July 1, 2014 by Duke Chronicle

Modern dancers come to Durham from across the globe, page 8

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American Dance Festival

VOLUME 16, ISSUE 1

JULY 1, 2014

Durham Summer Concert Preview Check out these Triangle Area concerts, page 13

Sandbox Featured Artist: Yemi Adewuyi Yemi on how her poetry slams into politics, page 11

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editor’s noter ss recess

recess editors where in the world are we?

Turns out, humans have been looking to the stars and seeing stories since the dawn of humankind. on an airplane, i will always request the window seat. i like a better view than the back of someone else’s seat inches from my face; i always slide up the window shade and crane my neck in the slightest to peek out. Admittedly, i most enjoy descending in an airplane in the evening; from my modest window seat, i can see a vast expanse of lights stretching above and below me. The city and night sky reflect each other as i sit sandwiched between the two lucent landscapes. Glancing out, i can’t help but daydream constellations between the lights. i blame my adoration of this view on my dad. My dad is a dedicated collector of hobbies: closeup magic, photography, and chess all warrant his enthusiasm and dedication. When i was in the first grade, my dad decided that astronomy was yet another hobby worth his attention, so he built his own newtonian telescope and began stargazing in our backyard. over the next few years, our family vacations would include attending “star parties”—gatherings where astronomy geeks get together in really dark, vacant places and look through each other’s telescopes. To be perfectly honest, at age seven the thought of sitting and looking at the stars late into the night seemed awfully boring and incomparable to my friends’ vacations traversing the national parks or meeting princesses at Disneyworld, even if star parties permitted me to stay up past my bedtime. My attitude changed,

Katie Fernelius [editor]............................................................. South Africa Gary Hoffman [managing]..............................................................suburbia Stephanie Wu [campus arts]............................................................... China Drew Haskins [local arts]...............................................DukeEngage Serbia Megan Rise [playground]........................................................... somewhere Izzy Clark [photo]...................................................................................USA

DANCE 321

POINTE AND VARIATIONS Inst: Julie Janus Walters

This specialized course focuses on classical and contemporary pointe technique and variations as well as the development of interpretative skills, enhancement of style and performance qualities through coaching and informal showings. This course will include a visit from Guest Instructor Debra Austin, Ballet Master with the Carolina Ballet.

TuThu 11:45-1:00 PM in the Ark

CHECK OUT THESE DANCE PROGRAM CLASSES! DANCE 151 - KUNDALINI YOGA & SIKH DHARMA Inst: Keval Kaur Khalsa

Practice course to experience the components of Kundalini Yoga breath work (pranayam), movement, postures (asanas, mudras), focus techniques (meditation, drishti), use of sound current (mantra), and relaxation techniques. For a more intensive study of Kundalini Yoga that includes practice, lecture, writing and discussion, see full credit course Dance 357L.

MW 11:45-1:15 PM - HULL STUDIO

danceprogram.duke.edu

however, when my dad gave me h.A. rey’s book, “Find the Constellations.” The book is a children’s guide to astronomy that focuses on making the night-sky comprehensible by outlining the shapes and characters that make up the constellations. After reading rey’s book, when looking up at the sky, i no longer felt that the lights were vast and unfamiliar, but instead saw them as dots to be connected, stories to be told. As i grew older, i realized that h.A. rey was not the first to think of tracing stories onto the stars. rather, his book grew out of a vast legacy ranging from the Almagest to MUl.APin, from nakshtra to Uranometria. Turns out, humans have been looking to the stars and seeing stories since the dawn of humankind. Today, there exists a very official organization dedicated to the storytelling of the stars called the international Astronomical Union. ) one sub-entity of the iAU is the Working Group for Planetary System nomenclature, a group that decides the official constellations. in a sense, they are juggling histories as they decide which stories take precedence in outlining the stars: Quadrons or Draco? The Azure Dragon or the Crayfish? however, a cursory glance at any gossip magazine will reveal that to this day others believe that we are not telling the star’s stories, but that they are telling ours. i went through a very brief, melodramatic period in my adolescence where i was bothered by the fact that my birthday fell around the winter solstice, thus fating me to an indeterminate Zodiac sign: Seventeen magazine claimed that i was a Capricorn, but Teen Vogue assured me that i was a Sagittarius. To me, this wasn’t just the difference of identifying with one formation of the stars over another, it was the difference between being one person or another: was i the responsible, deeply emotional type or the adventurous, non-committal type? Some days i’m convinced that i am the former, other days the latter. This is the central tension between astron-

The Chronicle omy and astrology: in the former, we are mapping the stars, but in the latter, the stars are mapping us. Perhaps, like narcissus, we become infatuated with our own reflection in the sky. But when we find that infatuation reflected back at us, it is hard not to feel as if the currents of the universe move within us. We are stardust, Joni Mitchell croons in ‘Woodstock,’ We are golden. Carl Sagan would agree: “The nitrogen in our DnA, the calcium in our teeth, the iron in our blood, the carbon in our apple pies were made in the interiors of collapsing stars. We are made of starstuff.” But this all begs the question: who was more beautiful, narcissus or his reflection? When sitting in row 3, Seat A, on my Southwest flight, peering out at the two landscapes of light, any significant difference between the two is lost on me. h.A. rey taught me that constellations are relational; the stories they create force stars into communion with each other and us into communion with the stars. After realizing i could trace stories in the stars, i began connecting dots in other parts of my life in order to make stories: i drew constellations in the freckles on my arm to resemble rabbits, naming them Bill and Flora and showing them to my friends on the playground. i also began to see constellations between people. i would daydream connections between myself and the strangers i passed on the street: a long-lost cousin, someone who would later save my life, or perhaps a future lover twenty years down the line. i began mapping stories in my life, or perhaps stories began to map my own life—but it becomes apparent to me now that my relationship to the stars begets my relationship with storytelling. My hope for all of you this summer is that you gaze up at the stars or out at the city lights and you tell stories, allowing yourselves to trace and thread constellations between the stars and the stories you see. it is two human legacies at work at once: the proclivity to stargaze and the inclination to story-tell. i hope you indulge both. - Katie Fernelius

