Spring
2014
preview
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2 | TuesDAY, jAnuArY 14, 2014
Spring Jazz at Duke! February
28th
Friday
Duke Jazz Ensemble featuring special guest Wess Anderson, saxophone Baldwin Auditorium - 8pm
March
27th
Duke Jazz Ensemble
Thursday Swing Dance
Sarah P. Duke Gardens - 7pm Pre-registration required at 919-668-1707 or email gardenseducation@duke.edu
April
11th
Friday
Duke Jazz Ensemble featuring special guest
Diane Schuur vocals and piano
Baldwin Auditorium - 8pm
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2014 Spring Arts Preview
The Chronicle
SPRING ARTS PREVIEW
It may still be cold and wet in Durham, North Carolina, but that didn’t stop us
from looking forward to all the excitement that spring has to offer in this year’s Spring Arts Preview. Inside, Recess interviews the theatrical Phil Watson, checks out what’s been in the works for the Visual Studies Department at the Smith Warehouse, takes a look at three upcoming Duke Performances and more. There’s online-exclusive content as well! Keep an eye out for Recess every Thursday.
recess editors
what we’re getting Lauren
Lauren Feilich [editor]...........................................................................a night of sleep Eliza Strong [managing]....................................................two extra nights of production
May
10th
Duke Jazz Ensemble
Saturday Outdoor Concert Sarah P. Duke Gardens - 7pm Angle Amphitheater behind the Doris Duke Center
919-684-4444 l www.dukejazz.org
Archibald Motley Jazz Age Modernist
Master colorist and radical interpreter of urban culture
January 30 - May 11, 2014 The first retrospective of the American artist’s paintings in two decades will originate at the Nasher Museum and travel to the Amon Carter Museum of American Art, Los Angeles Museum of Contemporary Art, the Chicago Cultural Center and the Whitney Museum of American Art. nasher.duke.edu/motley
2001 Campus Drive, Durham 919-684-5135 I nasher.duke.edu Archibald J. Motley Jr., The Octoroon Girl (detail), 1925. Oil on canvas, 38 x 30.25 inches (96.5 x 76.8 cm). Courtesy of Michael Rosenfeld Gallery, LLC, New York, New York. © Valerie Gerrard Browne. Archibald Motley: Jazz Age Modernist is made possible by the Terra Foundation for American Art; the National Endowment for the Humanities: Exploring the human endeavor; and the Henry Luce Foundation. Major support is provided by the Wyeth Foundation for American Art; Drs. Victor and Lenore Behar; the North Carolina Arts Council, a division of the Department of Cultural Resources; and Deborah DeMott. This project is made possible in part by funding from the North Carolina Humanities Council, a statewide nonprofit and affiliate of the National Endowment for the Humanities.
MC Bousquette [music]........................................................................................a bid Megan Rise [film]...........................................................................i’ll rap you a present Kathy Zhou [art]......................................................................................................mii Eliza Bray [photo]........................................................................................another bid Prashanth Kamalakanthan [online]..........................................................a recess blog
Duke University Chapel
Organ Recitals 2014
David Arcus Sunday, January 26, 2014 5:00 p.m.
David Arcus has performed throughout the United States, Europe, and Great Britain, and his playing has been described as full of “exalted pomp and spirit, and a genuine affection for his listener” (Fanfare). His CD, The Organs of Duke Chapel, was released on the Gothic label. The second program by Dr. Arcus in this season’s series, performed on the Flentrop organ, will feature “Last Movements: Finales, Postludes, and Other Endings,” including music of Bach, Mendelssohn, Franck, Messiaen, and Arcus.
Dorothy Papadakos Sunday, February 23, 2014 5:00 p.m
Dorothy Papadakos, a renowned international performer and improviser, came to international attention as the first woman organist at the Cathedral Church of St. John the Divine in New York City. “When Dorothy Papadakos climbs into the organ loft . . . she rolls up her sleeves and rocks” (The New York Times). A member of the seven-time Grammy Award winning Paul Winter Consort, she has received rave reviews for her silent film accompaniments. At Duke Chapel she will present The Hunchback of Notre Dame (1923), accompanied on the Aeolian organ.
Robert Parkins Sunday, March 23, 2014 5:00 p.m.
Robert Parkins is the University Organist and a Professor of the Practice of Music at Duke. His recordings have appeared on the Calcante, Gothic, Musical Heritage Society, and Naxos labels, and his performances described as “fresh and spontaneous, transforming the music from museum artifacts to living works of beauty” (The Diapason). This season’s program, “Magnificat,” will include music by early Iberian and French composers, plus works of Bach and Rheinberger on the Brombaugh and Flentrop organs. He will be assisted by Kristen Blackman, cantor, and members of the Duke Vespers
The Chronicle
2014 Spring Arts Preview
TuesDAY, jAnuArY 14, 2014 | 3
Duke Performances gears up for spring season by Annie Pietrowsky THE CHRONICLE
The 2014 spring season of Duke Performances, a combination of puppetry, Broadway gems and 16th-century motets—to name just a few opportunities—aims for interdisciplinarity and interaction with a wideranging lineup of artists, many of whom will collaborate with the students attending their shows. For the first Duke Performances event of the spring season on January 18, the New York-based wind quintet Imani Winds will play classical pieces and new compositions. They will transform Igor Stravinsky’s “The Rite of Spring,” the massive orchestral piece known as one of the few classical compositions to ever incite a riot (the audience at its 1913 Paris premiere was outraged by its dissonance and unpredictability), streamlining it for performance by five wind instruments. “The Rite of Spring,” partially inspired by Russian folk music, will follow a 2008 composition, “Cane,” with similar roots in rural culture. This time, its creator, the jazz composer Jason Moran, draws on his family’s Louisiana roots, creating a Creole jazz epic that feels as decisively modern as “The Rite of Spring” must have in 1913. A few days later, on January 21, the Hilliard Ensemble, a vocal quintet that shares Imani Winds’ interest in playing with the borders between classical and contemporary music, will perform at the Duke Chapel. After 40 years of interpreting ancient and contemporary music, the Hilliard Ensemble will retire in late 2014, making this performance one of their last. Though the Hilliard Ensemble’s music exemplifies the haunting sublimity of early Renaissance classics—music that perfectly fits the Duke Cha-
MarcO BOrGGreVe/SpeCial To The ChroniCle
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MaTTheW MUrPhY/SpeCial To The ChroniCle
Pictured (top to bottom) the Hilliard Ensemble, yMusic and Imani winds will each be featured during the spring season of Duke Performances.
