and Kyushu Island. The central area of the city is easy to get around via the well-developed transportation system that features local and high-speed trains, streetcars, buses, taxis, and rent-a-cycles. Incorporated as a city in 1889, when Japan moved from a feudal system to a centralized government system, the city actually has a much longer history which extends back to the Sengoku Period (1467-1603).
Although the surrounding area was and is farmland, the city has played an important part in history and boasts a castle that attracted important political figures in the past, such as the Ikeda clan, who developed the economic and cultural status of the city under their rule between the 17th and 19th centuries. Currently, Okayama Castle attracts only tourists, but it’s considered one of the top castles in the country. The main tower (and most of Okayama city, for that matter) was damaged during WWII when the city was largely destroyed after having been bombed by the US Armed Forces. However, two of the watchtowers survived and have been designated as Important Cultural Properties by the government’s Agency for Cultural Affairs, and the damaged sections have been restored.
Geographically, Okayama falls in the humid subtropical zone: although it does get chilly in the winter months, the summer months can get hot and very humid. Okayama enjoys relatively low rainfall year round and is known as hare-no-kuni, which means “Sun Country.”
While the municipal and the prefectural governments have been working diligently to post multilingual signage around the city, Japanese is the only language spoken and understood by most of the population.
Although there are pockets of history sprinkled throughout the city in neighborhoods that were not damaged by bombing, visitors will want to head to the suburbs to enjoy the city’s best historical features.
Points of Interest
Okayama has many historical points of interest, with Saidaiji Kannon-in being one of the most intriguing. This small, quiet temple dedicated to the Buddhist deity of Kannon is also home to the oldest and largest Naked Man Festival. The 500-year-old festival, in which nearly 10,000 men dressed only in loincloths participate, is held late at night on the third Saturday in February of every year. The men compete for two lucky sticks that also carry a large cash reward for the winners.
The Saijo Inari shrine and temple complex is a great location to visit any time of the year, and boasts the largest torii gate in West Japan. Visible for miles around, the giant torii gate beckons to visitors. The shrine is dedicated to the Shinto fox god Inari, the patron deity of business, which is appropriately ironic as the souvenir shops leading up to the shrine are fantastic in number and variety.
Visitors would also do well to stop in at Kibitsu Shrine, which is located near Saijo Inari. Folklore sets Kibitsu Shrine apart from other shrines: legend holds that a demon’s head buried under the temple causes a cauldron to ring out during fortune-telling ceremonies. The shrine dates from the ninth century and exhibits many unique architectural features, several of which are registered as Important Cultural Properties.
Dining
For a taste of fresh, local seafood, stop in at Tontonme in the southern part of the city. This seafood restaurant is known for its sashimi and sushi made from fish harvested from the nearby Seto Inland Sea.
For another healthy option, Okabe in central Okayama is a long-standing tofu shop with attached home-style restaurant. The restaurant has counter seating only and there are only three main menu selections, but you can bet the food will be fresh, delicious, and surprisingly filling.
For secret hideaway dining, Balloom is the place. This elegant and cozy little cafe/restaurant/bar serves up fresh and healthy meals made with ordinary but fine-quality ingredients. Guests can enjoy a selection of fine wines, draft beer, cocktails, drip coffees, herbal teas, and imported sodas. Lunch and dinner are served. Tapas and pinchos are available in the evening.
Shopping
For shopping, AEON Mall Okayama is a must-visit. Newly completed in December 2014, this shopping mall is one of the largest and top ranking in the country. Visitors can find an array of boutiques, interior shops, restaurants and food courts, a movie theater, and many other shopping options. The wine shop on the first level includes a winetasting vending machine.
Okayama has a number of covered shopping arcades, and Hokancho is one of the older ones. However, a recent influx of young, hip shop owners have breathed new life into this arcade, making it a great place to explore. Check out the eclectic mix of cafes, green grocers, boutiques, book and toy stores, dish supplies, bakeries, etc.
Nightlife
For a relaxing end to the day, stop in at Padang Padang to unwind. This chic little bar in the heart of the city also serves up European-style fusion cuisine selections made from top-quality local and imported ingredients.
