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2011 Spring Arts Preview¬
Swing Dance hosts showcase by Ross Green THE CHRONICLE
In its relatively brief history, the Duke Swing Dance club has amassed a sizable roster and carved out a unique place in the Duke dance scene. This spring semester, the club will maintain its role on campus by continuing to hold swing dancing classes for Duke students of all skill levels. Duke Swing will also host its first public showcase in Page Auditorium April 21, an indication of the club’s growing popularity in the Duke community. Junior Tucker Howard, president of the Duke Swing club, expressed his excitement over this spring’s showcase, a signal of the progress the club has made recently. “Duke Swing only got started a couple years ago, when the current seniors were sophomores,” Howard said. “We’re a relatively new student group, and it’s great to be able to use Page for a showcase.” The event will also benefit from synergy in the Duke dance community. The Duke Swing club will collaborate with Latin dance troupe Sabrosura and Irish dance club Rince Diabhal, Howard said. After drafting its constitution and enlisting faculty advisor Joseph Harris, Duke Swing was chartered by Duke’s Student Organization Finance Committee in the fall of 2008, Howard said, and has approximately 250 members on its roster. And although many have limited interaction with the club, Howard notes that Duke Swing enjoys a relatively active membership. “We have at least 40 to 50 students who come to our swing dancing lessons pretty consistently,” Howard said. “Sometimes we’ll have upwards of 60 people attending.” Those lessons, which are available to all interested members of the Duke community, are held every Friday and Saturday at the Wilson Center and constitute Duke Swing’s primary activity. “We host open lessons for beginners and intermediates, and we always go over the basics during those classes,” Howard said. “We do the more advanced stuff on Saturday, but we’re glad to have kids with really any experience level.” The beginner-friendly nature of swing dancing is an important factor behind Duke Swing’s success, Howard said, and he encouraged aspiring jitterbugs to give swing danc-
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contents. duke swing
this page haiti lab
next page dance program
page four
SPECIAL TO THE CHRONICLE
Chartered in 2008, the Duke Swing Dance Club has a membership of about 250 members and will host its first showcase this April. ing a chance. “What’s different about Duke Swing is that anyone who wants to be a part of it is welcome to join,” Howard said. “We have no formal tryouts, and we’re really hoping to fill a niche for students who might not have any experience but just want to try something new. In fact, some of the club’s most talented members—including Howard, who instructs many of Duke Swing’s classes— came to college with no prior swing dancing experience. “Before my freshman year, I decided I wanted to try something that I wouldn’t try in any other circumstance,” Howard said. “When I came to Duke, I actually considered myself a pretty crappy dancer.” Despite his lack of confidence, Howard tried swing dance after picking up a flyer advertising Duke Swing’s classes and never looked back. “[Duke Swing] ended up being one of the most fun things I did throughout my freshmen year,” Howard said. “After my first time, I came back almost every week.”
makoto fujimura
page five eric zhou
page six
the laramie project
page seven mabou mines
page ten
Duke Theater Studies UNIVERSITY
2011 SPRING SEASON For your spring viewing pleasure, the Department of Theater Studies presents
Duke Players Lab Theater
Proof
The Laramie Project
(Sr. Distinction Project) Featuring Heather Wiese (T’11) Brody Theater, East Campus February 3-5 at 8 pm free
An Evening of Hemingway
(Sr. Distinction Project) Adapted and directed by Will Sutherland (T’11) Brody Theater, East Campus February 17-19 at 8 pm free
Brody Theater, East Campus March 24-26 at 8 pm free
By Moisés Kaufman & company Directed by Jeff Storer Sheafer Theater, Bryan Center, West Campus April 7-9 and 14-16 at 8 pm; April 10, 17 at 2 pm
2011 New Plays Festival
(Sr. Distinction Projects) New works by Alex Young & Ben Bergmann (T’11) Brody Theater, East Campus April 20-23 at 8 pm & April 23 at 2 pm Free Admission
Other theater department-related shows:
Now You See Me
By Neal Bell (Theater Studies faculty) Directed by Jody McAuliffe (Theater Studies faculty) Manbites Dog Theater March 17-26, 2011
Stealing Home (the architecture of intimacy)
A solo vocal cabaret by Ellen Hemphill (Theater Studies faculty) Manbites Dog Theater April 14-23, 2011
2011 Spring Arts Preview¬
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In wake of earthquake, Haiti Lab digs deeper into culture
