Jan. 17, 2011 spring arts

SPRING ARTS PREVIEW

2 | TUESDAY, JANUARY 17, 2012

Seniors cap theater majors with work on distinction projects

by Danielle Genet THE CHRONICLE

Duke students are known to be ambitious, driven and hard workers. Theater Studies majors working towards graduating with distinction are models of this notion.

Though applications for graduating with distinction are due in the spring of one’s junior year, many of these students plan their distinction projects from the start of their Duke education. Ali Yalgin, a senior Theater Studies major, realized that he wanted to pursue the project after acting in a friend’s during his freshman year. But Yalgin had his sights set on directing his own production.

“I wanted to take a challenge as a director which would allow me to develop my skills and work closely with faculty members,” he said.

Students form close relationships with faculty members who serve as advisors throughout the project, in addition to Director of Undergraduate Studies Ellen Hemphill. Students may choose to pursue a project in directing, design, acting, dramatic literature, theater history or dramatic theory. Projects must have a research and written component, and may also have a production component.

Yalgin hopes to challenge his directorial skills and develop his own style while working on directing the production of

Creditors by August Strindberg. Yalgin admits that even though Creditors is not one of Strindberg’s most famous plays, the play will appeal to its audience through its physicality of movement and special lighting and sound. The production will emphasize the darker parts of the human soul, dabbling in hypnotism and playing off of the characters’ suggestive powers.

The audience can expect to see, in Yalgin’s words, “vulnerable people that are taken over by their hunger for control and power.” Creditors will run from Feb. 23 through Feb. 25.

On the opposite side of the emotional spectrum, Nathaniel Hill’s production of Ragtime, a collaboration between Hoof ‘n’ Horn and the Theater Studies department, promises to be a “crazy, exciting, wild musical with a lot going on and a lot to see.” Hill, who took on this project during his year as Hoof ‘n’ Horn’s president, explored a hands-on approach in his production. Hill began contacting the Theater Studies faculty with the idea of a large-scale musical production in April 2010. For Hill, the benefits of combining the two programs outweighed the sheer magnitude of the workload. Ragtime is a 40-person cast (including five children) with a full orchestra and crew. Hill works to maintain day-to-day communication between every cast and crew member. Ragtime, one

DUKE UNIVERSITY DEPARTMENT OF MUSIC music.duke.edu Encounters: with the music of our time

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March 14 8 pm, Reynolds Industries Theater with

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of Hill’s favorite musicals, is about breaking down barriers and creating unity between three different groups of people at the turn of the 20th century: upperclass white suburbanites, African-Americans and Eastern European immigrants.

Hill hopes to reach a broader population with his production by employing fresh tactics such as a thorough marketing campaign (which includes a new website, an opening night party, free giveaways and a YouTube trailer) to produce a comprehensive theater experience.

Theater Studies will display a wide array of productions this semester to showcase student’s distinction projects. Mary Lowell will be translating from Middle English and presenting a reading of The Mary Plays from the N-Town Cycle (Mar. 23-25). Tennessee Williams’ masterpiece Cat on a Hot Tin

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Roof (Feb. 2-4) comprises four distinction projects. Director Kim Solow and actors Jennifer Blocker, Kirsten Johansson and Kyler Griffin have been tirelessly working on their own interpretation of one of Williams’ most popular productions.

Theater Studies’ distinction program allows for artistic control, freedom of opinion and enhanced creativity for the students that take on the challenge. This year promises a talented pool of projects up for distinction honors.

Cat on a Hot Tin Roof will be performed in Brody Theater, Feb. 2-4. Creditors will be performed in Brody Theater, Feb. 23-25. The Mary Play from the N-Town Cycle will be performed in East Duke 209, Mar. 23-25. Ragtime will be performed in Reynolds Industries Theater, Apr. 5-15.

LEFT: LES TODD/SPECIAL TO THE CHRONICLE RIGHT: CHELSEA PIERONI

For his senior distinction project, Ali Yalgin (left) will direct a production of August Strindberg’s Creditors; Nathaniel Hill (right) will produce Ragtime alongside director and Theater Studies professor Jeffery Storer.

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SPRING ARTS PREVIEW

Great Depression rendered in full color at new CDS exhibit

SPECIAL TO THE CHRONICLE

Full Color Depression, a new photography exhibit on display at the Center for Documentary Studies, breaks with the traditional black-and-white depiction of the Great Depression by focusing on full-color images. The exhibit is curated by Bruce Jackson and includes photographs by Russell Lee, Jack Delano, and Louise Rosskan.

TUESDAY, JANUARY 17, 2012 | 3

by Jamie Moon THE CHRONICLE

It is almost shocking to see a photo of the Great Depression rendered in color. The red lipstick on a woman’s face seems ill-fitting, as if it should be painted over with an appropriate shade of gray. In fact, when we think of the destitute financial times of the 1930s, our minds automatically conjure images in grayscale—the heavy coat of an urban worker or the soft locks of a blooming young woman.

From Jan. 23 to Jul. 23, “Full Color Depression,” an exhibit by Bruce Jackson, will present a special collection of color photos taken by the Farm Security Administration (FSA) during the Depression at the Center for Documentary Studies. Photographers featured in the exhibit include Russell Lee, Jack Delano and Louise Rosskam, who worked under the leadership of Roy Emerson Stryker.

“For most of us, our sense of what the Depression looks like came from those black and white FSA photographs,” said Jackson, a University of Buffalo professor. “They influenced movies that were made and novels that were written. Now we see that photographers were looking at that same time period in color.”

Kodachrome, a stable fine-grain color film, was what made this transformation in photography possible. Initially used for movies in 1935, in four years the film became available for FSA photographers to experiment with. Because of the complexity of the development process, however, the photos were sent to Kodak and never published. It was not until 1978 that the collection was uncovered in the Library of Congress by a graduate student researching her

dissertation.

“They are all in their own way, beautiful photographs,” Jackson said. “They have their own inherent value and additional value.”

For the exhibit, Jackson selected, printed and wrote captions for each of the photos. CDS’ Exhibitions Director Courtney Reid-Eaton, who worked with Jackson in 2008 for the “Cummins Wide” exhibition about Arkansas prisons, determined the sequence and presentation of the photos.

Although the FSA team of photographers originally aimed to capture images of rural poverty, its final project engendered a more varied and comprehensive chronicle of the Great Depression.

The exhibition features familiar photos of famished farmers and soot-covered mineworkers. However, it also presents new color photos of war propaganda, which appeared massively during the Depression, upper middle class families with cars and even families visiting the vibrantly decorated state fair.

“People wore red, people had flowers, women wore lipstick and it was bright,” Reid-Eaton said. “I think having the reference of black and white for that time can separate people from that time. The past was in color, too.”

CDS continuously looks for opportunities to reach students through different classes and events. Reid-Eaton hopes the exhibition will be a space for interested students to learn more about both Documentary Studies and FSA. “This is an opportunity to do sort of Documentary Work 101. It’s foundation material with a twist,” Reid-Eaton said.

“These photos are completely different.

It could be attractive to students who already know about FSA or know absolutely nothing.”

NASHER MUSEUM OF ART AT DUKE UNIVERSITY

ALEXANDER CALDER AND CONTEMPORARY ART:

FORM, BALANCE, JOY FEBRUARY 16-JUNE 17, 2012 Tickets on sale now at 919-684-4444, or www.events.duke.edu/calder.

Nasher Museum Members receive two free tickets per day. www.nasher.duke.edu

Alexander Calder and Contemporary Art: Form, Balance, Joy is organized by the Museum of Contemporary Art, Chicago. The exhibition is sponsored by The Northern Trust Company. Lead foundation support is provided by the Terra Foundation for American Art and the Chicago Community Trust. Major support for the exhibition is generously provided by The Kenneth and Anne Griffin Foundation. Additional generous support is provided by Margot and George Greig, Anne and Burt Kaplan, Ruth Horwich, The Broad Art Foundation, Gagosian Gallery, Lindy Bergman, Helyn Goldenberg, Sara Szold, and The Elizabeth F. Cheney Foundation.

