2016 FALL
ARTS PREVIEW
R 2 | WEDNESDAY, SEPTEMBER 7, 2016
recess editors Current state of mind?
Dillon Fernando......... mental seppuku Christy Kuesel................. stress eating Tim Campbell.......................left swipe Georgina Del Vecho........... uncle harry Kirby Wilson.............................hugzzz Jessica Williams.............dinner+story
Alex Griffith....... head in the mountains Drew Haskins.............. ask again later Aditya Joshi..................................nyc Claire Ballentine........... CHRONICLE!!!
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Like most college students, I almost exclusively use streaming services as my method of music consumption. Specifically, I use Spotify on my laptop, Apple Music on my phone, and Tidal absolutely nowhere because who has time for that. You can see cliques that form around each service, clusters of likeminded people devoted to a common platform. Spotify is for the casual music listeners. Apple Music is for aggressive curators. Tidal is for the Beyoncé fans who desperately wanted to listen to “Lemonade.” I even know someone who uses Google Play—we get it, you’re hipster! One commonality shared by all of these consumers is a love of playlisting. The playlist is simultaneously superficial yet intensely personal, a way for people to express themselves through someone else’s creative product. The way we organize and curate these playlists reveals both our general tastes but also the music that makes us feel some type of way. There are hundreds of playlists entitled “Happy Music” on Spotify, and each of them is distinct from the other. Every one of these curators has different notions of what music makes them happy, or even what happiness is. One of the playlists I came across during my browsing had albums’ worth of Metallica, which is music that hardly fits the traditional definition of happy. But who knows what that could mean to the curator. They might feel at their absolute euphoric peak jamming out to “Sandman” in their room, moshing about and knocking all of their school supplies off of their desk. Until recently, I took a different
approach to playlisting: aggregation rather than curation. I have never had a special fondness for playlisting. On Spotify, I have two playlists that I routinely update, “Poptimism 2016” and “Essential Music.” As a true connoisseur of pop, I find dozens of indie or major label pop songs that I put into one huge list. Only the best of the best makes it in, and the overall fun vibe of the music fits my workouts and makes it easy to spin at a get-together with friends. I have a now-defunct “Poptimism 2015,” as well, and I occasionally go back and listen to it to compare how this year stacks up against the last (2016 wins). “Essential Music” is a whole other beast entirely. Clocking in at a whopping 114 hours and 44 minutes
editor’s note of music across 1,814 songs, it is the ultimate aggregation of music I listen to. The only requirement to make it on to “Essential Music” is a song has to fit my nebulous and ever-shifting definition of “good.” Scrolling down the playlist, one can see Morrissey next to Nelly Furtado, White Lung next to Justin Bieber, and Kanye West bumping right after 2NE1. It’s eclectic and has absolutely no rhyme or reason to it, but I love it regardless enough for it to be my go-to casual listening. One of its more interesting functions
is its role as a time capsule for the evolution of my musical taste. The first song I ever added to it on March 20th, 2012 was “Criminal,” by Fiona Apple, which remains one of my absolute favorite songs by my absolute favorite artist. Going through the playlist, you can see my massive Smiths phase in December 2012, my introduction to and subsequent love of classic house music in September 2013, and the underground rap phase I’m currently going through. It’s interesting to go back and think about why I added certain songs: what is the significance of something like The 1975’s “Somebody Else?” Why did it speak to me then, and why does it speak to me now? Can anything by Jennifer Lopez be considered “Essential Music?” According to my playlist, three JLo songs! The main reason why I enjoy aggregation rather than curation is the variety and lack of formalism that aggregation provides. What may seem like a music dump is rather a commitment to musical eclecticism. Sometimes a song is recontextualized when placed up against another; “How Soon Is Now?” is ten times more crushing coming after the giddy disposability of “…Baby One More Time.” That isn’t to say I eschew playlisting. I’ve made several playlists for friends based off of criteria they’ve given me, and occasionally I’ll revisit them to see if I would do anything different. But they’re not the same, beholden to a time limit and criteria that I prefer to throw away when cultivating my own musical tastes. I like the idea of playlist as playground— chaotic, inspired and fun.
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Check out the Recess online page for more great reads, including the Spotify playlist to start the school year off right!
TOP ROW, L-R n Photo by Genevieve Valladao, from the series Kottbusser Tor Fruit Stand n Venice Virtual World Group – Wired!, Art, Art History & Visual Studies n Photo by Alec Himwich, Duke Dance Program n Photo of Charles Lloyd courtesy Duke Performances SECOND ROW, L-R n Novelist Richard Powers, Project Orfeo, Department of Music n Amy Sherald, High Yella Masterpiece: We Ain’t No Cotton Pickin’ Negroes, 2011. Oil on canvas; 59 x 69 inches (149.86 x 175.26 cm). Collection of Keith Timmons, ESQ, CPA. Image courtesy of the artist and Monique Meloche Gallery, Chicago, Illinois. ©Amy Sherald. n Photo by Craig Bares, from The Paper Hat Game, Duke Theater Studies n Photograph by 2015 Lange-Taylor Prizewinner Michel Huneault, from Post Mégantic THIRD ROW, L-R n Venice Virtual World Group – Wired!, Art, Art History & Visual Studies n Photo of Williams courtesy Duke Performances n Wayne Bergeron, Department of Music n Douglas Bourgeois, A New Place to Dwell, 1987. Oil on panel; 14 x 18 inches (35.6 x 45.7 cm). Collection of Ronald Swartz and Ellen Johnson. Image courtesy of the artist and Arthur Roger Gallery, New Orleans, Louisiana. ©Douglas Bourgeois. FOURTH ROW, L-R n Photo by Alec Himwich, Duke Dance Program n Venice Virtual World Group – Wired!, Art, Art History & Visual Studies n Historical photos from The Jemima Code, a book and exhibition by Toni Tipton-Martin n Photo from My Brightest Diamond courtesy of Duke Performances FIFTH ROW, L-R n Africa Unplugged, Department of Music n Minnie Jones Evans, Untitled (Feathered face surrounded by two birds and insects), 1963. Ink, wax crayon, and graphite on paper; 8.875 x 12 inches (22.54 x 30.48 cm). Collection of the Cameron Art Museum, Wilmington, North Carolina. Gift of William Banks Hinshaw, Jr.; 2013.14.5. ©Estate of Minnie Jones Evans. n Photograph by Barbara McHugh, from the series Tempelhof Field n Christian Sands, Department of Music