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haitilabschedule Edwidge Danticat (Provost’s Lecture Series) Author Tuesday, February 15, 2011 5:00pm - 6:30pm
Lyonel Trouillot Author and journalist COURTNEY DOUGLAS/THE CHRONICLE
In addition to hosting three visiting speakers—two, writer Edwidge Danticat and journalist Damien Cave, as part of the Provost’s Lecture Series, and also author and journalist Lyonel Trouillot—the Haiti Lab will work to compile an archive of Vodou song. by Kevin Lincoln THE CHRONICLE
In January 2010, a 7.0-magnitude earthquake devastated the nation of Haiti, and with its programming in 2011 the Haiti Lab, a part of the Franklin Humanities Institute, reflects the continuing influence of the earthquake on Haitian life and culture. As a part of the Provost’s Lecture Series in 2010/2011, which is centered on the theme of “Natural Disasters and Human Responses,” the Haitian-American writer Edwidge Danticat will speak at Duke Feb. 15. Danticat has written recently on issues surrounding the earthquake, and her lecture will explore the disaster’s effects on the nation’s people and culture. Also in collaboration with the Provost’s Lecture Series,
New York Times foreign correspondent Damien Cave will visit April 11. Cave covered the earthquake as well as the conflicts in Iraq and Afghanistan. The third visitor the Haiti Lab will host this year is Haitian author and journalist Lyonel Trouillot, who will be coming to Duke in the context of a journalist exchange program being done through the Sanford school, said Laurent Dubois, the Marcello Lotti Professor of Romance Studies and History and co-director of the Haiti Lab. Both a novelist and poet, Trouillot also hosts a radio show in his native country, and though exactly what events will take place during his residency at Duke—which will go from March 15-April 8—is to be determined, he will give a number
Residency: March 15-April 8
Damien Cave Foreign Correspondent Monday, April 11, 2011 5:00 – 6:30 p.m.
SEE HAITI ON PAGE 13
Final Weeks – On view through February 6
The Jazz Loft Project:
W. Eugene Smith in NYC, 1957–1965 February 3 - July 10, 2011 The Record: Contemporary Art and Vinyl is made possible by The Andy Warhol Foundation for the Visual Arts. Major support is provided by Marilyn M. Arthur, the Mary Duke Biddle Foundation, Duke University’s Council for the Arts, the N.C. Arts Council, a division of the Department of Cultural Resources, Charles Weinraub and Emily Kass, E. Blake Byrne, Barbra and Andrew Rothschild, Christen and Derek Wilson, and the Graduate Liberal Studies program at Duke University. This program is supported in part, by public funds from the Netherlands Cultural Services. Additional support is provided by Dr. and Mrs. Robert F. Allen, Catherine Karmel, Peggy and John Murray, Francine and Benson Pilloff, Caroline and Arthur Rogers, Olympia Stone and Sims Preston, Angela O. Terry, Richard Tigner, Nancy Palmer Wardropper, Peter Lange and Lori Leachman, Lauren and Neill Goslin and Merge Records.
IMAGE: Jeroen Diepenmaat, Pour des dents d’un blanc éclatant et saines, 2005. Record players, vinyl records, taxidermied birds, and sound. Dimensions variable. © Jeroen Diepenmaat. Image courtesy of the artist.
The Jazz Loft Project was organized by the Center for Documentary Studies at Duke University, the Center for Creative Photography at the University of Arizona and the Nasher Museum of Art at Duke University. The Jazz Loft Project at the Center for Documentary Studies at Duke University was made possible through the generous support of the Reva and David Logan Foundation, with significant additional support from the National Endowment for the Humanities, the National Historical Publications and Records Commission, the National Academy of Recording Arts and Sciences (The Grammy Foundation), the Duke University Office of the Provost, the Gladys Krieble Delmas Foundation, Ken and Amelia Jacob, and Kimpton Hotels. At Duke University, major support for the exhibition is given by David Lamond, the Robert K. Steel Family Foundation, Sally and Russell Robinson, Bruce and Martha Karsh, Charles Weinraub and Emily Kass, Anne T. and Robert M. Bass, Drs. Victor and Lenore Behar, G. Richard Wagoner, the Bostock Family Foundation, and Ruth W. and A. Morris Williams Jr. Additional support is given by William H. and Lorna Chafe, John A. Forlines Jr., Tom and Margaret Gorrie, Peter and Debbie Kahn, Patricia and John Koskinen, Peter Lange and Lori Leachman, Ann Pelham and Robert Cullen, Barry Poss and Michele Pas, Tom Rankin and Jill McCorkle, Alan D. Schwartz and Nancy C. Seaman, Mary D.B.T. Semans, and Courtney Shives. IMAGE: W. Eugene Smith, “Zoot Sims,” c. 1957-1964. Collection of the W. Eugene Smith Archive, Center for Creative Photography, TheUniversity of Arizona and The Heirs of W. Eugene Smith.