The Chronicle

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Duke Players present “Demon Baby” to welcome freshmen By Gary Hoffman The ChroniCle

This year, Duke Players will be performing erin Courtney’s “Demon Baby” for their orientation week show. They hope the play’s themes of adaptation will both welcome and comfort incoming freshmen during their adjustment to the Duke lifestyle. This year, Duke Players will be performing erin Courtney’s “Demon Baby” for their orientation week show. They hope the play’s themes of adaptation will both welcome and comfort incoming freshmen during their adjustment to the Duke lifestyle. The play tells the story of a young couple, Wren and Arthur, as they adjust to life in london after moving from America. Although Arthur thrives in his new job, Wren has trouble adjusting to the new lifestyle. She is a children’s author, working from home, and has trouble concentrating on her work. in fact, instead of working, she watches television all day. eventually, this attitude to her new environment causes Wren’s distress to take the form of a demon baby. At first, this baby just sits on Wren’s chest and mimics her, calling her anxiety and depression into attention. By the end of the play, though, the demon baby has shocked Wren into interacting with the world in an interesting yet definitively evil way. Thomas Kavanagh, the director of the play, noted his excitement that the Duke Player Council picked this play. it was Kavanagh’s first choice, as he believes it will provide a deep and meaningful experience

Campus Art

for the incoming freshmen. “it was perfect for the orientation show experience,” he said. “it really applies to living in a new environment with new people.” The play makes heavy use of visual metaphor, in particular the demon baby, to illustrate Wren’s experiences as her new environment seems to destroy her goals and motivations. Kavanagh noted that these visuals emphasize the fact that “her universe is not quite her own.” he plans to “use as much of the visual experience as possible to bring out the metaphor.” Although at times the play is certainly dark and creepy, it also contains a strong sense of subtle comedy. Many of these comedic elements come simply from the plain ridiculousness of the demon baby, but the more interesting humor pokes fun at the social life of the middle class. “There’s a sense that the play has captured the awkwardness of everyday speech patterns,” said Kavanagh. “There is a seamless transition between the psyche of the main character and her surroundings. The transition is jarring enough to be funny and creepy at times.” in an interesting, innovative interpretation of the play, Thomas has decided to cast two actresses in the role of the demon baby. nina Avikba plays a shadow-like projection of Wren to emphasize her anxiety and inner struggle, while rachel Freedman plays the part of the actual baby. Both of these roles combine to help Wren eventually embrace an environment that she initially feels is bizarre. The executive producer of Duke Play

got jazz?

See DEMON BABY, page 14

Wanna PLAY jazz? Wanna LEARN about jazz? The Duke Jazz Program wants YOU!

Get into the groove! with these courses:

Intro to Jazz (MUS/AAAS 140) Jazz Ensemble (MUS 210-4) Jazz Improvisation (MUS 171, 172) Small Jazz Ensemble (MUS 210-5) Private lessons are also available!

For info on courses and auditions check us out at dukejazz.org or contact Professor John V. Brown, Director jbrown@duke.edu 919-660-3385

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p! u n Sig day

n! e Theater To erstein e p o Th mm Still TRST 115 – dgers & Ha o THEA LS - R A C I S MU T 89S S R T THEA

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Department of Theater Studies

Annual Open House

All undergraduates are invited to our open house, Monday, August 25, from 5:30 to 7:00 pm in Sheafer Theater, Bryan Center, West Campus. Meet the Theater Studies Faculty and the Duke Players Council and reconnect with friends. Information about courses, auditions, backstage opportunities, and other news will be available. FREE FOOD, T-SHIRTS AND ENTERTAINMENT!

Duke undergraduates can earn credit for participation in some Theater Studies’ productions!

Duke University Department of Theater Studies On Stage 2014-2015 Season Theater Previews New Works Lab

Duke Players Orientation Show Learn more about Duke Players when we present a rollicking night of theater… Demon Baby By Erin Courtney Come to Brody Theater for a night with a demon baby garden gnome and a near-fatal game of piñata. How bizarre can things get? Come see! Brody Theater, Branson Building, East Campus August 22 & 23 at midnight August 29 & 30 at 8 pm* * free pre-show pizza on the Brody porch at 7 pm! Visit Duke Players at the Student Activities Fair. Friday, August 29th from 4 to 6 pm Duke Players is the student organization in the Department of Theater Studies. Its members support the Department’s productions by running auditions, working on production crews, promoting participation in theater by all Duke students, and representing the interests of students involved in Theater Studies. All undergraduates are eligible for membership. Auditions for The Perfect Detonator Course credit for the production (THEATRST 290-5) for work onstage or backstage! All Duke undergrads are invited to audition for the Theater Studies fall mainstage play, The Perfect Detonator. Auditions will be on Tuesday, August 26th and Wednesday, August 27th, 6:30-9:30 in Sheafer Theater in the Bryan Center, with callbacks Thursday, August 28, time tbd. Audition sign-up instructions will be at theaterstudies.duke.edu starting August 22.

Now Now Oh Now with visiting artists Rude Mechanicals a Theater Studies/Duke Performances presentation Sheafer Theater, West Campus Sept. 24-27 Duke Players Lab Theater Brody Theater, East Campus October 23-25

The Perfect Detonator Adapted by Jody McAuliffe after Joseph Conrad’s The Secret Agent Directed by Jody McAuliffe, TS faculty Sheafer Theater, West Campus November 13-23 Mike Myers’ distinction project Brody Theater, East Campus Feb. 4-7 Jamie Bell’s and Austin Powers’ distinction project Sheafer Theater, West Campus Feb. 12-14 Kelly McCrum’s distinction project Brody Theater, East Campus Feb. 19-21

New Works Festival in collaboration with senior seminar Sheafer Theater, West Campus Feb. 26-28 Theater Previews New Works Lab Mementos Mori with visiting artists Manual Cinema

209 East Duke, East Campus March 20 Duke Players Lab Theater Brody Theater, East Campus March 26-28 Enron By Lucy Prebble Directed by Talya Klein, TS alum Sheafer Theater, West Campus April 2-12 Check http://theaterstudies.duke.edu for times and/or changes and for exciting Theater Studies co-productions happening off campus!