pel’s cavernous ceilings and stained glass windows—much of it is new material, either from modern composers who write in the Renaissance style or lesser-known composers not often heard after the 1600s. While Duke Performances aims to bring quirky and challenging artists to the Duke community, its spring 2014 season also involves creating art, inviting students and well-known artists to collaborate and, as the trope goes, create beautiful music together. Both the Hilliard Ensemble and Imani Winds will work with Duke undergraduates and graduate students. Leading up to their concert, Imani Winds will rehearse with the Duke Wind Symphony and work with PhD candidate composers Justin Tierney and Ben Daniels to record and rehearse new compositions. Likewise, the Hilliard Ensemble will record new compositions by PhD candidate composers Eddie Davis and Bryan Christian. All of these opportunities are part of Duke Performances’ goal to not only bring a variety of performances to the Duke and Durham community, but also to give Duke students and visiting artists the opportunity for meaningful artistic collaboration. Duke Performances Director Aaron Greenwald stresses the second part of this mission, hoping to “create a season that provides different varieties of engagement” that benefit both students and visiting artists. The Duke community will see the ultimate result of this effort later in the semester, March 25, when New York-based ensemble yMusic brings its bright, jangly classical music to Casbah. That combination may sound like a bit of a contradiction in theory but is cohesive in practice: classical compositions that have the emotional pop power
of an Arcade Fire album combined with the intellectual rigor of a symphony orchestra. After working with indie rock luminaries such as Sufjan Stevens, St. Vincent and the Dirty Projectors, yMusic entered a fourmonth-long residency with Duke’s PhD program in music composition. “The yMusic residency has been an excellent opportunity for Duke composers to work closely with up-and-coming professional instrumentalists as part of their creative process,” wrote Ariel Fielding, marketing director of Duke Performances, in an email. yMusic will premiere the products of this collaboration, giving Duke PhD music students wide exposure for their compositions and rocking the Casbah with its clean, energetic and potentially danceable classical music. This season, in addition to its discounted $10 student tickets, Duke Performances will offer $15 tickets for patrons age 30 and under. This is an extension that, coupled with its emphasis on classic Durham venues like the Hayti Heritage Center and the Carolina Theatre, reinforces its ties to both Durham and Duke. Greenwald described the season as “a wealth of cultural sustenance.” The first off-campus performance of the season, the pairing of Durham indie pop favorites Bombadil with puppetry artist Torry Bend at the PSI Theatre January 24, seems like a particularly good reason to hop on the Bull City Connector for an evening out. However, there are still plenty of opportunities for Duke undergraduates to see shows on campus: dance troupe Urban Bush Women on February 7 and 8, star jazz vocalist Gregory Porter on March 6 and improv pianist Chick Corea on April 18.
Duke University Department of Theater Studies presents... Love’s Infrastructure
Duke Players Lab Theater
An Iliad
By Sophie Treadwell Directed by Jules Odendahl-James, Theater Studies faculty Sheafer Theater, Bryan Center, West Campus April 3-5 & 10-12 at 8 pm; April 6 & 13 at 2 pm
with Torry Bend (Theater Studies faculty) & Bombadil a Duke Performances presentation PSI Theatre at the Durham Arts Council Jan. 24-26, 8:15 pm
Duke Opera Workshop Saturday, March 29 @ 8 pm & Sunday, March 30 @ 3 pm The Party’s Over: finales and party scenes with current students and Opera Workshop alumni Marlissa Hudson, Dana Zenobi, & others.
Beethoven’s Ninth Symphony Saturday, April 5 @ 8 pm
Duke Symphony Orchestra & Duke Chorale, with members of the Choral Society of Durham. Harry Davidson, conductor.
For a complete listing, visit music.duke.edu
By Lisa Peterson & Denis O’Hare Phil Watson’s distinction project Sheafer Theater, Bryan Center, West Campus Feb. 13-15, 8 pm & Feb. 15, 2 pm
The Man Who
By Peter Brooks Sam Kebede’s distinction project Brody Theater, East Campus Feb. 20-22, 8 pm
Republic
By Hoi Polloi Theater Company a Theater Studies/Duke Performances presentation Manbites Dog Theater Feb. 20-22 & 26-March 1 at 8:15 pm; Feb. 23 at 3:15 pm
More info: theaterstudies.duke.edu
Brody Theater, East Campus March 27-29, 8 pm
Machinal
Parade
Book by Alfred Uhry Music and Lyrics by Jason Robert Brown Drew Klingner’s distinction project Produced by Hoof ‘n’ Horn Reynolds Theater, Bryan Center, West Campus April 10-12 & 17-19 at 8 pm; April 12, 13 & 19, 20 at 2 pm
New Works Festival
readings of 5 new scripts by Duke writers Sheafer Theater, Bryan Center, West Campus April 17-19, 8 pm
The Chronicle
2014 Spring Arts Preview
4 | TuesDAY, jAnuArY 14, 2014
Odendhal-James discusses upcoming theater
Q &A
by Danielle Muoio THE CHRONICLE
Jules Odendhal-James is a visiting lecturer and resident dramaturg for the Duke Theater Studies department. The Chronicle’s Danielle Muoio sat down with Odendhal-James to discuss the main stage production coming this Spring, as well as other performances occurring at Duke and in Durham this semester. The Chronicle: Can you tell me a bit about the main stage show that is coming out this Spring? Jules Odendhal-James: The play is called “Machinal” [and] it was written by Sophia Treadwell in the mid 1920s, and it had a Broadway run in 1928. It was actually the first Broadway appearance of Clark Gable. Although people don’t know Treadwell, typically, if they do know her it’s in reference to this play. She actually had seven Broadway productions from the time span of the early ‘20s to about the mid-’40s, which…certainly today and even at that
time was unusual. This is probably her best known work, and it is loosely—very loosely—based on a true crime case in upstate New York with Ruth Snyder and Henry Judd [Gray], where [Snyder was] accused of killing her husband. The story was certainly a sensation at the time and was made even more so by the fact that she was put in the electric chair in Sing Sing [Prison]. A reporter snuck a camera in to the execution and took a photo of her in the moment she was being executed that was then splashed across the front page of New York newspapers. It’s one of the most iconic and problematic news photographs in the 20th century. Now Treadwell was journalist as well as playwright—she didn’t cover the trial, but she covered a number of other trials of women accused of violence at that time. So this play took general inspiration from that and is about a women who marries her boss, takes a lover and ostensibly murders her husband—though you don’t see that in the play—and is tried, found guilty and executed. But it’s not a documentary play. It makes all these people into arche-