2011 Spring Arts Preview¬
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Dance Program hosts Merce, Choreolab by Sanette Tanaka THE CHRONICLE
This semester the Duke Dance Program will emphasize collaboration—across departments, between companies and within the department itself. Students and faculty members will perform a variety of original choreography and performances throughout the upcoming months. The Dance Program is also supporting Duke Performances’ presentation of the Merce Cunningham Dance Company in early February. The two shows will take place in the Durham Performing Arts Center. Cunningham, a dancer and choreographer, founded the company in 1953 and passed away in 2009. The two shows are part of a final tour paying tribute to Cunningham, said Tyler Walters, chair of the Dance Program and associate professor of the practice. “It is a big deal since [the company] doesn’t come to North Carolina all the time,” Walters said. “It is an amazing last chance to see this phenomenal modern dance company.” As part of their residency at Duke, company members will also perform their classic “Suite for Five.” Company archivist David Vaughan, director of choreography Robert Swintson and executive director Trevor Carlson will also discuss Cunningham’s past work and overall themes with students. Swinston will also hold a master class for advanced dancers Feb. 4. The Dance Program features the best pieces by both students and faculty members in its annual ChoreoLab in April. Students enrolled in a dance class can audition for a slot in February.
CHRONICLE FILE PHOTO
This February, the Dance Program will host the Merce Cunningham Dance Company at the Durham Performing Arts Center in collaboration with Duke Performances. The two shows are part of a final tour paying tribue to Cunningham, who passed away in 2009. A variety of work is presented, including ballet, modern, African and jazz, Walters said. He added that the concert usually includes two student-created pieces and 40 to 60 student performers. Five faculty members will also present original work.
ChoreoLab is an opportunity for dancers to share their creativity, Walters said. “The pieces are all being newly choreographed, so it will all be new work,” he said. “There is something for everyone. It is a great experience for the students.”
In addition to the Merce Cunningham Dance Company and ChoreoLab, the Dance Program is hosting a series of shorter performances throughout the semester. Andrea E. Woods, who is also choreoSEE DANCE ON PAGE 14
DUKE UNIVERSITY DEPARTMENT OF MUSIC music.duke.edu Jazz Ensemble
with The
with
Arts. News. Click to buy photos.
Brad Leali saxophone
Susan Fancher Frederick Hemke and
with
The NC Saxophone Ensemble April 14
Jon Metzger vibraphone
April 8 8 pm, Baldwin Auditorium General admission $10
(Click on any photo slideshow) or
photos.dukechronicle.com
UNC Wind Ensemble February 24
with
February 17
Duke students $5
www.dukechronicle.com
Wind Symphony
Symphony Orchestra with Student Concerto Competition Winner Jila Dabestani
March 16 with
Jung Oh
Chorale & Chapel Choir Mendelssohn’s
St. Paul oratorio performed with full orchestra, featuring Gerard Sundberg, baritone
April 3
soprano &
Irene Roberts mezzo-soprano
April 13
4 pm, Duke Chapel Duke students FREE General admission $15
PLUS Chamber Music, Collegium Musicum, Djembe Ensemble, [DNME], FREE! Opera Workshop, Faculty Recitals, Master Classes, Workshops & more!
8 pm, Baldwin Auditorium
ar e Most events
8 pm, Baldwin Auditorium
2011 Spring Arts PreviewÂŹ
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Artist Fujimura to visit Duke, Divinity by Brian Contratto THE CHRONICLE
Makoto Fujimura is a Japanese-American artist of contemporary renown. His painting is highly symbolic and articulate, and his written works discourse with ideas on theology and cultural critique. Fujimura will come to Duke this semester as part of the Visiting Artists series, spending time with the Department of Art, Art History and Visual Studies as well as the Divinity School. Fujimura’s paintings are abstract, yet still highly representational—even if it takes reading one of his typically eloquent descriptions to decipher meaning. For instance, Charis-Kairos (The Tears of Christ), created as a frontispiece for a bound set of the four Gospels, intends to render “tears shed for the atrocities of the past century and for our present darkness,� according to Fujimura’s website. The artist has written at length on aesthetic, religious and cultural themes and drawn inspiration from the tragedy of 9/11. “What disturbs me is that our Ground Zero conditions continue to grow, without any concerted effort to undo the chimera we have created though the Manhattan project and other scientific developments,� he wrote in an e-mail. “I believe that we need our imaginative capacities invested in undoing evil, as much as creating destructive means.� In fact, Fujimura’s art philosophy aims directly counter to the violent destruction, a force that weighs heavily on the painters he’s been strongly influenced by, including
Mark Rothko. “Be Generative� is something of an artistic M.O. for Fujimura. “By generative, I mean a type of creativity that inspires and gives birth to other expressions,� Fujimura said. “I find the recent art expressions focused solely on the self and have very little to offer as a generous, gift expression to the world. Generative works go far more than self-expression, or ego definition. In a sense, [my work]... is a movement that is attempting to define what generative art can be.� These ideas are strongly in tune with Fujimura’s Christian faith, and he will discuss the “theological dimension to [the] contemporary visual� during his visit to the Divinity School. “I studied Zen in Japan, so it’s not surprising to have elements of it influence my thinking,� said Fujimura. “But Zen’s detachment from the world, and from our suffering, does not appeal to me. Deep empathy... has influenced me greatly.� The overt Christian themes motivating the artist’s work also lend a cultural lens through which Fujimura examines culture and comments critically—Christianity itself is not exempt. “My critique is both toward the Christian culture and the broader culture,� he said. “There are ‘critical zones’ of overlap in which we cannot easily categorize as ‘Christian’ or ‘Secular.’� An additional, unique element to Fujimura’s residency at Duke will be his performance of “live art,� a concept of col-
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DUKE PERFORMANCES ! ! !