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WEDNESDAY, SEPTEMBER 7, 2016 | 3
Campus Arts
“Spotlight” film showing to invite students into dialogue Cameron Beach The Chronicle
The DeWitt Wallace Center for Media and Democracy will feature Boston Globe reporter Matt Carroll in addition to a special screening of the Academy Award-winning film “Spotlight.” “Spotlight,” a drama following The Boston Globe’s eponymous investigative reporting team, highlights the group’s exposure of pervasive child sex abuse within the Boston Catholic Church. In 2003, the Spotlight unit won a Pulitzer Prize for their efforts, culminating in the resignation of the Cardinal of the Boston Catholic Church as well as a new wave of scrutiny into Catholic sex abuses nationwide. As a member of the original Spotlight team, journalist Matt Carroll will be speaking on campus Sept. 28, three days prior to a free screening of “Spotlight” Sept. 25. “[Carroll] was the data person on the team, back in 2000-2001,” said Bill Adair, director of the DeWitt Wallace Center for Media and Democracy. “What Matt brought to the project was the systematic analysis that allowed the Spotlight team to identify the priests suspected of abuse. He was one of the earliest journalists to understand a spreadsheet and how to use it effectively.” In his discourse later this Sept., Carroll will discuss the importance
of this analytical role on the Spotlight team, as well as address the discrepancies between film and reality and consider the future of investigative reporting, especially at the local level. Carroll notes that the inundation of election reporting and entertainment headlines at the expense of local news coverage. “One of the things that’s become clear is that commodity journalism doesn’t really pay,” Carroll said. “Our country desperately needs strong investigative units. We are a democracy, we need an informed citizenry-- when we don’t have an informed citizenry, people don’t know how to vote. People need quality journalism. The Boston Globe’s coverage of the Catholic abuse scandal can seem far removed from what’s possible to pursue as a student journalist. However, as Adair asserts, oncampus and local reporting can be just as imperative—if not more so— than nationwide journalism. “There’s so much focus on journalism at the national level, and that’s great, but we need to cover what’s going on in our own backyards,” Adair said. “‘Spotlight’ demonstrates that local journalism is important, and that it takes courage to do it.” Adair points to The Chronicle’s coverage of last year’s Tallman Trask scandal as an example of the importance of on-campus investigative reporting. Last February, The Chronicle
published a piece featuring an allegation against Duke Executive Vice President Tallman Trask of hitting a parking attendant with his car and allegedly using a racial slur against her. This piece led to a broader dialogue about racialized language, discriminatory firing and hostility towards the Parking and Transportation Services department at Duke. Though “Spotlight” is significant to a student audience in more ways than one. Shaker Samman, a senior certificating in Policy Journalism and Media Studies, notes that the film has potential to galvanize students, whether they be journalism certificates interested in investigating Spotlight-esque scandals or Public Policy majors hoping to prevent them from happening again.
“Everybody has a work fantasy, but that tends to drift off when real life takes over. [‘Spotlight’] reinvigorated me… it made me think, ‘why not, let’s take chances, let’s go after stories,’” Samman said. “Anytime you see something that relates to what you want to do in life, it makes you want to hit the ground running and try to do something great.” Both the film screening on Sept. 25 and Matt Carroll on Sept. 28 are free and open to all Duke students, journalism certificate or otherwise. And perhaps, as Adair contends, the “Spotlight” events are just as pertinent to non-journalism students as their counterparts. “Investigative reporting is as important at Duke as it is in Boston,” Adair said. “It’s important to constantly ask questions.”
Courtesy of Wikimedia Commons “Spotlight” stunned audiences last year with its depiction of the Boston Globe Spotlight team that exposed child sex abuse within the Boston Catholic Church.
MUSIC AT DUKE CHAPEL Fall 2016 - Spring 2017
chapel.duke.edu/music
4 | WEDNESDAY, SEPTEMBER 7, 2016
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Campus Arts
Drummer Antonio Sánchez brings “Birdman” score to life in live performance Will Atkinson The Chronicle
The Oscar-winning movie “Birdman” boasts leading roles played by some of the biggest names in Hollywood—yet the first voice an audience hears at the start of the film is not that of Michael Keaton or Emma Stone or Zach Galifianakis. Rather, it’s the voice of Antonio Sánchez, whose face never appears but whose hidden touch guides every scene. “I was like, ‘Oh my god, that’s my voice,’” Sánchez, who composed and recorded the score for “Birdman”— which consists almost exclusively of drums—said of seeing the movie for the first time. “It just blew me away completely.” This ethereal, invisible voice will make an appearance at Duke’s Reynolds Industries Theater October 29 at 8 p.m., where Sánchez will bring the score to life alongside a screening of “Birdman.” The show will highlight the drums’ narrative role in the film— but they won’t be the same drums audiences may have heard in the movie theater. Jazzheads and drummers know Antonio Sánchez as a world-class act whose career spans nearly two decades and has birthed multiple records both solo and with the Pat Metheny Group. In fact, Sánchez was so busy touring Asia—where he had no access to the movie—that he didn’t even see “Birdman” in its finished form until long after its initial opening fall 2014.
Photo by Jamie Williams | Special to The Chronicle Drummer Antonio Sánchez will perform a live score to accompany a showing of the critically acclaimed film “Birdman” in Reynolds Theater Oct. 29 at 8p.m.
It was then, sitting with his wife in a local cinema for a deserted two o’clock matinee, that Sánchez heard his voice in the film for the first time chatting in Spanish with director Alejandro G. Iñárritu in the studio. As the drums spurred the opening credits to life, the drummer’s popularity moved beyond a jazz audience and into the world at large.
Despite a technicality that prevented an Oscar nomination for the score, Sánchez’s propulsive drumming for “Birdman” is, for many fans, as integral to the film as is the black-comedy plot or the singleshot cinematography. Some, like Aaron Greenwald, executive director of Duke Performances, argue the drums constitute “another character.”