Beautiful Places
Any itinerary should certainly include Korakuen. With a history of over 300 years, it is one of the top three traditional gardens in the country, and is well known for its use of “borrowed scenery”: in this case, Okayama Castle becomes part of the garden scenery despite the fact that it is a separate property. The garden is spacious enough to accommodate large groups while still imparting serenity.
Off the beaten track, the beautiful Sogenji Temple pleases the senses at any time of the year. Surrounded by tall trees and Maruyama mountain, this Zen temple of the Rinzai sect is near the city but feels secluded. Zazen sessions are open to the public on Sundays.
Kaigai Connection
We are a small branding company specializing in helping local businesses get their product overseas. We help customers with foreign language support, out-of-country PR, homepage and business document design, and nonnative staffing. We also work with a large, local tourist agency to bring visitors to Okayama and the surrounding prefectures.
It’s about what you give back and how you change and help other people to become their best selves. I just want to give to others what they have to me.
Bay Area curler Gabrielle Coleman stands out in a sport that doesn’t.
Most Tuesday nights, Gabrielle Coleman can be found inside Stanley’s Sports Bar at Sharks Ice in downtown San Jose. She doesn’t drink, she’s not an employee, and she says she’s never been a great skater either. She’s not there for the hockey. She’s there for curling.
Once a week from 9:30pm to 11:30pm, Coleman and 40 or so other curlers join up at Sharks Ice for a curling league and a good time. Coleman, however, has aspirations that many of her co-competitors do not. The 33-year-old is such a good curler that she’s competed at the national level, even reaching the US Olympic trials in 2009.
Yes, her sport is curling, that shuffleboard-like ice sport that draws a lot of attention every four years when the Winter Olympics come around. But most of the time, it is forgotten here in the United States. There are a little more than 16,000 curlers across the country on record. Canada, regularly the favorite to win gold at the Olympics, has approximately 1.3 million by comparison, despite a population that is little more than a 10th of the size of the United States’.
Coleman and her coach Barry Ivy are part of one of the largest clubs in California, the San Francisco Bay Area Curling Club. Established in 1958, their mission, along with the rest of the United States’ curling community, is to help the sport grow. Recently, it’s worked. Participation has grown by more than 50 percent since 2002, with an even more impressive 16 percent jump from 2010 to 2011.
For Coleman, it isn’t just the country’s reputation she’s trying to improve, but her specific region’s. Ivy calls the West Coast “the boonies of the curling world,” and while this statement is in jest, it’s not far from the truth. There are very few competitive curlers from the country’s Pacific coast. In fact, just one of the 10 teams at the US Olympic trials in 2009 was based west of Bismarck, North Dakota. Most are located in the country’s longtime curling hubs like Minnesota and Wisconsin.
Coleman, a Mountain View native, was a part of that sole western team, based in Seattle, Washington. She was also the lone competitor—of 42 total—who resides in California. It’s that obstacle that makes her curling commitment so much more demanding.
Paying out of her own pocket, she flies to Seattle or Vancouver almost every weekend from August to March for training. During competitions, she has to take time away from her work at NBC, which she credits as being not only accepting and understanding of her love for curling but “enormously supportive.” She doesn’t mind the commitment though and finds the bright side to her travels. “It’s like a mini-vacation every week.”
Other curlers live nearer to facilities dedicated to curling, and those among the highest ranked teams receive funding from the US Olympic Committee. Coleman and her teammates do not. As Ivy puts it, “People who play at a dedicated facility can go down and throw rocks at lunchtime for an hour.” The lack of practice time Coleman can get during the week presents a real challenge that other curlers, even in Seattle, don’t always face.
But while they have their advantages, Coach Ivy believes Coleman has some of her own. “If the rest of the United States curling world at the elite level was as committed as Gabrielle, we would be winning Olympics,” Ivy says.