Off Stage Interested in working backstage? Contact the Costume Shop Supervisor at kay.webb@ duke.edu or the Scene Shop Supervisor at david.berberian@duke.edu

Duke University Department of Theater Studies 109 Page • Box 90680 • Durham, NC 27708 |(919) 660-3343 theaterstudies.duke.edu for info and updates

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Duke announces Project Art as its newest pre-orientation program By Stephanie Wu The ChroniCle

Project Arts, the newest addition to Duke’s pre-orientation programs, is scheduled to be up and running by 2015. Project Arts, the newest addition to Duke’s pre-orientation programs, is scheduled to be up and running by 2015. The program is the brainchild of Shelby Wailes (’17) and Steven Soto (’17), who will lead it in its first year. Duke’s current set of pre-orientation programs—consisting of Projects BUilD, Change, Waves, WilD, and Search—provides an array of opportunities for students to engage with their classmates, whether that means bonding over an incredible number of bug bites, purifying proteins, or improving the Durham community . each program provides students a chance to explore and build upon their shared interests within the Duke and Durham community. Yet among the programs, there is a distinct lack of incorporation of the arts—a gap which Project Arts seeks to fill. “i wanted to create one [pre-orientation program] so i could be a part of one,” said Wailes. By catering to specific niches of students, each pre-orientation program is naturally highly selective. With the creation of Project Arts, students who did not find the original set of programs appealing to their interests may now find a niche, arts community. The new program is not only for students with particular artistic talents, but also for art appreciators, or simply anyone enthusiastic to explore the diversity offered by the art world. Grounded in a multidisciplinary approach, the program’s structure will allow students to focus on a specific area of the arts—visual arts, creative writing, theater, dance, or singing, to name a few—but also explore other areas of art to which they may not have been previously exposed. Students will have a chance to gain expertise in their specific concentration of the arts within focus groups, as well as will expand their general understanding of the arts through large group activities. in particular, faculty-led workshops, Arts Annex activities, and trips to the nasher Museum of Art will engage students and help them become familiar with the artistic faculties found on Duke’s own campus. however, Project Arts is by no means a way for incoming stu-

dents to prematurely become trapped in the “Duke bubble.” rather, it is also a portal for students to connect with and experience the artistic community outside of Duke. Through outings to local concerts and museums, community service projects, and shows at the Duke Performing Arts Center, there is a solid effort to “emphasize the fact that Duke is a campus within Durham,” according to Wailes. “We want to reflect the glowing and thriving artistic community that’s already on campus…and we want students to really get to know Durham and take advantage of this wonderful artistic city for the rest of their college career.” There has been much student and faculty support for the growth of Project Arts. The establishment of the program comes with “the opportunity to work with different departments, the opportunity to capture some good student energy…and the opportunity to do something that will be beneficial for incoming classes

Campus Art

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All you need, all in one place. qDuke.com

for now and for years to come,” according to Jordan hale, director of Pre-orientation Programs at Duke. Although the idea for Project Arts has its roots in Duke Student Government, where both Wailes and Soto served in the same Social Culture committee, the idea has since expanded to other Duke organizations and students. “We will create a Project Arts committee under duArTS led by Steven and i, working extremely closely with and under Mr. hale,” said Wailes. The new program has received much support on campus, as attested to by the passing of a resolution in support of the creation of Project Arts by DSG, as well as “the amount of emails we’ve gotten from students,” according to Wailes. “Arts is a major part of Duke’s campus, and we really want incoming students to know that and reflect on how amazing it is,” said Wailes.

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“Orphan Black” and “Orange is the New Black” ace the Bechdel tory (but you have to have some escapism, right?), it’s grimly realistic about inequalities in the U.S. prison system. it also reflects the race and class privilege that allowed the real-life protagonist of “orange is the new Black” to write a best-selling memoir about female bonding and solidarity behind bars. Though “orphan Black,” a sci-fi thriller about the survivors of a human cloning experiment, seems converse in genre and tone, its characters’ struggles center likewise on autonomy, identity and freedom. They’re exactly the opposite of the fluffy, funny sitcoms i usually devour (“Parks and recreation” and “new Girl,” to illustrate the extent), but i love both for the tension and complexity created by their claustrophobia. Also, the best part: both “orphan” and

By Annie Piotrowski The ChroniCle

ensemble shows “orphan Black” and “orange is the new Black” enter their second seasons this summer, just in time for those lazy days when you think, “Wow, all this time but nothing to do! Where is the next gripping, female-centered thriller to sustain me for the next eight hours of perfect sunshine and soothing breezes?” “oiTnB,” set in Danbury Prison, chronicles the struggles of female prisoners, switching between their lives in prison and flashbacks that tell their stories. even though it occasionally veers into soap opera terri-

Playground

Duke Dance Program

“oinTB” overachieve on the Bechdel Test, an important marker for female representation in media. To pass this test, two named female characters must have a conversation about something other than a man—simple enough, but so far only nine films have passed in 2014. “orphan Black,” BBC Canada’s newest addition to the line of intelligent, maddeningly addictive sci-fi shows that make you scan fan boards for hours after each episode, starts with a huge, heart-pounding twist: Sarah Manning, a scam artist back in her hometown after years away, witnesses a woman jump in front of an oncoming train. And the kicker? The woman looks exactly like her. And even though you, the viewer, are probably screaming in your seat, or-

phan Black isn’t; in a feat of opportunism, Sarah steals the woman’s identity to pull of a quick, easy heist. Afterwards, she discovers (rather reluctantly, as she just wants to take the cash and go) that she’s a clone, one of several different women living wildly different lives: teacher, stay-at-home mom, scientist and serial killer. Through skillful editing, but due in most part to Tatiana Maslany’s incredible ability to morph into every character, from tightlywound Allison to whip smart Cosima, “orphan Black” focuses on identity. however, it does this not in a typical, find-your-roots-andeverything’s-perfect way, but rather through each character’s’ determination to continue the life she created for herself.

