Fall Arts Preview 2019

arts preview

FALL 2019

THE CHRONICLE

T H U R S DAY S E P T E M B E R 5, 2 0 1 9

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Nasher’s ‘Art for a New Understanding’ is a turning point for Native art

By Meg Hancock Contributing Writer

To Marshall N. Price, the Nasher Museum of Art’s newest exhibition, “Art for a New Understanding: Native Voices, 1950s to Now,” is “a paradigm-shifting exhibition in many, many ways.”

The exhibition, which Price curated, is the first ever major exhibition of contemporary Native American art in the world. Price, the curator of modern and contemporary art at the Nasher, has been with the exhibition since its conception during a curatorial roundtable in Crystal Bridges, Ark., where the show first opened in 2018. Although the artists in the exhibit have been featured in other shows, this is the first time these artists have been displayed together in an exhibition specifically focused on contemporary Native American art. As Price pointed out during a media preview, “one of the major goals of this exhibition is to bring these artists into the mainstream.”

“Art for a New Understanding: Native Voices, 1950s to Now” charts the development of Native American art both chronologically and thematically, and showcases around 60 pieces of art from 40 different indigenous nations throughout the United States and Canada. Price explained that the exhibition tackles poignant themes in Native American history, including “sovereignty and exclusion, land and water rights, representation, and trying to negate persistent negative stereotypes.”

“Art for a New Understanding” uses various forms of art — such as painting, textiles, performance art, video, photography and sculpture — to create a colorful, vibrant and cohesive story about Native American

experiences. The first gallery of the exhibition focuses on a turning point in Native American art history. Prior to the 1950s, opportunities for Native artists were limited to working within traditional boundaries with media such as hide or weaving, or attending The Studio School in Santa Fe, N.M., which was run by Dorothy Dunn, a white woman. “[Dunn] really imposed a certain style on Native students of flat, figurative, representational figures,” Price said.

In the mid-1950s, an artist named Oscar Howe, whose 1954 work “Dance of the Heyoka” opens the exhibition, wrote a letter that emphasized looking forward in Native art instead of backward, marking a break from the restrictive limitations placed on Native artists. The same gallery also features textiles

by Lloyd Kiva New, a fashion designer and early instructor at the Institute for American Indian Arts, the school for Native American art that went on to supplant the Dorothy Dunn school.

Price points to New’s fabrics as an example of Native artists creating their own pedagogy.

“One of the major goals of this exhibition is to bring these artists into the mainstream.” marshall n. price

NASHER MUSEUM CURATOR

The exhibition also challenges the way Native Americans and their myriad cultures are typically presented in art and history museums. One of the featured pieces is James

Courtesy of Nasher Museum of Art Dana Claxton’s “Cultural Belongings” is highlighted in the Nasher Museum of Art’s new exhibit.

Luna’s “Artifact Piece” — originally a piece of performance art, the Nasher exhibition includes a reproduction of the work and documentary photos of the original performance. In Luna’s performance, which took place at the San Diego Museum of Man, he placed himself in a display case, where he had labeled various parts of his body.

“Visitors would walk right up to the case and look at James Luna’s body lying there, not realizing it was a living, breathing human being,” Price said. He went on to explain that the piece criticized “the way in which indigenous peoples

are presented in museums: in an ethnographic or anthropological type of way.”

The purpose of “Art for a New Understanding” aligns closely with the Nasher’s larger mission to create platforms for marginalized artists.

As Price said, “the Nasher takes great pride in the fact that we’ve been able to expand the art historical canon,” and its newest exhibition is an enthralling testament to that mission.

“Art for a New Understanding: Native Voices, 1950s to Now” is on display at the Nasher Museum of Art and will run until Jan. 12, 2020.

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‘Exit/No Entry’ interrogates asylum policies through modern dance

By Tessa Delgo Contributing Writer

From Haitian Creole to modern dance, Gaspard Louis has a history of bringing his languages to the Duke community.

Louis, the Haitian-born founder and artistic director of the company Gaspard&Dancers, came to Durham a decade ago as a professor in the nascent years of Duke’s Haitian Creole language program. He quickly found a home in the local arts community, becoming involved in the Durham-based American Dance Festival and establishing Gaspard&Dancers in 2009. This fall, the company will kick off its 10th anniversary season on campus with the premiere of “Exit/No Entry,” a piece that centers around current U.S. policy on asylum seekers and the resulting humanitarian crisis.

Illuminating humanitarian issues through dance is a longstanding passion of Louis’. In 2012, Gaspard&Dancers premiered a show entitled “The Trilogy” at Reynolds Theater, which reflected on the 2010 earthquake in his native Haiti.

“In an increasingly polarized world, I believe in the power of art like [Louis’s] to help us envision and shape a more inclusive society,” Celia Mizelle, Gaspard&Dancers’ assistant to the director, wrote in an email.

Developed in separate parts, “Exit/No Entry” examines two distinct ramifications of U.S. asylum policy.

“In ‘Exit/No Entry,’ I am speaking to the American people,” Louis said, “to look at us, look into our soul, ask, ‘How would you feel if your kid was being snatched away from you?’

Hopefully, [when] you look at us, you can be

sympathetic to our suffering.”

“No Entry,” which Louis created last year, tells the story of two sisters trying to find each other, obstructed by a wall of dancers, acting as soldiers, that divides them. After the

immigrants, played by company dancers, who have been detained and caged while crossing the U.S. border.

Despite the visceral themes of the show, Louis does not intend for “Exit/No Entry” to inspire political actionintention, but to elicit audiences’ empathy.

“I always think that if we spend more time dancing, we spend less time fighting,” Louis said. “I’m not going to the left, I’m not going to the right. I approach things in a human way.”

The human stories portrayed in “Exit/No Entry” personally resonate with Louis, whose own family faced struggles with immigration.

One of his cousins, a Haitian citizen who was in the United States on a visa, fled to Canada in light of recent immigration policies.

“She knew that if she stayed, she would be sent back to Haiti,” Louis said. “[She went into] survival mode. She needed a place that would be more welcome.”

According to Louis, “Exit/No Entry” aims to “give hope” to those, like his cousin, who are affected by current immigration policies.

The show will end with a piece called “L’Esprit,” originally performed in 2012 as part of “The Trilogy.”

“In ‘L’Esprit,’ a town comes to life, joyful. Life continues,” Louis said. “Even after this natural disaster, life continues.

Even through what’s going on in this administration, life continues.”