Greenwald pointed out that the drums occupy over an hour as a presence in the film—matching or exceeding the screen time of many primary characters. The drums act as a living, breathing force within the scenes of the movie; they provide, in the drummer’s own words, a “carpet” for both the See BIRDMAN on Page 11
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WEDNESDAY, SEPTEMBER 7, 2016 | 5
Campus Arts
Comedian Nikki Glaser to perform stand-up on campus this Friday Kirby Wilson The Chronicle
When comedian Nikki Glaser takes the stage Friday evening in Page auditorium, she’ll probably make some fairly outrageous quips. She may riff about millennial intimacy, or muse over the location and quantity of male reproductive material or joke about the idiocy of campus hookup culture. Do not feel uncomfortable, though. The comedian is here to help. “I think that people get on board [with my act] because they know I’m coming from a good place,” Glaser said. She added that she sees her craft as a tool for informing and warning her audiences about relationship missteps she has made in the past. Frank discussions about love and sexuality have long been an important tool in Glaser’s substantial comedic tool belt. Her Comedy Central show, “Not Safe,” which finished airing its first season in early August, is centered around creating an open, humorous dialogue about love and romance. In the show’s first episode, Glaser visits a foot fetish party. In another, she interviews a sex worker to better understand the debate around legalizing the sex industry. Each episode of “Not Safe,” is injected with a healthy dose of lightheartedness. Glaser invites guest comics to spar over the more outrageous details of their love lives, often seeming to enjoy the live chat segments as much as the offbeat taped
portions of the show. But “Not Safe” is not just a show about yucks. “Comedy is what I do, but that doesn’t mean I don’t care about things, that I don’t have opinions on things,” Glaser said. “I’m just voicing my opinion the only way I know how, which is through comedy.” “Not Safe” is just the in latest in Comedy Central’s laugh-to-inform comedy programming, and Glaser said she draws inspiration from the network’s current and former stars. Traces of the “Daily Show” wit of alums John Oliver and Samantha Bee are easily found in the show’s DNA. Amy Schumer, who has tackled serious issues like gun violence, also sets an example for Glaser, she said. In July, “Not Safe” aired a particularly pointed segment about rape on college campuses. “I think that people are more apt to listen to messages if they’re coated in this comedy candy shell. It’s also a really big challenge to find anything funny to say in the realm of college campus rape,” Glaser said. “And I think comedy works best when you have restrictions and when you feel like, ‘oh my god, we’re doing something that’s difficult.’” Pointed comedy comes with challenges, though. Not all audiences are open to even brief flashes of comedy-coated substance. “I was trying to inject a little bit of feminism in [“Not Safe”], but it’s hard when you’re following ‘Tosh.0,’” Glaser said. Sometimes, though, Glaser just wants to make people laugh. She said she loves the
FallJazz at Duke!
See GLASER on Page 12
Special to The Chronicle Nikki Glaser, known for her show “Not Safe” on Comedy Central, will perform stand-up in Page this Friday.
Saturday, Oct. 1 8 p.m. Baldwin Auditorium John Brown Quintet & “Little” Big Band with Cyrus Chestnut, piano Friday, Nov. 4 8 p.m. Baldwin Auditorium Family Weekend Concert: Duke Jazz and Djembe Ensembles with Wayne Bergeron, trumpet Wednesday, Nov. 7 7 p.m. Duke Chapel Jazz Vespers Service Friday, Dec. 2 8 p.m. Baldwin Auditorium Duke Jazz Ensemble with Christian Sands, pianist
6 | WEDNESDAY, SEPTEMBER 7, 2016
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Campus Arts
Satire festival to highlight importance of laughter in politics Keyin Lu The Chronicle
Duke University and the Association of American Editorial Cartoonists will host a political cartoon and satire festival Sept. 22-24 on campus. The three-day event will feature panels with guest speakers such as the senior producer of “The Daily Show,” student performances by Duke University Improv and Inside Joke, live cartooning by professional artists, a student satire workshop and political cartoon exhibits. “I think it will be great fun but I also think [students] will gain some insights about the importance of satire but also a reminder not to take things too seriously,” said Bill Adair, founder of PolitiFact and director of the DeWitt Wallace Center for Media and Democracy. “I think we tend to get pretty wrapped up in our politics and it is a good thing to laugh.” Adair will be moderating the panel “Facts and Comedy.” His journalistic focus is in fact-checking which is becoming a widespread phenomenon in news media. This practice holds politicians accountable for the things they say and paints a more accurate picture for the electorate. “Fact checking is critical in a digital media age when there is so much information out there and people want some help figuring out what is true and what is not,” Adair said. Lead Researcher Naureen Kahn and fact-checker Ishan Thakore from “Full Frontal With Samantha Bee” will be in
attendance, as well as Adam Chodikoff of “The Daily Show.” In addition to “Facts and Comedy,” this year’s panels will cover topics such as North Carolina’s controversial House Bill 2, which states that people must use the bathrooms which correspond to their biological sex at birth, the #blacklivesmatter movement and the 2016 Presidential election. Fans of “The Simpsons” will be able to enjoy “Night of The Simpsons: A Celebration of Satire” at Page Auditorium where writers and producers will share their experiences working on the American sitcom. For those interested in art and cartoons, there will be four exhibits Special to The Chronicle featuring editorial cartoons on a variety of issues. “Bathroom Humor: Duke University and the Association of American Editorial Cartoonists will host the Political National Cartoonists Take on HB2” Cartoon and Satire Fest. will comment on the contentious “bathroom bill” while “This Campaign Is Yuuuge!” is an amalgamation of 50 campaign cartoons by different artists. Artists Dwane Powell and Cullum Rogers will each have an exhibit dedicated to their work. Rogers, who was a long-time editorial cartoonist for The HeraldSun, previously known as The Durham Morning Herald, and currently works for The Independent, said, “You can’t make a complex argument in a onepanel cartoon…but what you can do is express a point of view clearly which brings comfort to the people who agree with you and it makes the people who Special to The Chronicle disagree with you angry.” See SATIRE on Page 15
The festival will include prominent guest speakers as well as student performances from comedy groups.