At the Nasher Museum, major individual support for the exhibition is provided by Frances P. Rollins, Marilyn M. Arthur, Trent and Susan Carmichael, Drs. Victor and Lenore Behar, Kathi and Stephen Eason, and Mindy and Guy Solie. Additional generous support is provided by Deborah DeMott, Nancy Palmer Wardropper, The E. T. Rollins Jr. and Frances P. Rollins Fund, Jo and Peter Baer, Paula and Eugene Flood, Pepper and Donald Fluke, Kelly Braddy Van Winkle and Lance Van Winkle, Carolyn Aaronson, Diane Evia-Lanevi and Ingemar Lanevi, Caroline and Arthur Rogers, Angela O. Terry, and Richard Tigner. Major corporate and grant support for the exhibition is provided by the Mary Duke Biddle Foundation, NetApp and the N.C. Arts Council, a division of the Department of Cultural Resources.

Additional support is provided by Carolina Biological Supply Company, Duke’s Pratt School of Engineering, Parker and Otis, Sigma Xi, The Scientific Research Society, Clinical Ambassador, American Scientist magazine, and Tech Shop.

ABOVE: Alexander Calder, Blue Among Yellow and Red, 1963. Painted sheet metal and steel wire, 43 x 63 inches diameter. Museum of Contemporary Art Chicago, The Leonard and Ruth Horwich Family Loan (EL1995.12). © 2012 Calder Foundation, New York / Artists Rights Society (ARS), New York. Photo by Nathan Keay, © MCA Chicago.

4 | TUESDAY, JANUARY 17, 2012

SPRING ARTS PREVIEW

Reynolds Theater plays host to violinist’s ambitious feat

by Dan Fishman THE CHRONICLE

On Jan. 3, Duke Performances welcomes internationally acclaimed violinist Christian Tetzlaff to Reynolds Industries Theater for a recital that few violinists would even attempt.

“Christian will play two hours and 40 minutes of some of the most complicated and demanding music for solo violin,” said Aaron Greenwald, director of Duke Performances. “And he will play entirely from memory.”

Composed in 1720 by Johann Sebastian Bach, Sonatas and Partitas for Solo Violin are almost never performed in succession. For decades, the difficulty and length of the pieces have compelled violinists to spread the works over the course of multiple evenings.

“Tetzlaff has shown great chutzpah to program Bach’s Sonatas and Partitas all at once,” said Eric Pritchard, violinist for the Ciompi Quartet. “His program expresses great confidence in his ability to play, his ability to communicate and in the audience’s ability to listen.”

Bach’s Sonatas and Partitas are widely believed to be landmarks in the history of classical music. Intended for a virtuoso soloist, the pieces use the violin in unprecedented ways.

“Bach gives multiple lines of a harmony to an instrument which usually plays one line,” said Eric Pritchard. “His use of the violin was unprecedented, and nobody has been able to do better since.”

Bach’s sonatas follow the format of church sonatas and can be broadly defined as sacred music. On the other hand, the partitas are more akin to the lighter forms of dance than to religious music.

Together, Bach juxtaposes the sacred and the worldly. The main exception to this rule is the famous “Chaconne” of the second partita—probably written in response to the death of Bach’s first wife—which is one of the most profound pieces he ever composed.

Sonatas and Partitas show a different, more philosophical side of Bach’s work compared to the Brandenburg Concertos and Goldberg Variations.

“The sonatas and partitas are harderedged and flintier,” said Greenwald. “They are sweet, searching and wonderful.”

Tetzlaff brings to these pieces an approach which balances historical accuracy with a flair for modernity. Although he has studied the period style, Tetzlaff is less interested in mimicking history than in making the pieces alluring in the present moment. Emblematic of his philosophy, Tetzlaff will play on a modern violin which

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is not especially common among the upper echelon of violinists.

“He is not a musician driven by dogma,” said Greenwald. “He is not interested in being didactic.”

Tetzlaff also offers to Bach’s works the musical integrity and technical prowess that has gained him widespread prestige.

Born in Germany in 1966, Tetzlaff made his concert debut at age 14. He has performed with many preeminent North American orchestras—Chicago, Boston, Philadelphia and New York—as well as the London Symphony, the Vienna Philharmonic and the Berlin Philharmonic.

“The evening should have a real arc to it,” said Greenwald. “The pieces should accumulate in profundity.”

Audience members should come rested and prepared for a lengthy evening of music. However, for all of the energy the Sonatas and Partitas asks of its listeners, the work more than repays attention.

Christian Tetzlaff will perform Bach’s Sonatas and Partitas for Solo Violin on Jan. 23 at 7 p.m. in Reynolds Industries Theater.

Tickets are $5 for Duke students and $30 for the general public.

GIORGIA BERTAZZI/SPECIAL TO THE CHRONICLE

Christian Tetzlaff’s comprehensive performance of Bach’s Sonatas and Partitas for Solo Violin, a rarity among performing violinists, takes place at Reynolds Industries Theater and spans over 150 minutes.

Duke University Theater Studies Theater this Spring...

Cat on a Hot Tin Roof By Tennessee Williams, Directed

by Kim Solow (T’12) Featuring Kirsten Johanssen, Jennifer Blocker, Kyler Griffin (all T’12) (Sr. Distinction Project) Brody Theater, East Campus February 2-4 Creditors By August Strindberg, Directed by Ali Yalgin (T’12) (Sr. Distinction Project) Brody Theater, East Campus February 23-25 Duke Players Lab Theater: Lady in the Red Dress

By David Yee, Directed by Alyssa Wong Brody Theater, East Campus March 15-17 The Mary Play from the N-Town Cycle A reading, translated from Middle English and directed by Mandy Lowell (T’12) (Sr. Distinction Project) East Duke 209, East Campus March 23-25 Ragtime Book by Terrence McNally, Lyrics by Lynn Ahrens, Music by Stephen Flaherty, Directed by Jeff Storer, Theater Studies faculty, Produced by Nathaniel Hill (T’12) (Sr. Distinction Project) Reynolds Theater, Bryan Center, West Campus April 5-15

www. theaterstudies.duke.edu

SPRING ARTS PREVIEW

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TUESDAY, JANUARY 17, 2012 | 5

Accomplished alumnus Williams joins Jazz Ensemble

by Caitlin Moyles THE CHRONICLE

Celebrated jazz composer Patrick Williams, T ’61, will return to Duke as a guest artist in the Duke Jazz Ensemble’s Alumni Weekend concert. Williams, who has received four Emmy Awards and an Academy Award nomination for his film and television musical scores as well as two Grammy awards and a Pulitzer Prize nomination for his big band jazz compositions, will spend several days meeting with students in the Jazz Studies Program and rehearsing with the jazz ensemble as part of a “mini residency” prior to the event, according to John Brown, director of the Duke Jazz Studies Program.

The Duke Jazz Ensemble, which performs with four prominent guest artists each academic year, is particularly excited to work and interact with a Duke alumnus, Brown said. “[Patrick Williams] is a great arranger and a person who loves and supports music, so I know he will offer a good experience for the students,” Brown said. “The experience will be enhanced by the fact that he is bonded to these students because he’s a Duke alum.”

At Duke, Williams earned a Bachelor of Arts in History and directed the student-run jazz big band, Duke Ambassadors, from 1959 to 1961. His works include orchestral concert compositions such as An American Concerto (1977), which earned him a nomination for the Pulitzer Prize in music, and celebrated big band recordings including Threshold (1973) and Sinatraland (1998). He has also arranged albums for Frank Sinatra, Natalie Cole, Neil Diamond and Barbara Streisand.

After his years at Duke, Williams went on to study composition and orchestration at Columbia, and then moved to California to work in the film and television industry. However, he has maintained his connection to Duke over the years—he has since returned to Duke as a guest lecturer, and the university awarded him an honorary Doctorate of Fine Arts in 2001.

“As with all of our concerts, we want people to see what we’re doing at Duke and what our students are doing,” Brown said. “It’s also significant because Duke is a place where people go and do great things, and the concert allows us to welcome them back home.”

Patrick Williams will perform with the Duke Jazz Ensemble over Alumni Weekend at Page Auditorium on April 22 at 4 p.m. Tickets are $5 for students and $10 for general admission.

SPECIAL TO THE CHRONICLE

Williams, a Duke alumnus whose jazz compositions have garnered a host of major awards, will join the Duke Jazz Ensemble for a concert during Alumni Weekend this spring.

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SPRING ARTS PREVIEW

Theater studies’ take on Ragtime aims for professional quality

by Emma Miller THE CHRONICLE

It’s a reverse of the old cliché about art mirroring life. With the collaborative production of Ragtime, Duke’s Spring musical, life will imitate art.

Ragtime is a Tony Award-winning musical set at the dawn of the twentieth century. The lives of three racially diverse families intersect as each pursues the American Dream. And just as the musical brings together characters from different backgrounds, so too will the production process bring together groups from across campus.