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open house

Monday, Aug. 25, 2014 5:15-6:15 p.m. The Ark Dance Studio Porch, East Campus Come and meet the dance faculty and then join us in an open African Dance class or Kundalini yoga, 6:30-7:00 pm. Refreshments served!

auditions

Wednesday, Aug. 27 4:40-6:10 pm - Ballet Repertory with Tyler Walters @ Ark Dance Studio

Monday, Sept. 1 3:05-4:35 pm - Jazz Repertory with Nina Wheeler @ Hull Studio 7:45-9:15 pm - African Dance Repertory with Ava Vinesett @ Ark Dance Studio

Tuesday, Sept. 2 7:45-9:15 pm - Modern Repertory with Andrea Woods Valdés @ Ark Dance Studio

danceprogram.duke.edu

UndergradUates from every discipline take oUr coUrses in photography, video, aUdio, writing, mUltimedia, and more. come join Us. find yoUr voice. documentarystudies.duke.edu

Bad Brains frontman H.R., Valley Green Housing Complex, Washington, D.C., 1979. Photograph by Lucian Perkins, from Hard Art, DC 1979, on view at the Center for Documentary Studies at Duke University through October 11, 2014.

See BECHDEL, page 15

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American Dance Festival brings the innovative wo by annie piotrowski The Chronicle

“Don’t come with preconceived notions about what dance–even modern dance–should look like.” The American Dance Festival was founded in 1934 at Bennington College by a cohort of young, passionate choreographers who rejected the formalism of classical ballet in favor of improvisation, loose storytelling, and experimentation with other performance mediums. Its early performances, including collaborations with the sculptor Alexander Calder and the composer John Cage, not only broke from ballet’s highly moderated technique and finely detailed movements, but also expanded the public perception of what dance should look like. One of its founders, Martha Graham, eventually received a Presidential Medal of Freedom and the accolade of being known as the “Picasso of Dance” for her groundbreaking work that defined twentieth-century performance. Yet in contrast to any connotations conjured up by “experimental” and “avant-garde”, modern dance is pure Americana; despite not falling in the same subconscious category as Norman Rockwell paintings and Coca-Cola advertisements, it is considered “the first truly American dance” according to ADF intern Anna McDunn. After moving to Durham in 1978 (and incidentally awarding a scholarship to teenage dancer Madonna Louise Ciccone, more famously known as singer Madonna), the American Dance Festival has become part of North Carolina history, transforming the town into a headquarter of dance, innovation, and art for thirty six summers. This year, as dancers from six continents converge on Durham for six and a half weeks of performances and workshops, ADF shows modern dance’s expansion from its American origins to a multi-faceted, worldwide art form —defined no longer as a

ADF Archives

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orld of modern dance to Durham for its 80th year

ADF Archives

countermovement to classical dance, but as a sprawling array of choices from pieces that could almost be ballet to performance art that could almost be pure theater. Throughout its history, ADF has prided itself on showcasing new talent through premieres and commissioned pieces, and though some performances have become classics, like Pilobolus’s high-energy “Rules of Play,” the focus remains on innovation and creation. This season, at the Nasher Museum, Israeli choreographers Niv Sheinfeld and Oren Laor will reimagine the 1987 work Two Room Apartment as a duet for two male dancers, set to music that evokes either a military march or a band of mariachis, while at DPAC, Ballet Hispanico will riff on Cuban cabaret with the premiere of choreographer Rosie Herrera’s allfemale Show. Girl. “Don’t come with preconceived notions about what dance–even modern dance–should look like,” says Sarah Tondu, ADF’s director of marketing and communications. However, ADF’s nightly performances are only a portion of the festival’s mission, as over 400 young dancers participate in intensive workshops as part of ADF’s summer schools. “The majority of a dancer’s work involves learning how to learn,” says McDunn. “Some dancers have the amazing ability to pick up choreography, but for most dancers, the only way to progress is to practice it over and over again. It’s equal parts mental and physical work.” In addition to its workshops for teenagers, the ADF school offers professional dancers the opportunity to refine their skills and col-

Local Art

laborate on new projects. Since its move to Durham, ADF has expanded its physical presence with international touring mini-ADF festivals and the Samuel H. Scripps Studio, a new Durham dance center open year-round. Also, ADF has diversified its partnerships beyond the expectations suggested by a dance festival. For several years, ADF has partnered with Duke’s “Memory for Movement Lab” to study how dancers learn modern dance’s unique style of choreography, which requires dancers to memorize movements without specific names or preordained sequences. Additionally, the International Screendance Festival, now in its nineteenth year, will show dance documentaries and performances created solely for the camera on Saturdays at the Nasher Museum of Art. The festival’s community outreach includes a yoga class on East Campus lawn, dance workshops open to Durham students, and perhaps the most visible sign of ADF’s presence: two retired school buses, brightly painted by festival participants and volunteers, that cycle between the festival’s spaces on the Duke campus and its ever-expanding array of locations in Durham. In 2009, three festival participants performed on the bus, executing, in eerily graceful slow motion, the same kinds of tumbles and gymnastic hijinks that have caused bus drivers since time immemorial to slam the brakes. It’s beautiful, playful, just the right amount of unearthly—and a reminder that art awaits Durham’s summer community in the most unexpected of places. The American Dance festival runs from June 12th to July 26th. Tickets are available online and at the Duke Box Office; $10 per show for 18-30 year-olds.

ADF Archives

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8 Near Duke

Ship to DUKE

w/the UPS Stores near Duke

Moving to Duke University

Delivery Dates -- ANY DAY, no extra charge

These 5 steps will easily get your stuff to Campus

Pack, then print your labels

Registration is only $25.95 which includes a free supply kit shipped right to your address via UPS Ground and arrives 4-6 business days after you SIGN UP.

Receive and Store

811 Ninth Street (next to One World Market)

919.286.3322

West Campus 2608 Erwin Road (next to Chipotle & Dunkin’ Donuts)

919.383.1400

www.DormShipping.com www.CSSshipping.com

Free Pickup On your scheduled pickup date, UPS will come to your address and pickup all your labeled items. Extra items may also be added. You may also drop off your boxes at any UPS Location -- UPS Stores, Service Centers, Office Depots, and any other Authorized UPS Shipper, at no additional charge.