Gaspard&Dancers will perform at the Reynolds Theater on Friday, Sept. 27 and 28 at 7:30 p.m. The Sept. 28 performance will be followed by G&D’s 10-Year Fête, held from Robin Gallant| Special to The Chronicle 9:30 p.m. to 12 a.m. at The Fruit. Discounted Durham-based dance company Gaspard&Dancers will celebrate its 10th anniversary this fall. tickets are available for Duke students.

Save the dates to attend this year's outstanding performances by students and faculty from the Department of Theater Studies! All shows take place in Sheafer Theater in the Bryan Center. theaterstudies.duke.edu

piece received critical acclaim and profound emotional response from audiences, Louis decided to expand on “No Entry” by developing a prequel, “Exit.”. The new piece focuses on individual incarceration stories of

by William Shakespeare

directed by Jules Odendahl-James

by María Irene Fornés

by visiting artist Christina Masciotti

directed & dramaturged by Jody McAuliffe

directed by Jeff Storer

Auditions & Crew Call: Oct. 20-21

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DEMAN Weekend keynote speakers share their paths to arts and media careers

By Stephen Atkinson Contributing Writer

When Dave Karger, Trinity ’95, entered Duke’s Career Center as a first-year to seek an internship in the entertainment industry, he was met with surprise — the employees do not typically encounter first-years. Still, that one visit led Karger to an unpaid summer internship in New York. Now, as a TCM host and correspondent for the Today Show and IMDB, Karger traces his career back to that first-year visit.

“I can draw a straight line from that first internship to my second internship, which was at MTV in the fall and summer, and to my third internship, which was at Entertainment Weekly — which led [me] to a 17-year job,” Karger said. “So I’m grateful to the Duke Career Center because, without them, I probably would not even be talking to you now.”

Dave Karger is one of five speakers that will be featured at the the Duke Entertainment Media and Arts Network (DEMAN) Weekend keynote reception Nov. 1 at the Nasher Museum of Art. This year’s keynote lineup will feature Duke alumni from the biggest names in media, including ABC “black-ish” writer Robb Chavis, Trinity ‘98, YouTube’s Lori Conkling, Fuqua ‘99, CNN’s Erica Henry, Trinity ‘94, and CBS Sports chairman Sean McManus, Trinity ‘77.

Unexpected paths DEMAN Weekend’s five keynote speakers represent distinct sectors of media — film, comedy and sports television, news and online media — yet for many of them, their paths to those careers were unplanned.

Some started out with entry-level internships; Erica Henry worked as an NBC page, where she developed a passion for working in news television, and Sean McManus initially worked as a production assistant for ABC Sports, where, in an interview with Sports Business Journal, he referred to himself as “the lowest man on the totem pole.” Thanks to hard work and convenient job openings, McManus eventually served as president of both CBS Sports and CBS News.

“I really tried to work harder than anyone else,” McManus said. “I was the first one in the office and the last one to leave in the evening. I just tried to absorb as much as possible and be in the right place at the right time. It just so happened that there were opportunities at NBC that opened up. … It was a lot of hard work, a lot of intuition and a lot of creativity on my part.”

But not all of the speakers had such direct paths — others explored several careers before settling on one. Lori Conkling entered business school expecting to return to her former employer, Disney, but job prospects delayed her return for three years. During that time she worked in management consulting.

Meanwhile, Robb Chavis didn’t officially venture into comedy writing until 15 years after he graduated from Duke.

“People decide they want to write in television or movies so early in their lives, and they forget that you have to tell stories about your life,” Chavis said. “So having another career and another life actually gives me the ability to tell a lot of different kinds of stories.”

Similarly, Dave Karger explored print journalism before landing in broadcast media. He never expected to end up in front of the camera, but through his job at Entertainment Weekly, he was given the opportunity. Now, he’s dishing Oscar opinions on the Today Show, interviewing George Clooney on IMDB and greeting celebrities on the red carpet.

Pursuing your passion After graduating from Duke, obtaining a law degree from Harvard and working for both a law firm and an advertising agency, Chavis dropped everything and moved to Los Angeles to pursue comedy writing. While the entertainment and media industries are notoriously difficult to penetrate, Robb Chavis encourages students to make the leap.

“Remember to listen to the voice in the back of your head and follow it when it tells you there might be something else out there,” Chavis said. “Allow yourself to find out if that’s true — or at least give yourself a shot — and if it doesn’t work out, you can go back to what you were focused on before.”

Of course, success did not come automatically for Chavis. For Lent one year, instead of giving up something for 40 days, he decided to invest in his future: He wrote every single night, improving his craft and finding his voice. Chavis also taught himself how to write for television. He would watch his favorite shows with a script in his lap and take note of their patterns so that he could replicate them.

Since then, he has worked for major network TV shows like “blackish,” “Superior Donuts” and “Bad Judge.”

“It’s never too late to find and pursue your passion,” Chavis said. “I moved [to Los Angeles] when I was 35 with two kids and ... I hit the reset button. It’s worked out, and I look forward to my work everyday, I look forward to the stories I get to tell and I love the people I work with.”

Finding resources at Duke Dave Karger believes that students’ time on campus is their best chance to get experience in entertainment-related fields.

While he was at Duke, he wrote for The Chronicle and interned for Duke Magazine, in addition to serving as president of his junior and senior classes. While Duke may not be famous for its entertainment connections, Karger insisted that students have the resources. Karger pointed to the new Rubenstein Arts Center and DEMAN’s growing popularity as signs of Duke’s flourishing arts scene.

“Do as much as you can while you’re on campus because there’s just so much available to you,” Karger said. “Don’t feel like, because you go to Duke, and because you didn’t go to a school like USC or NYU, you can’t pursue a career in entertainment.

There are so many of us in New York and Los Angeles who graduated from Duke who are doing really interesting things in the entertainment industry, and there’s room for young people to do the same thing.”

For those creative, artistic Duke students who are looking to pursue the less trodden path of entertainment and media, listening to and connecting with some of these speakers at DEMAN’s Nov. 1 keynote conversation could be the first step.

“I love the back-and-forth with the students,” Sean McManus said. “I love the questions that they ask, I love the fact that they’re so engaged and anything I can do in some small way to help the students at Duke University — I love to do that.”

Robert Zimmerman | Courtesy of DEMAN This year’s DEMAN Weekend features alumni working in creative fields from ABC’s “black-ish,” CNN, Entertainment Weekly and more.