The competition hasn’t always been that strong. Just seven years ago, Coleman attended her first curling event, just hoping to have a fun experience. Challenged by her brother that she couldn’t make nationals, she decided it was on. Within a year, she was competing at the women’s club nationals, who had trouble fielding enough teams for their 10-team tournament. That year, only seven teams had signed up to compete. This year, there are 18 teams vying for those 10 spots.
The US Olympic trials have also grown more competitive in recent years. The field of 10 from 2009 has been trimmed to just four for the upcoming 2013 trials. For Coleman, this means getting back will be harder than ever. In 2009, her team finished eighth, which wouldn’t be good enough to qualify this time around. Coleman knows her team has to win at nationals to qualify, since two teams have already qualified and the national governing body chooses the fourth.
She gives her team an outside chance at coming out with the win if they “have a good week.” Ivy is especially high on their chances. “Don’t let her fool you,” he says. “This is definitely doable for Gabrielle.”
While the increase in the sport’s popularity has made her goals more difficult, the NBC Bay Area morning show director is ecstatic to see so many new curlers, not only at her own club but around the country. As a member of the board for SFBACC, growing the curling community is important to her. She’s trying to help the club secure ice that’s dedicated to curling for the first time in 20 years, rather than having to share ice time with hockey players and recreational skaters.
Just like the sport as a whole, the Princeton grad has come a long way since 2006. She recalls her first national competition as something of a nightmare for Ivy, who tried to lead four curlers with about three years of combined experience. “I was so lost,” Coleman says. “In my first game, I had to ask my opponent when to start.”
Since then, she’s gone on to write an e-book on her experiences, directed at helping other beginning curlers. Break Through Beginner Curling details everything from curling basics to the confusing nature of large national competitions.
At Sharks Ice, it’s clear how much interest Coleman has in teaching others, taking time out to encourage a teenage girl who was just watching to give it a try. But while there is an inclination to teach, she also hopes to curl competitively for a long time.
The sport keeps drawing her back because, no matter how good she gets, she feels there will always be a new challenge. “Everybody who’s any good can throw the stone accurately,” she says. “It’s the complexity and the strategy of the shots at the higher levels that keep getting tougher.”
The unity and bond of a team is another aspect she loves. For casual observers, the team aspect might not be as obvious on TV as it is to those who know the game. “From the instant I release the shot, me and my teammates are communicating,” Coleman emphasizes. “It’s like any other team sport. We can’t win unless we’re all on the same page.”
On the ice, that communication is unmistakable. The sweeping of the ice, one of the most unusual aspects of the sport, relies on it. If their timing on when to speed up or slow down the stone is off just a little bit, the shot could end very differently.
Whether her team wins or not, Coleman hopes she and her teammates can be good examples of the increasing geographical diversity of the game in the United States. She also recognizes that her personal success can help grow the sport on the West Coast, especially in California.
“For me to win, for us to win, it would be a big deal,” she says. Both Coleman and Ivy believe that that kind of statement at nationals could lead to big improvements in not only her own curling environment but the West Coast overall. It would go a long way towards helping to find the dedicated curling ice SFBACC is still looking for.
From experience, Ivy knows that a lot of clubs don’t go to the lengths that SFBACC does. They require lessons for those wanting to join any of the club’s leagues, and Ivy knows they lose some curlers because of it. But he and Coleman both have a strong interest in passing the culture of curling on, and they want to do it the right way. “A lot of clubs will say ‘wing it’ and send you out on your own,” Ivy says. “We want to teach.”
Coleman remembers going to those training sessions and finding much more help than she thought she would. Though it was swarmed with close to 200 people, she said important members came up to her encouraging her to stay on because of the lack of women in curling. Ivy was one of those early tutors that kept her confidence and interest high, even if it was her brother’s challenge that made it stick.
With some of the founders of the club having moved on, Coleman calls Ivy the “resident expert” and lists him as her greatest inspiration on her USCA profile. She wants to give back, just like he has to her. “Even though it is about trying to be the best curler you can be and winning medals, it’s not really about that,” she says. “It’s about what you give back and how you change and help other people to become their best selves. I just want to give to others what they have to me.”
