April 10, 2014

recess

R VOLUME 15, ISSUE 27

APRIL 10, 2014

Parade takes Reynolds Hoof ‘n’ Horn showcases challenging senior thesis

Kristina Wong on the fringe Comedian speaks at Asian American conference, p. 3

Joe Henry, Over the Rhine, The Milk Carton Kids Folk groups to record upcoming performance, p. 6

The Chronicle

recess

2 | THURSDAY, APRIL 10, 2014

editor’s note ss recess r

R recess editors penultimate perils...

My friend asked me this past weekend, “What do you think is the biggest way that you’ve grown during your time here?”

I thought about it later that night, because I wasn’t sure. I looked through my sketchbook, glancing past what I wrote over three years ago on move-in day (I think I made a good choice. I’ll be humbled, I’ll be inspired, I’ll be forced from comfort into change. It’s good that I’m here!) before stumbling onto some of my previous summer’s scrawls. One paragraph stuck out: I’m supposed to practice my writing, but I haven’t decided how I feel about sitting down to write when I haven’t stood up yet to live, or whatever Thoreau said. I haven’t lived! I’m in college—graduating next year, wow—so that’s boring.

I always knew writing was something cathartic for me, but I don’t think I understood it as the alpha and omega. It was my past experience, rebuilt from fragments, made gentler—or grander— with time. I picked bones and told stories with them. I found in them pieces of my life that meant something to me, that had accidentally altered me somewhere, like that summer when I composed a film soundtrack and spent so much time writing about strangers that I learned how to never feel alone. I was always build-

Lauren Feilich [editor].................................................................. hands in prayer emoji Eliza Strong [managing]..........................................................................airport security MC Bousquette [music]...........................................................................????????????

Megan Rise [film]...............................................................................a weird emo band Kathy Zhou [arts].................................................................................................. welp Eliza Bray [photo]..................................................................................... smashmouth Prashanth Kamalakanthan [online]....................................................................pwned Lauren Carroll [substitute]...........................................................................uhhh byeee

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ing stories that arched between realities so that I could remain disconnected and involved at once, never entirely able to reconcile the difference between what wasn’t real and what was only waiting to be realized.

And I coveted those stories. I knew so many, even if they hurt or eluded me. I would wrestle with how inefficient love could be (back when I thought love was how you moved the suffering out of people). I made choices and crossed my fingers hoping that, whatever goes wrong, my homemade strength could handle it. I moved rapidly, never allowing myself to be constrained to one moment. I was grand and opposing, skewing all the rules. I was youth blinking itself into something else, something so barely at arms length that you spend years never realizing it’s not quite the same anymore.

Back then, I thought that if I curled up as long as I could with something I had lost, it wouldn’t have only been some pit stop or detour, but something that would never stop mattering. So I’d write about it, endlessly.

It’s not that those stories aren’t worth telling, either. Those are my favorite stories: the ones that just fall into your lap, the ones you can fashion out of whatever surroundings you find yourself in.

They’re just not the kind I want to dislocate and rearrange like the way I’ve always known. I’m no longer building something in places where I’ve been left empty-handed. Those stories, and characters, are the kinds that I want to let develop gently, a little removed and without distraction, so that they can no longer torment me.

I’m learning to be patient enough to cultivate the story I want instead of trying to make sense out of the one that’s happening to me. It’s why I’ve kicked to

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the curb lousy friendships and hopes that glimmered but would, more often than not, cave in. And it’s why I’m planning to move somewhere new: not for a job or anything, really, but for peace. It’s scary to make felt decisions and only hope that they’re right—and if they’re not, to only hope that I’m brave enough to change.

Instead of being someone to whom things happen, I’m more concerned with being someone who does things.

Like someone who drinks iced tea while basking in the gardens, or who goes to dance class even though she’s hopeless; who makes her friends listen to just one part of a song on loud speakers and then talks about a film that made her cry; who sings Sam Cooke, feels drunk with love for someone who loves to listen, goes on late night drives to look at mountains silhouetted by the clouds; who brims with gratitude.

I guess I just want to talk candidly about things. I knew a little already about saying honest things, about pulling things from my gut and putting it all out there recklessly. There’s something about absolute abandon that’s just so easy. It’s quick and guiltless. But I’ve found that there is an art in colliding sincerity with truth, and it doesn’t mean wringing it out, or even feeling it. It means needing it.