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Duke University Chapel
Organ Recitals 2011
THOMAS HAMPSON !!!!!SONG OF AMERICA!!!!!
TUESDAY, FEBRUARY 15 t 1"(& "6%*503*6. t 1.
THE ABBEY THEATRE
David Arcus Sunday, January 30, 2011 5:00 p.m.
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 listenerâ€? (Fanfare). He has won national awards in improvisation and composition, and several of his pieces are published by Concordia, Hinshaw, and Wayne Leupold Editions. Dr. Arcus’s program, performed on the Flentrop organ, will include works by Alain, DuprĂŠ, Liszt, and Schumann.
James Moeser
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Sunday, February 20, 2011 5:00 p.m.
James Moeser was for many years one of the nation’s leading organ recitalists and teachers. He toured the USA and Europe under the representation of the Murtagh/McFarlane Concert Management until 1992, after he had already begun to pursue a second career in university administration. Moeser retired as Chancellor at the University of North Carolina at Chapel Hill in 2008, and he has now returned to his roots as a musician. His recital will feature both the Flentrop and Aeolian organs.
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Robert Parkins Sunday, March 20, 2011 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,“French Keyboard Music of Four Centuries,� will include the Brombaugh and Flentrop organs as well as the debut of our recently completed “Blue Devil� harpsichord.
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2011 Spring Arts PreviewÂŹ
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Alumnus Zhou to present “The Red Violin� by Jessie Tang THE CHRONICLE
On January 21, the notion that beauty is deceptive will be explored. Eric Zhou, Trinity ’10, will present a lecturepresentation entitled “The Red Violin: Contextualizing Music in the Chinese Cultural Revolution.� The event kicks off the Spring 2011 Rare Music series, a partnership between Duke University Musical Instrument Collections and the University Libraries. Growing up, Zhou was exposed to the sounds of the erhu by his father, and one piece in particular, The Butterfly Lovers’ Violin Concerto, stood out to both father and son. “As a high school student, I was initially drawn to the concerto’s lyrical melody and dynamic orchestration,� Zhou wrote in an e-mail. “However, as I began to spend more time with the piece, I became aware of its tumultuous political history.� The marriage of politics and music during this time period became more and more apparent to Zhou, and his interest eventually led him to pursue a senior honors thesis in this topic. He won the Edward H. Benenson Award in the Arts to further study music under Professor Xiang Zepei in Beijing after graduation. One of Zhou’s teachers and mentors here at Duke, Professor of the Practice of Music Hsiao-Mei Ku, helped make the partnership possible. Both Zepei and Ku were students of famed Chinese violinist-composer Ma Sicong, the first president of the Central Conservatory of Music
in Beijing. Under Zepei, Zhou was able to improve his skill in the nuances of the specific Chinese technique, Zhou said. “The understanding and execution of this Chinese style of playing was quite distinct from the usual Western techniques that are used for Western classical music,� he said. As the Pegram Faculty-in-Residence and a member of the Ciompi Quartet, Ku was Zhou’s violin teacher during his undergraduate studies. Coincidentally, the two were also neighbors freshman year, and she notes that their shared Chinese background was an important factor in their friendship. “[Zhou’s] parents were of the generation raised during the Cultural Revolution, and so was I,� Ku said. “Our violin lessons were one-on-one, but our association was beyond the classroom setting—we often talked a lot more about the Cultural Revolution, its influence, the stories, my own experiences.� Friday’s event will cover the impact of the Cultural Revolution on Chinese music from a musical, political, anthropological and cultural perspective. Additionally, Zhou will perform musical selections that will illuminate the interdependence of music and politics, he said. Zhou is one of the few students invited to share about current projects for the Rare Music series, Ku said. The curator for DUMIC, Dr. Brenda Scott, was Zhou’s thesis adviser and thought he would be a good addition to the series, Zhou said. The series, which began in 2007, brings scholars and
well-known artists to come in and talk about their work each month. During his time at Duke, Zhou majored in neuroscience, with minors in music and chemistry. He was also chosen to be concertmaster of the Duke Symphony Orchestra his senior year. His dedication and hard work made him a standout within the symphony, Ku said. “He brought his passion, experience, discipline and skills to occupy the [concertmaster] chair,� she said. “Not only did he have to be the best player, but he also had to be the best leader, to earn the trust of the students and the conductor.� “The Red Violin: Contextualizing Music in the Chinese Cultural Revolution� takes place Friday from 4 to 6 p.m. in the Rare Book Room. The lecture-demonstration will include a Q&A, followed by refreshments. Free and open to the public. For more information, visit www.dumic.org.