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WEDNESDAY, SEPTEMBER 7, 2016 | 7
Campus Arts
Shayla-Vie Jenkins brings dance renaissance to Duke Shaina Lubliner The Chronicle
The beginning of a new semester is like a renaissance. The renewal of friendships, the rebirth of school spirit and the resurgence of academics surround the campus. Those in the dance department at Duke University are capitalizing on this astounding energy and are planning to create a renaissance of their own, in the form of restaging of choreographer Bill T. Jones’ work entitled “Power/Full.” From Sept. 13-22, Shayla-Vie Jenkins will be on campus as an artist in residence. Jenkins is a New York City based dance artist. From 20052015 she was a principal dancer with the Bill T. Jones/Arnie Zane Dance Company. During her time there, the company received two ensemble NY Dance and Performance Awards/The Bessies. Jenkins has taught numerous masterclasses and workshops for the company, and has even restaged some of Jones’ most notable works, which is what she will be doing on campus. “For me this represents pushing the time forward,” said Andrea Woods Valdés, Associate Professor of the Practice and lead faculty for Jenkins’ residency. “This work is unfamiliar to me. Shayla-Vie is the vessel for the Bill T. Jones legacy.” Valdés met Jenkins when Jenkins was a student at the American Dance Festival, which is hosted at Duke each summer. Jenkins wanted to work with
Valdés’ dance company in New York, but very soon after the meeting she was accepted into Bill T. Jones’ company. Valdés was very understanding of her decision because she was a previous dancer in Jones’ company. “For me that was very exciting,” Valdés said, “to think that someone so close to me was working with the company I used to dance with.” Valdés and Jenkins stayed in touch over the years, and certainly have a mutual admiration for one another. Valdés said, “Every time I used to see her perform with the company I would tell her, ‘I want to be you when I grow up.’” Valdés will act as the rehearsal director after Jenkins’ residency ends, taking notes and sending videos to maintain the integrity of the piece. Dancers who wish to be involved in the restaging will audition Sept. 6 and work throughout the entire semester. Only six to 10 advanced dancers will be admitted into the staging. They will rehearse as part of the Modern Dance Repertory studio dance class for credit, but there will be an especially big commitment for the 10 days of Jenkins’ residency. During other weeks of the class, the dancers will also view and discuss videos of other Jones/Zane works. As an educator, Valdés said the most important thing that she wants the dancers to understand is that this is an educational and scholarship tool. See DANCE on Page 15
Special to The Chronicle New York City based dancer Shayla-Vie Jenkins will be on campus as an artist in resident from Sept. 13-22.
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Classes h Concerts h Opportunities to Perform
8 | WEDNESDAY, SEPTEMBER 7, 2016
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THEATRE STUDIES
Wild Duck
Nov. 10-20 8 p.m. Shaefer Theater
can’t miss
events
Theater Studies professor Jody McAuliffe directs an undergraduate cast in Henrik Ibsen’s classic drama The Wild Duck this fall. Ibsen, one of the most influential dramatists since Shakespeare, wrote the play in 1884. McAuliffe has selected a new version by playwright David Eldridge that premiered in 2005.
SCREEN/SOCIETY
Rights! Camera! Action! Series “The Look of Silence”
Oct. 27 7-9 p.m. Smith Warehouse, Bay 4 C105
Through Oppenheimer’s footage of perpetrators of the 1965 Indonesian genocide, a family of survivors discovers how their son was murdered, as well as the identities of the killers. This unprecedented film both instigates and bears witness to the ending of fifty years of silence.
DUKE PERFORMANCES
My Brightest Diamond
Nov. 19 9 p.m. Motoroco Music Hall
My Brightest Diamond is the brainchild of captivating singer and guitarist Shara Worden, who “moves effortlessly between the worlds of indie rock and contemporary classical music” (The New York Times). This former child evangelist, operatically-trained singer, and one-time Sufjan Stevens protégé has released five albums in the past decade under the My Brightest Diamond moniker, all the while collaborating on the side with musical pathbreakers like David Byrne, Laurie Anderson, and The Decemberists.
CENTER FOR DOCUMENTARY STUDIES
The Jemima Code
Reception, Artist’s Talk and Book Signing October 20 6-9 p.m. Kreps and Lyndhurst Galleries The character Aunt Jemima, was built on a myth that combined various characteristics of African-American women into one, larger-thanlife, mammy culinary stereotype. With her book, The Jemima Code: Two Centuries of AfricanAmerican Cookbooks, and the traveling exhibition of monumental historic photographs of AfricanAmerican women at work in and around southern kitchens, Toni Tipton-Martin works to reclaim the knowledge, skills, and abilities these women demonstrated in their daily lives. Co-presented ny Duke’s Forum for Scholars and Publics.
DANCE
Artist Talk with Shayla-Vie Jenkins
Sept. 16 12:45 Lower Ark Video Lab
Shayla-Vie will be in residence re-staging Bill T. Jones’ Power/Full for the Modern Dance Repertory course from September 13th-22nd. She is also pleased to share her perspective about the life and work of a professional dancer in New York City. Shayla’s professional touring career with Bill T. Jones/Arnie Zane Dance Company began shortly after she attended American Dance Festival in Durham, NC.
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WEDNESDAY, SEPTEMBER 7, 2016 | 9
MUSIC
Project Orfeo
Sept. 25 4 p.m. Baldwin Auditorium Novelist Richard Powers (“The Time of our Singing” and “The Echomaker”) joins Duke faculty composer Scott Lindroth, the Horszowski Piano Trio, clarinetist Benjamin Fingland, flutist Laura Gilbert and Duke faculty violist Jonathan Bagg in a mixed-media concert that combines readings from Powers’ 2014 novel “Orfeo” with performances of Messiaen’s Quartet for the End of Time, and the premiere a new Lindroth composition. Presented in association with the Franklin Humanities Institute/ Humanities Futures.
NASHER
Southern Accent
Now through Jan. 8, 2017 Southern Accent: Seeking the American South in Contemporary Art questions and explores the complex and contested space of the American South. One needs to look no further than literature, cuisine and music to see evidence of the South’s profound influence on American culture, and consequently much of the world. This unprecedented exhibition addresses and complicates the many realities, fantasies and myths that have long captured the public’s imagination about the American South. The art reflects upon and pulls apart the dynamic nature of the South’s social, political and cultural landscape.by local artists and students in Duke’s MFA|EDA program, they also connect students with arts organizations and opportunities both on and off campus.
MUSIC
Africa Unplugged Duke Djembe Ensemble
Nov. 11 8 p.m. Baldwin Auditorium
Africa Unplugged is a dynamic ensemble of accomplished musicians that features traditional instruments of West Africa. Blues, Funk, R&B, and Soul themes are given new life by the pulsing, pounding hands of a ferocious djembe and dunun section, while catchy guitar riffs, crooning vocals, and familiar grooves give the 21st century ear something it knows, loves, and won’t soon forget.
DUKE ENTERTAINMENT, MEDIA AND ARTS NETWORK
DEMAN Weekend
Starting Sept. 6 Arts Annex arts.duke.edu/dukecreate DEMAN Weekend, part of the Duke Entertainment, Media and the Arts Network, is our annual celebration of alumni who are setting trends and shaping the arts, music, film, television, literature and other creative industries. If you’re looking to move into – or move up – in the arts and media industries, you’ll want to hear these top-of-their-game alumni share stories, insights and practical career advice. Featuring keynote conversation with Amy Gravitt ’95, Executive Vice President of HBO Programming moderated by JJ Ramberg ’92, MSNBC Anchor of ‘Your Business.’