But even that isn’t the summit. I like to think that endings aren’t so important.

It’s the grittier parts, the sensations, the sand and rocks swept back and forth by the sea, the glass windows freckled by moonlight, the stars, not when they’re beautiful, but when they’re cataclysmic, swarming, full of energy. It’s time to look squarely at the muddled messes and words of which I’ve made tiny homes. It’s time to finally stop worrying about where the echoes of the echoes go.

-Kathy Zhou

Photo credit: Alex Maness

Post-Show Panel Friday, April 11 “Young Women and Life Machines”

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The Chronicle

recess

THURSDAY, APRIL 10, 2014 | 3

Comedian Wong talks cultural identity, ‘working on the fringe’

By Georgia Parke THE CHRONICLE

Kristina Wong is a comedian and writer who has traveled across the country performing shows covering topics including laundry, suicide, cats and, soon, poverty in Uganda.

Wong will make an appearance Saturday at the Triangle-Area Asian-American Student Conference held at Duke, giving a speech on stories empowering love and fortitude. Below is an excerpt of an interview Wong did with The Chronicle’s Georgia Parke—read the rest of the interview at www.dukechronicle.com.

The Chronicle: You’ve said that didn’t really find your brand until you got to college. Would you mind talking a little bit about how that happened and how you ended up in comedy?

Kristina Wong: I lived in San Francisco.

I would definitely say I was never encouraged to do anything like this, but I knew it was something I wanted to do. I knew I did not want to work in an office. I knew that my contribution to the world would be something more creative, not like doing surgery for people or building buildings for people. But all I had seen at that point in my life was the plays we performed in high school, like Neil Simon plays, and the only Asian American literature was “The Joy Luck Club.” And that was, I think for a lot of reasons, why I’m now very critical of that art because it brings up that narrative, diminishes the identity for one reason or another, but I was like, oh my God, this is something, wow, this is amazing.

So I think I always imagined that I would probably be an actor. I never thought I was going to be someone who would be a comedian. I admired comedians and I admired what they were able to

do, but I think that because I didn’t see a lot of examples of people like me doing it, it didn’t feel like something I could do.

I was part of an Asian American theater company who had lots of professional careers, we’re just not engineers and stuff like that. It was really kind of an incredible community—I got to write my own roles.

TC: You don’t see a lot of Asian American women in comedy or in Hollywood in general, so I wonder if you think maybe the door wasn’t always open for you and you had to push your way through it?

KW: I can’t boast a lot of commercial success in my career. I feel most of my success has been working on the fringe.

When I was in college, it was pretty nasty and stuff, but it was really kind of a miserable endeavor. In general, I think being an actor is miserable. (laughs) You get some traction, and you are named as a great thing, but you’re at the mercy of other people’s scripts. You go in and you’re up against other actors and it comes down to weird things, like, maybe your face is funny looking or your hair is too long. It’s just not a fun thing, and you can go crazy.

I was like, this is really un-empowering because I could be waiting and waiting and waiting, literally for years, before I am allowed to be an artist, and I don’t like that.

I want to be able to have my voice whenever I want it. …For me, that was the “a-ha” moment I had early on because I had to make my own work. I saw these roles by people who are bilingual or who are very sexy, and as sexy as I think I am, I guess I am not. I’m like 5’8” and I go to calls where there are girls half my size, and I don’t even know how that’s possible. Do you not have hips?

I don’t understand. A lot of me doing my own work is because…I find it frustrating for any artist, anyone who decides that they are an artist or claims they are an artist, to be in a position of constantly waiting. For me, I feel like I’m more interested in the performances that happen in every area of life. I love things that are meta. I love exploring these performances that we don’t know happen, like on the web.

One of the things I’ve done for many years is that I show up at the Miss Chi-

natown pageant dressed like an excontestant of the pageant…It’s about interpreting public space and also intercepting places that we don’t look at as performances...Pageants are a performance of gender, and something like the Miss Chinatown pageant that is a performance of gender and ethnicity, and me intercepting it and me showing up and saying that I’m an ex-contestant, kind of reinterprets their icon of what an Asian woman is.