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Eric Zhou, who graduated in 2010 and spent the summer in China funded by the Benenson Award in the Arts, will give a lecture-presentation concerning the impact of the Cultural Revolution on Chinese music.
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2011 Spring Arts PreviewÂŹ
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Theater Studies to stage Laramie Project by Lisa Du
THE CHRONICLE
The Laramie Project was written over 10 years ago, but the themes and social issues the play touches upon still resonate in the present day—making the piece one of the most produced plays in the United States. This Spring, the Duke Theater Studies Department’s version will be added to that list of performances. Although the Law School put on a small production of the play in 2007, this is the first time The Laramie Project will be produced full-scale at Duke, said Jules Odendahl-James, the play’s dramaturge. In the past, nearby universities and theater companies such as North Carolina State University and PlayMakers Repertory Company have staged the piece, she added. The Laramie Project was written by Moises Kaufman and members of his theater troupe the Tectonic Theater Project following the murder of Matthew Shepard— a homosexual college student in Laramie, Wyo. The play is based on hundreds of interviews conducted by Kaufman and his theater group, news articles and personal observations from members of the Tectonic Theater Project, and focuses the aftermath of the Shepard’s death within the Laramie community. The play is credited with popularizing the genre of documentary theater and utilizing it as a form of exploring social issues. “[Kaufman] didn’t go [to Laramie] to make a documentary film; he went in to take his actors to have conversations with people and come back and make a play,� Odendahl-James said. “The play itself is asserting the theater’s particular care in taking people’s stories and performing it back to them in contrast with the media.� Theater Studies chose to perform The Laramie Project based on input from Duke students, said Miriam Sauls, director of theater and communication for Theater
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duke theater spring 2011
Studies. “It’s a very relevant play at the moment because we’re still struggling with human rights issues and gay rights issues in this country,� Sauls said. “It’s a real story and a documentary play. So I think the students felt it still resonates.� Duke’s version of the play will bring together 13 undergraduate students to perform the 86 roles within the play—a deviation from the original eight players the show calls for, Odendehl-James said. “We have an amazingly diverse cast in terms of age, gender, race and body types,� Odenthal-James, who is also an adjunct lecturer for Theater Studies, said. In addition, all students involved in the production of the play—from acting to set design—are enrolled in a theater studies class this semester taught by OdendahlJames and Jeff Storer, the play’s director and professor of the practice of Theater Studies. The class will spend the first six weeks meeting to read and discuss The Laramie Project and other works it draws inspiration and style from in order to obtain a deeper understanding of the play, Odendahl-James said. There are originally two layers of narratives within The Laramie Project—members of the theater group as they experience Laramie and the townspeople interviewed. Duke’s version will add in a third layer— that of the Duke student performer, making this performed piece unique to the University. “We’re trying to make people think about this as the Duke community as well... [and] how would we respond,� Odendahl-James said. “[It’s about] getting the audience to see themselves as part of the community that’s staged in front of them.� The Laramie Project will run April 7-9 and 14-16 at 8 p.m. and April 10 and 17 at 2 p.m. in the Bryan Center’s Sheafer Theater.
theater studies. Proof
by David Auburn
(Sr. Distinction Project) Featuring Heather Wiese (T’11) Brody Theater, East Campus February 3-5 at 8 pm
An Evening of Hemingway
(Sr. Distinction Project) Adapted and directed by Will Sutherland (T’11) Brody Theater, East Campus February 17-19 at 8 pm
Duke Players Lab Theater Brody Theater, East Campus March 24-26 at 8 pm
The Laramie Project
By MoisĂŠs Kaufman & company
Directed by Jeff Storer Sheafer Theater, Bryan Center, West Campus April 7-9 and 14-16 at 8 pm, April 10, 17 at 2 pm
2011 New Plays Festival
(Sr. Distinction Projects) new works by Alex Young & Ben Bergmann (T’11) Brody Theater, East Campus April 20-23 at 8 pm
department-related. Now You See Me By Neal Bell
Directed by Jody McAuliffe Manbites Dog Theater March 17-26, 2011
Stealing Home (the architecture of intimacy) presented by Archipelago Theatre at Manbites Dog Theater April 14-23, 2011
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Arts
Duke University Spring 201
DUKE
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Events are subject to change. Please co
Buy tickets online at tickets.duke.edu o West Campus, Mon-Fri, 10am-5pm, (
Persons with disabilities who anticipate about physical access, may contact the attend.