Visiting Artists @ Duke, 2014 Imani Winds &The Hilliard Ensemble During January 2014 Duke’s graduate composers will have an opportunity to work with Imani Winds, an energetic American woodwind quintet with a cutting-edge, polyglot repertoire, and The Hilliard Ensemble, a vocal quartet renowned for bringing the pristine blend of Renaissance polyphony to music both new and old. Image credit for Imani Winds: Matthew Murphy Image credit for The Hilliard Ensemble: Marco Borggreve
James MacMillan The spring residency by Scottish composer and conductor James MacMillan, organized under the auspices of DITA (Duke Initiatives in Theology and the Arts), builds on his two-year collaboration with members of Duke’s Divinity School and the Faculty of Divinity at the University of Cambridge. The highlight of the residency will be the April 13 premier in Duke Chapel of MacMillan’s new St. Luke Passion, performed by the combined forces of the Duke Chapel Choir, Durham Children’s Choir, and Orchestra Pro Cantores, conducted by Rodney Wynkoop. The residency will include a four-day series of events with MacMillan and faculty from Duke and Cambridge, including an introduction to the Passion by MacMillan on April 10. Residency: April 2014
types. The main character is called the young woman, we hear her name intermittently, but she’s basically a stand in for all women who find themselves on a particular path that is dictated by all sorts of forces—getting a job, falling into marriage, falling into motherhood—and never having had a chance to figure out who they are. It’s always important to remember this play is very much of the ‘20s and was written less than 10 years after women got the right to vote. There’s a lot about feeling trapped in a machine of life that pushes you along without giving you a chance to figure out who you are and why you do things. That’s specifically why it attracted to me—its resonance is still there. TC: You definitely have said a lot about how there is this resonance that still exists. Was that a main factor in why the department decided to put on this show? Were there any other reasons behind the decision? JOJ: It’s a play from a different kind of era and performance. There are lots of conventions that were brand new at the time— notions of montage where characters were archetypes as opposed to realistic drama….It has an act of violence at its core, a courtroom scene. And she was one of the playwrights working in an era where that type of writing was still taking hold. 1928 was early modernism, so there are conventions we are now very comfortable with, but at the time were rather extraordinary. So it’s always interesting to look back on that era and try and think back to what this was like for an audience that had never seen this type of play before. Or having a chance to work the characters. It’s a small cast—10 actors, nine play multiple roles. So that kind of ensemble work is certainly something that is appealing. When we have a chance to do something that is from a different era but still connects to our own. TC: Are there any actors or actresses participating in its production this spring that we may remember from last semester’s productions? JOJ: There are four actors from the “Uncle Vanya” performance. One senior, Ashley Long, who played one of the Yelenas; [junior] Thomas Kavanagh who played one of Vanyas; [junior] Mike Myers who played one of the Astrovs. [Sophomore] Madeleine Pron, who played the older nanny, is playing the lead in [Machinal]. And then there are three first-year students who will make their debut. TC: I know Me Too Monologues also hits stage this semester. Is there anything different going on with the show this year that we didn’t see last year? JOJ: In terms of the basic structure—the Me Too experience— it will be similar. The two biggest things this year is that we’ve gone to two weekends. We got so much demand last year and we really wanted to keep in that same space in the Nelson Music Room because it has a decent amount of space and also allows the performers to be connected to the audience. Anything bigger than that and you would lose that [experience]. In terms of content, what I think is interesting from what we have here is just hearing new perspecSee Q&A on Page 10
Urban Bush Women The two-week residency by the world-renowned, Brooklyn-based contemporary dance company Urban Bush Women will culminate in the world premiere of Walking With ‘Trane, created by the company’s artistic director, Jawole Willa Jo Zollar, and inspired by John Coltrane’s magnificent jazz suite, A Love Supreme. January-February 2014
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yMusic The New York based, new music sextet yMusic, an ensemble of young musicians deeply engaged in both classical music and indie rock, will make three separate visits to campus over the course of the year. While in residence, the ensemble will work with students in Duke’s graduate composition program. November 2013-March 2014 Image Credit: Ilya Nikhamin
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Hoi Polloi The three-week residency of the OBIEwinning theater company Hoi Polloi will be a homecoming for its founder and artistic director, Alec Duffy, who is a 1998 Duke graduate. The residency centers on the premiere of Republic, a work that has emerged from a two-year collaboration between Duffy and Duke’s Department of Theater Studies. February – March 2014.
The Visiting Artist Program of Duke University receives funding from The Duke Endowment. For more information contact the Office of the Vice Provost for the Arts, 919.684-0540 or visit our website at arts.duke.edu.
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The Chronicle
2014 Spring Arts Preview
TuesDAY, jAnuArY 14, 2014 | 5
Spring 2014 Calendar of Events Ongoing Exhibitions
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Love’s Infrastructure. (See Jan. 24) 8:15pm. (TS)
Lines of Control: Partition as a Productive Space. Exploring the creation and maintenance of borders. Thru February 2. Nasher Museum of Art. Free. (NAS)
Red Clay Saxophone Quartet. Susan Fancher, Robert Faub, Steven Stusek, and Mark Engebretson. Celebrating the Quartet’s 10th anniversary season. 3pm, Baldwin Auditorium. Free. (MUS)