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Title

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AMI 101

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Kaul

W 3:05-6:05

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AMI 202

History of Documentary Film Price

M 4:40-7:40

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AMI 209S.01 Film Noir

Morton

TuTh 11:45-1:00

Social Sciences

AMI 201

Staff

MF 8:30-9:45

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AMI 301S.01 Moving Image Practice

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Smith

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Goodwin

M 10:05-1:05

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Junior Ring Event

AMI 306S.02 Writing the Movie

Goodwin

W 1:25-4:20

Carr

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Film Animation Production

Herbert

WF 10:05-11:20

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Producing Docu-Fiction

Gibson

MW 1:25–2:40

Smith

AMI 340S

Experimental Film

Kaul

WF 10:05-11:20

Smith

AMI 350S

Sound for Film and Video

Brown

Tu 4:40-7:40

Smith

AMI 356S

16mm Filmmaking

Gibson

Th 3:05-6:05

Smith

AMI 357S

Editing for Film and Video

Haverkamp

MW 1:25–2:40

Smith

AMI 499S

Capstone

Brown

Th 6:15-9:45

Carr

Film Genre

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4 | THURSDAY, APRIL 10, 2014

The Chronicle

recess

Klingner directs Hoof ‘n’ Horn in Du

By Lauren Feilich THE CHRONICLE

Trinity senior Drew Klingner will graduate this May after years of involvement with Hoof ‘n’ Horn and the theater studies department. Klingner spoke with Recess about his thesis production, “Parade.”

The Chronicle: To start out, can you tell me a little bit about your experiences with theater at Duke?

Drew Klingner: I’ve been involved in eight Hoof ‘n’ Horn productions now,

FILM Alive Inside Ximotion Media Directed By Michael Rossato-Bennett

by Megan Rise THE CHRONICLE

Director Michael Rossato-Bennett’s “Alive Inside: A Story of Music & Memory,” which screened at Full Frame this past weekend, follows the efforts of Dan Cohen over the course of three years. His mission: to bring music to patients suffering from dementia and Alzheimer’s, primarily those in nursing homes. The documentary chronicles the experiences of several people, many of whom cannot speak or demonstrate a wide range of movement due to the severity of their disease. They are able to listen to music for the first time in years because of Cohen’s work; he asks relatives for the patients’ favorite tunes, supplies them with an iPod shuffle and headphones and hits play.

The results are astounding. They transform, physically and emotionally, in front of the camera. Their eyes glisten, often with tears, and some patients begin to sing or hum along while others dance or move. Each time music affects someone in the film, the audience changes as well, charmed by the earnestness with which the patients listen and respond. These are the best moments, but there are too many

two of which were joint productions with theater studies. I’ve pretty much exclusively done musicals at this school, but I’m also a theater studies major. I’ve interacted with lots of faculty and sort of transitioned from performance roles at the beginning of college to more leadership and production-type positions toward the end of my career.

TC: End of your career? That sounds a little finite. Do you plan to pursue theater after Duke? of them. Each could easily be a video on Upworthy geared to promote the Music & Memory project run by Cohen. However, they’re strung together with very little else to substantiate a film that is over an hour long.

The documentary bounces tangentially from topic to topic. Briefly, director Michael Rossato-Bennett begins to introduce the history of nursing homes in America and the problems and challenges associated with care for elders in modern culture, all in the span of about five minutes. Interviews spontaneously shift discussions from our obsession with overmedication to the ways in which music impacts our brains. In some ways these off-course twists are the most intellectually complex and compelling of the film, but each is too fleeting to make a strong conjecture.

“Alive Inside” includes interesting visual manipulations of old photographs and home videos. The technique adds a polished air to the documentary, which at times lacks nuance.

Still, it doesn’t do very much to push the boundary of what the film could be. That being said, does it really need to? “Alive Inside” is intended to affect an audience and make them care about its subjects. And that it does.

Not only did it move several audience members in the seats around me to tears; it won the Audience Award for U.S. Documentary at Sundance.

Though lacking focus, “Alive Inside” presents an undoubtedly passionate and heart-wrenching look into patients’ lives brightened by musical intervention. The documentary celebrates the joy and pain that we all come to associate with the music we listen to most often, forging a connection that can present itself even when our memories are gone.

DK: Yeah, I am currently looking for a job in theatrical producing. I hope to be on a general management team on Broadway next year.

TC: Your thesis work is “Parade.” How did you first come across this play?

DK: I played in the pit orchestra [for “Parade”] during my sophomore year in high school and fell in love with the show.