Students and faculty from three academic departments—Theater Studies, Music and Dance—will collaborate this semester to produce the show. Ragtime will also feature the talents of Duke Chamber Players and Hoof ‘n’ Horn, Duke’s student-run orchestra and musical theater organiza-

tion, respectively.

Senior Nathaniel Hill, the student producer of the show, says this type of interdepartmental collaboration is rare at Duke.

“A lot of stars have to align and there have to be people who are really passionate and championing the project,” Hill said.

Hill has produced the last two Hoof ‘n’ Horn Spring musicals, Rent and Aida, but this will be the first time a student has produced a Theater Studies show, a prospect Hill recognizes is both challenging and exciting.

“It’s a very expensive, huge production, and we already have over a hundred people involved,” Hill said. “Duke is trying to attract more arts-minded students, and I think it’s working.”

Sophomore Andrew Klingner will be serving as assistant director of the production, working alongside Professor of Theater Studies Jeffrey Storer, who will direct

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the show. Klingner will also be performing the role of J.P. Morgan.

Although Klingner has acted in Hoof ‘n’ Horn musicals in the past, he anticipates that working on Ragtime will be a different experience.

“We’re actually going to learn about theater in a professional setting,” Klingner said. “It’s one thing to learn from your peers. But then, when you have professional [faculty] who are teaching you about theater and music and dance, it’s a much more rewarding process.”

Sophomore Jennie Xie of Duke Chamber Players agrees with Klingner that the opportunity for a primarily student-run organization to work with professors is exciting. Xie will be playing violin in the orchestra and assisting Ragtime’s music director, Dr. Anthony Kelley, Associate Professor of Music. “[Dr. Kelley] wants Ragtime to be better than Broadway. He wants us to play with force and with really powerful instrumentation, which is really exciting and different,” Xie said. “I’m really looking forward to seeing how he’s going to lead us through the process.”

Ragtime revolves around three families: an African-American couple in Harlem, a father-daughter duo of Latvian Jewish immigrants and an upper-class, white Protestant family living in the New York suburbs.

The show features challenging music that

reflects the characters’ diversity, including gospel, jazz, marches and, of course, ragtime.

Finding a diverse cast that could meet the musical demands of the production sounds like a daunting prospect. But because of cooperation between departments and student organizations, as well as outreach to groups such as United in Praise, Duke’s Christian gospel choir, Ragtime’s directors and producers were able to find a talented and diverse group of actors to fill these roles, Hill said.

Hill believes that the large-scale collaboration between students and faculty working on Ragtime is indicative of Duke placing an increased emphasis on the arts.

“Duke’s got a long way to go, but we’ve tripled the amount of people auditioning for Hoof ‘n’ Horn shows. There’s more interest in the technical side of productions, there’s more collaboration between departments, and there are even more courses being offered,” Hill said. “Theater Studies is a small department but it’s really great to branch out and do challenging shows. They’re academically enriching, but they’re also appealing.”

Ragtime will run from Apr.5-15. Dates and times for the performance are TBA. Tickets cost $5 for Duke students and $10 for the general public.

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TUESDAY, JANUARY 17, 2012 | 7

Duke University Spring Calendar of Events 23

Full Color Depression: First Kodachromes From America’s Heartland. An exhibition of rare color images from the Farm Security Administration’s photography team. Thru July 23. Center for Documentary Studies. Free. (CDS) Gallery Talk. Tour Civil War exhibit with the curators. Light reception. 3pm. Rubenstein Library, Rare Book Rm. Free. (LIB) Duke Dance Program Repertory Class Audition with Jeffrey Page. Emmy Award nominated choreographer Jeffrey Page (So You Think You Can Dance, MTV, BET, World Music Awards, The Beyonce Experience) will teach a weeklong intensive to create a dance for ChoreoLab mainstage performances, April 21-22. (Must enroll in Dance 83) 7:30pm. The Ark Dance Studio.

(DDP)

Full Color Depression (CDS)

Ongoing Exhibits I Recall the Experience Sweet and Sad: Memories of the Civil War. Thru April 8. Perkins Library Gallery. Free.

(LIB) Alexander Calder and Contemporary Art: Form, Balance, Joy. Thru June 17. Nasher Museum. (NAS) The Puerto Rican Diaspora: Photographs by Frank Espada. Thru July 8. Rubenstein Library Photography Gallery. Free. (LIB)

January 12 14

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Sculpture Film Series. Louise Bourgeouis: The Spider, the Mistress and the Tangerine (Marion Cajori and Amei Wallach, 2008, 99min). 7pm.

Nasher Museum of Art. Free. (NAS) Duke University Vespers Ensemble. Verbum Caro Factus Est. Music tracing the life of Jesus through the church calendar, beginning with the Annunciation and ending with the Presentation.

8pm. Duke University Chapel. Free. (CM) Full Frame Winter Series. Special screening of Buck. 7pm. Carolina Theatre. Free. (CDS) Countdown to Calder. Maya Lin: A Strong Clear Vision (Frieda Lee Mock, 1995, 98min). 7pm.

Nasher Museum of Art. Free. (NAS) Talk. Zooming In, Gazing Back: Don Giovanni on Television by Richard Will (University of Virginia).

4:30pm. Rm 104 Biddle Music Bldg. Free. (MUS) Percussion/Composition Master Class. Meehan/ Perkins Percussion Duo. 12pm. Nelson Music Rm. Free. (MUS)

24 25 26 27 28 29

Film Screening. A Rights! Camera! Action! screening of the film Wetback. Discussion to follow with NC Rep. Paul Luebke. 7pm. FHI Garage, Smith Warehouse. Free. (LIB)

6 7

DukeReads Live! WUNC’s Frank Stasio and Duke professor Melissa Malouf discuss Reynolds Price’s “A Serious Way of Wondering”. 4pm. Rubenstein Library, Rare Book Rm. Free. (LIB)

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Chamber Music Master Class with The Claremont Trio. 12pm. Nelson Music Rm. Free.

(MUS)

Faculty Recital. Elizabeth Byrum Linnartz, soprano & David Heid, piano. If Music Be the Food of Love: works by Purcell, Schubert, Rossini and spirituals arranged by African-American women composers. 4pm. Nelson Music Rm. Free. (MUS)

8th Annual Valentine’s Day Jazz Concert.

Featuring the Duke Jazz Ensemble, North Carolina Central University Jazz Ensemble and UNC-Chapel Hill Jazz Ensemble. 4pm. Reynolds Industries Theater. $15 general/$10 students & senior citizens. (MUS) To Free a Family. Duke Emeritus History Professor Sydney Nathans reads from his new book about one women’s attempt to flee slavery in North Carolina in 1848. 4pm. Rubenstein Library, Rare Book Rm. Free. (LIB) Graduate Student Symposium. Keynote Talk: Leonard Folgarait, Vanderbilt University. 5:30pm.

East Duke Bldg 204B. (AAH&VS)

Family Day. Gallery Hunt, make-and-take crafts, live entertainment. Noon-4pm. Nasher Museum Art. Free. (NAS)

30 31

Continuing Education Information Session.

Learn more about courses at the Center for Documentary Studies. 5 pm. Center for Documentary Studies. Free. (CDS) Immersed in Every Sense Lecture Series. Artist talk by visiting artist Pat O’Neill. 6pm. Nasher Museum of Art. Free. (VPA/AAH&VS)

February 1

Alexander Calder, Bird, c. 1952. Coffee cans, tin and copper wire, 20 x 25 x 16 inches. Museum of Contemporary Art Chicago. The Leonard and Ruth Horwich Family Loan (EL1995.8). © 2011 Calder Foundation, New York / Artists Rights Society (ARS), New York Photo by Nathan Keay, © MCA Chicago. (NAS)

Full Frame Winter Series. Special screening of Project Nim. 7pm. Carolina Theatre. Free.

Cat on a Hot Tin Roof. By Tennessee Williams.

Directed by Kim Solow (T’12). Featuring Kirsten Johanssen, Jennifer Blocker, Kyler Griffin (Sr. Distinction Projects). 8pm. Brody Theater, East Campus. Free. (TS)

Exhibition Opening and Artist Talk. Meet Lynne Warren, curator of contemporary art at the Museum of Contemporary Art, Chicago, and artist Nathan Carter, whose work is part of Alexander Calder and Contemporary Art. Reception and cash bar to follow. Reception and cash bar to follow.

