spring arts preview THE CHRONICLE | FEBRUARY 1, 2021
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Duke Performances’ spring season features an enticing virtual lineup By Meredith Cohen Staff Writer
With so many clubs, teams and organizations on campus, it is easy for students top live in a Duke “bubble” and miss out on what the wider Durham community has to offer. To connect with not only the local community but also the global community in a meaningful way, look no further than Duke Performances’ Spring 2021 season. With a lineup of artists from around the world, Duke Performances brings original performances right to your home computer or classroom. This semester’s lineup features an array of musical genres, including classical piano by Simone Dinnerstein, taiko drumming by Kodo and lo-fi indie rock by Waxahatchee. “We try to present a oprogram that offers a breadth of experiences for the entire breadth of our audience in Durham,” said Bobby Asher, Director of Duke Performances. “The program is diverse in all aspects of genre and country and origin but also diverse in [terms of the] taste of the audience.” This semester, instead of performing live in campus venues, artists will remotely record their own performances. So, an element of videography must be brought into the fold of each performance. Asher mentioned that it was difficult, yet interesting to bring in a videographer, who he said is “simultaneously documenting and becoming part of the artistic product.” He added that while concert film is at times challenging to work with, it can give you a different and more intimate viewing of the performances. In this sense, the virtual environment could serve to enhance and expand our conception of the performing arts rather than hinder it. Another benefit is that, in contrast to live in-
person performances, these virtual performances will be available for ticket holders to view for as long as a day after the initial viewing time — an added bonus for those who anticipate being very busy this spring. While the performances may be different than under normal circumstances, the virtual season is still a unique experience worth your while. If you’re still unsure, Asher emphasized that tickets are completely free for Duke students, courtesy of the office of the Provost and the Vice Provost for the Arts. “I hope we bring some of that wonder and joy and beauty of live performance into [students’] lives,” Asher said. “We want every Duke student to have the opportunity to have creative and cultural experiences as part of their college experience.” Duke Performances does not only strive to reach the Duke community, however. Asher stressed that the organization “serve[s] a multigenerational audience across Durham,” and acts as “an important bridge between our campus and the community.” As such, Duke Performances participates in community outreach by providing programming to Durham K-12 schools and offering free public events through the “In Conversation” series. Asher also made sure to mention that Duke Performances will continue to offer virtual master classes to Duke students this spring. Duke Performances has made a remarkable effort to put together a diverse and engaging schedule of artists as well as provide unique experiences in the performing arts, even during a pandemic, for this Spring 2021 season. So, jump into conversations with the very artists who are on the docket this spring, take a master class or sit back and watch one or Courtesy of Duke Performances many performances. Duke Performances’ spring lineup includes Katie Crutchfield of Waxahatchee, among many other exciting artists.