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, Nasher Museum of Art, Screen/Society, Theater Studies with support from the Office of the Vice Provost of the Arts.
10 | WEDNESDAY, SEPTEMBER 7, 2016
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Campus Arts
“Southern Accent” exhibit confronts legacy of the South Christy Kuesel The Chronicle Many Duke students may know the Nasher Museum of Art as a quiet place to look at art, or the place with the best brunch on campus. Last Wednesday the Nasher was unrecognizable, as hundreds of people crammed into the space vibrating with music. Attendees waited in line for the chance to see the main event: the Nasher’s newest exhibition, “Southern Accent.” The opening party was one of the Nasher’s largest events ever, featuring catered food and drink as well as a musical lineup and over 1,250 people in attendance. “Southern Accent” is one of the museum’s largest exhibitions, filling two galleries. The exhibit contains over 120 pieces from 60 artists, all focusing on the contemporary South and what the concept of the South means in today’s world. The oldest pieces date
back to the 1950s, but the show mainly focuses on art produced within the last thirty years. One of the most interesting pieces from the “Southern Accent” opening party was Virginia-born Sonya Clark’s performance piece “Unraveling.” Clark invites viewers to help her unravel parts of a Confederate flag. Instead of merely ripping or tearing the flag, Clark takes the flag apart slowly, as if to mimic the slow reversal of the effect the Confederacy has had on the South. “She talked about the fact that it took a long time for the Confederacy to be created and it’s going to take a long time to unravel it,” commented Ruth Caccavale, Museum Educator and participant in Clark’s piece. The flag hangs in the Nasher until Clark returns on Oct. 20 to give museum visitors another chance to confront the legacy of the Civil War. “Southern Accent” has come together over the last four years
Admission is always free for Duke students.
through the collaborative efforts of Nasher chief curator Trevor Schoonmaker and Miranda Lash, a curator from the Speed Art Museum in Kentucky. “It was important to include a variety of voices from various decades in order to acknowledge the South’s history, but also to consider its changing present and future,” assistant curator Molly Boarati said. One of the primary themes found in “Southern Accent” is the legacy that the Civil War and slavery has had on the south. Hank Willis Thomas’ “Ain’t Gonna Let Nobody Turn Us Around” allows visitors to view themselves in mirrors that also depict famous moments in the civil rights movement. “A Defeated Soldier Wishes to Walk His Daughter Down the Wedding Aisle” confronts the aftermath of the Civil War and the effects it had on the survivors. More unexpected connections are also found within the exhibit. Diego Camposeco takes on the topic of the growing Latino population in North Carolina, while Catherine Opie highlights the presence of LGBTQ+-identifying people in the South in her series “Domestic.” “Southern Accent” also raises the idea of a changing South. Justin Crosby and Bill Thelen’s “Biscuit King” highlights a Durham restaurant that closed in 2004, while Rachel Boillot addresses the changes that the 2006 Accountability and Enhancement act had on closing post offices in the South in a photo series. As these post offices closed, town centers or entire zip codes disappeared along with them. Video plays an important role in the exhibition, as seven different videos appear in various places throughout the show. No two videos are similar. Some videos focus primarily on music, while others are silent or more historical. “It is important to include a variety of mediums in the exhibition in order to tell a fuller story,” Boarati said. The exhibit also features a music library containing songs written about or from the South, as southern music has played a pivotal role in shaping music around the world. The library stands in a corner of the Nasher’s atrium. Visitors can put on a pair of headphones and listen to music from Tom Petty and the Heartbreakers to Aretha Franklin. The display offers visitors a chance to actively engage with the art instead of just wandering around the galleries. “Southern Accent” does not take one view of the South. It discusses the strengths and shortcomings of the region in various visual and auditory forms to present a complete picture of where the South has come from and where it is going. “It shows the complexity of the South that we don’t often talk about,” Caccavale said. “Southern Accent” will be on display at the Nasher until Jan. 8, 2017, at which point it will travel to the Speed Art Museum.
Special to The Chronicle “Southern Accent” primarily focuses on art produced within the last thirty years.
September 1, 2016 – January 8, 2017
2001 Campus Dr., Durham, NC 27705 I nasher.duke.edu/southern Douglas Bourgeois, American Address, (detail), 2006. Oil on panel; 20 x 16.75 inches (50.8 x 42.55 cm). Private collection. Image courtesy of the artist and Arthur Roger Gallery, New Orleans, Louisiana. © Douglas Bourgeois.
Southern Accent is supported by the Andy Warhol Foundation for the Visual Arts; the William R. Kenan, Jr. Charitable Trust; Jennifer McCracken New and Jason New; Trent Carmichael; Katie Thorpe Kerr and Terrance I. R. Kerr; Drs. Victor and Lenore Behar; Caroline and Arthur Rogers; Ann Chanler and Andrew Scheman; Parker & Otis; Lisa Lowenthal Pruzan and Jonathan Pruzan; Kimball Richmond and Rodney Priddy; Sam Tsao; Gail Belvett; and Richard Tigner.
Special to The Chronicle “Southern Accent” is one of the largest exhibits the Nasher has ever created.