7pm. Nasher Museum of Art. Free. (NAS)

Nasher Museum Cafe. Jason Cunningham, executive chef at the Washington Duke Inn, prepares a special menu. Time TBA. Nasher Museum of Art. Free. (NAS)

22

Duke Wind Symphony: Viennese Ball. 7pm12am. Durham Armory, 220 Foster St. $12 general and student Flex; $10 student cash. (MUS) Flamenco Vivo Carlota Santana. Led by the redoubtable choreographer Carlota Santana, the company performs traditional flamenco alongside original work. 8pm. Page Auditorium. $32/$26/$18 general/$10 youth (17 & under)/$5 Duke students.

(DDP)

First Thursday. Katie Jentleson on Outsider Art. 5:30pm, cash bar; 6pm, Gallery Talk. Nasher Museum of Art. Free. (NAS)

Encounters: with the music of our time: Meehan/Perkins Percussion Duo and guest performers Nicholas Lewis, clarinet/bass clarinet, and Dan Lippel, guitar. Premieres by postdoctoral fellow Daniel Thomas Davis and faculty composers Stephen Jaffe, Anthony Kelley, Scott Lindroth and John Supko. 8pm. Nelson Music Rm. Free. (MUS)

Shades of Blue: A showcase of a cappella music featuring Duke’s own Out of the Blue, Rhythm & Blue and Deja Blue. 6pm. Biddle Music Bldg Lobby. Free. (MUS)

Organ Recital Series Concert. David Arcus. Music from Canada and tribute to the Canadian rock band Rush. 5pm. Duke University Chapel. Free. (CM)

2

Meehan/Perkins Percussion Duo (MUS)

Intimate Wars. Journalist, activist, and women’s health pioneer Merle Hoffman reads from her new memoir. 4pm. Rubenstein Library, Rare Book Rm. Free. (LIB) Artist Talk. Mendi + Keith Obadike, interdisciplinary artists and collaborators. 6pm.

Hanes Auditorium, UNC Chapel Hill. Free. (MFA)

Full Frame Winter Series. Special screening of Hell and Back Again. 7pm. Carolina Theatre. Free.

(CDS) Countdown to Calder. The Body as a Matrix: Matthew Barney’s Cremaster Cycle (Matthew Barney, 2002, 53min). 7pm. Nasher Museum of Art. Free. (NAS)

When Janey Comes Marching Home. Photo portraits and oral histories of female Iraq and Afghanistan war veterans. Thru April 21. Center for Documentary Studies. Free. (CDS)

3 4

Film Screening: An Encounter with Simone Weil. Presentation of the documentary is followed by a conversation/Q&A with dir Julia Haslett & composer Daniel Thomas Davis. 7:30pm. Smith Warehouse Garage (Bay 4). Free. (MUS/SS/FHI)

Cat on a Hot Tin Roof. (See Feb. 2). 8pm. (TS) FLAMENCO VIVO! Keynote Lecture: Sonidos Negros: a Meditation on the Blackness of Flamenco by Meira Goldberg, master teacher/ dancer. Panelists: William Washabaugh, (Anthropology, University of WisconsinMilwaukee), Michelle Heffner Hayes, PhD. Moderator: Thomas F. DeFrantz, (Dance Program & African and African American Studies at Duke University). Flamenco Masterclass: Carlota Santana, Artistic Director of Flamenco Vivo Carlota Santana. Open to all. 10am to 2pm. Free. (DDP) Film. Virgin Springs. Curated by Mark McElhatten, 2pm. Carolina Theater. (MFA) Cat on a Hot Tin Roof. (See Feb. 2). 8pm. (TS)

Duke Jazz Ensemble, John Brown, dir, with guest artist Carmen Lundy, vocalist. 8pm.

Reynolds Industries Theater. $10 general/$5 students/seniors. (MUS)

17

Graduate Student Symposium. 1pm. East Duke Bldg 204B. (AAH&VS) Lecture: Peter Westergaard (Princeton University). 4:15pm, Person Recital Hall, UNCChapel Hill. Free. (MUS)

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Katharina Uhde, violin & R. Larry Todd, piano.

Works by Mozart, Beethoven, and Brahms. 8pm.

Nelson Music Rm. Free. (MUS)

8 | TUESDAY, JANUARY 17, 2012

23

Duke University Spring C SPRING ARTS PREVIEW

Creditors. By August Strindberg. Directed by Ali Yalgin (Sr. Distinction Project). 8pm. Brody Theater, East Campus. Free. (TS) Duke Wind Symphony. Verena Mösenbichler-Bryant, conductor. Affinities: works by Johann Strauss II, Frank Ticheli, Steven Bryant, Johan de Meij and others, featuring Johann Mösenbichler, guest conductor and the North Carolina Saxophone Ensemble, guest ensemble. 8pm.

Page Auditorium. Free.

(MUS) Johann Mösenbichler (MUS)

24

10 13

15

Heroes and Villains Library Party (LIB)

12th and Delaware. A Rights! Camera! Action! film screening. 7pm. FHI Garage, Smith Warehouse. Free.

(LIB)

Duke Symphony Orchestra. Harry Davidson, music dir.

Hommage à Mozart, with Bo Newsome, oboist. Works

by Ibert, Barlow, and Mozart, and featuring 2011-12 Student Concerto Competition winner Jameson Kuang performing Mendelssohn’s Piano Concerto No. 1 in g minor. 8pm, Reynolds Industries Theater. Free. (MUS)

Masterclass. With Haitian-born dancer and choreographer, Jean Leon Destine. Born in SaintMarc, Haiti, Destiné spent his career bringing the art of Haiti to the rest of the world. Always interested in the powerful Haitian “vodoun” and the ritual dances integral to its practice, he studied with Lina MathonBlanchet, founder of the first Haitian dance company.

6pm. The Ark Dance Studio. (DDP)

28 29

Duke Players Lab. (See March 15). 8pm. (TS)

17

Annual Semans Lecture: Henry Petroski. Duke University Alexander S. Vesic Professor of Civil Engineering, will deliver the Annual Semans Lecture on the work of the engineer-artist Alexander Calder.

Reception and cash bar to follow. 7pm. Nasher Museum of Art. Free. (NAS)

Faculty Recital. Fred Raimi, cello; Jane Hawkins, piano with Eric Pritchard, violin. Perfume and Bratwurst: music of Chaminade, Poulenc, Bach, Schubert. 3pm, Nelson Music Rm. Free. (MUS)

Conversation with Garrick Ohlsson, moderated by Prof. R. Larry Todd. 12pm. Nelson Music Rm. Free.

(MUS)

18

Music of Bill Robinson. Eric Pritchard & Mary Kay Robinson, violins; David Marshall, viola; Bonnie Thron & Nathan Leyland, cello; Thomas Warburton, piano.

8pm. Nelson Music Rm. Free. (MUS)

23 24

The Mary Play from the N-Town Cycle. (See March 23). 8pm. (TS)

Berlioz Requiem. Duke Chapel Choir, Duke Chorale, and Choral Society of Durham join together to present Hector Berlioz’s massive Requiem. 8pm. Duke University Chapel. $20, general; Students, free. (MUS)

25 27

30 Another March Madness: The American Civil War at 150. Prominent speakers from Duke, UNC, and NC State reflect on the 150th anniversary of the Civil War. 9am-6pm. Rubenstein Library, Gothic Reading Rm. Free. (LIB)

The Mary Play from the N-Town Cycle. A reading, translated from Middle English. Mandy Lowell, dir. (Sr. Distinction Project) 8pm. East Duke 209, East Campus, Free. (TS)

Chamber Music Master Class. With the Borromeo String Quartet, featuring Stephen Jaffe’s String Quartet No. 2 (“Aeolian and Sylvan Figures”). 12pm. Nelson Music Rm. Free. (MUS)

Another March Madness (LIB)

16

Family Fun Day. Gallery hunt, make-and-take crafts, live entertainment. 12pm-4pm. Nasher Museum of Art. Free. (NAS) Organ Recital Series Concert. Robert Parkins. This season’s recital program, Fantasies and Fugues, will include works by Bach, Franck, and Reger on the Flentrop and Aeolian organs. 5pm. Duke University Chapel. Free.(CM)

29

Artist Residencies: Kristi Lippire and Jason Middlebrook. The Nasher Museum welcomes artists Kristi Lippire and Jason Middlebrook, whose work is part of the Alexander Calder and Contemporary Art. (NAS)

Open Masterclass. With Haitian-born dancer and choreographer, Jean Leon Destine. (See March 15) 1pm. (DDP) Duke Players Lab. (See March 15). 8pm. (TS)

Creditors. (See Feb. 23). 8pm. (TS)

Organ Recital Series Concert. Recital by Dongho Lee on the Aeolian organ. 5pm. Duke University Chapel.