DukeArts’ ‘In Conversation’ returns to unite hearts through art By Stephen Atkinson Culture Editor
Art can quicken your pulse — literally. In a study from UCL, the heartbeats of strangers synchronized during a live theater performance, rising and falling according to narrative arcs. While the COVID-19 pandemic limits in-person performances, Zoom can still offer a taste of that excitement and a window into the world of ideas around art. This spring, “In Conversation,”a collaborative series from DukeArts and Duke Performances, will engage artists and Durham community members in dialogue surrounding the arts. Twelve free virtual lunchtime talks, hosted Fridays at noon, will feature world-renowned artists of poetry, music, dance, visual arts and theater. According to Bobby Asher, Director of Duke Performances, last semester’s series attracted an especially expansive and geographically diverse audience. “Duke Performances is an organization that builds a bridge between the campus and the community,” Asher said. “We’ve been heartened to see from the fall the amount of response we’ve gotten from the community. Online… our audience is not limited to Durham and Duke. We’ve had people tuned into these conversations from places across the world and the U.S.” This upcoming spring will feature guests who engage with pressing social issues. Singersongwriter Natu Camara will discuss her career and her activism in support of women in West Africa March 19; a Bass Connections project team will present its research on arts-based interventions for environmental advocacy in North Carolina April 2. In addition, Katie Crutchfield of Waxahatchee, whose 2020 indie rock album “Saint Cloud”
topped several year-end rankings, will talk with Pinhook proprietor Kym Register about themes in her music and her Southern roots. The list continues. “Tift Merritt and Alison Russell are doing this amazing project around this series of photographs from an African-American hospital in North Carolina,” Asher said. “Amir Sulaiman is an extraordinary poet and at the leading edge of talking about the experience of Black Muslims in America. All of these artists have something to say that they certainly say through their performance and through their work, but we also want to give them an opportunity to dig in-depth in a conversation.” The next opportunity to attend a conversation is Friday, Feb. 5, when scholarartist and playwright Dr. Lisa B. Thompson will talk with Duke professor Mark Anthony Neal on the topic “Black Theater Matters.” Thompson, who cited the UCL study as profound evidence of the power of theater, said she expects to “give a sense of the importance of Black theatre in terms of African American culture and politics in the present, with context from the past as well, in a continuum of interventions from theater artists, playwrights, directors and institutions to forward the cause of Black humanity and dignity — and be entertaining.” To be at once a working artist and an art scholar is not common, yet Thompson managed to simultaneously navigate graduate school and release her first play, “Single Black Female,” which has since received numerous accolades and run for over 20 years. Today, Thompson continues to write plays while working as a professor of African and African Diaspora Studies at UT-Austin. “Theater is a way for people to get all the things I want them to understand in a 200-
Courtesy of DukeArts One such ‘In Conversation’ event will feature Broadway dancer Courtney Liu (T ‘13) for a Q&A.
page scholarly book in a 90-minute play that has them laughing,” Thompson said. “So I use humor to disarm, and to get people to be receptive to what I’m trying to explain or share in terms of history.” Thompson’s interest in both the visceral and intellectual impacts of performance befits the spirit of the “In Conversation” series. In a time when many artists are struggling and crises are stretching across the globe, it is important to carry on the conversations sparked by art and support
local artists. “The idea that the arts are frivolous should be, after the pandemic, clearly a fallacy if everyone’s been stuck to their screens, streaming like crazy,” Thomson said. “All these cultural producers are providing the content and keeping the whole planet afloat telling the stories that make us feel like more human, and more connected… What we need right now, in this country, is to synchronize our hearts a little bit so we can tackle some of our problems honestly.”
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Screen/Society organizes seven-film Wong Kar Wai retrospective By Eva Hong Campus Arts Editor