Ciompi Lunchtime Concert. Brahms’ String Quartet No. 1 in C Minor, Op. 51, No. 1. 12pm, Duke Chapel. Free. (MUS)
16
Alexander Technique Master Class with William Conable. 5pm, Nelson Music Room, East Duke Bldg. Free. (MUS)
17
Rare Music Concert. Eric Pritchard, baroque violin; William Conable, baroque cello; Randall Love, fortepiano. 4:30pm, Biddle Music Bldg. Fountain Area. Free. (MUS)
17 Three’s Company. Music for voice, piano plus one. Susan Dunn & Marlissa Hudson, sopranos; Sandra Cotton, mezzo-soprano; Jason Karn, tenor; Wendy Davidson, viola; Fred Raimi, cello; Bo Newsome, oboe; Jimmy Gilmore, clarinet; Nicholas Kenney, horn; David Heid, piano. Featuring a world premiere by Scott Tilley and works by Schubert, Brahms, and Valerie Capers. 8pm, Baldwin Auditorium. Free. (MUS) 19
23
How Theater Can Make the World a Safer and Sexier Place. A participatory workshop exploring how humor, personal narrative and interactive theater can help open a space for people to become their own sexual health advocates. 6 pm, 1515 Hull Ave. Dance Studio. Free, but registration required. (DDP)
Organ Recital Series Concert. Duke organist David Arcus’ final recital on the Flentrop organ, will feature “Last Movements: Finales, Postludes, and Other Endings,” including music of Bach, Mendelssohn, Franck, Messiaen, and Arcus. 5pm, Duke Chapel. Free. (CM)
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An Iliad. By Lisa Peterson & Denis O’Hare. Featuring Phil Watson (T’14) (Sr. Distinction Project). 8pm, Sheafer Theater, West Campus. Free. (TS)
14
Ilana Davidson, soprano; Oren Fader, guitar; Laura Gilbert, flute; Jonathan Bagg, viola. Music of JS Bach, Villa Lobos, Franz Schubert, Ned Rorem; new works by Duke composers David Kirkland Garner and Vladimir Smirnoff. 8pm, Nelson Music Room, East Duke Bldg. Free (MUS)
Choral Vespers. The Vespers Ensemble will be featured as part of the NC “HIP Festival,” an early music festival sponsored by Mallarmé Chamber Players. 5pm, Duke Chapel. Free. (CM)
An Iliad. (See Feb. 13) 8pm. (TS)
15
Open Rehearsal. Preview of Stephen Jaffe’s HIP Concerto (Chamber Concerto No. 3), with commentary by the composer and musicians. Part of the Triangle HIP (Historically Informed Performance) Festival. 2pm, Bone Hall, Biddle Music Bldg. Free (MUS)
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Katharina Uhde, violin; Shin-Ae Chun, harpsichord. J.S. Bach’s Complete Obbligato Sonatas, Part II. 7:30pm, Nelson Music Room, East Duke Bldg. Free (MUS)
20
The Duke University Wind Symphony. Verena Mösenbichler-Bryant, dir. Joint concert with the Durham Concert Band, Tom Shaffer, conductor. Premiere performance of a piece by Duke composer Paul Leary, and works by Bernstein, Grainger, Lauridsen and others. 8pm, Baldwin Auditorium. Free. (MUS)
Lecture Series in Musicology. Eric Wen (Juilliard, Curtis School of Music). “An Unprecedented Network of Disorientations, Dissonances, Rhythmic Obscurities, and Atmospheric Dislocations: The Introduction to Mozart’s Dissonance Quartet.” 4:15pm, Room 104, Biddle Music Bldg. Free. (MUS)
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Songs of Love and Remembrance. Penelope Jensen, soprano; Elaine Funaro, harpsichord; John Pruett, baroque violin; Andrew Anagnost, baroque cello; Geoffrey Burgess, baroque oboe. Featuring winning Aliénor International Harpsichord Concerto Competition composers, including Duke alumni Jeremy Beck, John Mayrose, and Carl Schimmel. Part of the Triangle HIP (Historically Informed Performance) Festival. 8pm, Nelson Music Room, East Duke Bldg. Free. (MUS)
6
The Man Who. By Peter Brooks. Featuring Sam Kebede (T’14) (Sr. Distinction Project). 8pm, Brody Theater, East Campus. Free. (TS)
Family Day. Gallery hunt, make-and-take crafts, live entertainment. 12pm, Nasher Museum of Art. Free. (NAS)
3
Katharina Uhde, violin; Shin-Ae Chun, harpsichord. J.S. Bach’s Complete Obbligato Sonatas, Part I. 7:30pm, Nelson Music Room, East Duke Bldg. Free (MUS) An Iliad. (See Feb. 13) 8pm. (TS)
FEBRUARY
Lecture Series in Musicology. Lydia Goehr (Columbia University). “Music and Painting: Reviewing the Mediums of Voice, Ear, and Instrument.” 5:30pm, FHI Garage, Smith Warehouse, Bay 4, 1st floor. Free. (MUS)
20 Republic. Awardwinning Brooklyn based Hoi Polloi’s Republic measures the big social questions of Socrates and company against today’s modern world. 7:30pm, Manbites Dog Theater in Durham $17, $15 Age 30 & under, $10 Duke students. (TS) 21
Piano Master Class. With Lise de la Salle. 3pm, Nelson Music Room, East Duke Bldg. Free. (MUS) Life Is a Cabaret: The Library Party. Duke Marketing Club and Duke University Libraries present a night of sophisticated fun and entertainment, inspired by the library exhibit on Parisian cabarets. Open to the entire Duke community. 9pm-12am, Perkins Library. Free. (LIB)
Choral Vespers. The Vespers Ensemble will be featured as part of the NC “HIP Festival,” an early music festival sponsored by Mallarmé Chamber Players. 5:15pm, Duke Chapel. Free. (CM)
The Man Who. (See Feb. 20) 8pm. (TS) Republic. (See Feb. 20) 7:30pm. (TS)
Exhibition Opening Event. Curator Richard J. Powell on Archibald Motley: Jazz Age Modernist. 7pm, Nasher Museum of Art. Free. (NAS)
22
Full Frame Winter Series. (See Jan. 23) Which Way Is the Front Line From Here?: The Life and Time of Tim Hetherington, directed by Sebastian Junger. 7:30pm, Carolina Theatre. Free. (CDS)
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The Man Who. (See Feb. 20) 8pm. (TS) Republic. (See Feb. 20) 7:30pm. (TS) Randall Love, piano. Works of Beethoven, Brahms, and Chopin. 4pm, Baldwin Auditorium. Free. (MUS) The Man Who. (See Feb. 20) 3pm. (TS)
7 Dancing the Black Diaspora: Theories of Black Performance. A three-day conference exploring African diaspora dance as a resource and method of aesthetic identity. The Collegium for African Diaspora Dance will facilitate an interdisciplinary discussion that captures the variety of topics, approaches, and methods that might constitute Black Dance Studies. Registration required. (DDP)
Love’s Infrastructure. Live music on a set designed by Torry Bend (Theater Studies faculty), with music performed by Bombadil, and enlivened with a cast of Bend’s captivating puppets. 8:15pm, PSI Theater at Durham Arts Council. $24, $15 Age 30 & under, $10 Duke students. (TS) Fresh Docs Film Series. Screening of the documentary The David Beck Project as part of an annual series co-presented by the Center for Documentary Studies and the Southern Documentary Fund. 7pm, Full Frame Theater, American Tobacco Campus. Free. (CDS)
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Full Frame Winter Series. (See Jan. 23). The Crash Reel, directed by Lucy Walker. 7:30pm, Carolina Theatre. Free. (CDS)