ON THE COVER arts preview

FALL 2019

THE CHRONICLE

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6 1. RUBENSTEIN ARTS CENTER: Renzo Ortega was in residence in the Rubenstein Arts Center this summer (June 17 to July 12). This illustration of a hand was inspired by the dancers in the Ruby and the trees surrounding the painting studio.

2. SCREEN/SOCIETY: Zhao Tao in Ash is the Purest White (Jia Zhangke, 2019) 3. MFA: [Photo: Bubbles at the Inkwell, Durham, NC. by Titus Brooks Heagins] Southbound: Photographs of and about The New South 3. DUKE PERFORMANCES: Ambrose Akinmusire: Origami Harvest 4. THEATER: Duke Theater mainstage production, As You Like It 5. NASHER: Composition 21 by Naama Tsabar featuring 21 local musicians who identify as women and/or gender nonconforming

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Admission is always free for Duke students.

Art for a New Understanding Native Voices, 1950s to Now On view through January 12, 2020

2001 Campus Drive, Durham, NC

nasher.duke.edu/voices Dana Claxton, Cultural Belongings (detail), 2015. LED firebox with transmounted Lightjet Duratrans, 72 × 96 inches (182.88 x 243.84 cm). Collection of Eira Thomas. © Dana Claxton. Art for a New Understanding: Native Voices, 1950s to Now is organized by Crystal Bridges Museum of American Art, Bentonville, Arkansas. The exhibition is co-curated by independent curator Candice Hopkins (Tlingit, citizen of Carcross/Tagish First Nation in the Canadian territory, Yukon), Mindy Besaw, curator of American art at Crystal Bridges, and Manuela Well-Off-Man, chief curator of the Museum of Contemporary Native Arts at the Institute of American Indian Arts in Santa Fe, New Mexico. Support for this exhibition and its national tour is provided by the National Endowment for the Humanities, the National Endowment for the Arts, and the Sotheby’s Prize. This project is supported in part by an award from the National Endowment for the Arts. This exhibition has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor. At the Nasher Museum, this exhibition is made possible by the William R. Kenan, Jr. Charitable Trust, with additional support from The Nancy A. Nasher and David J. Haemisegger Family Fund for Exhibitions. This project was supported by the N.C. Arts Council, a division of the Department of Natural & Cultural Resources.

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Gospel legend and civil rights icon Mavis Staples to return to Durham

By Andrew Witte Contributing Writer

Special to The Chronicle The rhythm and blues artist Mavis Staples — a “staple” of American music — is set to perform at the historic Carolina Theatre Oct. 3.

The rhythm and blues artist Mavis Staples — a “staple” of American music — is set to perform at the historic Carolina Theatre, returning with Duke Performances Oct. 3.

Mavis Staples began performing with her father and siblings in The Staple Singers, a family band created in the ‘50s. Together, they released music that often revolved around the Civil Rights Movement, such as classic hits “I’ll Take You There,” “Respect Yourself” and “For What It’s Worth.” The family band, known for their uplifting messages and gospel style, was a personal favorite of Martin Luther King, Jr. Staples would go on to pursue a solo career that carried on the power The Staple Singers were known to deliver. Now 80 years old, the three-time Grammy winner continues performing and recently put out a new album, “We Get By,” earlier this year.

In an interview with NPR, Staples described how her father always wanted “to sing about what’s happening in the world today, and if it’s something bad, we want to sing a song to try to fix it.” The music of “We Get By” reflects this idea. Music tinged with nostalgia for the Civil Rights Era succeeds in commenting on America’s current social woes — we get by, but change is necessary.

Notably, Staples has also recently collaborated with Irish singer-songwriter Hozier, well known for his hit track “Take Me to Church.” In their power ballad “Nina Cried Power,” Hozier and Staples combine their dynamic, commanding voices to celebrate the work of musical artists and activists including Nina Simone, Billie Holiday and Mavis herself. In the past, Staples has also collaborated with artists ranging from Bob Dylan — whose marriage proposal she allegedly rejected — to alternative rock band Arcade Fire.

Mavis Staples’ Oct. 3 concert will be a return to Duke Performances, a performing arts presenting organization based at Duke dedicated to curating a diverse lineup of world-class artists.

Eric Oberstein, the interim director of Duke Performances, was incredibly excited to have Staples join this year’s season of performances. Oberstein described how he believed “audiences here in Durham and here in the Triangle really love her, and I have no doubt will be excited to greet her.”

“Mavis Staples is a living legend,” said Oberstein. “She’s been such a force in our culture, as an artist, as a singer. I would say that this is an artist not to be missed. Mavis Staples is an important artist in American culture — she’s a legend, she’s a legendary singer and performer who has been performing for many, many decades.”

Oberstein also had much to say about the Carolina Theatre, which will be the venue of the concert. The historic theater, originally founded in downtown Durham in 1926, often partners with Duke Performances to showcase artists.

“The music that [Mavis Staples] was creating back in the day and the music that she creates now is timeless.” eric oberstein

INTERIM DIRECTOR OF DUKE PERFORMANCES

Concerning the importance of having these events away from Duke’s campus and within the community, Oberstein discussed how “it really is a part of [Duke Performance’s] DNA. We think it’s important to come to the community and not just ask the community to come onto campus to attend the shows that we present.” He hopes people will make a night of the concert that “will be an electric performance, no doubt.”

Students on campus share in Oberstein’s excitement. “I think it’s important to invite artists who not only have great music but produce music that conveys a relevant message to a community,” sophomore Ami Wong said. “With Mrs. Staples’s involvement in the Civil Rights Movement and her roots in rhythm and blues, I feel it’s something that the Durham community will really appreciate as relevant to our culture.”

Oberstein described Staples’ legacy as simply “timeless”: “I would say timeless because of the power of her message, the power of her lyrics, and just her quality as a musician, as a performer.

She is an artist that transcends time and generations. I think that her music will be powerful forever. And even though coming up as a child and as a young artist, she was very much a part of the Civil Rights Era and Civil Rights Movement.”

Oberstein relayed his belief about how “the music that [Mavis Staples] was creating back in the day and the music that she creates now is timeless. It speaks to us very directly, with a direct message and with incredible inspiration.”

Tickets for the performance can be found at dukeperformances. duke.edu, $10 for Duke students.