One of the most internationally acclaimed auteurs of contemporary cinema, Hong Kong filmmaker Wong Kar Wai returns to the public sphere with a 4k restoration series in collaboration with Janus Films. Both innovative and retrospective, the “World of Wong Kar Wai” series features seven of the writer-director-producer’s best works: “As Tears Go By,” “Chungking Express,” “Days of Being Wild,” “Fallen Angels,” “The Hand,” “Happy Together” and, last but certainly not least, “In the Mood for Love.” As a die-hard fan of Wong, I could only pinch my thigh to stop myself from jumping through the roof when I found out that Screen/Society, along with Duke’s Asian/Pacific Studies Institute (APSI), managed to bring the entire restoration package to its online screening platform, free of charge to the Duke and Durham community until Feb. 7. But of course, I figured that a celebratory dance in my bed in front of my “In the Mood for Love” poster would be permitted, as I puffed up my pillows, poured myself a cup of steaming peach honey tea and got ready to re-watch some of my favorite cinematic pieces of all time and re-experience those intimate, intricate and intriguing emotions that Wong never fails to produce. This time, like always, with his lush colors and sharp directorial instincts that can bring sensuality out of tin noodle cans, Wong characteristically paints a dangerously charming 1960s Hong Kong full of aimlessly ambitious twentysomethings (almost always played by the biggest superstars in Asia at the time), unexpectedly quirky romances and cosmopolitan melancholics. Gritty, naughty and yet all the more ravishing, the “World of Wong Kar Wai” is just way too beautiful of a nightmare to wake up from. “Overall, Wong Kar Wai is just such a fascinating filmmaker who falls in this interesting space that bridges arthouse cinema and genre films. You know, ‘As Tears Go By’ has some storyline similarities with aspects of Martin Scorsese’s ‘Mean Streets’ … but it also has these visual, cinematic, experimental flourishes that borrow from the language of the avant-garde but are also experiments of developing his own visual style with his
cinematographer,” said Hank Okazaki,the programmer of Screen/Society. Wong’s unique storytelling and visual styles have indeed inspired and influenced generations of filmmakers who are deeply struck by the intimacy, originality and spontaneity in his movies. “I saw ‘Chungking Express’ in 1994, long before I had any notion of becoming a filmmaker myself. But in watching Wong Kar Wai’s films, they felt like life, and more specifically, life as it should be,” added Steve Milligan, a faculty member of the Cinematic Arts program at Duke and professional cinematographer who has been personally influenced by the works of Wong and his longtime collaborator Christopher Doyle to pursue a filmmaking career. However, the series does offer a little something to new and old fans alike. Taken from the original 35mm film camera negatives by the Criterion Collection and L’Immagine Ritrovata, the 4k digital restoration is closely supervised by the filmmaker himself and represents his original visions for the movies. For example, the aspect ratio of “Chungking Express” and “In the Mood for Love” was altered to match the original version, while “Fallen Angels” is newly presented in cinemascope, which the crew couldn’t achieve years ago due to a mistake in the post-production process. Thanks to new technology, they are finally able to fulfill this wish. Some other soundmixing choices were also altered, and the director’s cut of “The Hand” boasts many never before seen surprises. “I think the nice thing about a retrospective series is that it allows you to get an insight into a filmmaker in a different way than you normally would by seeing films here or there in a haphazard way. Sometimes, seeing the films together in a block brings out things in individual films that you might not have noticed or responded to … if they weren’t in dialogue with the [other works],” Okazaki explained. Indeed, the restoration series offers a fresh opportunity for viewers to examine and trace the artistic developments of the cinematic master and perhaps get ready for his slate of newly announced upcoming projects. Besides the “World of Wong Kar Wai,” Screen/Society has also scheduled more
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1 Lakou Mizik—upcoming Duke Performances act 2 Book cover: Run Home if you Don’t Want to be Killed by Rachel Marie-Crane Williams 3 DukeCreate logo 4 Promo photo for Social Dreaming Matrix for women and female identifying dreamers 5 Duke students viewing the Carrie Mae Weems Resist Covid/Take 6! outdoor exhibition, Photo by J Caldwell 6 Natu Camara—upcoming Duke Performances act 7 DEMAN logo – 8 KODO Legacy—upcoming Duke Performances act
Courtesy of Criterion Collection
The retrospective features seven of the director’s best works, including “In the Mood for Love.” screenings in the coming months. For instance, a series called “New Releases/ New Restorations” will be showcased from Feb. 11 to Feb. 28, featuring recent New York Film Festival favorites such as “The Inheritance,” “Preparations to be Together for an Unknown Period of Time” and “Smooth Talk.” As for March, stay tuned
for a Duke edition of the 2021 Tournées French Film Festival with six to seven films available for online streaming. Tickets are limited for Screen/Society online screenings and will only be available on a firstcome, first-served basis. After claiming a ticket, you have up to 10 days to start watching the film and 24 hours to finish it.