Full Frame Winter Series. An annual series presented by the Full Frame Documentary Film Festival. Cutie the and Boxer, directed by Zachary Heinzerling. 7:30pm, Carolina Theatre. Free. (CDS)
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Visiting Artist Deborah Stratman. Public presentation with artist and filmmaker Deborah Stratman. 7pm, Full Frame Theater, American Tobacco Campus. Free. (MFA|EDA)
Love’s Infrastructure. (See Jan. 24) 3:15pm. (TS)
Sound Vision: Contemporary Art from the Collection. Global contemporary art recently acquired for the permanent collection. March 6, 2014 - August 3. Nasher Museum of Art. Free. (NAS)
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Legendary: Inside the House Ballroom Scene. Photographs of the underground LGBT pageant scene by CDS/Honickman First Book Prize in Photography Winner Gerard H. Gaskin. Thru Feb. 22. Center for Documentary Studies. Free. (CDS)
JANUARY
Jazz Informance. Learn about jazz with Duke’s John Brown and his ensemble. 2pm, Nasher Museum of Art. Free. (NAS) Dancing the Black Diaspora. (See Feb. 7) (DDP)
Cheap Thrills: The Highs and Lows of Paris’s Cabarets, 1880-1939. An exhibit on Montmartre’s famed musical revues. The exhibit will be sonified, with music arranged and recorded by the Duke New Music Ensemble. February 19 – May 12. Perkins Library Gallery. Free. (LIB)
Archibald Motley: Jazz Age Modernist. Remarkable paintings by American artist Archibald Motley, master colorist and radical interpreter of urban culture. Thru May 11, 2014. Nasher Museum of Art. Free. (NAS)
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Dancing the Black Diaspora. (See Feb. 7) (DDP)
Republic. (See Feb. 20) 2:30pm. (TS) Organ Recital Series Concert. Dorothy Papadakos, a renowned international performer and improviser, who has received rave reviews for her silent film accompaniments, will present The Hunchback of Notre Dame (1923), accompanied on the Aeolian organ. 5pm, Duke Chapel. Free. (CM)
25
Visiting Artist Jack Loeffler. Public presentation with sound collage artist, writer and aural historian Jack Loeffler. 7pm, Full Frame Theater, American Tobacco Campus. Free. (MFA|EDA)
26
Republic. (See Feb. 20) 7:30pm. (TS)
The Chronicle
2014 Spring Arts Preview
6 | TuesDAY, jAnuArY 14, 2014
Spring 2014 Cal 27
Republic. (See Feb. 20) 7:30pm. (TS)
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23
Rare Music Concert. Gabriel Richard, baroque violin. 4:30pm, Biddle Music Bldg., Fountain Area. Free. (MUS)
28
Archibald Motley Symposium. Keynote: “Archibald Motley & Bronzeville: A conversation between Darlene Clark Hine and Richard J. Powell. 6pm, Nasher Museum of Art. Free. (NAS)
Vespers Ensemble Spring Concert. Featuring Orlando di Lasso’s deeply personal Lagrime di San Pietro (the Tears of St. Peter), a collection of 21 madrigals, which focus on Peter’s anguish over his denial of Christ. 4pm, Duke Chapel. Free. (CM)
MFA|EDA Thesis Exhibition Opening Event. Opening reception for Class of 2014 thesis exhibition. 5–7pm, Power Plant Gallery, American Tobacco Campus. Free. (MFA|EDA)
Gabriel Richard, violin; Fred Raimi, cello; Jane Hawkins, piano. Works by Schubert: Fantasy for Violin & Piano and Trio in E-Flat, Op. 100. 8pm, Nelson Music Room, East Duke Bldg. Free. (MUS)
25
Organ Recital Series Concert. University Organist Robert Parkins will presents “Magnificat,” a program featuring music by early Iberian and French composers, plus works of Bach and Rheinberger on the Brombaugh and Flentrop organs, assisted by Kristen Blackman, cantor, and members of the Duke Vespers Ensemble, Brian Schmidt, dir. 5pm, Duke Chapel. Free. (CM)
APRIL 3
Ciompi Quartet Lunchtime Classics. Brahms: String Quartet No. 2 in A Minor, Op. 51, No. 2. 12pm, Duke Chapel. Free. (MUS)
Machinal. By Sophie Treadwell. Machinal depicts the struggle for personal fulfillment in a world where alienation, commodification, and automation reign supreme—a world that is past, present, and future. 8pm, Sheafer Theater, Bryan Center. $10 General Public; $5 Students/Sr. Citizens. (TS)
Duke Jazz Ensemble. John Brown, dir, with guest artist Wess Anderson, saxophone. 8pm, Baldwin Auditorium. $10 gen. adm.; $5 sr. citizens; students free. (MUS)
Full Frame Documentary Film Festival. An annual four-day event in downtown Durham showcasing 100 feature and short documentaries from around the world. See fullframefest.org. (CDS)
Republic. (See Feb. 20) 7:30pm. (TS) Fresh Docs Film Series. Screening of a documentary, title TBD, part of an annual series co-presented by the Center for Documentary Studies and the Southern Documentary Fund. Full Frame Theater, American Tobacco Campus. 7pm. Free. (CDS)
25 yMusic. New music by Duke graduate composers Ben Daniels, D. Edward Davis, Sid Richardson, Vladimir Smirnov, Kenneth David Stewart, & Justin Tierney. 8pm, Motorco Music Hall. $15 gen. adm.; Duke students $10. (MUS) 27
MARCH 1
Archibald Motley Symposium. Scholarly symposium hosted by Richard J. Powell, John Spencer Bassett Professor of Art and Art History at Duke, who organized Archibald Motley: Jazz Age Modernist. Nasher Museum of Art. Free. (NAS) Republic. (See Feb. 20) 7:30pm. (TS)
5
6
28
Voice Master Class with Dana Zenobi. 4:30pm. Bone Hall, Biddle Music Bldg. Free. (MUS)
Envisioning the Future of the Sallie Bingham Center. Author, playwright, teacher, and feminist Sallie Bingham discusses the importance of documenting women’s lives. 6pm, Von der Heyden Pavilion, Perkins Library. Free. (LIB)
North Carolina Literary Festival. (See Apr. 3) (LIB)
10
My White Friends. An exhibit of color photographs by Myra Greene opens. Thru May 17. Center for Documentary Studies. Free. (CDS)
16
Family Day. Gallery hunt, make-and-take crafts, live entertainment. 12pm, Nasher Museum of Art. Free. (NAS)
18
Duke Chorale. Rodney Wynkoop, dir. Spring Tour Concert. 8pm, Baldwin Auditorium. Free. (MUS)
20
Music Lecture. Richard Fleming (Bucknell University). “Listening to Cage: ExperimentationChanceSilenceAnarchism.” 4:30pm, FHI Garage, Smith Warehouse, Bay 4, 1st floor. Free. (MUS)
21
Lecture Series in Musicology. Jacqueline Waeber (Duke University). 4pm, Room 101, Biddle Music Bldg. Free. (MUS) Katharina Uhde, violin & R. Larry Todd, piano. Works by Beethoven, Clara Schumann, Joseph Joachim, and Franck. 8pm, Nelson Music Room, East Duke Bldg. Free (MUS)
5
Fresh Docs Film Series. (See Feb. 28) 7pm. (CDS)
ChoreoLab 2014. Dance performances by Duke faculty and students. 8pm, Reynolds Industries Theater. tickets.duke.edu. (DDP)
29