Free. (CM)

27

Lecture Demonstration. With Haitian-born dancer and choreographer, Jean Leon Destine. (See March 15) 4pm. (DDP)

Duke Players Lab. Lady in the Red Dress by David Yee, Directed by Alyssa Wong. 8pm. Brody Theater, East Campus. Free. (TS)

Encounters: with the music of our time presents Wet Ink Ensemble. Works by Duke graduate student composers D. Edward Davis, David Kirkland Garner, Tim Hambourger, Jamie Keesecker and Dan Ruccia.

8pm. Nelson Music Rm. Free. (MUS)

26

Duke University String School Concerts. Dorothy Kitchen, dir. 3pm: Beginning Ensembles & Intermediate I. 7pm: Intermediate II & DUSS Youth Symphony Orchestra. Page Auditorium. Free. (MUS)

Immersed in Every Sense Lecture Series. Artist talk by visiting artist Ethan Jackson. 6pm, FHI, Smith Warehouse Bay 4, Rm C105-Garage. Free. (VPA/ AAH&VS)

Creditors. (See Feb. 23). 8pm. (TS)

25

Collegium Musicum. Alexander Bonus, dir. The Air in Springtime: Airs and madrigals by John Dowland, Luca Marenzio, Thomas Morley, and other composers revered during the Elizabethan Age. Performed with instruments from the Duke University Musical Instrument Collections. 4:30pm. Biddle Music Bldg Lobby. Free. (MUS)

Encounters: with the music of our time. Aimee Marcoux, soprano and pianists Tomoko Nakayama & Omri Shimron. Frederick Rzewski, The People United Will Never Be Defeated: Variations on a Chilean Popular Song, and the premiere of Michael Trinastic’s opera in three scenes, The Yellow Wallpaper, on an original libretto based on the story by Charlotte Perkins Gilman. 8pm. Nelson Music Rm. Free. (MUS)

Duke Chorale. Rodney Wynkoop, dir. Spring Tour Concert, featuring works by Handel, Bach, Byrd, Mozart, Whitacre and others. 8pm. Duke Chapel. Free.

(MUS)

14

Heroes and Villains: The Library Party. Open to all members of the Duke community. 9pm.

Perkins and Bostock Libraries. Free. (LIB) Encounters: with the music of our time presents Wet Ink Ensemble.

Performing repertoire from their current season plus works

by Duke graduate composers. 8pm.

Sheafer Lab Theater.

Free. (MUS)

2

THE CHRONICLE

31

The Mary Play from the N-Town Cycle. (See March 23). 8pm. (TS) Composer’s Voice. Investigations and collaborations with Jacqueline Horner Kwiatek, mezzo soprano, and members of the graduate seminar, “The Composer as Artist in the Public Arena: Working with Text as Sound, Narrative and Musical Potential,” taught by Daniel Thomas Davis and Stephen Jaffe. 7:30pm. Nelson Music Rm. Free. (MUS) Art for All. Celebrate Calder with Duke students and the community. 7-10pm. Nasher Museum of Art. Free.

(NAS) Lecture: Michael Cuthbert (MIT). “What were the odds?: Reexamining Early (and not-so-Early) Music with statistical models.” 4:30pm. Rm 104 Biddle Music Bldg.

Free. (MUS) Viola Blues Workshop. With Katrina Wreede, formerly of the Turtle Island String Quartet. 12pm. Nelson Music Rm. Free. (MUS)

String Ensemble Master Class with Edgar Meyer.

5pm. Nelson Music Rm. Free. (MUS) Immersed in Every Sense Lecture Series. Artist talk by visiting artist Kianga Ford. 6pm. Location TBA. Free.

(VPA/AAH&VS) Faculty Recital. Andrew Bonner, violin & Randall Love, piano. Works for Baroque and modern violin by Beethoven and others. 8pm. Nelson Music Rm. Free.

(MUS)

March 1

Contemporary Piano Repertoire Master Class with Omri Shimron. 5pm. Nelson Music Rm. Free. (MUS)

Duke University Spring 2012 Calendar of Events designed

by The Chronicle

For more info: AAH&VS CDS CM DDP LIB MFA MUS NAS SS TS VPA

Art, Art History and Visual Studies Center for Documentary Studies Chapel Music Duke Dance Program Duke University Libraries MFA in Experimental and Documentary Arts Music Department Nasher Museum of Art Screen/Society Theater Studies Vice Provost for the Arts

684 2224 24 660-3663 63 684-3898 660-3354 660-5816 660-3661 660-3333 660-5135 660-3031 660-3343 684-0540

aahvs.duke.edu/ documentarystudies.duke.edu d di d k d chapel.duke.edu danceprogram.duke.edu library.duke.edu mfaeda.duke.edu music.duke.edu nasher.duke.edu ami.duke.edu/screensociety theaterstudies.duke.edu arts.duke.edu

Calendar edited by Beverly Meek, Vice Provost Office for the Arts, 919-684-0540.

Events are subject to change. Please contact event sponsor for up-dates.

Buy tickets online at tickets.duke.edu or visit the University Box Office in the Bryan Center on West Campus, Mon-Fri, 11am6pm, or one hour prior to performances at the event venue. (919-684-4444) Persons with disabilities who anticipate needing accommodations, or who have questions about physical access, may contact the Box Office in advance of the event you wish to attend.

Calendar of Events SPRING ARTS PREVIEW

THE CHRONICLE

April 4 5

Immersed in Every Sense Lecture Series. Artist talk by visiting artist Art Werger. 6pm. Location TBA. Free. (VPA/AAH&VS) Encounters: with the music of our time. Open-air concert by Wet Ink Ensemble. 12pm. Bryan Center Plaza. Free. (TS/MUS/DDP)

Duke New Music Ensemble [dnme]. Timothy Hambourger, dir. Music from the 20th and 21st centuries. 8pm. Bone Hall, Biddle Music Bldg. Free.

(MUS)

17 18

Chamber Music Recital. Featuring student chamber music groups. 7:30pm. Nelson Music Rm. Free.

(MUS) Immersed in Every Sense Lecture Series. Artist talk by visiting artist Ann Hamilton. 6pm. Nasher Museum of Art. Free. (VPA/AAH&VS) Artist Talk. A conversation with Richard Goode, moderated by Prof. R. Larry Todd. 6:30pm. First Presbyterian Church, 305 E. Main St. Free. (MUS)

19

Ragtime (TS/MUS/DDP)

Ragtime. Book by Terrence McNally, Lyrics by Lynn Ahrens, Music by Stephen Flaherty. Directed

by Jeff Storer, Theater Studies faculty. Produced

by Nathaniel Hill (Sr. Distinction Project). 7:30pm.

Reynolds Theater, Bryan Center. $10 General Public; $5 Students/Sr. Citizens. (TS/MUS/DDP) First Thursday. Gallery talk: Museum Dir. Kimerly Rorschach gives an introduction to screening of the 1955 film by Jean Pavileve, Le Grand Cirque Calder 1927. 5:30pm, cash bar; 6pm, Gallery Talk. Nasher Museum of Art. Free. (NAS)

6

Rueda de Casino Dance Workshops with Vladimir Espinosa. Cuban style salsa developed in Havana Cuba in the 1950s. Workshops will also cover the history of Casino and its music. No partner necessary.

7:30-9:30pm. The Ark Dance Studio. Free. (DDP)

20 21

11

Ragtime. (See April 5). 2pm and 7:30pm. (TS/MUS/ DDP)

12

Ragtime. (See April 5). 7:30pm. (TS/MUS/DDP) 15th Annual Full Frame Documentary Film Festival. Films and venues TBA. Thru April 15. (CDS) Duke Wind Symphony. Verena Mösenbichler-Bryant, dir. Something Old, Something New, featuring Rachael Elliott, bassoon. Works by Shostakovich, Mussorgsky, Giovanni Gabrieli and Jukka-Pekka Lehto. 8pm. Page Auditorium. Free. (MUS)

13 14

Ragtime. (See April 5). 2pm and 7:30pm. (TS/MUS/ DDP) 15th Annual Full Frame Documentary Film Festival. Films and venues TBA. (CDS)

15

Duke Vespers Ensemble. A multimedia concert featuring music by composers working for and commissioned by the Sistine Chapel at the Vatican augmented by projected works of the Sistine Chapel art from concurrent time periods. 4pm. Duke University Chapel. Free. (CM)

22

Ragtime. (See April 5). 2pm (TS/MUS/DDP) 15th Annual Full Frame Documentary Film Festival. Films and venues TBA. (CDS)

ChoreoLab 2011. New works by Dance faculty and students. 3pm. Reynolds Industries Theater. (DDP) Duke Opera Workshop. (See April 21) 3pm. Nelson Music Rm. Free. (MUS) Duke Jazz Ensemble. John Brown, dir. Guest artist Duke alumnus Patrick Williams, composer/arranger.