Once you are packed, send us your packing list. Labels will be created and emailed to you. Just print them out, apply to your boxes, suitcases and other items you’re shipping to campus.

Your shipped items arrive at one of our UPS Stores [one adjacent to East Campus for Freshmen, one opposite West Campus]. Once there we receive and temporarily store your packages until the final delivery date to campus. You may also pickup your packages at either of our UPS Stores at any time [no charge, of course.].

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We Deliver On your scheduled delivery date, we deliver all your items to your room or apratment!

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Sandbox Featured Artist: When poetry and politics collide By Yemi Adewuyi The Chronicle

Playground

what you think is good and what you think is negative. It shows what you celebrate and what you put down.” And whether or not you consider yourself a poet, I encourage you to let your passion transcend the pages. While it is true that we raise awareness when we use our voices, we create social change when we use our hands. You have a handful of poems inside of you that are too beautiful for words; rather, they must be lived out in the open. Make an effort to understand the institutions that are at work in your community and think about how you might improve them. If you are dedicated to fighting sexual assault, for example, it would be worth your time to research a website like Congress. gov to find out about sexual assault legislation. Email or call your representatives and senators to ask about their views on those particular laws. Activism lies at the intersection of meaningful ideas and deliberate action. Find those poems inside of you that need to be seen—not just heard—and bring them into the light.

MIRÓ IS COMING

If you asked me what a slam poet was three years ago, I would have given you a rather romanticized answer. I would probably start by describing a crowded coffee shop on the campus of Washington University, where I attended my first slam as a high school junior. I would tell you that slam poets are wordsmiths; they come from every imaginable walk of life, but they share an ability to tell their stories with rhythmic poignancy. They use words the way a skilled archer fires her arrows—with accuracy and precision. They are artists of a different breed. It wouldn’t have occurred to me, however, to tell you that slam poets are lobbyists. In fact, I used to have a fairly strong aversion to the term “lobbying.” As it still does for many Americans, the word conjured images of politicians accepting payments from corporations in clandestine, Abramoff-esque agreements. If anything, I believed slam poets were the exact opposite. Many use their craft to expose the cultural and political systems that keep marginalized groups in a constant state of oppression. By creating a platform that brings seldom-heard voices out of obscurity, spoken word performers can influence public opinion and put pressure on institutions to address their concerns. And if any of that sounds familiar to you, it’s probably because lobbyists have been doing it for years. Much like advocacy groups, slam poets aim to address the failings of the American political system. These performers have cultivated a space that allows them to speak out on issues ranging from gerrymandering to gender-based violence. Around the world, and especially in the Triangle area, spoken word artists serve as advocates for political action—action that will bring about positive change to existing systems. Of course, the average person’s exposure to slam poetry might be a YouTube link that a friend tweeted or shared on Facebook. But the performers behind these videos are also educators, activists, and scholars who have learned how to lobby; they have developed an ability to analyze complex sociopolitical issues and present them in a persuasive, accessible manner. The structure of spoken word poetry gives it the potential to be a powerful tool for political advocacy. Lobbyists on Capitol Hill often develop “elevator pitches” on issues they care about. In the event that they find themselves with a mere two minutes to garner the support of a legislator, they must have a concise yet effective message to relay. Similarly, poets who compete in slam competitions write and memorize poems that are typically under four minutes long. In local slam competitions, five judges are randomly selected from the audience, and they are asked to judge poets on a scale of 1-10. Since they do not know in advance who will be evaluating their performances, slam poets learn to craft messages that can appeal to a broad audience, rather than ones that are only accessible to an esoteric few. My closest friends like to tease me for speaking in metaphors all the time. It’s something that slam poets learn to do often, but there’s a good reason why. Likening a complex societal issue to something concrete lowers the cognitive cost of processing information, while simultaneously underscoring its importance in everyday life. For example, in the poem “Asking For It,” Julia McKeown compares victim-blaming in sexual assault cases to criticizing someone for getting shot in a dark alley. McKeown’s poem challenges the audience to put male privilege into perspective, examining how power and consent interact in events of trauma. In only three minutes, McKeown makes a powerful statement about the forms of violence that society does and does not deem acceptable. And the activism of the slam poet can (and should) extend far beyond the stage. The Research Triangle Area is home to a vibrant spoken word community that is heavily involved in local schools, governmental bodies, and nonprofit organizations. For many poets, spoken word is more than an art form—it is advocacy. Take for instance, the Sacrificial Poets, a nonprofit based in Chapel Hill that uses an innovative arts curriculum to give youth the tools they need to empower themselves emotionally and intellectually. Members of the organization have also lobbied the North Carolina General Assembly on issues like affordable housing, and they have performed before the Chapel Hill Town Council. The organization’s collegiate branch, the UNC Wordsmiths, also serves the Chapel Hill Community through its events, performances, and workshops. Spoken Verb, Duke’s spoken word collective, has raised thousands of dollars for social justice initiatives through its own poetry events. Last fall, the campus group collaborated with Zeta Phi Beta, Inc. to organize Blue Muse, an event featuring poets from the renowned performance collective, Strivers Row. The event functioned as a fundraiser—proceeds went to the March of Dimes and to the Liberty and Justice for Carlos Riley, Jr Coalition. Members

of Spoken Verb have also attended court hearings on police brutality and have met with Duke administrators to discuss injustices that occur on campus, such as racial profiling by the university’s police department. Durham offers several opportunities for individuals to learn more about the growing spoken word scene. Spoken Verb organizes showcases, guest performances, and open mic events on Duke’s campus that are open to the Durham community. In addition, the Bull City Slam Team regularly holds slams at the Hayti Heritage Center on Old Fayetteville Street. The next time you’re in town, consider going to one of these events, and you will see firsthand how poets are using their art to change the world. I’ve always thought of poetry as a window to someone else’s perception of reality. By listening to diverse perspectives, we can better understand how the policies, societal norms, and cultural barriers that we often overlook affect others. Perhaps the late Amiri Baraka said it best: “The attempt to divide art and politics…is an extraordinary absurdity. Poetry reflects the world’s concerns and the classes within the world…Your art shows

SEPT 14 thROuGh

Joan Miró, Woman, Bird and Star (Homage to Picasso) (detail), 1966 / 1973, Oil on canvas, 96 7⁄16 x 66 15⁄16 inches (245 x 170 cm), Museo Nacional Centro de Arte Reina Sofía. © Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2014.