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Center for Documentary Studies’ fall programming is an eclectic mix

By Mason Berger Contributing Writer

For the past five years, the Center for Documentary Studies (known more commonly as CDS) has presented its outdoor audio festival, Audio Under the Stars. Featuring themes such as “Night and Day,” “Super/Natural,” and “Appetites and Desires,” the festival brings the Duke community together to lay out under the stars and listen to audio documentaries, pieces composed simply of sound unaccompanied by video.

“It’s a really unique, wonderfully Durham event,” said Wesley Hogan, director of the Center for Documentary Studies. “We had some really talented young people who had graduated from Duke [who] took some of our continuing education classes in audio documentary [and] realized there were a ton of people in the region who were both making audio ... and wanted to listen to it together.”

Since its first event five years ago, Audio Under the Stars has grown from 50 attendees to over 400, all listening to documentaries together under the night sky. And while Audio Under the Stars is exclusive to the summer, the Center for Documentary Studies has countless opportunities for students this coming fall.

CDS has two exhibition sites, one on the main CDS campus housed near East Campus and another at the Power Plant Gallery on the American Tobacco campus. Both sites will feature exhibitions in the coming months. One of those exhibitions is entitled “Abortion Diaries,” which will reside on the main campus this October, and Hogan believes it will be especially interesting for students studying medicine and health.

“A women’s health doctor named Melissa Madera, who was hearing so many different stories from women and their patterns about whether to end a pregnancy that she created an anonymous audio upload site,” Hogan said. “Her patients could call that number and leave their story about their abortion experience. … She started to make a podcast about it to provide some privacy as well as some complexity and nuance to the reporting.”

The Power Plant Gallery will also feature a project entitled “Southbound” by local photographer Titus Brooks Heagins,

Courtesy of the Center for Documentary Studies “Experiments From A Black Queer Feminist Future” is one of the exhibits currently on display at the Center for Documentary Studies.

which opens Sept. 6.

“The photographs are trying to help us imagine new narratives about the South,” Hogan said. “[It is] this is sort of a visual presentation that raises some of those same questions.

How might we think about the ‘New South’ in a more complex visual way?”

CDS has also invited filmmaker Daphne Williams to screen her film “In a Perfect World,” a film which explores a black single mom’s struggle to escape cultural stereotypes. Hogan hopes members of the Duke community will be able to relate to the themes of the film.

Another exhibit that will feature black artwork is “Experiments from a Black Queer Feminist Future,” by the

Black Youth Project 100, which will run through mid-October.

This is just a sampling of the many opportunities the Center for Documentary Studies is offering students this fall. Hogan stressed that there are endless reasons for students to attend CDS events.

“Part of what the CDS does is make space for extremely busy and over-scheduled Duke students,” Hogan said. “Duke seems to us to be the only place to have an interface between working artists and many different documentary domains — film, photography, audio, writing — under one roof.”

For more information on the Center for Documentary Studies’ upcoming exhibits, visit https://documentarystudies. duke.edu/.

Fall Jazz at Duke!

Friday, October 25 8 p.m.

Baldwin Auditorium Family Weekend Concert: Duke Jazz, Djembe, and Afro-Cuban Ensembles with Ernie Watts, saxophone Tuesday, November 19 7:30 p.m.

Duke Chapel Jazz Vespers Friday, December 6 8:00 p.m.

Baldwin Auditorium Duke Jazz Ensemble with Fred Wesley, trombone

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SCREEN SOCIETY

Free Film Screening: Ash is Purest White (Jia Zhangke, 2019) Thursday, September 19 | 7pm Rubenstein Arts Center, Film Theater http://ami.duke.edu/screensociety

In a career-high performance, Zhao Tao stars as the fiercely loyal girlfriend of a local gangster played by Liao Fan. Enduring a prison sentence on his behalf, she emerges to find a changed China.

MFA

Southbound: Photographs of and about the New South Friday, September 6 (All day) to Saturday, December 21 (All day) Power Plant Gallery

The Power Plant Gallery, in collaboration with the Forum for Scholars and Publics at Duke University and the Gregg Museum of Art & Design at North Carolina State University, present Southbound: Photographs of and about the New South. In this iteration, guest curator Randall Kenan, author and North Carolina native, organizes the many photographs of the exhibition around the twin themes of “Flux”, on display at the Power Plant Gallery, and “Home”, on display at the Gregg Museum. The full program of events includes slow tours, film screenings, “Sit + Chat” sessions, and FSP@PPG panel discussions that engage with the issues in and around the works of art and explore the topics, places, and styles of Southbound.

RUBENSTEIN ARTS CENTER

2nd Annual Art + Tech Fair & Gallery Opening Receptions Thursday, September 12 | 6–8pm First and Second Floors

DUKE PERFORMANCES

Ambrose Akinmusire Origami Harvest

Thursday, September 19 | 8 pm Rubenstein Arts Center | Von der Heyden Studio Theater In 2018, Ambrose Akinmusire’s Origami Harvest tackled institutional racism and cyclical poverty on a brave and original album that The Guardian calls “a voyage through America that is both dreamlike and dystopian.” Akinmusire’s bold interpretation of the jazz idiom diverges from the trumpeter and composer’s previous masterworks, including the live extravaganza A Rift in Decorum. By fusing hip-hop, free improvisation, and chamber music, Akinmusire creates one of the most unforgettable soundscapes in Blue Note Records’ vast catalog. Synthesizing the threads of his impressive 15-year career — including an affecting contribution to Kendrick Lamar’s conversation with the ghost of Tupac Shakur on To Pimp a Butterfly’s “Mortal Man” — Akinmusire deliberately resists classification and “takes jazz string writing to a new plateau” (DownBeat). Akinmusire kicks off Duke Performances’ season at the intimate von der Heyden Studio Theater with an ensemble that features rapper Kokayi, pianist Sam Harris, drummer Justin Brown, and Mivos Quartet.

Art + Tech returns to the Ruby! Join us for this oncea-year open house that creatively combines art and technology. Visit pop-up exhibits by Duke students and staff, screen print a t-shirt or collage a notebook cover (free; while supplies last), explore how to use the arts center makerspace, and celebrate the opening of two new exhibits, Who Owns Poverty in Mexico? and queerXscape. Meet the artists while enjoying complimentary refreshments.

RUBENSTEIN ARTS CENTER

Ruby Fridays—All Semester Long!