Calendar edited by Hannah Stubblefiel Vice Provost Office for the Arts, 919-6
2011 Spring Arts Preview¬
4(%¬#(2/.)#,%¬
11 Calendar of Events
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2011 Spring Arts Preview¬
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At Duke, Mabou Mines interpret Williams by Andrew O’Rourke THE CHRONICLE
Mabou Mines, a New York-based avantgarde theater company, will be taking up residency at the University this February while they begin to develop their interpretation of Tennessee Willams’ The Glass Menagerie. “The Theater Studies Department has a long history of working with theater groups or writer-directors who are developing works that will then be shown later,” said Miriam Sauls, director of theater and communication for Theater Studies. The theater previews branch of Theater Studies is collaborating with Duke Performances on the residency, which will consist of various workshops and screenings, culminating two public readings of Glass Menagerie. Jody McAuliffe, professor of the practice of Theater Studies and Slavic and Eurasian Studies, has collaborated with Lee Breuer, one of the founding members of Mabou Mines and director of Glass Menagerie, in the past. Duke alumnus Eamonn Farrell, Trinity ’00, will also be involved in this production, so Theater Studies and Duke Performances jumped at the opportunity. “The timing was good for us to offer Duke as an incubator [for] that model of a residency where a theater company works on works so students could come in and watch the process,” Sauls said. “It’s a really rich way for students to see how the pros do it.” During the residency, the troupe will be opening its rehearsals to the public, allowing students, professors and Durham residents alike to watch the workshop process. “Lee [Breuer] is entirely open to anybody sitting in on any part of the rehearsal,” said Director of Duke Performances Aaron Greenwald.
Arts DUKE
SPECIAL TO THE CHRONICLE
The New York-based avant-garde theater company Mabou Mines will visit Duke to interpret Tennessee Williams’ The Glass Menagerie, cast as a dream play showing the struggles of an old man. Breuer and Maude Mitchell, who was part of the original cast of The Laramie Project under Moises Kauffman, will be conducting a day-long intensive acting and directing workshop with Duke students, and the cast may work with humanities classes as well. Mitchell will also work with the cast of Theater Studies’ upcoming spring performance of the play. Breuer will hold a seminar on the history of avant-garde theater in America, Greenwald said. “He’s done it numerous times in the past, and I’ve heard it’s mind-blowing,” Greenwald said. Breuer will also hold a screening of Mabou Mines’ recent production and re-imagination of Henrik Ibsen’s A Doll’s House, which they simply call DollHouse.
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“In DollHouse, the thing that was so amazing was that they used little people,” Sauls said. “All the men in the production were small men and all the women were regularsized women.” The play, which is about living in a lifesized dollhouse, sought to portray the men as being similar to children, taking a new twist on Ibsen’s feminist themes. DollHouse had a run in New York and is now part of the troupe’s touring repertory, both as a performance and as a film. “[A screening of the film] is pretty rare; it’s not something that’s been widely been seen,” Greenwald said. Although the company will be extremely busy with other engagements during its two-week residency, the main focus lies on developing The Glass Menagerie.
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Mabou Mines will be in residency at Duke Feb. 16 to 26 and will hold a public reading of The Glass Menagerie at 3 p.m. on Feb. 27 in Bryan Center’s Sheafer Theater.
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“Williams specifically calls it a dream play,” Breuer said in his artistic statement. “We stage this literally. Elements are surreal. Tom is, of course, Williams himself remembering and compulsively re-enacting his family trauma. But he is old—a gay man with alcoholic and medication addictions.” Adding to the surrealism of the play, all of the characters, with the exception of the older version of Tom—there is also the younger version from Williams’ original script—will fly at some point during the play. Laura and the gentleman caller will also be played by dwarf actors, a clear nod to the group’s production of DollHouse. During the production, the troupe will also show the relationship between Williams and actress Laurette Taylor, who gave what is usually regarded as the best live American onstage performance of all time as Amanda in the original Broadway performance of the piece. “To show this, the entire production is staged sideways as if we are looking at the stage from the wings,” Breuer said. “We can show action that takes place offstage right before and after entrances and exits.” The residency will not culminate in a full performance, as the University does not have the resources required for such an involved production, but there will be a dramatic reading by the cast. “This is sort of the first phase of development,” Greenwald said. “The next stage is likely at a repertory theater that has the materials to make it real—the props, the flying, the costumes.”