FEB 22

nasher.duke.edu/miro

Miró: The Experience of Seeing is organized by the Seattle Art Museum and the Museo Nacional Centro de Arte Reina Sofía.

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The Chronicle

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Marissa Nadler on how she developed her musical voice By Lauren Feilich The ChroniCle

Marissa Nadler has churned out records with exceptional regularity for well over a decade. With Ama Divers opening, she will bring her dreamy “ghost folk” to the Pinhook July 9. Nadler spoke with former Recess editor Lauren Feilich about the need to create, the satisfying drone of talk radio and more.

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Come Play with Us! Whether you are a music major or not... Be part of an amazing artistic and social experience. Continue your love for music in college! Play diverse and exciting concert music Make new friends and have a great time Perform with living composers and guest soloists Perform in Baldwin Auditorium & the Duke Chapel

Tuesday / Thursday Rehearsals 7:30pm - 9:30pm

Ensemble information meetings:

Saturday, August 23, 2014 Students interested in Music Dept. vocal and instrumental groups may attend any ONE of the three sessions 2-2:50pm OR 3-3:50pm OR 4-4:50pm Mary Biddle Music Building, Room 101, East Campus.

2014-2015 Highlights

• Fall concert with guest conductor/composer Frank Ticheli • Family Weekend concert in the Duke Chapel • 2-3 concerts per semester in Baldwin Auditorium • Music by Grainger, Holst, Bryant, and more • Host the annual Viennese Ball • Movie soundtrack concert in the spring

Conductor

Verena Mösenbichler-Bryant verena.m@duke.edu

President

Melissa Klein melissa.klein@duke.edu

The Chronicle: When did it first become clear that making music is something you really love and want to do with your life? Marissa nadler: When i was in high school, i was musical and later got more serious about it. i was more interested in fine arts. i was always an artistic person, it just depends on what medium. TC: You’ve released an album nearly every year since you started out. Does it feel like something you consciously try to do, or is it sort of inevitable to be prolific like that? Mn: i think there’s something about my personality that feels a need to create constantly, so i think i’m just incapable of relaxing and doing nothing. i try to keep busy and keep a good work ethic. it’s also therapeutic to make records for me. it’s fun, which is good to like your work. TC: A lot of those albums were self-released or released on smaller independent labels. how was it to do “July” with Sacred Bones? Mn: it’s been great. i actually have two record labels now: Sacred Bones for north America and Bella Union for europe. They’re both really good labels. i’m at the stage in my career and my life where i can really appreciate the extra help and reach that these labels have. i released two before this one on my own, so i know how hard it is; it can be rewarding, but to have the help and all of a sudden meet all these other great bands was a big plus. TC: how would you describe the evolution of your sound over the course of your career? Mn: i can definitely explain the evolution of my writing, which has grown from fiction to nonfiction. Although my early records were based in reality, there were liberties taken. now i’ve started to, not to be cliché, write more of what i know—microscopic evaluations of my life instead of general vibes, more razor sharp and less ambiguous. Musically, my voice has gotten more mature and each record is a little different. TC: i wanted to ask about those earlier more narrative songs. Where did you find inspiration for those? Mn: At the time i wrote my first record, i was in design school coming from a pretty liberal-thinking place. i guess i was listening to nick Cave, you know, Murder Ballads… i always had a dark side, but i was really goth back then. it was a long time ago. i was in this world of being aesthetically turned on by the macabre. TC: Your sound is often described as ethereal or, i think i read somewhere that someone called it ‘ghost folk.’ You’re coming to a small-ish venue like the Pinhook that lies between house show and seated auditorium…. Where do you think your music sounds best? Mn: Places i enjoy playing are dingy night clubs. i actually prefer standing venues even though i get booked in auditoriums because [my music is] maybe gentle, or delicate. i think the core of my music is broken and heavy and gets inside a dark, dank hole. i enjoy playing in clubs with graffiticovered walls. When people are seated in a nice place, it’s a little awkward, but i’ve gotten over it. TC: What are you listening to the most right now? Mn: This French singer, Catherine ribeiro. She’s described as the French nico. it’s late 60s, early 70s. if you could imagine, it’s like nico singing in French with a really trippy backing band. it’s really beautiful. i’ve been getting into her and also listening to some standup comedians, who are also dark people inside. (laughs) i recently got satellite radio and have been obsessed with listening to standup because i drive all the time on tour. TC: Do you listen to any public radio? Mn: Yes! i love nPr, i love the Moth radio hour. i like listening to people talking. it’s kind of studying for songwriting—little character studies, listening to people. TC: There’s something great about listening to someone’s speaking voice for a long time, even if you start to zone out. Mn: There’s a scientific phenomenon i read about, it gives you this head tingling sensation... TC: oh, right, ASMr? Mn: Yes, exactly. There’s nothing more relaxing than listening to someone like Terry Gross.

Local Art

The Chronicle

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Durham area hosts an exciting lineup of summer concerts By Drew Haskins The Chronicle

Spending your summer in Durham? Check out these Triangle Area concerts! Week of June 30 to July 6 British Invasion Dance Party — July 4 at Motorco Music Hall Want to celebrate your 4th of July in an unusual way? Then try out Motorco’s inspired bit of British counterprogramming to the day’s American festivities. You can dance all night to fun dance music from Yaz, Cheryl Cole, and other famous British pop artists. Week of July 7 to July 13

Special to THE CHRONICLE

Marissa Nadler and Ama Divers — July 9 at The Pinhook This will be a small and interactive concert from the prolific singer-songwriter, who is promoting her recently released album “July.” She will be joined by the experimental ambient music group Ama Divers, who combine light shows and other visuals with their beats. Week of July 14 to July 20 Paul Taylor Dance Company — July 18 and July 19 at DPAC Taylor is one of the American pioneers of modern dance, and his company has performed acclaimed shows at DPAC many times over the past few years. This time, Taylor’s company will be dancing to the works of jazz group The Raymond Scott Quintette. There will also be an interactive matinee performance for children. Week of July 21 to July 27 MERGE 25 — July 24 to July 26 at Cat’s Cradle