(Most) Fridays at Noon Ruby Lounge, Rubenstein Arts Center End your week at the Ruby with a free sandwich and a casual talk and Q & A with a variety of artists and creative thinkers. This semester’s Ruby Fridays series kicks off with “A Talk About Turtles” with visiting artist Daniel Aguilar Ruvalcaba, it includes two live music performances (one on Fri, Sep 27, with poet and scholar Amit Chaudhuri, and one on Nov 22 with the Ciompi Quartet), and a special DEMAN Weekend addition on Fri, Nov 1.

NASHER

Sculpture Garden Performances

Saturday, September 28 | 2 pm & 4 pm Nasher Sculpture Garden

Performances of Composition 21 by Naama Tsabar in the new Sculpture Garden: Featuring 21 local musicians who identify as women and/or gender nonconforming. Performances run approximately one hour.

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THEATER

As You Like It

Thursday, November 7-Sunday, November 17 Sheafer Theater

MUSIC

Duke Symphony Orchestra with Karen Walwyn, piano Wednesday, October 2 | 7:30 pm Baldwin Auditorium Free admission music.duke.edu

Cultural Confluence: The Old World Meets the New Coleridge-Taylor: “Dance Nègre” from African Suite; Florence Price: Piano Concerto in One Movement; Dvořák: Symphony No. 9 in E minor, Op. 95 “From the New World”

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ART, ART HISTORY, VISUAL STUDIES

Centering Art History & Visual Culture in the Digital Humanities: A Symposium Celebrating Ten Years of the Wired! Lab for Digital Art History & Visual Culture, Duke University

Written By: William Shakespeare; Directed By: Jules Odendahl-James. Set in 1980s New York City, the fall mainstage production of As You Like It is a study in contrasts between an uptown, straight-laced, gilded court and downtown, scrappy, queer ballroom culture. The Forest of Arden is the ballroom/club where banished bois, grrls, and more flee and frolic in a story of gender-fluid love and laughter, undaunted by the unflinching outside world. Imagined with a cast of 11 diverse actors, reflective of NYC’s status as a global crossroads, students will play roles across the gender continuum.

Friday, October 18 | 9 am-6 pm

Kenote: Digital Architectural and Art History: A View from the Field, Patricia Morton, University of California, Riverside Thursday, October 17 | 5pm

SCREEN SOCIETY

Screening/Performance: My First Film (Zia Anger, 2019) Saturday, November 17 | 7 pm ami.duke.edu/screensociety

In this feature-length multimedia performance, filmmaker Zia Anger interacts with media on screen and the audience using real-time text, spontaneous Google searches, audience directives and AirDrops. —Zia Anger in attendance.

CENTER FOR DOCUMENTARY STUDIES

In A Perfect World Documentary Screening Thursday, October 3 | 6 pm to 9 pm Reception at 6 p.m. / Screening at 7 p.m.

2019 Susan Tifft Fellow Daphne McWilliams’s In a Perfect World explores the dynamics of what it means to be a man who is raised by a single mother. The film goes beyond statistics and news reports to create a deeply personal and impressionistic documentary portrait. Daphne and her son Chase will be in attendance. The Tifft Initiative at the Center for Documentary Studies (CDS) explores the meaningful ways in which documentary approaches and methods can inform, and be informed by, journalism’s evolution in the digital era. The Susan Tifft Fellows, the inaugural program of the initiative, are selected from an international pool of women media artists, journalists, and documentarians for a one-week creative residency at CDS.

MUSIC

Family Weekend Concert: Duke Jazz, Djembe, and Afro-Cuban Ensembles with Ernie Watts, saxophone Friday, October 25 | 8 pm Baldwin Auditorium $10 general admission, students free tickets.duke.edu

DANCE

Two-time Grammy Award winner Ernie Watts is one of the most versatile and prolific saxophone players in music.

He has been featured on over 500 recordings by artists ranging from Cannonball Adderley to Frank Zappa, always exhibiting his unforgettable trademark sound. In 2014, Watts received the prestigious Frankfurt Music Prize.

Based in California, he leads the Ernie Watts Quartet and tours extensively, as well as releasing albums regularly on his Flying Dolphin label. John Brown directs the Duke Jazz Ensemble. The Duke Djembe and Afro Cuban Ensembles are directed by Bradley Simmons.

November Dances 2019

Friday, November 22 | 7:30 pm Saturday, November 23 | 7:30 pm Reynolds Industries Theater November Dances is the Duke Dance Program’s Fall concert featuring Ballet, Modern, Jazz, and African Dance works by Duke faculty: Ava LaVonne Vinesett, Tyler Walters, Nina Wheeler, Andrea E. Woods Valdés, plus works by students.

Brought to you by Department of Art, Art History and Visual Studies, Center for Documentary Studies, Dance Program, Music Department, Master of Fine Arts in Experimental & Documentary Studies, Duke Performances, Nasher Museum of Art, Screen/Society, Theater Studies with support from the Office of the Vice Provost of the Arts.

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THURSDAY, SEPTEMBER 5, 2019 | 11

campus arts

Screen/Society’s lineup includes arthouse and international cinema

By Sarah Derris Local Arts Editor

Since its founding in 1991 by graduate students, the Arts of the Moving Images’ Screen/ Society series has been the center of eclectic film programming on campus. Each semester, co-programming coordinators Hank Okazaki and Jason Sudak curate Screen/Society’s offerings. Free to both the Duke and Durham communities, the program’s selection offers an assortment of films, with an emphasis on international and arthouse films that are not otherwise easily accessible. “[When selecting films] we like to aim for diversity in terms of region and filmmaker background,” Sudak said. “We try to bring things that we are excited about and the things that are available. We can’t get everything, but at the heart of it, we are trying to bring the most exciting films we can here.”

To curate a semester’s worth of screenings, Okazaki and Sudak pay close attention to current happenings in cinema. Film selections often center around new releases, restorations, anniversaries and recent passings. For example, the death of influential French New Wave director Agnès Varda has prompted a number of retrospectives in various cities. Her film “Documenteur” will screen Oct. 3 at the Rubenstein Arts Center.

“We watch a lot of movies and we keep up on film journals and film festivals to find out what’s new and coming around,” Sudak said. “We sit in the office and talk about movies a lot, and try to provide a view of the breadth of cinema, especially underseen cinema.”

Many of the films are new releases and have only seen limited screenings in major theatrical cities, like New York or Los Angeles. Although some of the films have unfamiliar cultural or historical backgrounds, Screen/Society invites guest speakers and graduate students to help contextualize the film for audiences in postfilm discussions.