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Duke and UNC Wind groups collaborate by Ashley Copeland THE CHRONICLE
As far as music goes, Duke and UNC are rivals no more. In a collaborative concert called Two Shades of Blue, the Duke University Wind Symphony and the University of North Carolina at Chapel Hill Wind Ensemble will perform a variety of works by well-known composers. Rather than employ a “battle of the bands� format, directors Verena MosenbichlerBryant at Duke and Evan Feldman at UNC decided to create a joint concert to showcase both groups’ talents. The concert will take place in Duke’s Baldwin Auditorium. “Usually conductors will guest conduct each other’s group—sort of a home and home swap,� Feldman wrote in an e-mail. Each group will play one half of the concert but will not compete against each oth-
er. Feldman added that the directors plan to use the stage to highlight each symphony before performing a selection together. “I’ll take the baton for one piece, and then Dr. Mosenbichler-Bryant will lead the finale—home court advantage, I suppose you’d say,� Feldman said. The concert features three pieces: Ron Nelson’s Savannah River Holiday, a quicktempo piece featuring the woodwinds section; Steven Bryant’s Suite Dreams, based on Gustav Holst’s Suite in E-flat; Joan Tower’s Fascinating Rhythm based on George Gershwin’s original. Feldman said he hopes to continue Two Shades of Blue concerts in the future, hosting at UNC next time. Two Shades of Blue will take place at Duke University’s Baldwin Auditorium Feb. 24 at 8 p.m.
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Performing works by well-known composers, the Duke University Wind Symphony and the University of North Carolina at Chapel Hill Wind Ensemble will give a collaborative concert in Baldwin Auditorium.
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New Music Ensemble performs at Nasher by Maggie Love THE CHRONICLE
If the group’s upcoming concert is anywhere near as vibrant as the title, Duke New Music Ensemble is sure to put on quite a show. In its performance Jan. 30 at the Nasher Museum of Art—“Duke New Music Ensemble and its Intergalactic Astro-Infinity Jukebox�—DNME will debut a set of covers of songs ranging from 20th century classical to current day popular selections. “[The concert title] comes from a Jazz performer named Sun Ra and his Astro Infinity Arkestra. It’s a nice way... to tie it to a musician, but also I think it kind of conveys how we’re taking music from all these different places,� said David Garner, director of DNME and third year graduate student in music. For the concert, Duke composers have re-interpreted the works of musicians including Eric Satie, the Cranberries, Billy Joel and Taio Cruz. DNME will perform with traditional wind and string instruments, as well as a keyboard and an electric bass, Garner said. The variety in instruments, and an increased complexity and
disjunction of the rhythms, enhance the uniqueness of the covers, he added. DNME is performing in conjunction with the Nasher exhibition The Record: Contemporary Art and Vinyl, giving people the opportunity to view the artwork before or after the show. “We were inspired by the idea of taking the record as the physical medium and creating art with that—we were trying to think of a way to take the audio record and create something new,� Garner noted. DNME is made up of graduate students, community members and undergraduates, and has 10 members. The group performs about four concerts a year. “DNME and its Intergalactic Astro-Infinity Jukebox� may be the start of something different for the ensemble. “In the past it’s been more twentieth century classical music, so this is sort of heading in a new direction, incorporating pop music and this collaborative thing with the Nasher,� Garner said. DNME will perform in the Nasher Museum of Art at 3:30 p.m. Jan. 30. Tickets are free with museum admission.
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FUJIMURA from page 5 laboration that marries improvisational painting and live music. Fujimura is tentatively scheduled to compose his work alongside the percussive music Susie Ibarra, an acclaimed experimental musician. “We do not plan much before the improvisation intentionally to keep focused
on spontaneity and deeper listening/responsiveness during the performance,� he said. “We have developed certain signals during the performance so we can create a type of narrative, but most of our signals are very intuitive, too.� The Visiting Artist Program brings Fujimura to Duke for a three-day residency that will commence March 31.