4pm. Page Auditorium. $10 general/$5 students/ seniors. (MUS)

25 27 28

Exhibit Opening and Reception. Talk and reception for What Does Your Doctor Know? exhibit in Perkins Gallery. 4pm. Rubenstein Library, Rare Book Rm. Free. (LIB) Duke Chorale. Rodney Wynkoop, dir. Chorale Celebration, featuring highlights from the Chorale’s 2011-12 season. 8pm. Biddle Music Bldg. Lobby.

Free. (MUS) Duke University String School Concerts. Directed

by Dorothy Kitchen. 3pm: Beginning Ensembles & Intermediate I. 4pm: Chamber Music Groups. 7pm: Intermediate II & DUSS Youth Symphony Orchestra.

Page Auditorium. Free. (MUS) Duke Collegium Musicum. Alexander Bonus, dir. The Musical Isle: Choice Ayres, Anthems, and Sonnets from Seventeenth-Century Britannia. 8pm.

Nelson Music Rm. Free. (MUS)

Ragtime. (See April 5). 7:30pm. (TS/MUS/DDP) 15th Annual Full Frame Documentary Film Festival. Films and venues TBA. (CDS)

Rueda de Casino Dance Workshop. Prior attendance at either the April 19 or 20 workshop required. (See January 19) 11am-3pm. (DDP)

Duke Opera Workshop. Susan Dunn, dir. Opera scenes and excerpts with piano accompaniment.

8pm. Nelson Music Rm. Free. (MUS)

What Does Your Doctor Know? Exploring the History of Physician Education from Early Greek Theory to the Practice of Duke Medicine. Thru July 1.

Perkins Library Gallery. Free. (LIB) Duke Symphony Orchestra. Harry Davidson, music dir. Abundant Anniversaries Redux, with Laura Valles, soprano; Nathanael Hein, tenor and Brian Johnson, baritone. Works by Coleridge-Taylor, Debussy, and Massenet, and featuring Giovanni Gabrieli’s Sonata Pian’ e Forte performed by the combined brass of the Duke Symphony Orchestra & Duke Wind Symphony, Verena Mösenbichler-Bryant, conducting.

8pm. Page Auditorium. Free. (MUS)

Rueda de Casino Dance Workshop. (See January 19) (DDP)

ChoreoLab 2011. New works by Dance faculty and students. 8pm. Reynolds Industries Theater. (DDP)

Ragtime. (See April 5). 7:30pm. (TS/MUS/DDP) Encounters: with the music of our time. DANCE MIX! Wet Ink Ensemble and guests perform new music by Janet Chen, Bryan Christian, D. Edward Davis and Kenneth David Stewart; Alex Kotch presents a set of dance music and a new work for live instrumental ensemble and electronic beats, with Hip Hop, Dubstep, and Techno influences. Followed by sets from local DJs. 9pm. Duke Coffeehouse. Free.

(MUS)

7

Artist Talk and Book Signing. Documentary photographer Bruce Jackson, curator of Full Color Depression and author of the new book In This Timeless Time: Living and Dying on Death Row in America (UNC Press and CDS Books of the Center for Documentary Studies). 6–9 pm; talk at 7pm.

Center for Documentary Studies. Free. (CDS)

May 7

10

Student Exhibition. Work by Certificate in Documentary Studies undergraduates. Thru September 8. Center for Documentary Studies. Free.

(CDS) Advanced Documentary Photography. Vision and Craft by Alex Harris. Thru May 13. Center for Documentary Studies. (CDS)

TUESDAY, JANUARY 17, 2012 | 9

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 Countdown to Calder: Sculpture Film Series (N) 1/5 Rivers and Tides: Andy Goldsworthy Working with Time 1/12 Louise Bourgeois: The Spider, the Mistress and the Tangerine 1/19 Maya Lin: A Strong Clear Vision 1/26 The Body as Matrix: Matthew Barney + The Order: from Cremaster 3 Kenan Ethics Series - discussion follows each film 1/17 Defiance 2/20 Little Town of Bethlehem 4/3 Of Gods and Men 4/23 Human Terrain Reel Revolutions (7:30pm) Defiance 1/18 18 Days (Egypt, 2011) 1/25 Syria: The Assads’ Twilight (Syria, 2011) 2/1 Neither Allah Nor Master (Tunisia, 2011) 2/28 Our Persian Rug (Iran, 2010) + 18 Days Fragments of a Revolution (Iran, 2011) 3/14 Goodbye Mubarak (Egypt, 2011) 3/21 Waves of Revolution (India, 1974) + Raam ke Naam (In the Name of God) (India, 1992) Quebec Cinema (35mm series) 1/23 Incendies 1/30 Heartbeats (Les Amours Imaginaires) 1/31 Route 132 Rights! Camera! Action! series (SW) discussion follows each film 1/24 Wetback 3/13 12th & Delaware Sergei Eisenstein Retrospective (rare 35mm screenings of classics by the master) 2/6 October 2/13 Alexander Nevsky 2/14 Ivan the Terrible (Parts I-II) 2/27 Bezhin Meadow

Incend Inc Incendies endi dies ies

IIvan Iva van th the he Terrible he Terrib ribl ib ble le

Feature (and Shorts) of the Feminist 70s (8pm, W) 2/8 SEX & REVENGE: Rape (JoAnn Elam, 1975) + Foxy Brown (1974, starring Pam Grier) 3/28 UTOPIA: Holding (Coni Beeson, 1971) + Born in Flames (Lizzie Borden, 1983) Cine-East: East Asian Cinema (8pm) 2/9 When China Met Africa (documentary) (W) 2/19 Profound Desires of the Gods (Shohei Imamura, Japan, 1968) (W) 3/20 Chan is Missing (Wayne Wang, USA, 1982) (W) 3/26 Sketches of Kaitan City (Japan, 2010) 4/4 The Way Home (S. Korea, 2002) (W) 4/16 Taiwanese Documentary program--day one (7pm) 4/17 Taiwanese Documentary program--day two (7pm)

When China W Whe Wh h nC Ch hi a hina hin hi Met Africa

Profound Desires of the Gods

Special Events 1/19 Marx Reloaded (6pm, W) – U.S. premiere of new documentary! Skype Q&A w/ filmmaker + reception to follow 2/4 “Virgin Springs” – short film program curated by Mark McElhatten (2pm, N) 2/7 Short films program from the 49th Ann Arbor Film Festival 2/16 An Encounter w/ Simone Weil (7:30pm, SW) – Q&A to follow w/ director Julia Haslett & composer Daniel Thomas Davis 4/5 Calder’s Circus (N) 4/26 AMI Duke Student Film Showcase, day one (6pm-11pm) – See the final projects from Duke film courses this semester!

4/27 AMI Duke Student Film Showcase, day two (6pm-11pm) – continued from 4/26

10 | TUESDAY, JANUARY 17, 2012

SPRING ARTS PREVIEW

THE CHRONICLE

Visiting Artists @ Duke Spring 2012 Fiasco Theater

Immersed in Every Sense A lecture series featuring a diverse array of artists from a variety of disciplines. Spring 2012 artists: Pat O’Neill (experimental film), January 30-February 2; Kianga Ford, Parsons The New School for Design (installation, dance, performance, sonic arts), February 28-March 1; Ethan Jackson (optical installation, photographic media, interactive video), March 11-17; Art Werger, Ohio University (drawing, printmaking), April 3-5; Ann Hamilton, The Ohio State University (installation, time-based arts, performance), April 18-19.

Wet Ink Ensemble Returns for the second stage of a two-year residency to teach and perform with Duke music students.

February - April.

Brown University/Trinity Repertorytrained ensemble based in New York City comes to Duke for a two-week Shakespeare residency. Feb. 2-18.

Kristi Lippire & Jason Middlebrook Participating artists in the exhibition Alexander Calder and Contemporary Art: Form, Balance, Joy, Feb. 16-June 17, 2012, Nasher Museum of Art.

Residency dates: Feb. 27-March 1.