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CDS implements new anti-racist continuing education curriculum By Derek Deng
documentary was a speculative investigation into President Obama’s upbringing and “The future is in your hands,” Dinesh D’Souza political intentions. In one scene, D’Souza warns in “2016: Obama’s America.” Panned by warns viewers of a foreboding future in which critics as “skewed,” “sloppy” and a “shaggy, the supposedly anti-white, anti-American piecemeal right-wing screed,” the 2012 Obama plans to convert the Middle East into a
“United States of Islam.” Documentaries tell stories, and as consumers of media, we learn from those stories. And sometimes, those stories are dangerously problematic. In the case of D’Souza’s “2016,” the documentary perpetuated racist and islamophobic myths to cater to a reactionary demographic. Michael Betts II, the Director of Continuing Education at Duke’s Center for Documentary Studies (CDS), hopes to deconstruct similar narratives in the art of documentary. This spring, he is leading CDS’s movement towards an actively anti-racist curriculum for its continuing education program. Betts asserts that his push to reform CDS’s curriculum was inspired by his own upbringing and complex relationship with media. “I’m an Afro-Indigenous man,” he said. “I grew up in poverty and in spaces where I didn’t quite understand the value and power of my body, of my story and of my heritage.” While a student at UNC, he realized that he was surrounded by students and instructors who refused to acknowledge his differences. In one history class, however, he was able to harness the power of documentary to reconcile that gap. “Using the documentary arts as this immersive environment to move students into a place where a name on a book was not just this flat, two-dimensional object but a name that lived and breathed — that was powerful,” Betts said. His extensive work in documentary and aim to recenter Black and Brown narratives led him to ask questions about how CDS’s Courtesy of Center for Documentary Studies curriculum failed BIPOC: “What does it mean CDS has moved towards an actively anti-racist curriculum for its continuing education program. to be truly anti-racist? What does it mean to be
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equitable? How does that show up when we’re telling stories? Who do we need to foreground, as the media makers, so that people feel seen?” With that in mind, Betts has recentered the curriculum around minority voices, “[We are] asking our students to start understanding how the impact of a story can either help or hurt a community,” Betts said. “Those are the kinds of things that we’re asking our students to do — constantly uncover and turn over their own hypocrisy.” Betts also stresses the importance of amplifying all kinds of voices in CDS curriculum. “If you find the folks that are at the most outcast spaces and you bring them to the middle, everybody wins,” he said. “When you’re training somebody, however you are trained is how you’ll continue. So we are requiring our instructors to meet a minimum 60% diversity standard of the folks who we are foregrounding when we’re talking.” CDS’s effort to include documentarians of all genders and racial identities is a stark contrast to the current documentary industry, where 86% of Oscar-nominated documentary directors were men and 71% were white. By integrating anti-racism into CDS’s curriculum, Betts hopes to reposition the next generation of documentarians to tell diverse, impactful stories that amplify minority voices. CDS’s mission is to train documentarians of all colors, genders, creeds, ethnicities, religions, abilities, and cultural identities. Spring 2021 courses at the Center for Documentary Studies are now open for registration on cdscourses.org. Classes run from Feb. to April. Duke students, staff, faculty and alumni will receive a 10% discount on any course.