Duke Opera Workshop. The Party’s Over: a program of finales and party scenes featuring current students collaborating with returning Opera Workshop alumni engaged in careers in music. 8pm, Baldwin Auditorium. $10 gen. adm.; students free. (MUS)
Full Frame Documentary Film Festival. (See April 3) (CDS) North Carolina Literary Festival. (See Apr. 3) (LIB)
6
Machinal. (See April 3) 2pm. (TS) Full Frame Documentary Film Festival. (See April 3) (CDS) North Carolina Literary Festival. (See Apr. 3) (LIB)
ChoreoLab 2014. (See March 28) 8pm. (DDP) Duke Opera Workshop. (See. March 29) 3pm. (MUS)
Beethoven: Symphony No. 9 in D minor. Duke Symphony Orchestra & Duke Chorale, with members of the Choral Society of Durham, and soloists Andrea Moore, soprano; Elizabeth Tredent, alto; Timothy Culver, tenor; Brian Johnson, baritone. Harry Davidson, conductor. Also features the world premiere of Anthony Kelley’s Music for the 21st. 8pm, Baldwin Auditorium. $10 gen. adm.; students free. (MUS) Machinal. (See April 3) 8pm. (TS)
Duke Players Lab. (See March 27) 8pm. (TS)
30
Machinal. (See April 3) 8pm. (TS) Full Frame Documentary Film Festival. (See April 3) (CDS)
28
Annual Rothschild Lecture. Artist Carrie Mae Weems. 7pm, Nasher Museum of Art. Free. (NAS) Duke University String School. Dorothy Kitchen, dir. 3pm. Beginning Ensembles & Intermediate I. 7pm, Intermediate II & DUSS Youth Symphony Orchestra. Baldwin Auditorium. Free. (MUS)
4
Duke Players Lab. (See March 27) 8pm. (TS)
New electroacoustic works by Paul Leary. Thomas Rosenkranz, & Mark Snyder. 8pm, Nelson Music Room, East Duke Bldg. Free. (MUS)
8
North Carolina Literary Festival. Free public event presented and sponsored on a rotating basis by the library systems of Duke, UNC, and NC State. See nclitfest.org. James B. Hunt Jr. Library, North Carolina State University, Centennial Campus. Free. (LIB)
Duke Players Lab. Title TBA. 8pm, Brody Theater, East Campus. Free. (TS)
Duke Symphony Orchestra. Harry Davidson, dir. Program Brahms: Hungarian Dances 1, 3, & 10 and Symphony No. 3 in F Major, Op. 90. Student Concerto Competition winner Emily Tan performs the first movement of Saint-Saëns’ Piano Concerto No. 2 in G minor. 8pm, Baldwin Auditorium. Free. (MUS) Exhibition Opening. Sound Vision: Contemporary Art from the Collection, an exhibition of significant global contemporary art drawn from the permanent collection. Nasher Museum of Art. Free. (NAS)
First Thursday. Gallery talk with Thomas Brothers, professor of music at Duke, on his new book Louis Armstrong, Master of Modernism. 6pm, Nasher Museum of Art. Free. (MUS/NAS)
9
Poetry reading. Irish poet Micheal O’Siadhail. Part of the “Sounding of the Passion Week” series of events. Presented by Duke Initiatives for Theology in the Arts (DITA) and Duke Divinity School. Info at divinity.duke.edu/initiativescenters/dita. (VPA)
FOR MORE INFO CDS CM DDP LIB MFA/EDA MUS NAS SS TS VPA
Center for Documentary Studies................660-3663..................................documentarystudies.duke.edu Chapel Music...................................................684-3898 ..................................chapel.duke.edu Duke Dance Program ....................................660-3354 ..................................danceprogram.duke.edu Duke University Libraries ..............................660-5816 ..................................library.duke.edu Master of the Fine Arts in Experimental and Documentary Arts .........660-3695 ..................................mfaeda.duke.edu Music Department .........................................660-3333 ..................................music.duke.edu Nasher Museum of Arts ................................660-5135...................................nasher.duke.edu Screen Society ................................................660-3031 ..................................ami.duke.edu/screensociety Theater Studies ...............................................660-3343 ..................................theaterstudies.duke.edu Vice Provost for the Arts ...............................684-0540..................................arts.duke.edu
The Chronicle
2014 Spring Arts Preview
lendar of Events
TuesDAY, jAnuArY 14, 2014 | 7
Screen/Society All events are free and open to the general public. Unless otherwise noted, screenings are at 7pm in the Griffith Film Theater, Bryan Center. (N) = Nasher Museum Auditorium. (SW) = Smith Warehouse - Bay 4, C105. (W) = Richard White Auditorium. All events subject to change – for details, updates, and additions, see: ami.duke.edu/screensociety/ schedule Cine-East: East Asian Cinema 1/17 Always--Sunset on Third Street (Japan) (W) 2/5 Cold War in Asia series #1: Jiseul (S. Korea) 2/19 Cold War in Asia series #2: Welcome to Dongmakgol (S. Korea) (W) 2/27 People’s Park (USA/China) - w/ dir. J.P. Sniadecki (W) 3/5 Cold War in Asia series #3: The Sandwich Man (Taiwan) (W)
10
Visiting Artist Talk. Scottish composer James MacMillan will participate in a lunchtime panel and evening lecture (response by Sarah Coakley), as part of the “Sounding of the Passion Week” series of events. Presented by Duke Initiatives for Theology in the Arts (DITA) and Duke Divinity School. Lunchtime talk 12:30-1:30 Room 0016 Westbrook, Divinity School; Evening lecture 5pm, Goodson Chapel, Divinity School. Info at divinity.duke.edu/initiativescenters/dita (VPA)
13
Parade. (See April 10) 2pm. (TS) Machinal. (See April 3) 2pm. (TS)
17
Parade. By Alfred Uhry. Music and lyrics by Jason Robert Brown. Directed by Drew Klingner (T’14) (Sr. Distinction Project). 8pm, Reynolds Theater, Bryan Center. Price tba. (TS)
Composition Master Class with visiting artist James MacMillan. Scottish composer James MacMillan is at Duke as visiting artist for the U.S. premiere of his new St. Luke Passion. This class is part of the “Sounding of the Passion Week” series of events. 2pm, Biddle Music Bldg., Bone Hall, Rm. 19. (MUS/VPA) Duke Jazz Ensemble. John Brown, dir., with guest artist Diane Schuur, vocalist/pianist. 8pm, Baldwin Auditorium. $10 gen. adm.; $5 sr. citizens; students free. (MUS) Parade. (See April 10) 8pm. (TS) Machinal. (See April 3) 8pm. (TS)
12
Chamber Music. Master Class with the Pavel Haas String Quartet. 11am, Baldwin Auditorium. Free. (MUS) Parade. (See April 10) 2pm & 8pm. (TS) Machinal. (See April 3) 8pm. (TS)
New Works Festival. A weekend of staged readings of plays and screenplays written by members of the Duke community. 8pm, Sheafer Theater, Bryan Center. Free. (TS)
18
The Duke Arts Calendar is edited by Rachel Orfinger and Beverly Meek, Office of the Vice Provost for the Arts.
19
Persons with disabilities who anticipate needing accommodations, or who have question about physical access, may contact the Box Office in advance of the event you wish to attend.