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BIRDMAN from page 4 trivial (say, an opening door) and the existential (the audience’s grip on reality). To Sánchez, the primal nature of drums allows them to bring out the “frenetic feel and energy” of the script. This quality is a marked departure from traditional Hollywood scores, which dictate every emotional turn with not-so-subtle flourishes of strings and brass. “It doesn’t spoon-feed you what you’re supposed to feel,” Sánchez said of the drum score. “A lot of scores nowadays, if it’s a sad scene, we have to have strings and minor chords. [The drum score] doesn’t guide you literally like that. It leaves a bit more room for interpretation. It’s a bit more ethereal.” In keeping with the improvised essence of the original takes, Sánchez takes his knowledge of each scene’s general dramatic effect and improvises the accompanying music accordingly for live per formances of the score. Every per formance, then, is “completely unique,” the energy of the film captured in one fleeting reincarnation. “That’s what jazz is,” Sánchez said. “It’s being in the moment and not forgetting that what you are that day is different than what you were before and what you’re gonna be the next day.” Already one of the more buzzedabout events on the lineup of Duke Performances’ 2016-2017 season, the “’Birdman’: Film + Live Score” represents the intersection of the accessible and the avant-garde that has driven the Duke Performances series since Aaron Greenwald helmed the program nearly
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WEDNESDAY, SEPTEMBER 7, 2016 | 11
ten years ago, coinciding with what Greenwald has perceived as an upward shift in the general attitude toward arts on Duke’s campus. Just as the movie brought jazz drumming to a wider audience, Duke Performances has brought challenging art to audiences that may otherwise have been oblivious to it. Greenwald noted that “Birdman,” while tremendously successful on a mainstream platform, may represent to college students something more personal and meaningful than, for instance, the latest “X-Men” movie. For Antonio Sánchez, “Birdman” represented a turning point in an already distinguished career. Even without a nomination to his name, Sánchez escaped Oscars night with, to his estimation, “like, fifteen hundred” new followers on his Facebook page. This exposure spread well beyond social media—he found that fans of the movie, curious about his work, began turning out to his gigs. But the drummer stressed that, despite being touched by that “gold dust,” the score differs little from his work as a solo and group artist in its spirit of individuality and improvisation— explaining, in part, why each live score is a unique experience. “I’m just reacting to my surroundings,” Sánchez said. “Usually I react to other musicians and the music—this time I was reacting to a plotline and a film.” Merely reacting was enough to elevate Sánchez to a coveted plane of influence as a jazz musician. And in a movie where he gets the first word, Antonio Sánchez also gets the last—only this time, as the infamous Special to The Chronicle final scene cuts abruptly to the closing credits, he lets the drums Drummer Antonio Sänchez will perform the score live alongside a screening of the movie “Birdman.” speak for him.
Visiting Artists @ Duke
The Civilians
In Conditions of Fresh Water In Conditions of Fresh Water is a communitybased participatory environmental history residency by visual artist Torkwase Dyson. Dyson is an interdisciplinary artist whose work uses concepts from architecture, landscape architecture and geography to deconstruct natural and built environments that influence black spatial conditions. Dyson will partner with Danielle Purifoy, a lawyer and Nicholas School Ph.D candidate studying racialized spaces and environmental inequality in the American South. Residency dates: July 2016 and March 2017 Exhibition: March 2017, opening March 2 More info: Nicholas School at nicholas.duke.edu
The Civilians is a Brooklyn-based theater company that creates new theater from creative investigations into some of the most vital questions of the present day. Their residency at Duke will include two visits. The first, four performances of The Undertaking in Sheafer Lab Theater; the second, the development of a new play and one public reading of the work in Reynolds Theater. Duke Performances intends to bring The Civilians back for a second year for a performance in the new Duke Arts Center.
Trisha Brown Dance Company
Trisha Brown Dance Company (TBDC) is a postmodern dance company dedicated to the performance and preservation of the work of Founding Artistic Director and Choreographer, Trisha Brown. The company’s residency expands on the curriculum of the Dance Program by offering an opportunity to learn Residency dates: about postmodern and site-specific dance in September 27-October 1, 2016 nontraditional spaces through performances of the site-specific work, In Plain Site, at Duke Performance dates: September 29-October 1, Gardens and the Nasher Museum of Art. The 2016; New play workshop reading January 28, 2017 residency is part of a six-member consortium tour engagement of TBDC in the southeast. More info: Duke Performances at dukeperformances.duke.edu Residency dates: October 24-30, 2016
The Visiting Artist Program of Duke University is a program of the Council for the Arts and Office of the Vice Provost for the Arts. More information at arts.duke.edu.
Performance dates: October 28-30, 2016 More info: Duke Performances at dukeperformances.duke.edu
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GLASER from page 5
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I, interested in Lowe’s status as a Duke parent, asked her how she came to speak at the roast, Glaser couldn’t resist a joke. work of Conan O’Brien, a late night talk “I met [Lowe’s] sons, they were both show host famous for his unadulterated really nice. They came up and thanked frivolity. all of the roasters for how funny they “I vacillate between those things: were, which was really sweet. They were wanting to change the world and just upstanding young boys,” she said. wanting to be a masturbating bear,” Glaser “I got the gig because I had to perform said, invoking one of O’Brien’s most sexual favors for Rob Lowe.” famous bits. When she’s not roasting or producing Life as a televised comedian has taken “Not Safe,” Glaser keeps busy. Duke is Glaser to intriguing and unexpected just one of a few stops she’s making on places. She recently finished taping her current standup tour. In April, she the “Comedy Central Roast of Rob released an hour comedy special titled, Lowe,” which airs Monday night. When “Perfect.” She’s constantly imagining or
producing shorter online or snapchat-only segments for the Comedy Central show. She hosts a podcast. “You can’t just rely on one thing anymore. You have to be multi-faceted. It’s a pain in the a**,” she said. “But it’s fun.” As Glaser comes to Duke, she finds herself in an important moment. Comedy Central has yet to renew “Not Safe” for a second season. But whatever her future, Glaser said she will continue to work hard to inform and entertain. “Whatever iteration [of “Not Safe”] we do next, it’s very important to me to make it more diverse than we even have been so far.”Glaser said she particularly wants
to challenge the notion that women and girls should suppress their funny impulses. It’s a very serious idea, so of course Glaser related it with the necessary levity. “It’s not that women aren’t funny, it’s that we’re discouraged from being funny when we’re young, when that development happens. I think that’s a huge thing, that white men are told that they’re greatest all the time,” she said. “Why wouldn’t they rise to the f**king top? But I’m bringing white males down. That’s my goal.” Nikki Glaser will be performing as a part of DUU’s Speakers & Stage series alongside opener Phoebe Robinson. Tickets for the event can be purchased through the Duke box office.
Special to The Chronicle
Comedian Nikki Glaser uses her Comedy Central show “Not Safe” to address issues like college sexual assault through a comedic lens but has yet to be renewed.