“We are trying to show things that are not widely available and are also outside of the mainstream of Hollywood,” Okazaki said.

“When we can, we like to invite graduate students or faculty members to introduce films and provide background on cultural or geographic specificities that people might not be so familiar with.”

This iteration of Screen/Society features current films, including Claire Denis’ “High Life,” Gabriel Abrantes and Daniel Schmidt’s “Diamantino,” and Louis Garrel’s “A Faithful Man.” October marks the beginning of the Olivier Assayas retrospective, which will feature both acclaimed films and lesser-known films by the French filmmaker, such as “Irma Vep” and “Clouds of Sils Maria.” “‘Diamantino’ is a wild film. It is almost a mix of Adam Sandler comedy and Pier Pasolini,” Sudak said. “I am also excited about the [Roberto] Gavaldón films coming from

Mexico. They have screened very little in the United States, and that whole period of film between the 30s and 50s is very interesting.”

Each semester, academic departments and community groups are invited to propose screenings. This semester, Screen/Society has collaborated with the Center for Latin American and Caribbean Studies to organize a screening of local filmmaker Rodrigo Dorfman’s documentary “This Taco Truck Kills Fascists.”

A partnership with the Nasher Museum of Art will bring “Navajo Talking Picture” on 16mm film and “Mekko,” to complement the Nasher’s latest exhibition, “Art for a New Understanding: Native Voices, 1950s to Now.” Other partnerships include the North Carolina Latin American Film Festival, Duke University Libraries and the Asian/Pacific Studies Institute.

Screen/Society moved to the Rubenstein Arts Center in Spring 2018, and ever since, all screenings have been held in the building’s film theater. The new equipment in the theater, including 16mm and 35mm projectors, has allowed Screen/Society to show many films in their original formats.

“Since moving to the Rubenstein Arts Center and having proper projection equipment we have been able to hold more theatrical screenings,” Okazaki said. “For certain kinds of films, there is a certain experience watching them on celluloid that you can’t have any other way. There is a certain nostalgia as well, an aspect of the experience that makes [the screening] a unique event.”

As both a cinematic and community space, Screen/Society differs from comparable institutions in one crucial way: The screenings are free and open to all. Since programming is funded by academically sponsored programming and grants, Screen/Society can afford to be more audacious with its offerings.

“There’s a certain freedom we have since we don’t need to consider box office numbers,” Okazaki said. “We don’t want to show things that people don’t want to see, but we have the freedom to show things that might not have the ‘brand awareness’ — something a place like the Carolina [Theatre] may be more concerned about. Because of this, we are able to be more daring with our programming, and it’s up to us to be consistent with our quality, so that people will trust us and come check it out.”

Although the community engagement has been fairly strong over the past few semesters, drawing crowds for Jean-Luc Godard’s “Le Livre D’Image” and Lee Chang-dong’s “Burning” in previous programs, Sudak and Okazaki hope for continued interest and engagement from Duke students, no matter their academic background.

“I do really appreciate the social space of a film screening and a Screen/Society screening,” Sudak said. There’s a lot of energy surrounding [Screen/Society], and it is becoming a space where people associate it with adventurous cultural experiences. We would love for students to come out to our shows.”

Special to The Chronicle Screen/Society’s Olivier Assayas retrospective will feature films of his such as “Irma Vep” (above).

THE RUBY IS YOUR CREATIVE HOME AT DUKE Learn how to get creative or be inspired in Duke’s new home for making art.

EVERY WEEK DURING THE SEMESTER (Confirm online, then drop in!)

Free coffee & pastries, Thu 3-6pm Art talk & free lunch, Fri 12-1pm

GALLERY PROPOSALS* Month-long exhibits by, or organized by, the Duke community.

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ARTS PROJECT RESIDENCIES* Individuals or teams can apply to use a studio for approx. 4 weeks.

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RESERVE A RUBY STUDIO* Use the Ruby for your art event or rehearsal—student organizations welcome!

Email artscenter@duke.edu.

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campus arts

Duke brings creative industry alumni to campus for DEMAN Weekend

By Elizabeth Butcher Contributing Writer

Each year, DEMAN Weekend attracts accomplished creative professionals to campus for a weekend of networking, learning and career exploration. The Duke Entertainment, Media, & Arts Network’s signature event, which is celebrating its 10th year, will take place Nov. 1 and 2.

Beginning Friday at noon, the weekend will feature a variety of workshops hosted by TV executives, video journalists, dancers, producers, musical composers, broadcasters, podcasters and novelists. Students will be exposed to the technical side of creative media in sessions such as “Tackling a Documentary Feature from the Edit Room,” led by Sundance 2019’s “The Infiltrators” coproducer Sarah Garrahan, MFA|EDA ’14, and “Tell Me A Story: Reporting for ‘60 Minutes,’” led by “60 Minutes” producer Marc Lieberman, Trinity ’92. Since careers in media and entertainment are rarely linear, alumni will also be available to share moments of doubt and triumph. Aspiring creative professionals can seek general advice during sessions such as “The First Five Years,” hosted by Ritza Bloom, Trinity ‘13, who now works in the digital sphere on platforms such as Facebook.

“DEMAN alumni help students find pathways to professions in the arts after graduation,” wrote Scott Lindroth, professor of music and vice provost for the arts at Duke, in an email.

“Our alumni include practicing artists as well as professionals in creative industries. Some are recent graduates who are in the early stages of their careers and others are well-established industry leaders. They are all eager to offer guidance and mentorship to students.”

Friday’s workshop sessions will culminate in a keynote conversation led by YouTube TV and Google Fiber’s Lori Conkling, MBA ’99, award-winning host, interviewer and entertainment commentator Dave Karger, Trinity ’95, CBS Sports Chairman Sean McManus, Trinity ’77, CNN Director Erica Henry, Trinity ’94, and comedy writer Robb Chavis, Trinity ’98, who has worked on major network shows from “Black-ish” on ABC to “Bad Judge” on NBC. The keynote will be followed by a reception in the Nasher Museum of Art, during which students may mingle with alumni and even establish one-on-one connections.

Courtesy of Duke Entertainment, Media, & Arts Network The Duke Entertainment, Media, & Arts Network’s 10th annual DEMAN Weekend will take place Nov. 1 and 2.

Saturday afternoon will feature speed sessions in which students may present their portfolios and resumes to alumni, followed by a series of panels in which alumni will discuss their own creative work and answer questions from students. The weekend will wrap with the Duke’s Got Talent Showcase from 4 to 5 p.m. in the von der Heyden Studio Theater, followed by an afterparty in the Rubenstein Arts Center on Saturday evening.