Parade. (See April 10) 2pm & 8pm. (TS) New Works Festival. (See April 17) 8pm. (TS)
20 22 25
Parade. (See April 10) 2pm. (TS) Student Chamber Music Recital. 7pm, Nelson Music Room, East Duke Bldg. Free. (MUS) Duke Chorale. Rodney Wynkoop, dir. Celebration Concert. 8pm, Biddle Music Bldg., Fountain Area. Free. (MUS) Fresh Docs Film Series. (See Feb. 28) 7pm. (CDS)
26
Duke University String School. Dorothy Kitchen, dir. 3pm. Beginning Ensembles & Intermediate I. 7pm, Intermediate II & DUSS Youth Symphony Orchestra. Baldwin Auditorium. Free. (MUS)
27
Duke University String School. Chamber Music Concert. 4pm, Nelson Music Room, East Duke Bldg. Free. (MUS) Family Day. Gallery hunt, make-and-take crafts, live entertainment. 12pm, Nasher Museum of Art. Free. (NAS)
MAY 2
The Amazing Adventures of Grace May B. Brown. Performance by SOULOWORKS/Andrea E. Woods & Dancers. 7pm, The Durham Arts Council’s PSI Theatre. See SOULOWORKS.com (DDP)
3
Choral Society of Durham Spring Concert. Featuring Barber’s Prayers of Kierkegaard and Verdi’s Quattro pezzi sacri, with full orchestra. 8pm, Duke Chapel. $20 Gen. Adm., $5 Students. (CM)
Events are subject to change. Please contact event sponsor for updates. Buy tickets online at tickets.duke.edu or visit the University Box Office in the Bryan Center on West Campus, MonFri, 11am-6pm, or one hour prior to performances at event venue. (919-684-4444)
Parade. (See April 10) 8pm. (TS) New Works Festival. (See April 17) 8pm. (TS)
13
St. Luke Passion. The Chapel Choir & Durham Children’s Choir join forces to present the U.S. premiere of this newly-commissioned choral masterwork from Scottish composer James MacMillan. In collaboration with Duke Initiatives for Theology in the Arts (DITA) and Duke Divinity School. 4pm, Duke Chapel. tickets.duke.edu. (CM)
Duke University Wind Symphony. Verena MösenbichlerBryant, dir. World premiere of David Kirkland Garner’s Soprano Saxophone Concerto with Susan Fancher, soloist. Works by Shostakovich, Steven Bryant, John Mackey, and selections from Lord of the Rings by Johan de Meij. 8pm, Baldwin Auditorium. Free. (MUS) Parade. (See April 10) 8pm. (TS)
Machinal. (See April 3) 8pm. (TS)
11
Duke New Music Ensemble [dnme]. Jamie Keesecker, dir. 8pm, Baldwin Auditorium. Free. (MUS)
The Amazing Adventures of Grace May B. Brown. (See May 2) 7pm. (DDP)
Duke University Spring 2014 Calendar of Events designed by
2014 Ethics Film Series 1/21 Moving Midway - w/ dir. Godfrey Cheshire 2/18 Junebug 3/18 deepsouth - w/ dir. Lisa Biagiotti 4/15 Beasts of the Southern Wild [35mm] Rights! Camera! Action! (SW) - discussion to follow each film 1/23 Enemies of the People 3/20 The Devil Came on Horseback
Jiseul
Welcome to Dongmakgol
deepsouth
Enemies of the People
N.C. South Asian International Film Festival (W) [See website for details on films to be screened, invited filmmakers, etc] 1/24 Day 1: 5pm-11pm 1/25 Day 2 9am-11pm AMI Showcase 1/27 Hitchcock series #1: The Birds [35mm] 2/11 Silent Film series #1: The Birds Safety Last (Harold Lloyd) [Blu-Ray] 2/26 51st Ann Arbor Film Fest Tour (W) – program of experimental short films 3/23 Alumni Filmmaker Homecoming series – an Safety Last evening w/ Nikyatu Jusu ’05 (W) 3/24 Silent Film series #2: Silent Comedy Shorts (rare program of restored/ recovered classics) 3/31 Hitchcock series #2: City Lights Vertigo [35mm] 4/16 Silent Film series #3: City Lights [35mm] Date TBA Alumni Filmmaker Homecoming series – screening + Q&A [guest filmmaker TBA] Middle East Film Series 2/10 Arts of Revolution series #1: Ladder to Damascus (Syria) (W) 4/2 Arts of Revolution series #2: Microphone (Egypt) (W) + 1-2 Iranian films (TBA – check website) Archibald Motley Exhibition Film Series (N) 3/13 Richard Pryor: Live on Sunset Strip + Melancholy Dame (short film) 4/10 Victimas del Pecado + Fireman of the Folies Bergeres (short film) 5/8 Cadillac Records
Ladder to Damascus
Richard Pryor: Live on Sunset Strip
Special Events 4/1 AMI Student Film Award Screening – best Duke student films of 2013 4/4 NC Premiere: Enemy of the Reich: The Noor Inayat Khan Story (time TBA) – Q&A to follow 4/5 NC Premiere: Enemy of the Reich: The Noor Inayat Khan Story (time TBA, W) – Q&A to follow Check website for start times for Enemy of the Reich
ami.duke.edu/screensociety
2014 Spring Arts Preview
8 | TuesDAY, jAnuArY 14, 2014
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The Chronicle
2014 Spring Arts Preview
TuesDAY, jAnuArY 14, 2014 | 9
Trinity senior Watson prepares final performance
Q &A
by Lauren Feilich THE CHRONICLE
Phil Watson is a Trinity senior majoring in theater studies and classical studies. For his heavy involvement in theater both at Duke and in Durham, The Chronicle spoke with Watson about his years at Duke and his exciting final project for the spring. The Chronicle: Tell me a little bit about your experience with art at Duke. Phil Watson: Art at duke… That’s a lot. I started as an art history major, and I spent a fair amount of time at the Nasher. I was amazed at how much it’s got. You know, Durham, North Carolina, you don’t think of as a hub for culture, but it is. We’ve got that, and I’m a musician so I played with Hoof ‘n’ Horn for a little bit, and I slowly became aware of all these different people doing all these different things. I was playing in the pit and looked up one day, during a rehearsal, and I was like, huh, I think I could do that. And here we are. The thing about Duke is you get the kind of people where everybody is a Renaissance man or woman; you’ve got engineers who also sing and play violin and do all these different things, and they do them all really well. I just did a workshop with a playwright named Branden Jacobs-Jenkins, and he referred to theater artists as ragamuffin autodidacts, which just cracked me up. I think that’s how the arts here work, all these people who are not being forced at all. Everybody doing arts here is self-motivated, and as a result, everything they do has this crazy fire to it. And so the idea of all these people doing all these different things—it’s very punk rock, all these underfunded hangingon-by-a-thread people fighting tooth and nail to get something out there. Thats what I like about this. And so for my show, “The Iliad,” my distinction project, I have a table... and a bottle. And I have never seen a bottle turn into so many different things. TC: Can you tell me a little more about “The Iliad?” PW: It’s an honors thesis kind of thing. The show is a oneman retelling of Homer’s “Iliad,” the first and greatest war story. TC: It’s definitely a classic. PW: Yeah, there’s this character only referred to as the poet. He gets up to tell this story and he says, “Every time I sing this song, I hope it’s for the last time,” because in the course of an hour and 30 minutes or so, this one guy plays approximately 16 different characters, and he goes from the very height of ecstasy to the darkest, most bloodthirsty rage places. TC: That’s a lot to cover for one person. PW: A lot of ground gets covered in a short amount of time. It’s one of those things where this character just desperately has got to get this story out, and it’s not coming out the way he wants it to, and if he could just get it perfect, everybody would understand, and there’d be this glorious epiphany in this room. And so what the audience gets to see is his journey trying to get this story out, and the spectators see something happening in the poet. The audience is watching a struggle while the poet is telling the story of a struggle. TC: I wanted to ask about double majoring in classics and theater studies. How did that inform you in your exploration of theater?
