When the ancient Polynesians invented surfing, they often used a paddle to help them navigate. Fast-forward a few millennia, and Stand-Up Paddleboarding, or SUP, finds itself trendy again. Part of its increasing popularity is that standing upright allows surfers to spot waves more easily and thus catch more of them, multiplying the fun factor. Paddling back to the wave becomes less of a strain as well. The ability to cruise along on flat inland water, surveying the sights, is another advantage. Finally, its a good core workout. If youre sold on the idea, schedule an intro SUP lesson, free with board and paddle rental, and you may find yourself riding the waves like a Polynesian king.More
Llewelynn Fletcher's immersive sculptures beguile the senses. Sasha Petrenko's site-specific installations and performances strive to capture a dynamic, living planet. Austin Thomas hides heady themes in seemingly austere drawings, photos, and sculptures. She also cobbles together site-specific social spaces which she calls "perches," but which are obviously kick-ass treehouses, minus the trees. These and other artists are contributing super-sized works for "Just Passing Through: Sculptures and Installations" at the University of San Francisco's Rooftop Sculpture Terrace. "Just Passing Through" promises to challenge notions about how we inhabit or pass through space, or at least provide a lovely respite in a busy city.
"Just Passing Through: Sculptures and Installations" is open to the public 9 a.m.-5 p.m. and runs through Dec. 11 at Kalmanovitz Hall, University of San Francisco, 2130 Fulton St., S.F. Free; 422-5178 or usfca.edu. More
Mondays-Fridays, 9 a.m.-5 p.m. Continues through Dec. 11
The Fado is a dolorous folksong tradition from Portugal, first sung in the early 19th century by barefoot peasants mending nets and contemplating a roiling black Atlantic. It has survived to the present day, providing MP3 succor to middle-class professionals on antidepressants (lyric: It was Gods will that I live with anxiety)and now its the subject of a film revue by the venerable Carlos Saura. Contemporary celebs appear (superstar fadista mewlers Mariza and Lura), alongside ghosts (Amália Queen of Fado Rodrigues). Saura is formally ambitiousa troupe travels through the film, articulating lyrics in dancebut the movie missteps when departing wholly from the intrinsic nostalgia of its subject, as the seventysomething director imposes his idea of contemporary cool: interspersed hip-hop trio NBC, SP & Wilson and Brazilian reggae artist Toni Garrido. The sequestering of performers into warehouse-studio spaces adds a certain chill to the proceedings, but there are happy exceptions. Nonagenarian Argentina Santos fills her single-take frame with stout gravitas. The penultimate scene takes place in the House of Fados, a Freed Unit version of a Lisbon barroom, its walls a graveyard of headshots, where song is passed around like a challenge and teenaged braceface Carminho shuts the place down.
June 5-18, 2009