This is the Triangle Area music event of the summer, as Durham’s Merge Records celebrates twenty-five years of existence. The label is one of the most influential in the country and has produced records for the likes of Arcade Fire, Superchunk, and She & Him. The festival is headlined by the fantastic Neutral Milk Hotel and Caribou. Week of July 28 to Aug. 3 The Old Ceremony — Aug. 1 at The Pinhook The Old Ceremony, led by North Carolina musician Django Haskins, plays straightforward rock music inspired by the 1970s. If you’re looking for a no-frills rock concert, this may be the event for you. Week of Aug. 4 to Aug. 10 Be Loud! ’14 — Aug. 8 and Aug. 9 at Cat’s Cradle Be Loud ’14 is a fundraising concert for adolescent and

Dance Drama Music Visual Arts

young adult cancer patients at hospitals in the Triangle Area. The festival is headlined by rock and jazz acts like The Pressure Boys and The Dexter Romweber Duo. Week of Aug. 11 to Aug. 17 3 Doors Down Acoustic — Aug. 17 at DPAC It’s perfect for the mid-2000s revivalist in all of us! This will be a stripped down affair from the band that brought us hits like “Kryptonite.” Week of Aug. 18 to Aug. 24 Tori Amos — Aug. 20 at DPAC Maryland singer Tori Amos is currently on tour supporting her 14th studio album “Unrepentant Geraldines.” She’s a truly electric live performer who has influenced everyone from Fiona Apple to Lily Allen. If you arrive at Duke before move-in day, this should be mandatory.

The Chronicle

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14 | TUESDAY, JULY 1, 2014

The Walkmen go on hiatus, release solo albums to mixed success By Drew Haskins The ChroniCle

The Walkmen have been a staple of the end of the year “Best of” since 2000—but will not be in the near future. in november 2013, the critically and commercially successful Brooklynbased band announced an indefinite hiatus, much to the disappointment of their fans. The Walkmen have been playing together in some form since their high school days at St. Albans in Washington, D.C. Band member Peter Bauer said in a press release that “it’s been almost 14 years now. i think that’s enough, you know?” he further described playing shows with the other band members as “a really fun time seeing old friends” and “like going to Thanksgiving.” The band played their last show—for now—on Decem-

Playground

ber 4, 2013 in Philadelphia. The Walkmen’s dissolution seems like a dark day for rock fans. Since their 2002 debut album “everyone Who Pretended to like Me is Gone,” the band has churned out some truly fantastic songs as ‘We’ve Been had,’ ‘heaven,’ ‘Angela Surf City,’ and their now-classic 2004 single ‘The rat.’ They have been prolific—seven albums in nine years—and consistent, with all of their albums ranging from good to excellent. it is rare for a band to release one or two quality albums, much less seven, and their absence in the rock scene will be felt greatly. however, all is not lost for Walkmen fans. This is only an indefinite hiatus among band members who appear to be very close friends, which leaves the door open for more concerts or albums in the future. The better news is that three members have released or plan to release solo albums in the next few months. Frontman hamilton leithauser’s new album “Black hours” was released on June 3, and Peter Bauer and Walter Martin have released singles off of their upcoming albums.

Fall 2014 Courses The Literature Program in Global Cultural Studies LIT 80S-01 (6961)

AUGMENTING REALITIES WF 3:05PM - 4:20PM Amanda Gould LIT 80S-04 (6964)

AMERICAN MODERNISMS MW 3:05PM - 4:20PM Michael Swacha

LIT 80S-02 (6962)

CINEMA, MAGIC AND RELIGION WF 3:05PM - 4:20PM Laura Jaramillo

TuTh 11:45AM - 1:00PM Rey Chow, Markos Hadjioannou

CITIES TODAY WF 3:05PM - 4:20PM Jacob Soule LIT 371S-01 (8794)

LIT 101-01 (6932)

GATEWAY GLOBAL CULTURAL STUDIES TuTh 3:05PM - 4:20PM Robyn Wiegman

LIT 301S-01 (9133)

THEORY TODAY: CRIME, SUSPENSE, & ROMANCE

LIT 80S-03 (6963)

LIT 690S-02 (6957)

BRITISH CULTURAL STUDIES

Tu 6:15PM - 8:45PM Kenneth Surin

PROBLEMS/ GLOBAL CULTURE M 3:20PM - 7:50PM Ariel Dorfman

LIT 690S-03 (6958)

LATER WRITINGS OF FOUCAULT W 1:25PM - 3:55PM Kenneth Surin

Solo albums released by a band’s lead singer tend to be a mixed bag. luckily, “Black hours’ is a good record that compares favorably to the rest of the Walkmen’s work. leithouser’s record draws more upon soft-rock and folk influences like Paul Simon and Bob Dylan than the thrashing rock of his former band. There are a lot of little gems on “Black hours,” such as the fun and poppy ‘Alexandra’. The song pairs acoustic guitars with harmonica and some of the most enthusiastic handclaps i’ve ever heard, and the overall effect is both delicate and aggressive. other highlights are the sultry ‘Self-Pity’ and ‘i retired,’ which veer towards cabaret music as leithauser describes the difficulty he finds in being a father and a musician. if there is one complaint with the record, it is that it meanders a bit. There is not a huge amount of variety among the sounds, and there are moments where you can hear leithauser trying to sound as cool and relaxed as possible. obviously, this has the opposite effect. Despite this, “Black hours” succeeds in dispelling fans’ fears about low-quality content from former Walkmen. Peter Bauer recently released the song ‘latin American Ficciones’ from his upcoming album “liberation!” The song is much more in line with the Walkmen’s former output, with a flair of Tom Petty-like latin guitar and keyboard befitting the song’s title. however, Bauer’s lyrics get caught in the same sort of twee hyper-descriptiveness that bogged down some of Vampire Weekend’s early output, and the contrast between the overly literate lyrics and the heartland guitar sound is uneasy. Walter Martin has just put out the problematic ‘Sing to Me,’ a song featuring Karen o from his upcoming album “We’re All Young Together.” it’s suffers from a serious case of cutesiness, with lyrics that sound embarrassingly like high school poetry (“everyday i listen to the funny things you say”/”i hope you never ever change your ways.”). Karen o does not help, as her inherent ferocity is tamped down under the oppressively twinkly arrangement. While the Walkmen do not appear close to reforming the band, fans can take solace in that the former band members are at least releasing new songs and albums–thought some are arguably better than others. now, the question is whether the new material can live up to the legacy of the past nine years. only time will tell.