Since then, the story stuck with me. I did background research and was intrigued by the history surrounding the musical, and

FILM

Afternoon of a Faun Augusta Films Directed By Nancy Buirski

by Brad Lenz THE CHRONICLE

“The Afternoon of a Faun” has quite the history behind it. It started out as an 1876 poem by Stéphane Mallarmé. The poem was then used as the foundation of Vaslav Nijinsky’s groundbreaking 1912 ballet of the same name, which other choreographers, including Jerome Robbins, reimagined. A film of this version of “Afternoon of a Faun,” which was danced by Tanaquil Le Clercq (Tanny) and Jacques D’Amboise, so impressed director Nancy Buirski that she decided to make “Afternoon of a Faun: Tanaquil Le Clercq.” The film follows Tanny’s life and rise to fame in the dance world, which was tragically cut short when her legs were immobilized by polio. The end result is a film that not only chronicles Tanny’s experience as a dancer but also captures her untamable spirit and its refusal to succumb.

The film is thoroughly soaked in ballet history. After all, it is intimately concerned with one of the most famous choreographers of the 20th century, George

then when it came time to select a show for my thesis, this one immediately popped into my head.

TC: Can you give a brief synopsis?

DK: Parade is about a Yankee Jew who moves to Atlanta and is the target of misplaced post-Civil War southern anger. He’s wrongly accused of the murder of a 13-yearold girl and the show processes the aftermath of that.

TC: So, it’s a little dark. Not as lightBalanchine, as well as influential figures such as choreographer Jerome Robbins and dancers Jacques D’Amboise and Arthur Mitchell. The film is even named after a piece with historical significance in the world of ballet. With that in mind, one of the film’s biggest successes is its ability to transcend the ballet world—as interesting as it is—and to use as a vehicle to portray Tanny’s soul and personality. This was accomplished by Buirski’s fantastic use of archival material. Since Tanny’s prime as a dancer occurred in the early 1950s, there is not a significant amount of high-quality clips of her dancing. However, Buirski is able to weave what does exist with an impressive supply of letters between Tanny and Jerome Robbins to truly allow Tanny’s personality to shine through the documentary.

Perhaps the reason that Tanny’s story is so engaging and successful as the subject of a documentary is that her tragedy is an epic version of problems that many people face in less dramatic ways. These might arise when people are placed into bad situations left out of their control, or have to completely rediscover their identities. When this happens, individuals can wallow and cling to their old life, or, like Tanny, embrace their new life and enjoy it for what it is, even if it takes time.

The documentary reminds us that behind these ethereal, seemingly immortal figures who dance the pas de deux from “Afternoon of A Faun” are fellow human beings. They feel passion, pain, fulfillment and vulnerability and are subject to the follies of life just like any other—but often, they do so gracefully.

The Chronicle

recess

THURSDAY, APRIL 10, 2014 | 5

uke’s first senior distinction musical hearted as a parade sounds.

DK: Yeah, the title might be a little bit misleading...

TC: How has the work process been?

DK: It’s been amazing. I started work on this show a year and a half ago, and it’s been great to be able to spend that amount of time recruiting staff and auditioning to fill all positions necessary and working with people who are all dedicated and really talented. Parade is the first direction of a musical senior distinction project at Duke.

TC: Did you have to get through red tape to make that happen?

DK: Working within the framework of the theater department’s distinction process, I had to find a way to include Hoof ‘n’ Horn in the existing infrastructure, so once I had my advising panel, we found a route and it worked out pretty well.

TC: You’re really setting a precedent here!

DK: I guess you could say that. (laughs) TC: How do you think your production of “Parade” fits into the canon of Hoof ‘n’ Horn?

DK: It’s a much larger-scale musical than Hoof ‘n’ Horn takes on. It’s less campy, less classical musical theater. It was definitely a challenge that Hoof ‘n’ Horn was ready for given the people in the program right now, and I think everyone stepped up to the plate. In a typical year, I don’t know if this show would have been feasible.

TC: You’re graduating in May. How do you feel about Duke as the place to have

FILM Visitors Cinedigm Corp.

Directed Godfrey Reggio

by Brad Lenz THE CHRONICLE

“Visitors” is not your typical documentary. It does not have any archival information or sources and there are not any data or interviews. In fact, other than a brief, untranslated segment of sign language, there are no words. The only sounds in the film are the mesmerizing and haunting music of famed composer Philip Glass, who also worked with director Godfrey Reggio on his best-known work, the “Quatsi” trilogy.