“We are thrilled to bring Duke’s Got Talent back to DEMAN,” wrote producer Jack Boyd, Trinity ‘85, in an e-mail, noting that last year’s showcase featured guests such as Wyatt Rivers of NBC’s “The Voice,” Liz Simons of “Broad City” and Rence Nemeh of Chicago’s The Second City improv troupe.

Undergraduate performances were featured as well, as members of the Small Town Records house band and individual performers such as sophomore Krishna Sinha took the stage.

Boyd promised that this year’s lineup will be just as impressive.

Students interested in gaining advice on how to get the most out of their interactions with alumni throughout the weekend are encouraged to attend DEMAN 101 on Wednesday, Oct. 16, from 6:30 to 8:00 p.m. at the Ruby.

“DEMAN 101 is a great way for students to prepare for

DEMAN Weekend because it takes the nervousness and confusion out of networking,” wrote Omo Sanusi, a junior and Creative Arts Student Team captain, in an e-mail. “It’s also a great way to meet fellow students with similar interests before attending DEMAN, so you can form a small network of peer and alumni connections early on during the semester.”

Yet the weekend should not only be of interest to students aspiring to careers in entertainment and media. To reach students even beyond those involved in the arts, the weekend’s sessions will also demonstrate how other disciplines — such as engineering, business and law — are equally applicable to creative industries.

DEMAN will provide major-specific “menus” that create personalized agendas to enable students from all disciplines to get the most out of the weekend.

“DEMAN Weekend is one of the best opportunities we have to connect alumni with students for networking and talking about jobs and careers in the arts, media and entertainment industries,”wrote Sterly Wilder, associate vice president of the Duke Alumni Association, in an e-mail. “My hope is that many students will take advantage of the weekend — because Duke alumni really want to help.”

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THURSDAY, SEPTEMBER 5, 2019 | 13

campus arts

Q&A with Duke alum Maria Kuznetsova on her novel ‘OKSANA, BEHAVE!’

By Anya Dombrovskaya Contributing Writer

In “OKSANA, BEHAVE!” Kuznetsova, Trinity ‘08, stitches a loosely autobiographical narrative, seeing Oksana through the turbulence of her immigrant childhood, and into her independence after she graduates from Duke. With a touch of Russian absurdism, Kuznetsova gives an intimate look at episodes in Oksana’s life, including her experiences amid the lacrosse case. The Chronicle spoke with Kuznetsova about “OKSANA, BEHAVE!” The Chronicle: This book has been described as a comingof-age novel. What does coming-of-age mean to you?

Maria Kuznetsova: To me, the arc of the book isn’t her becoming this adult and realizing how life is. It’s her realizing how little she knows, and embracing that. It starts with her being disgusted and embarrassed — basically mortified — by her immigrant family, or just the idea of family, or the fact that she’s tied to anybody. She just wants to fly off. And then, it ends more with family and with her getting there herself, and knowing how difficult and complicated and terrifying all of that is, and accepting it while not being perfect, and knowing that she’s gonna bungle it just like her parents, but she’s going to do her best. I guess coming-of-age is a tricky term because I think it implies that something concrete is gained at the end, and I don’t know if that is true in my book.

TC: You mention some Russian writers throughout the book. How do Russian authors impact your sense of self, and how does that impact Oksana’s sense of self?

MK: I’m from Ukraine, I speak Russian, and my family are Soviet people. I feel like I have this legacy that I couldn’t possibly live up to, with Pushkin and Chekhov and Tolstoy — people behind me when I’m writing. The biggest chapter that involves a Russian writer is the “Yalta Conference,” which is my homage to Chekhov’s “The Lady with the Little Dog.” That short story changed my life when I read it just out of undergrad. I just wanted to tell a modern story about the impossibilities of love. I treat it the best way I can, and I think Oksana is kind of conscious that she can’t really live up to that legacy; she is not trying to be Tolstoy or something. But she can certainly take something away from those writers while making her story her own.

TC: One major difference from a lot of the Russian literature that you reference is that a female character is misbehaving.

Why did you choose to write about a girl who misbehaves?

MK: I think a lot about Russian superfluous male protagonists like Eugene Onegin, or Pecherin, or Sergei Dovlatov in his book, Oblomov … it’s a lot of Russian men getting drunk and misbehaving and still being charming throughout. And I just didn’t see a lot of stories like that with women acting that way. That was my challenge — to build on that, but from a female perspective. It is expected of males to behave badly, and when women do it, people have a harder time stomaching that. I don’t know that I set out to do that, but as I was thinking about this book, I was like “this is like a lot of other stuff I’ve read, but it’s also a female getting into certain trouble that generally only male protagonists in Russian literature get into.”

TC: How does Duke fit into Oksana misbehaving?

MK: I have a complicated relationship with Duke. It was a really complicated time — I came from this very middle-class immigrant high school, where we didn’t have the traditional social structures you might associate with a high school. And then at Duke, I found them more placed. So I was trying to figure out who I was in this place where suddenly you have the most freedom you’ve ever had in your life at that point, and I think it’s an opportunity to learn and to grow and to breathe, and also to just get into a lot of trouble.

And then I think part of it is this American Dream. A lot of Russians’ dream is for their kid to go to a school like Duke. They come here, they work hard, and they make it happen. They give the child the opportunity to make it happen. But what does that really mean? That’s what she and I struggled with: “Well, I am here, but is this really the thing that my parents came here for? Is this the opportunity they wanted me to get? When I’m spending all this time at a frat party.”

TC: There’s also the Duke lacrosse case that happened while you were at Duke. Why was that was something you wanted to write about?

MK: It was kind of this thing that was happening, very much in the background of my sophomore year of college, and in the foreground was normal college stuff, that was just like me living my life and hanging out with my friends, and meeting boys, and going to class, whatever … and I don’t think I really understood what a big deal that was until years later.

This was way before #MeToo and people talking openly about

Special to The Chronicle Duke alum Maria Kuznetsova’s first novel, “OKSANA, BEHAVE!” stitches a loosely autobiographical narrative,.

that kind of thing, and I just wanted to honestly write a better character. The reason I struggled with writing about it was because I had to understand that Oksana wasn’t there; in the earlier draft of the story, she was having all these woke, political 2017 thoughts about what was happening in the background about race and class and gender, and then I realized at twenty, she just wasn’t there. Maybe other people on campus were, but she was trying to get this guy to love her, and didn’t realize that maybe there was something that wasn’t parallel but that she could’ve maybe paid attention to more.