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HAITI from page 3 of presentations and possibly a reading, Dubois said. Beyond guest speakers, the Haiti Lab has a number of other projects in progress. One priority is the installation of Haitian visual artist Edouard Duval-Carrie’s Haiti: History Embedded in Amber, which was mostly completed during Duval-Carrie’s residency last semester. “We’re going to be setting up a website where people can look more closely at [the project] and learn more about it,� Dubois said. “It’ll be a way to present it so that people beyond the University and in other places will be able to see it in a virtual way.� The website is just one of the Lab’s attempts to spread Haitian culture through a virtual medium. “We’re starting work on an audio-visual archive of vodou song—basically songs within the religion that have some historical meaning,� Dubois said. “It’s this huge oral history of the country that’s embedded in these songs.� In the wake of the earthquake, Dubois said, the Haitian Cultural Ministry has placed a great deal of stress on preserving the cultural patrimony of the nation. The vodou songs fall under what is called immaterial patrimony—cultural artifacts that are not physical objects. “[Duke is] interested in developing a corpus of Creole works, artworks that are presented in Creole,� Dubois said. “One way you can think of the [the Vodou songs] is like poems; a lot of them are just these very interesting poems, but there’s the musical side, too.� Because these efforts are in keeping with goals of the Haitian government, the Haiti Lab sought and received support from the Haitian Ministry of Culture for the archive. Additionally, a seminar this semester, French 200s.02— Black Atlantic Literature: Toussaint Louverture and Jean-Jacques Dessalines—will be the “in-depth pedagogical counterpart of a virtual seminar with Haitian faculty that will be unfolding over the course of the spring seminar by teleconferencing in the FHI Haiti Lab,� according to the Haiti Lab’s website. Dubois said the earthquake was an influence in much of the Haiti Lab’s plans. “Both the big profile talks will speak to [the earthquake], and I think all of these projects were starting from the earthquake and trying to foreground larger things,� Dubois said.
COURTNEY DOUGLAS/THE CHRONICLE
The Haiti Lab will also seek to finish implementing Edouard Duval-Carrie’s Haiti: History Embedded in Amber, which was mostly completed during the artist’s residency at Duke last semester. Additionally, the project will receive an accompanying website to increase its visibility.
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DANCE from page 4 graphing for ChoreoLab, will present her original works, “blues wimmmin and Other Performance and Video,� Feb. 12 in conjunction with student dancers and singersongwriter and cellist Shana Tucker. Woods will also dance in the Duke Haitian Student Alliance’s Gaspard&Dancers benefit performance Jan. 29 to raise awareness and support for Haiti. Gaspard&Dancers will present three new dances, including two world premieres. The Dance Program has focused on improving the quality of shows and educational opportunities for dance majors, who are fairly new at Duke, Walters said. “We have four majors this year,� he said. “This will be the first group of students who came in knowing that the Dance Program had a major.�
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Walters called the 2010-2011 academic year a chance to build the study of dance at Duke. Indeed, the Dance Program replaced Crowell Studio on East Campus with a new dance studio on Hull Avenue in Durham. The Hull Avenue studio and the Ark on East Campus will serve as the primary locations for dance at Duke. “We are always working on making sure the students get great opportunities and the best resources,� he said. Dance major Monica Hogan, a junior, will present HEARTWORK II Feb. 26. In a continuation of last year’s performance, this second installment combines various artistic mediums with choreography. HEARTWORK II will also highlight dancers from student groups such as Defining Movement, Sabrosura and Dhoom.
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In addition to the Merce Cunningham performances, the Dance Program will also present the Duke Haitian Student Alliance’s Gaspard&Dancers, and others.
Visiting Artists @ Duke Spring Semester ‘11 Duke University Vice Provost Office for the Arts and the Council for the Arts 2011 Visiting Artists
dinner seven days a week
The innovative jazz trio The Bad Plus will complete a multi-visit residency that includes free and open to the public events, a listening session, reading-performances of graduate music students’ works, and the world premiere of Igor Stravinsky’s The Rite of Spring arranged for piano, drums, and bass. More info @ dukeperformances.org
time
New York-based experimental theater collective Mabou Mines will be in residence February 15-26, 2011 to develop and workshop their new, dream-vision adaptation of Tennessee Williams’ The Glass Menagerie. The residency will also include a screening of Mabou Mines DollHouse, and opportunities for students to observe the workshop process. More info @ dukeperformances.org
to enjoy yourself
Makoto Fujimura, a renowned American-Japanese painter, writer and speaker, will undertake a two-day residency, March 31-April 1, with the Department of Art, Art History & Visual Studies, and the Duke Divinity School, where he will give a public lecture on the theological dimensions of contemporary visual art. More info @ divinity.duke.edu/initiatives-centers/dita
For more information on visiting artists contact the Vice Provost Office for the Arts, 919.684-0540 or the sponsoring department.
Arts
e
201 S Estes Dr | Chapel Hill | 919-929-9466 Open: M-Th 7a-9p | F-Sa 7a-10p | Su 10a-9p
The goal of the Visiting Artist Program is to support projects that will enrich the life of the university and broader community, augment the curricular efforts of a range of departments and programs, facilitate the interaction of artists and scholars, foster the reputation of Duke University as a place where the arts are vital and diverse, and contribute to the arts as a whole. duk
at A Southern Season
arts.duke.edu
Photo credits: The Bad Plus (Michael Dvorak), Mabou Mines (Richard Termine).
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