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Campus Arts
Quirky “Much Ado About Nothing” comes to Duke and Durham Henry Chan The Chronicle Bringing a decidedly British sensibility from across the pond, the Castle Theatre Company will be performing “Much Ado About Nothing” at Duke and Durham Sept. 14-16. CTC hails from our sister city of Durham, England, and has a history of classical Shakespeare productions spanning three decades. Fresh from their acclaimed tour in southern England, CTC promises to delight American audiences with—in the words of show director Kate Barton—a “quite quirky” spin on one of the Bard’s greatest comedies. “As a director you can’t really get anything original out of Shakespeare,” Barton said, but this is more understatement than cynicism. Make no mistake, CTC’s “Much Ado” takes plenty of risks: the show is set in 1940s Britain, to channel the excitable atmosphere and sudden modernization of the postwar era. The play is performed outdoors on a minimalist set, with occasional music. But this production is old-fashioned at heart, and proudly so. A thread of British heritage and history runs through the play, plus a delicious sense of whimsy. The show harks back to the Victorian tradition where, as Barton put it, “they’d have their players come onto the croquet lawn and perform Shakespeare in the summer sun.” Dramatically, CTC’s interpretation also signals a return to fundamentals. The company works to achieve a simplicity that comes with a renewed appreciation of characters, acting and the mechanisms of comedy. “I’d put more emphasis on the timeless nature [of the material]: it is about deception and love and folly, and in that sense it is quite archetypal,” actor Tom Harper, who plays the villain Don John, said. The key relationship between characters Benedick and Beatrice, for instance, is where this production finds its strength. Described as two startling individuals that come from nowhere, the couple Benedick and Beatrice are unique in the Shakespearean canon. They share a relationship of equals that transcends gender. Joseph Porter, professor in the department of English, noted the proto-feminism in Beatrice and concurred with CTC’s reading. “The idea of the ‘merry war’ between this young man and woman makes [“Much Ado”] interesting,” Porter said. “They take such pleasure in flirting by insult, it’s almost like a revelation of how our minds work.” CTC’s attention to characters extends to casting as well. There is a bit of genderbending, but Barton maintains this is about good drama and not making a statement. “We want to have open minds and create a natural sense of fun,” Barton said. “For example, Dogberry has to hold the audience in attention, and we just cast the right person.”
With its strong—almost purist—focus on aesthetic and craft, CTC offers a provocative contrast to the regular fare at Duke. “We’re anti-classic, we’re deconstructionists,” assistant professor of the practice of Theater Studies and artistic director of the campus company Antic Shakespeare Jaybird O’Berski. “You start with the words and the incredible story. But you always have to make it new.” Junior Colleen Sharp, who played Juliet in Antic Shakespeare’s production of “Romeo and Juliet” this February, believes that Duke students will identify with a great deal in CTC’s “Much Ado.” Yet, there remains a tangible difference in philosophy: Antic Shakespeare prefers to deconstruct and revise and to make statements that are relevant to Duke students now. Either way, British and American thespians can all agree on the importance of getting Special to The Chronicle the comedy right. CTC embraces the silliness The Castle Theatre Company hails from Durham, England and has been performing Shakein “Much Ado.” In the end, their goal is for speare plays for over thirty years. the audience to come away with a good sense of fun. “There is so much of slapstick humor,” Barton said. “When you read it it makes no sense—there is nothing really going on textwise—which is then very fun to put it into a visual context.” This “Much Ado” also has a broader significance, both at home and overseas. It is the next step for DukeEngage DurhamDurham: since 2012, Duke students have been visiting our Sister City every summer to do community service. This visit will further strengthen the bond between Duke and Durham University, and hopefully anticipate more student collaborations in the future. “I’m excited for their students to meet our students, and I’m hopeful our students will get to experience their gifts and learn from them,” said Sam Miglarese, director of community engagement in Duke’s Office of Durham & Special to The Chronicle Regional Affairs (DARA). “Also it is a word The Castle Theatre Company has set their interpretation of “Much Ado About Nothing” in of thanks to Durham University, for the way 1940s Britain. they’ve welcomed our students in England.” But the outreach doesn’t stop there. Notably, CTC will perform at the Durham School of the Arts, and conduct workshops for high school students there. This is part of a larger, ongoing convergence where Duke and Durham connect via theater. DARA’s community arts programs are going strong, and today there are more ways for Duke’s theater buffs to venture out into the community. “Despite all the divisions and challenges, this city is alive,” Miglarese said. “And the University is filling in and making that energy even more exciting.” Castle Theatre Company will perform at The Forest at Duke at Wednesday 7 p.m. and at the Fisher Amphitheatre at Thursday 5 p.m. Admission is free. An additional performance at the Durham School of the Arts will be held Friday 7:30 p.m.
Special to The Chronicle The Castle Theatre Company will perform Shakespeare’s “Much Ado About Nothing” at Duke and in Durham this Sept.
Special to The Chronicle The Castle Theatre Company will perform their show at the Forest, Fisher Ampitheatre and at the Durham School of the Arts.
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Campus Arts
Acclaimed hip-hop poet Saul Williams to perform Jaxson Floberg The Chronicle
If you have never heard the name Saul Williams, you have been missing out on one of the most important legacies in the history of modern art. From Jimi Hendrix to Rage Against the Machine, from Public Enemy to N.W.A., the list of discontented artists seeking social justice through self-expression includes many names that stand out as figureheads of generations. Saul Williams’s name is making its way onto that list. Referred to as “hiphop’s poet laureate” by CNN, Williams will be performing spoken-word poetry alongside the Mivos Quartet at Duke this October. The performance will be set around Williams’ blistering poem “NGH WHT,” an insight into the nature of racial stereotypes in America. “Saul is making music and poetry that is vital,” said Aaron Greenwald, executive director of Duke Performances. “He is the best in the world at what he does. He is in a space between poetry, hip-hop and punk rock, and very few people are able to get that right.” Williams is interested in more than simply performing at Duke, however. He will also visit a handful of advanced poetry writing classes and meet with the Humanitarian Challenges: Global Innovations and Initiatives Focus cluster. Williams will also engage in a public conversation
with Mark Anthony Neal, Professor of African and African American Studies at Duke. “Saul is an incisive commentator on the political moment, and he offers a fresh perspective that I’m personally
Courtesy of Wikimedia Commons Saul Williams, a prominent hip-hop poet, will visit classes and perform alongside the Mivos Quartet.
Performing alongside Williams, the Mivos Quartet is a string ensemble that delivers chilling accompaniments to his poetry, creating a dynamic of music and word that is not-so-easily forgotten. “We were first introduced to Saul by word-of-mouth,” said Victor Lowrie, violist and executive director of the group. In 2013, the quartet attended one of Williams’ performance in New York City where they were formally introduced—as of now, they couldn’t be happier with their pairing. “It’s been really inspiring to work with Saul, like a window into a different artistic genre than we’ve ever had experience with,” Lowrie said. “He is a master and a pioneer of his form. Very few spoken word artists are inspired and curious as Saul is, and even fewer have his level of musical talent.” Williams is more than just a voice of protest, however. “He’s so fun to work with,” Lowrie said. “[H]e always has a lot of interesting things to talk about. It’s rare to find someone who can have such an active mind, and simultaneously be so calm.” The details of the concert have yet to be released. During such a politically turbulent time in the United States, voices of protest and expression such as Williams’ are refreshing in a way that’s hard to put into words. For more information on the upcoming performance, visit www. dukeperformances.org.