The Visiting Artist Program of Duke University receives funding from The Duke Endowment. For more information contact the Vice Provost Office for the Arts, 919.684-0540 or visit our website at arts.duke.edu.

Pictured: Jason Middlebrook, The Green and White Warbler, 2008. Acrylic on wood, steel, cast concrete plastic bottles 64 1/4 x 44 x 17 7/8 inches. Courtesy of the artist and Sara Meltzer Gallery, New York and Monique Meloche Gallery, Chicago. Photo

by Hermann Feldhaus.

SPRING ARTS PREVIEW

THE CHRONICLE

TUESDAY, JANUARY 17, 2012 | 11

Full Frame stays active over winter

by Chris Bassil THE CHRONICLE

Every year in April, the Center for Documentary Studies brings the Full Frame Film Festival to Durham for a weekend of film screenings, panels and discussions. This winter, the Full Frame Winter Series will show three of those documentaries in the coming weeks.

The series will kick off this Wednesday night with a screening of Buck, a film about former professional rope trick performer-turned-horse whisperer Buck Brannaman (who was six years old at the time).

Director Cindy Meehl, whose film went over well in various screenings over the past year, got the idea to tell Brannaman’s story after she took one of her own disturbed horses to see him. Buck is Meehl’s first film, and was filmed in part right here in North Carolina.

The following week, the Carolina Theatre will screen the next film in the series, Danfung Dennis’s aptly named Hell and Back Again. Another film with ties to North Carolina, Hell and Back Again began when Dennis accompanied the Echo Company, 2nd Battalion, 8th Marine Regiment on an anti-Taliban mission in Afghanistan which resulted in the wounding of Sergeant Nathan Thomas. The film alternates between that fateful mission and Sergeant Thomas’ return to North Carolina, and attempts to capture as adequately as possible the struggles that a soldier faces at home as well as abroad.

Finally, the Full Frame Winter Series will wrap up on the first of February, with the screening of Project Nim, the acclaimed new project from director James Marsh (of Man on Wire fame). Though the final film in the series, unlike the prior two, has no ties to North Carolina, it will no doubt be of great interest to students at Duke and citizens of Durham alike. Marsh’s film follows the story of Nim, a chimpanzee taken at birth and raised by humans in an ambiguous psychological study that blurs the lines between test subject and adopted child. The results of the study, conducted in the 1970s in an attempt to teach the chimp language, are inconclusive, but the archival footage, reenactments and present-day interviews employed by Marsh try to tell a different story. The film explores the participants in the study itself, as well as their reactions to Nim’s unpredictable behavior, and its consequences for them and those around them.

All of the screenings for the Full Frame Winter Series take place at the Carolina Theatre at 7:00 p.m. and are free and open to the public.

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Full Frame Film Festival, one of the largest and most prestigious documentary film festivals in the country, added a winter series that will feature documentaries from Cindy Meehl and James Marsh, the director behind acclaimed film Man on Wire.

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An Evening with Herbie Hancock and His Band

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SPRING ARTS PREVIEW

12 | TUESDAY, JANUARY 17, 2012

THE CHRONICLE

Around the triangle: standout concerts of the spring season

by Ross Green THE CHRONICLE

ANDREW YOUSSEF/SPECIAL TO THE CHRONICLE

Madeleine Follin of Brooklyn indie-pop group Cults will perform on Mar. 4 at venerated Carrboro venue Cat’s Cradle. The band released their critically acclaimed, self-titled debut last summer.

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Between programming from Duke Performances, DUU and Duke’s arts-related academic departments, the university will play host to a vibrant and diverse collection of performance offerings over the spring semester. But to take full advantage of the Triangle area’s emergence as a hotbed of musical talent, students must venture beyond campus. Here’s an overview of a few of the exciting musical acts coming to venues in Raleigh, Durham or Chapel Hill during the spring.

Feb. 4: Theophilus London at Cat’s Cradle The Brooklyn-based rapper/fashion icon/Morrissey devotee had his comingout party last year, when he released debut album Timez Are Weird These Days, which featured Tegan and Sara and Solange Knowles and a production assist from Dave Sitek, and made a sizable splash with a performance at the Cannes Film Festival. Like many of his contemporaries, London is equally comfortable singing a hook as he is laying down verses. But his eclectic tastes in backing tracks—Timez swung back and forth between sparse, 808s and Heartbreakinspired electro-pop and the sort of neosoul that Sitek’s been making during his day job with TV on the Radio—and his

hipster-idol good looks could find him a niche audience.

Feb. 4: The Mountain Goats at Haw River Ballroom Since relocating to Durham in 2006 after being active on the west coast for 15 years, John Darnielle and the Mountain Goats have become a veritable Durham institution: they’re regular performers at local venues and released their last two stellar albums, The Life of the World to Come and All Eternals’ Deck, on Laura Ballance’ and Mac McCaughan’s Chapel Hill-based Merge Records. But their status as hometown favorites belies the band’s stature as a nationally beloved act. Darnielle is, by any measure, one of American folk music’s most accomplished and inventive lyricists; the Mountain Goats’ concerts are nothing short of a religious experience for devoted fans. This may not be their last date in the Triangle for a while, but there’s no time like the present, either.

Feb. 12: Sharon Van Etten at Cat’s Cradle Van Etten’s early LPs, Epic and Because I Was in Love showed off the Brooklyn singersongwriter’s ace in the hole: a voice at once intimate and expansive, capable of evoking all the emotions that her lovelorn lyrics promised on the page. Since their release, she’s drawn comparisons to Neko Case and

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SEE CONCERTS ON PAGE 13

“GORGEOUSLY WROUGHT AND EMOTIONALLY CHARGED!”

Duke University Chapel

- The New York Times

Organ Recitals 2012 David Arcus Sunday, January 29, 2012 5:00 p.m.

ROADWAY

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aking B groundbre

David Arcus has performed throughout the United States, in Europe, and in Great Britain. His playing has been described as full of “exalted pomp and spirit, and a genuine affection for his listener” (Fanfare).

He has won national awards in improvisation and composition, and several of his pieces are published by Concordia, Hinshaw, and Wayne Leupold Editions. His second program in the series will feature music from Canada, including Healey Willan’s Introduction, Passacaglia, and Fugue, plus a tribute to the Canadian rock band Rush.

musical

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Sunday, February 26, 2012 5:00 p.m.

Dongho Lee was awarded both the First Prize and the Audience Prize in the 2010 American Guild of Organists’ National Young Artists Competition in Organ Performance, held at the 50th national convention of the AGO in Washington, DC. A native of Seoul, South Korea, Ms. Lee has played in her native country as well as throughout the United States and Europe. She will present her recital at Duke this year on the Aeolian organ.

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Robert Parkins Sunday, March 18, 2012 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 playing praised as “artistic, technically flawless, and imaginative” (The American Organist).

This season’s recital program,“Fantasies and Fugues,” will include works by Bach, Franck, and Reger on the Flentrop and Aeolian organs.

THE CHRONICLE

CONCERTS from page 12 Chan Marshall, as well as endorsements from fellow indie darlings Bon Iver and the National. On Feb. 7, she’ll release a long-awaited follow-up, Tramp; her audience at Cat’s Cradle will have the opportunity to hear one of the first performances of her new material five days later.

Mar. 3: Craig Finn at Local 506 Craig Finn has made a name for himself as the lead singer of the Hold Steady, who, after their 2008 high watermark Stay Positive, became a festival-headlining, critically embraced bar band par excellence. But Finn’s striking out on his own in 2012, releasing his debut solo album Clear Heart Full Eyes (yes, that is a deliberate reference to Friday Night Lights) and doing a North American tour in support.

If Clear Heart’s rollicking first single “Honolulu Blues” is any indication, Finn’s solo material won’t stray too far from the territory he’s staked out with the Hold Steady—meaning more of the relatable, exuberant slices of roots rock that first attracted the band’s cult following.

Mar. 4: Cults at Cat’s Cradle Last year, Cults—the moniker of New York City film students Madeleine Follin and Brian Oblivion—added their self-titled debut to the swelling ranks of stellar, ‘50s-leaning girl group pop albums. Bubbly, infectious tracks like “Go Outside” shared space with the angst-ridden harmonies of “Abducted” and “Never Saw the Point,” all interspersed with a curious selection of samples—like a snippet of a speech by Peoples’ Temple leader Jim Jones. The whole thing clocked in at barely over half an hour, which, like the summer season that Cults was meant to evoke, couldn’t help but leave you wanting more.