Moreover, the images themselves do not have a logical progression that lends to a clear meaning. Rather than retelling a story, this documentary hopes to create an experience.

The film features long shots of various objects, be it individual faces, groups of people, hands (mimicking the actions the hands make when using technology, such as working a smart phone), architecture or nature. While the length and relative lack of movement of these shots made the film feel slow at times, it is also what gives the film its power. This was most apparent in the shots that featured individual faces. The beginning of the film featured a string of these shots sometimes perme-

been doing this?

DK: Duke is a really interesting school for people with a passion in the arts. [At Duke], a lot of people interested in the arts are also very extraordinarily smart compared to the average artist. There’s a lot of opportunities here to push Duke students into careers in the arts that are not necessarily the performer route. For me, that works because pursuing some sort of arts management or producing after college is a much more stable career. There are resources and faculty connections to really dig into that side of the arts.

“Parade” opens tonight at 8 p.m. in the Reynolds Industries Theater. Shows will run through April 20. Tickets are available online or at the box office. For more information, visit the production’s website. ated by stylized and often symmetric shots of architecture. In these shots, the faces of people of varied age, sex and race would slowly materialize onto the screen. After appearing, the face would stare out into the audience, sometimes remaining relatively motionless and sometimes changing expressions for one to two minutes before fading out and being replaced by the next face. During the time that the face is the screen, the viewer is able to study it in a way that is not often possible in polite society. With the length of the shots, the viewer connects with each face and pair of eyes, as different as they may be, and realizes the expressiveness that is present in each and the stories that they all tell.

Another powerful scene depicted what appeared to be a slowed down shot of a large group of people walking, with different individuals drifting into and out of the frame. Again, the extended shots here allow the viewer to connect with the faces that would otherwise only be faces in the crowd. These intimate shots of individuals are contrasted with long shots of landscapes without any humans. A large number of these occurred in Louisiana, in areas that had been devastated by Hurricane Katrina and where the high water levels were still present.

The film opens and ends with a shot of a gorilla. The initial transition from gorilla face to human face has strong evolutionary overtones. This ending image slowly pans out to show that the gorilla’s face is on a screen within the movie being watched by individuals, all of whom the viewer is watching. Perhaps this scene is the most telling, simultaneously touching on issues of the environment, faces and technology. “Visitors” is a film that, like a difficult novel, requires work and concentration on the viewer’s behalf but rewards that viewer with a unique and powerful cinematic experience.

MUSIC

SPECIAL TO THE CHRONICLE

EMA The Future’s Void Matador Records

by Drew Haskins THE CHRONICLE

EMA’s third album “The Future’s Void” opens with the pounding ‘Satellites,’ where she wails about “a world divided by a wall divided and a cube full of iron.” It is the crowning metaphor in an album full of them. Over the course of 10 thrashing and fascinating songs, EMA condemns modern times as a terrifying technocratic dystopia and tries to purge the ghost in her machine. While not every song is a success, the album as a whole is an important musical evolution.

“The Future’s Void” is largely a departure from the confessional post-punk of EMA’s 2011 album “Past Life Martyred Saints,” whose standout track ‘California’ found her upset with herself for stalling her life. On “The Future’s Void,” she turns her ire towards the system that she thinks is limiting her. Tracks like ‘Satellites’ and ‘Dead Celebrity’ target social media, privacy in the Internet age and autonomy with unrelenting furor. The album is certainly full of relevant messages, but all too often they are delivered in simplistic screeds such as “Makin’ a living

off taking selfies/Is that the way you want it to be?” It’s thematically very similar to St. Vincent’s superior album from earlier this year, but whereas “St. Vincent” had nuance and legitimate wit, “The Future’s Void” bludgeons the audience with its message.

Fortunately, the musicality on display from EMA and her producer, Leif Shackleford, elevates the proceedings a great deal. “The Future’s Void” is an excellent continuation of ‘90s industrial rock— Trent Reznor would be proud. Despite the anti-mainstream theme, this is surprisingly the poppiest album of EMA’s career. The best song, ‘Neuromancer,’ sounds as though Nine Inch Nails and Giorgio Moroder combined to make the soundtrack for a post-apocalyptic disco.