DEMON BABY

from page 3

ers, Mike Meyers, also has high hopes for the freshmen response to the play. he noted how different audiences may take on more comedic or dark interpretations of the play, but he believes that all responses will be positive. When discussing their choice of Thomas as director of the orientation show, Meyers noted that, “[Thomas] wanted to take the o-show in a different direction. it’s a bit darker than the very lighthearted shows that we often do.” Although orientation week is designed for first-year students, all are welcome to see “Demon Baby.” “A lot of upperclassman see the play as well,” said Meyers. “They relive the first year experience from a different perspective. The play also applies to future processes of adjustment.” Kavanagh mirrored these sentiments and added that the play might comfort freshmen as they experience a disconnect between the booklets of information given to them about adjusting to life at Duke and the actual Duke experience. “The play is personal for me as someone who definitely struggled to adjust to an independent life at the university,” said Kavanagh. “i can’t accept the fact that i am the only person to experience that,” “Demon Baby” will show at Brody Theater during orientation week and the first week of classes. Admission is free.

The Chronicle

BECHDEL

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from page 6

its dystopian elements become more otherworldly and menacing in contrast to show’s gray, generic, somewhere-inCanada backdrop, yet still remain within the realms of plausibility. “oinTB”’s standard sci-fi combination of a multinational corporation, the DYAD group and shadowy cult, the Proletheans, aren’t bent on world domination, but rather on strictly controlling the clones, a small enough subset for their imprisonment to not be a huge deal. We’re not talking about disaster, since no one’s particularly worried about the media or even the ethical implications of artificial life, or lauding the clones as saviors of humanity. “orphan” focuses on how its characters deal with their imprisonment, rather the imprisonment itself. And truthfully, if you were poised between learning about your roots or escaping a menacing laboratory with extremely sharp needles, which would you choose? orphan Black’s sci-fi elements are not revelations of humanity’s doom (coming right at you via mutant virus, rogue asteroid or zombie apocalypse!) but rather of creeping challenges to self-determination. each clone alternately resists or subjects herself to her creators in order to live life with some degree of bodily autonomy—and in particular, to live with reproductive freedom as women and mothers, whether biological or adoptive. Allison signs her rights over to the DYAD group to protect her children; helena struggles for control of her unborn child and most of all Sarah, whose love for her daughter supersedes her curiosity over her origins, strives to protect Kira against the DYAD group’s experimentation. While all its characters fight back , they aren’t coldblooded killing machines (or, in the words of hollywood, “strong female characters”) but rather people responding in the only way possible to save their family, friends and selves. it’s the kind of realism i can support, especially when it’s contrasted with the tone of a gloriously creepy thriller and enough plot twists to satisfy any sci-fi fan. Until its last episode, “orange is the new Black” steadily crept towards romanticizing prison, following its huge, diverse cast of characters. Yet at the very end, as Piper’s antagonism towards Pennsautucky showed that, for the time being, harsh reality superseded the fun of “orange”’s clever writing and fantastically engaging characters. For me, this discomfort stems from the huge online fandom of “oinTB,” (which, to be completely honest, i scan for spoilers) that sometimes glosses over the show’s portrayal of inequality, privilege, and injustice. When reading about oiTnB, there’s an uncomfortable dichotomy between love for these characters—all of whom deserve it for bringing creator Jenji Kohen’s marvelous vision to life—and apathy for their real-life counterparts. it’s prison as pop culture, complete with gifs and a Buzzfeed quiz on “Which oiTnB character are you?” with the question “What would you get sent to prison for?” Answers range from “being too fierce” to “being too fabulous.” Yet in its second season, “oiTnB” precludes this tendency; it’s not as meme-able (though memorable lines include Pennsatuckey’s “it’s a metaphor, you potato with eyes!”) but gives a wider view of litchfield for all its inmates. instead of delving further into Piper’s back story, already intensively covered in Season 1, “orange” begins with episodes devoted to previously secondary characters and focuses on power struggles within the prison. By silencing Piper in favor of bringing other inmates’ narratives to life, litchfield, and the prison system itself, becomes the pivot around which every character turns; no longer simply about contrasting Piper with the other inmates, a narrative that gives her way too much airtime, Season 2 proposes new characters for the role of protagonist. Poussey, orange’s most reliable source of wisecracks, plays a major role, given an emotionally wrenching back story and a potential romance. Through it all, she’s still wonderfully quotable, even in German (all will be revealed once you watch episode 5). At the same time, we learn more about Suzanne’s life before prison. At the end, both narratives intersect in a brutal, unexpected way. And though Pornstache and Pennsatuckey return, “oiTnB” introduces Vee, Taystee’s foster mother, as the primary antagonist—albeit one with a Machiavellian intelligence that far surpasses anything of which the Season 1 villains could conceive. Both of these Bechdel-approved series offer an insightful look at the lives of women and their issues, which, shockingly, don’t hinge on the lives of men.

Check out the Recess blog, Playground, at www.dukechronicle.com/blogs/playground/posts for more great content!

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Stops on East Campus that connect you to Downtown Durham. Service every 20 minutes. b ullc ity c on n e ctor. org

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D UKE PER FO R MAN C ES 2 01 4 / 20 1 5 S E A S O N | M U S I C , T H E AT E R , D A N C E & M O R E . I N D U R H A M , AT D U K E , E X P E C T T H E E X T R A O R D I N A R Y. O O O

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P H O T O C R E D I T: S H AY L A A L AY R E C A L D W E L L O F R O N A L D K . B R O W N / E V I D E N C E D A N C E C O M PA N Y, P H O T O B Y J U L I E TA C E R VA N T E S .