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quite moved by,” Greenwald said. “He’s a virtuoso of a very specific genre, and a truly politically engaged artist. To tell the truth though, there’s a whole world of topics that Saul would be comfortable talking about.”
George Lucas & Michael Sutton in BOB, Spring 2016 Duke Theater Studies department mainstage
Students get class credit backstage and on stage
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SATIRE from page 6 In a few seconds, cartoons deliver simple yet strong messages. Because they are visual in nature, they linger in people’s minds and plant the seeds of an unfamiliar or even uncomfortable idea. Adam Zyglis, President of the AAEC and winner of the Pulitzer Prize, even referred to editorial cartoons as the original memes but with more meaningful purposes. Perfectly adapted for the digital age of online media and news, they engage the audience, are easily shareable and bring attention to important issues of the day.
“Cartoons spark a discussion or reaction…they are a contemplative art,” Zyglis said. Readers who see a political cartoon may not immediately understand the commentary but once they do, the idea takes a hold. One simple image may be the start of a conversation about social justice or current events. “To improve the political discourse, people with sharply different opinions have to have civil conversations and satire can be a way of breaking down the barriers so that people on different sides of an issue can laugh together and I hope talk together,” Adair said.
The beauty of satire is that it makes people laugh about sometimes serious and pressing issues. Through humor, people become more interested in politics and consequently more informed. The Center for Politics, Leadership, Innovation and Service is one of the organizers of the festival. POLIS’ mission is to find creative ways to get people to think about politics and to tackle the big issues in politics. The center hopes that celebrating the accessibility of satirical content will create an opportunity for audiences to participate in a larger political dialogue. A complete list of events can be found at https://polis.sanford.duke.edu/event/ duke-political-cartoon-satire-festival/.
The center for Politics, Leadership, Innovation, and Service is one of the key organizers of the festival.
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DANCE from page 7
“It will bring another generation to the Duke students and it will give them more exposure to Jones’ work,” Valdés said. “Power/Full” is a group dance. It will be important for the dancers to form relationships. The piece is set to an abstract, dynamic soundtrack. This is not the first time that Duke will be bringing in an outside artist to help educate the students. There are regular residencies through the dance program that include all genres of dance, from classical Indian to West African to ballet. Much of the faculty on campus are linked to present day choreographers and directors, which is one of the many benefits of the dance program here. Duke Performances also brings artists in for masterclasses open to Duke students and the triangle community. Anyone interested can find out more by signing up for the newsletter on the dance program website. In addition to the restaging of “Power/ Full,” Jenkins will be hosting an open talk for anyone interested about what life is like for a dancer. It will be held Sept. 16 at 12:45 p.m. at the Ark Video Lab. She is also hosting a master class Sept. 20 at 4:40 p.m. in the Ark. Jenkins will also conduct an open rehearsal Sept. 20 at 6:15 p.m. for those who are want to watch the process of the restaging. The final product will be revealed at the November dances concert in Reynolds Industrial Theater, located in the Bryan Center Nov. 18 and 19 at 7:30 p.m. In addition to the dances choreographed by the faculty, audiences can also expect to view 15 min. of high caliber student choreography. Further information for all of these events can be found on the events calendar on the Duke Special to The Chronicle Dance Program website: https://danceprogram. duke.edu/
ARTSY THINGS TO DO BEFORE YOU GRADUATE
For the full list of 101 Things to Do Before You Graduate visit welcome.dukechronicle.com
o See the Pitchforks or another student a cappella group perform o Dance for a cause at the Duke Dance Marathon o Catch a concert at Cat’s Cradle o Check out the galleries at the 21c Museum Hotel o Enjoy Jazz at the Mary Lou Williams Center o Read an issue of FORM and check out The Standard o See a show at the Carolina Theatre
o Attend Me Too o Keep up with the arts Monologues, All of — read The Chronicle’s the Above, or a Hoof Recess section every ‘n’ Horn production Wednesday. o See a local band play o See an event at DPAC at Motorco o Watch live music at o Go to The Nasher to check-out art the Coffeehouse exhibits, then grab brunch at the o Go to a Def-Mo Café show o Host a Duke radio broadcast o See a movie at the o Check out local art galleries at Third annual Full Frame Friday Durham Documentary Film o Attend a Chapel Festival service o Instagram the o Take an art class Chapel/take a o See the Ciompi Chapel selfie Quartet perform at Baldwin
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D U K E PE R F O R M A N C E S
2 0 1 6 / 2 0 1 7 S E A S O N | M U S I C , T H E AT E R , D A N C E & M O R E .
I N D U R H A M , AT D U K E , E S S E N T I A L A R T.
AARON NEVILLE SEP 23
BILLY HART QUARTET
SEP 25
THE CIVILIANS THE UNDERTAKING
SEPT 29 THRU OCT 1
ZAKIR HUSSAIN & NILADRI KUMAR
SIMONE DINNERSTEIN
OCT 8
PLAYS
SCHUBERT & PHILIP GLASS SAUL WILLIAMS SEP 30 & MIVOS QUARTET OCT 7
BLONDE REDHEAD MISERY IS A BUTTERFLY
IAN BOSTRIDGE & THOMAS ADÈS SCHUBERT’S WINTERREISE
TRISHA BROWN DANCE COMPANY IN PLAIN SITE
OCT 14
OCT 20
OCT 28 THRU OCT 30
ANTONIO SANCHEZ BIRDMAN: FILM + LIVE SCORE
PACIFICA QUARTET FEAT. JOHANNES MOSER, CELLO PLAY SCHUBERT & JULIA WOLFE
MY BRIGHTEST DIAMOND
OCT 29
CHARLES LLOYD & THE MARVELS FEAT. BILL FRISELL DEC 1
NOV 5
GERALD CLAYTON PIEDMONT BLUES FEAT. LIZZ WRIGHT DEC 2 & DEC 3
NOV 19
JEREMY DENK PLAYS
BEETHOVEN, SCHUBERT & CHARLES IVES DEC 10
$10 DUKE STUDENT TICKETS ON SALE TUESDAY, AUGUST 30!!! G E T T I C K E T S : W W W. D U K E P E R F O R M A N C E S .O R G | 9 1 9 - 6 8 4 - 4 4 4 4