PW: Which came first, the chicken or the egg? These were two things that happened independently. Art history, to classics, and then theater entered my life and has not left, nor does it intend to. These two things took separate tracks for one and a half years, two years, then I started to study sPeciaL TO The ChroniCle Greek tragedy in a more dedicated way...What I like to say when I talk about why I love classics so much is that it provides a unique and highly ap-
plicable lens through which to view the modern world. A huge amount of Western culture specifically comes from the Greeks and the Romans. I forgot where, but I read somewhere that basically, you find in Greek tragedy the most undiluted grapplings with basic human problems. TC: There’s something really universal about the stories they tell. PW: It’s not as if I stage many Greek productions, but the Greeks were the first theater majors, in a way. I know many who would argue with me, but they were one of the first Western theater majors. There’s something very interesting about going back to the source to figure out how you got to where you are now. TC: And that’s kind of the entire point of storytelling, isn’t it? PW: And [the point of] this, especially. “The Iliad” will be performed on Feb. 13, 14 and 15 in the Sheafer Lab Theater of the Bryan Center.
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The Chronicle
2014 Spring Arts Preview
Visual Arts wing in Smith reflects program changes by Danielle Muoio THE CHRONICLE
Getting to the newly renovated Art, Art History and Visual Studies wing in the Smith Warehouse is no easy feat, but those who make the trek will consider stopping in more than once. The Art, Art History and Visual Studies department is behind the barricade of Bay 10. The best way to circumvent the continuously locked doors is to walk to the back of Bay 12, climb the stairs and find the door that leads to the department. Despite the somewhat rounadbout navigation system needed to get to the new wing, it easily rises to the top of my “obscure but comfortably cool study spaces” list. Study rooms face each other, and long, transparent windows create an open and inviting space. Comfort-
able chairs are arranged throughout the hall, providing niche places to talk and collaborate on projects. Projectors placed throughout the hall allow students to project presentations on the white walls. And perhaps the coolest addition to the new wing is the 4K resolution television—the only one currently in North Carolina— that displays moving images created by students and professors in the department. Funding for the wing came from outside donations, grants and other revenue streams, said Hans Van Miegroet, professor and department chair of Art, Art History and Visual Studies, who was responsible for planning the design of the new wing. The revamped wing cost more than $5 million. The new wing not only gives students and professors a new place to work, but is representative of a shifting
department that has developed over time to incorporate the sciences into the humanities. “The idea is to bring together the theory and practices of the humanities, sciences and social sciences,” Van Miegroet said. The new name is currently waiting approval by the Arts and Sciences Council, but Van Miegroet is confident this initiative represents the changing direction of the program. Bill Seaman, professor of visual studies, said that since he joined the department it, has become more “multi-modal.” “[It’s not just focusing on the visual. This represents what I call embodied practice,” he wrote in an email See Smith on Page 11
Q&A
from page 4
tives. There are some interesting monologues of male voices on campus this year that are trying to figure out their place on the advocacy of women’s issues, genders, race and sexuality. I think every year, it’s very unique in terms of the array of voices we get and the way we are trying to make sure we have some conversations that come up over and over again. TC: Going out into Durham, what can readers expect from the Manbites Dog show, “I Love My Hair When It’s Good: & Then Again When It Looks Defiant and Impressive”? JOJ: So the piece by Chaunesti Webb is now in its second incarnation at Manbites. It happened last year in the fall and it had such an amazing response that they wanted to bring it back again because people were clamoring to see it. It’s about African American women’s body image—specifically hair. One of the things they are doing is having a community event on a weekend of shows with some speakers and local businesses to promote health and wellness and positive body image. So there’s wonderful opportunities both to give to the community and experience the wonderful stories that Chaunesti Webb’s performance has collected. TC: What are some other ways students can connect with the theater department this spring, whether it be in Duke or Durham? JOJ: After “Machinal” closes, there is a New Works Festival. The New Works Festival is being housed in Senior Colloquium. There will be dramatic readings…I’m not sure if they will produce some of the footage…but there might be movies shown in relation to that...They just announced the pieces that were selected, and they include work from a first-year student all the way to a senior. So they are showing an array of Duke work performed by students, produced by students. Also, near Manbites Dog, there is another theater space called the Shadow Box where Jay O’Berski and his company, Little Green Pig… are doing a stage adaptation of a Danish film from the mid-1990s called “Celebration.” So that will be at the Shadow Box, which is a scrappy little place that they are trying to convert into a regular performance venue, and it’s the street behind Manbites Dog. You can make it a whole night of it which is really wonderful—have dinner, go to the theater and then have coffee or enjoy music..something that when I moved to Durham, in 1997, just didn’t exist. so its really an exciting time to be seeing people produce work and to connect with the Durham community.
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The Chronicle
2014 Spring Arts Preview
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smith
Special to The Chronicle
dan scheirer/The Chronicle
Check out dukechronicle.com/section/recess for more spring arts exclusives: • Q&A with Torry Bend, puppeteer and Assistant Professor of the Practice of Theater Studies • Duke’s Kenan Institute for Ethics presents their annual film series: The South (above, top) • Dancing the African Diaspora: Theories of Black Performance, at Duke Feb. 7-9, 2014 (pictured above)
from page 10
Sunday. Seaman added that new courses incorporate the computer as a creative tool for the arts and designs. This addition to the department that has developed over time served as inspiration for the change in the department’s name, which is represented by the “+” in “Media Arts + Sciences.” “Big Data needs people that understand how to make visualizations and sonifications,” he added. “Knowledge from the arts is essential here as are new forms of team-based practice, as well as how to design new forms of human/ computer interface.” Seaman added that the department has seen continuous growth each year,
tuesDAY, january 14, 2014 | 11
which is due to support from Information Sciences and Information Studies, the new MFA in Experimental and Documentary Art and even electrical engineering. “The [new wing’s] proximity also allows for vertical integration between undergraduates, MFA students, MA students, PhD [students] and visiting researchers,” he added. Seaman noted that it was this type of collaboration and resources available through the wing that sets Duke apart from more traditional art schools. “It’s unusual because we’re based in the humanities,” Van Miegroet said of the changing nature of the department. “We’re trying to really redefine how humanities are done for the mutual benefit of everyone.”
12 | TuesDAY, jAnuArY 14, 2014
2014 Spring Arts Preview
The Chronicle
DUKE PERFORMANCES SPRING 2014 • MUSIC, THEATER, DANCE & MORE.
IN DURHAM, AT DUKE THE WORLD, JUST OUTSIDE YOUR DOOR. IMANI WINDS • HILLIARD ENSEMBLE • LUCIANA SOUZA • EMANUEL AX BOMBADIL + TORRY BEND • URBAN BUSH WOMEN • LISE DE LA SALLE ARIEL STRING QUARTET • PAT METHENY UNITY GROUP • LOUIS LORTIE HOI POLLOI’S REPUBLIC • THE KING’S SINGERS • ÉBÈNE QUARTET GREGORY PORTER • KRONOS QUARTET • YMUSIC • CHICK COREA ZAKIR HUSSAIN & THE MASTERS OF PERCUSSION • GERALD CLAYTON BRIAN CARPENTER GHOST TRAIN ORCHESTRA • CHANTICLEER PAVEL HAAS QUARTET • PACO PEÑA & ELIOT FISK • BENJAMIN GROSVENOR JOE HENRY + OVER THE RHINE + THE MILK CARTON KIDS