TC: What did you derive from creating this character who is based on you, but who also goes beyond into these situations that you’ve imagined?

MK: It taught me a lot about fiction-writing, and a lot about

myself. Writing the character brought out a lot of things that I didn’t know I was that into then. Certain obsessions came out, that I didn’t know I had, that she had. It was a way to learn more about the character and myself. Her search for faith while being this Soviet atheist — I’ve never really articulated that, or thought I cared about it at all, but then I kind of realized “Oh I’m obsessed with this.” It’s always kind of an undercurrent and I’ve never articulated it, but the character has.

Kuznetsova is excited to return to Duke Nov. 1 for DEMAN Weekend to talk about her work and about enduring rejection as a writer. She is now working on a book based on her grandmother’s World War II experiences.

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14 | THURSDAY, SEPTEMBER 5, 2019

campus arts

‘Priceless: The Music of Florence Price’ revives composer’s lost works

By Courtney Dantzler Contributing Writer

In a classical music culture that recognizes composers as male, white and dead, Florence Price, a black woman, is certainly an anomaly.

Her resilience amid a difficult life has resonated with a new generation of listeners, including Duke faculty, staff and students.

The music department will highlight the music of this pioneering African American composer in two concerts this fall. On Sept.

21, they will showcase “Priceless: The Music of Florence Price,” organized by David Heid, director of the Duke Opera Theater and instructor of music, and is co-sponsored by Trinity College of Arts and Sciences through Dean Ashby and the department of gender, sexuality, and feminist studies.

Florence Price was born in 1887 in Little Rock, A.K., during a time of severe racial tension.

She studied at the New England Conservatory of Music in Boston, M.A., one of the only music schools that accepted black students at the time.

Although she excelled as a pianist and organist, Price was not taken very seriously in the field — she was a black woman when there were very few women in classical music and almost no African Americans. She was also forced to leave an abusive marriage during a time when women were not expected to stand up for themselves.

As the conditions under Jim Crow became more violent, Price fled north to Chicago, looking for a new start.

In 1932, Price submitted her works to the Rodman Wanamaker Contest in Musical Composition, a major competition for African American composers at the time. To everyone’s surprise, she won first prize for her Symphony

20

in E minor, and third for her Piano Sonata.

When the Chicago Symphony performed her winning symphony in 1933, she became the first black woman to have a composition performed by a major American orchestra.

Yet, despite this promising start, the press considered her win a fluke because she was a woman, and her career failed to take off. After she passed away in 1953, the few works she had created languished in obscurity.

In 2009, a young couple bought a house on a lake in Illinois that was in terrible disrepair.

When they cleaned out the attic, they found a trunk of papers that was miraculously undamaged. They realized that they had bought Price’s summer home and ran across hundreds of her old manuscripts and letters.

With this recent rediscovery of her music, there has been an incredible revival of interest in her compositions in the past decade. However, her works are still rarely performed. David Heid is attempting to change that.

“Florence Price is someone really important and incredibly impactful in our world who many students don’t know,” Heid said. “I have been a big fan of hers for a while — I’ve taught her Piano Sonata and played a lot of her vocal works — so now that we have access to more of her compositions, it’s been an exciting time for Florence Price.”

The program includes a selection of Price’s vocal works performed by Marlissa Hudson, a soprano and Duke alum, and the Duke Chorale and Chamber Choir. Hudson is an accomplished concert soloist who has performed with many prominent American symphonies. She received her formal training at Duke University and The Peabody Institute of Johns Hopkins University.

“This is a great opportunity for students in

Special to The Chronicle Two of Florence Price’s Violin Concertos, considered lost for decades, have been newly recorded.

the Chorale,” Heid said. “It’s always inspiring to see someone who was at your stage at one point, who’s now older and flourishing in their artistic profession, come back to campus.”

Additionally, the concert will feature the Ciompi Quartet, Duke’s resident string quartet, with Price’s “5 Folksongs in Counterpoint,” and David Heid and Daniel Seyfried on piano.

On Oct. 2, the Duke Symphony Orchestra will open its season in Baldwin Auditorium with “Cultural Confluence: The Old World Meets the New.” The program includes Coleridge Taylor: “Dance Négre” from African Suite; Florence Price: Piano Concerto in One Movement, performed by guest pianist and Florence Price researcher Karen Walwyn; and Dvorák: Symphony No. 9 in E minor, Op. 95 “From the New World.”

In spotlighting such a compelling story, these two performances are indicative of the music department’s mission to preserve Florence Price’s legacy. Price wrote in the late Romantic tradition, and her compositions present sincerity in its purest form, with a passion that pours out of the page and into the contemplative hearts of every listener.

“I discussed this with my colleague who is playing the Piano Sonata,” Heid said. “It’s amazing how somebody who had such a difficult life could write such beautiful music. She had a bad marriage that she had to leave during a time when women didn’t leave marriages very easily. She had to escape from the violence in Little Rock, and still, she had a soul that imbued incredible music.

To me, it reveals the resiliency of the human spirit, that no matter what, it still lived in her.”

ARTSY THINGS TO DO BEFORE YOU GRADUATE

For the full list of 101 Things to Do Before You Graduate visit welcome.dukechronicle.com o Take an art class o See a local band play at Motorco o Read an issue of FORM and check out The Standard o Go to a Def-Mo show

o Host a Duke radio broadcast o See the Pitchforks or another student a cappella group perform o Catch a concert at Cat’s Cradle o See a show at the Carolina Theatre o Dance for a cause at the Duke Dance Marathon o Check out the galleries at the 21c Museum Hotel

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o Go to The Nasher to check-out art exhibits, then grab brunch at the Café o Check out local art galleries at Third Friday Durham o Attend a Chapel service o Enjoy Jazz at the Mary Lou Williams Center

o Attend Me Too Monologues, All of the Above, or a Hoof ‘n’ Horn production

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o Instagram the Chapel/ take a Chapel selfie

o See the Ciompi Quartet perform at Baldwin o Watch live music at the Coffeehouse o See an event at DPAC o Keep up with the arts — read The Chronicle’s Recess section every Wednesday. o See a movie at the annual Full Frame Documentary Film Festival

16 | THURSDAY, SEPTEMBER 5, 2019

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