Mar. 9: War on Drugs at Lincoln Theatre Recess caught up with War on Drugs frontman Adam Granduciel last October ahead of a previous tour date in Raleigh, and the Philadelphia-based folk-rocker talked about an affinity for North Carolina that the band developed while recording parts of their standout album Slave Ambient in Asheville. That album was one of last year’s revelations: classic songwriting in the vein of Tom Petty or Fleetwood Mac, put through a wash of synth-driven, slow-moving atmospherics. This year, Granduciel and co. return for a well-deserved victory lap at Lincoln Theatre, and give area residents one more chance to hear their brand of neo-retro Americana.

Mar. 21: Neon Indian at Cat’s Cradle Don’t blame Neon Indian for the backlash. Sure, they were there at the beginning of the “chillwave” movement, but it’s hardly Alan Palomo’s fault that his synth-heavy psychedelia inspired so many lesser imitators. 2009 debut Psychic Chasms was a zeitgeist-capturing moment, a highlight of a deadbeat summer that specialized in woozy, languorous pop music. The band’s 2011 follow-up Era Extraña never quite matched its predecessor’s chemically induced highs (“Should’ve Taken Acid With You,” natch), but Palomo smoothed out Chasm’s rougher edges by creating some

SPRING ARTS PREVIEW strong, easily accessible pop music, like “Suns Irrupt” and “Halogen (I Could Be a Shadow).”

Mar. 23: Youth Lagoon at Cat’s Cradle Trevor Powers has no use for irony or for playing it safe, and we’re all better for it. On Youth Lagoon’s debut The Year of Hibernation, the Boise, Idaho twenty-something shot for the moon on a shoestring budget, writing one huge, life-affirming chorus after the next, each made more epic for the obvious production limitations. It’s the sort of music that translates particularly well to a live setting, where Powers’ undeniable sincerity can be amplified to a communal level. If crass disaffection is the disease, Youth Lagoon is the cure.

Mar. 23: Tyondai Braxton and Colin Stetson at Motorco Music Hall Motorco will play host to one of the more high-powered double bills that Duke Performances has put together in some time. Stetson is an impossibly talented bass saxophonist who managed on his superb 2011 LP New History Warfare, Vol. 2 to fill an entire sonic spectrum with a single instrument. Braxton is a similarly virtuosic multi-instrumentalist who followed up his career-making turn on Battles’ 2007 experimental rock classic Mirrored with the sophisticated, orchestral loops of 2009 solo album Central Market. They’re among the most original and forward-looking of working musicians, and the chance to see both at once—for a whop-

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ping $5, no less—isn’t to be missed.

Apr. 4: Of Montreal at Cat’s Cradle There are few experiences quite like Of Montreal live, because few people can match the delightful weirdness of frontman Kevin Barnes. The band hit a creative peak a few years ago on 2007’s Hissing Fauna, Are You the Destroyer?, when Barnes’ free-associative, sardonic emoting was applied to tight, versechorus-verse pop and freewheeling rock grooves with equal aplomb. But even though subsequent LPs Skeletal Lamping and False Priest haven’t lived up to that standard, Of Montreal’s got more than enough standout tracks in their back catalog to put together a stellar set—and more than enough on-stage antics to make the night a triumph of zany, restless creativity.

Apr. 29: Bear in Heaven at King’s Barcade It’s not like there was anything wrong with Bear in Heaven’s 2007 debut The Red Bloom of the Boom, a varied yet cohesive work that drew from a whole range of genres—IDM, prog- and post-rock, dub and good old-fashioned Southern rock were all fair game—sometimes incorporating all these elements into a single song. But the band tore apart their approach and returned with something at once more accessible and more inscrutable with magnificent 2009 follow-up Beast Rest Forth Mouth, a cavernously large record tidy pop compositions. Where they go next, on upcoming release I Love You, It’s Cool, is anyone’s guess, and the audience at King’s Barcade will have a front-row seat for the intrigue.

CHELSEA PIERONI/CHRONICLE FILE PHOTO

Hip-hop artist Theophilus London, who has already performed headlining shows at high-profile events including the Cannes Film Festival, Montreal Jazz Festival, and the Brooklyn-based Northside Festival, will hit Cat’s Cradle on Feb. 4.

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THE CHRONICLE

DP hosts Santana, Flamenco Vivo

by Katie Zaborsky THE CHRONICLE

LOUIS GREENFIELD/SPECIAL TO THE CHRONICLE

Triangle residents mix and mingle Saturday at the fourth-annual ‘Taste of Durham’ festival in Research Triangle Park. The event featured local food vendors and a variety of musical entertainment.

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At most dance performances, a loud, emphatic “Olé!” from the audience is not usually condoned, but Carlota Santana, Artistic Director of Flamenco Vivo, actually encourages it.

On Feb. 11, Duke Performances, in conjunction with the Duke Dance Program, will present “Flamenco Vivo Carlota Santana,” a flamenco dance performance choreographed by Santana, a guest dance instructor at Duke. Characterized by flowing, vibrant costumes and an energetic atmosphere, flamenco dance originates from Spain and has evolved into an international sensation. Unlike many other dance forms, flamenco is accompanied by live musicians on stage, a presence that Aaron Greenwald, Director of Duke Performances, believes contributes to the style of the performance.

“Any time you can have dancers responding to live music makes for real excitement,” says Greenwald. The performance will feature two guitar players, two singers and five dancers, with the first part of the show focusing on the Latino influences on flamenco while the second part will be performed in the pure flamenco tradition.

In an effort to increase the international performances after a heavy American lineup last semester, Aaron Greenwald chose Flamenco Vivo because of Santana’s contemporary, forward-thinking approach to the Spanish dance as well flamenco’s ability to consistently deliver vibrant performances that attract a sizeable audience.

“There’s a sense of virtuosity [to flamenco],” Greenwald says. “I think people decide to come to a flamenco show because they have a sense, reliably, that it will be fun and exciting and also have some depth to it.”

Founded in New York in 1983, Flamenco Vivo soon added another branch in Durham as a response to the growing Hispanic community, looking to expand the company as well as bridge cultural barriers through dance. Santana’s goal, she says, is to attract more interest to the art form and make it part of American mainstream dance culture.

Santana believes that flamenco has a specific appeal to a younger audience on a college campus, as opposed to other forms of traditional dance.

“Flamenco is an art form of emotion and expressing emotion,” she said. “Younger people are more out there with their emotions—those things are seen on stage and I think it’s easier to identify with.”

As a pre-event to the concert, the Duke Dance Program is also presenting “Flamenco Alive! New Research in the Vital Art of Flamenco” on Feb. 4, featuring a keynote lecture, panel, and master class in flamenco with Santana. Together with the Flamenco Vivo performance, the event will offer attendees a comprehensive look at an exciting, expanding form of dance.

Duke Performances and the Duke Dance Program will present “Flamenco Vivo Carlota Santana” Saturday, Feb. 11 at 8:00 p.m. in Page Auditorium.

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DUKE PERFORMANCES SPRING 2012 SEASON FIASCO THEATER

CYMBELINE

BY WILLIAM SHAKESPEARE THURSDAY, FEBRUARY 2 THROUGH SATURDAY, FEBRUARY 4 8 PM REYNOLDS THEATER

THURSTON MOORE

DEMOLISHED THOUGHTS TUESDAY, FEBRUARY 7 8 PM REYNOLDS THEATER

WAYNE MCGREGOR RANDOM DANCE

FAR FRIDAY, FEBRUARY 24 & SATURDAY, FEBRUARY 25 8 PM REYNOLDS THEATER

EDGAR MEYER

THURSDAY, MARCH 1 8 PM REYNOLDS THEATER

TALLIS SCHOLARS

SUNDAY, APRIL 1 5 PM DUKE CHAPEL

SEUN KUTI & EGYPT 80

THURSDAY, APRIL 5 8 PM PAGE AUDITORIUM

ANOUSHKA SHANKAR & THE TRAVELER ENSEMBLE FLAMENCO JOURNEY SATURDAY, APRIL 14 8 PM PAGE AUDITORIUM

MOHAMMAD-REZA SHAJARIAN & THE SHAHNAZ ENSEMBLE SATURDAY, APRIL 28 8 PM DURHAM PERFORMING ARTS CENTER

PLUS DOZENS MORE SHOWS AT

WWW.DUKEPERFORMANCES.ORG FLAMENCO VIVO | CARLOTA SANTANA SATURDAY, FEBRUARY 11 8 PM PAGE AUDITORIUM

GET TICKETS

919-684-4444 DUKEPERFORMANCES.ORG