‘When She Comes,’ one of the few lyrically sound tracks, is an eerily sinister beach rock tune mixed with the requisite industrial clanging. ‘100 Years’ is a sparse ballad that features EMA’s best performance, and what a performance it is! Her rangy and bruising voice works best in her angrier moods, but ‘100 Years’ proves how emotionally and vocally versatile she can be when she puts her mind to it. It makes you wish that she softened up a little more often.

“The Future’s Void” is a largely confounding album, which seems to be EMA’s intention. The lyrics are predominantly crude and devoid of subtlety, the opposite of which EMA has proven she is capable of (‘California’ still resonates three years later). However, the orchestration is easily some of the best she’s ever recorded. This split makes for a largely uneasy listen, but a worthwhile one. EMA may not have a handle on her themes, but “The Future’s Void” shows the potential she has to put out a true masterpiece in a few years.

recess

6 | THURSDAY, APRIL 10, 2014

The Chronicle

Joe Henry and others bring ‘poetic spirit’ to Hayti Heritage Center

by Sid Gopinath THE CHRONICLE

Duke Performances will feature singer-songwriter Joe Henry, as well as folk groups Over the Rhine and The Milk Carton Kids, at the Hayti Heritage Center on April 11 and 12 to record a premiere performance of new material.

“It is a really impressive acoustical space,” said Aaron Greenwald, director of Duke Performances, of the former African Methodist Episcopal church. “The room handles reverberation quite well, so you don’t get distortion.”

The unusual dimensions of the wide and woodpaneled space enhance the acoustics that define the center as exceptional for performing and recording music.

“We like to try to find venues that will fit a project well,” Greenwald said. “We’ve done a couple record projects there.”

Joe Henry, a veteran producer and an experienced singer-songwriter, will lend his voice to the tight harmonies and rich lyrics of Cincinnati band Over the Rhine and Los Angeles duo The Milk Carton Kids.

“Joe Henry has produced Over the Rhine’s two most recent albums, and we’ve had the chance to share stages together, albeit briefly,” Linford Detweiler of Over the Rhine said in an email.

The connections between the three artists run deep, as Over the Rhine and The Milk Carton Kids have also toured together, and Joe Henry has written liner notes for several of the Milk Carton Kids’ albums.

“We’ve all admired Joe’s writing and fierce poetic spirit for years,” Detweiler said.

Greenwald echoed these sentiments as he described how the project came together.

“Joe Henry is a very brilliant songwriter. He is someone whose work I’ve really admired for a long time,”

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Greenwald said. “[Duke Performances] essentially commissioned him to make this live record.”

This commission follows in the vein of other projects this year, such as the successful “Lend Me Your Voice” collaboration by Nick Sanborn. Other collaborations organized by Duke Performances include a previous recording by Megafaun, Justin Vernon and Sharon Van Etten three years ago.

“We try to produce a handful of projects every year that wouldn’t happen if we didn’t produce them or didn’t help support them financially or if we didn’t nurse them along a little bit,” Greenwald said of Duke Performance’s approach to projects.

The hope for these collaborations is that they not only bring a unique event to Duke University and the Triangle Area, but can also spread and gain national attention. For example, the “Lend Me Your Voice” project was also performed in Milwaukee to great acclaim. The question that remains is whether this unique folk collaboration between two well-liked and appreciated artists will also carry out into the national sphere.

“I think we’re all curious to see how the concerts at Duke go, and then we’ll proceed from there,” Detweiler said of the concert. “We are recording both shows with engineer Ryan Freeland, so we have high hopes that something significant will be captured.”

Greenwald admitted that none of the previously recorded albums from Hayti performances have been released in a widespread fashion. However, he has hope for this particular project.

“There’s a very real chance that this will come out as a record,” he said.

Once the project is actually performed, Duke Performances has very little say in what actually happens with the recording, so it remains to be seen what comes of this performance.

“Our approach with records, especially when they involve people that are this high profile, is to just let people walk with the masters,” Greenwald admitted.

Ultimately, though, this project is about the performance and not the end product. This one-of-a-kind show, “[grown] out of friendship, collaboration, hard work, and intuition,” according to Detweiler, will be an experience to remember.

“I think we are all deeply drawn to the mystery that is songwriting, and we are all very interested in finding a clear voice for that mystery that we can call our own,” Detweiler said of the collaboration. “Combining the voices to create something new is fascinating and pretty damn fun.”

Tickets are currently sold-out for this performance, which will occur on April 11 and April 12 at the Hayti Heritage Center in Durham, N.C.