DEMAN Live presents Duke alumni-directed film ‘Assassins’ By Megan Liu
producer Doug Bock Clark’s 2017 GQ article, “The Untold Story of Kim JongAlmost a year ago, Duke alumni had a nam’s Assassination.” When Clark and White winning presence at the 2020 Sundance Film met at the event, White took inspiration after Festival. Now, the Duke community will have hearing about Clark’s investigative work into the opportunity to see one of these works the dramatic and messy story. Now, with the from the comfort of their own screens. virtual screening bringing Clark and White “Assassins” tells the story of the back to Duke, the story of how “Assassins’’ assassination of Kim Jong-Nam, which came to be is reaching full circle. caused international news furor when CCTV Oathout, an associate producer at Tripod footage showed two young women confront Media, spoke with Recess about the film and him in broad daylight — with a lethal nerve her own connections to DEMAN. gas slathered on their hands. “My freshman year was one of the first The documentary film follows the pair of years they were hosting DEMAN in the fall women, exploring the twisty sociopolitical at Duke, and I actually attended a panel that path that led them into the Kuala Lumpur Ryan was on.” When Oathout’s senior year International Airport and up to Kim Jong- came around, she was able to reconnect with nam, the half-brother of Kim Jong-un, then- White, telling him: “I’ve actually met you and-current leader of North Korea. before; we met at a DEMAN panel I attended Duke will host a private virtual my freshman year!” screening of the film on Tuesday, Feb. 2, Oathout praised DEMAN’s capacity to immediately followed by a talkback session create meaningful connections between with director and producer Ryan White (T Duke alumni and students with aspirations ’04) and producers Jessica Hargrave, Doug for the entertainment industry. Bock Clark (T ’09) and Grace Oathout (T “[It’s] a great example of one of the things ’16). The event’s sponsors include Duke DEMAN does very well. I was able to tell Entertainment, Media & Arts Network Ryan I was very familiar with his work… it (DEMAN), the Center for Documentary gave Ryan a sense of ‘Oh, this is someone Studies (CDS) and the Asian American and who has been interested in documentaries Diaspora Studies Program. for a very long time.’” Ryan White co-founded production When asked about why Duke students company Tripod Media with Jessica Hargrave should be interested in “Assassins” and after graduating from Duke. “Assassins” the story behind it, Oathout highlighted marks the second time in two consecutive the gender issues central to the story. As years that the team has had a film accepted Clark explores in his GQ story, Siti Aisyah into Sundance, and the film currently has a and Đoàn Thi Huong, the two women 100% “Fresh” rating on Rotten Tomatoes. implicated in Kim’s death, had no idea what A serendipitous DEMAN event marked they had done. the beginnings of a partnership that would “When I was an undergrad, there was lead to the creation of the documentary. certainly a lot of engagement around women’s “Assassins” takes inspiration from executive issues as it was playing out in the U.S. with Staff Writer
Courtesy of DEMAN“ “Assassins” tells the story of the assassination of Kim Jong-Nam and will be presented Feb. 2 by DEMAN
college sexual assault scandals and disparities between men and women’s treatment as undergrads,” Oathout said. “What I would say though, is there is a lot of focus on how that plays out on college campuses in the US, but not as much focus internationally.” “Assassins” weaves through four countries in its 104 minute runtime: Indonesia and Vietnam, where the two women are from; Malaysia, where the murder occurred; and North Korea, the dominion of Kim Jong-
nam’s powerful half-brother. “Not only do you learn a lot about international relations between those countries but specifically the treatment of those women,” Oathout said. “How, in a lot of ways, we think these two women were seen as dispensable — and that’s why we felt it was important that this story be told.” The screening and Q&A will run from 7 p.m. to 10 p.m. this Tuesday, and online registration can be found at https://arts.duke.edu/deman-live/.
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DukeCreate spring workshops offer something for everyone By Devinne Moses
what I’ve been picking up, students generally enjoy the opportunity to forget about At the start of yet another full semester class for a little bit and just do something with social-distancing rules in place, completely different.” DukeCreate is slated to offer an exciting and Several workshops follow particular diverse selection of free online art workshops themes in the arts, including dance, visual to all students, faculty and staff. Whether art, music, film and creative technology. As participants are interested in developing a part of last week’s workshop schedule, MIDI new skill or simply want to connect with for Producers was the fourth in a series of others, this semester’s lineup has something music and audio workshops designed to increase participants’ understanding of the in store for everyone. fundamentals of electronic music in an easyLast March, the pandemic forced DukeCreate to cancel its in-person workshop to-learn way. schedule for the rest of the semester. Director “MIDI for producers is going to take us of DukeCreate Kevin Erixson had to work through different MIDI systems that you quickly to ensure that there would be plenty can use and how you can apply those to your of online workshops for everyone to partake music,” Erixson explained before the event. “So in. After a successful fall semester where it’s basically teaching us how to create music without having any music background at all. It’s a really cool way to break it down and make music accessible for everyone, and you don’t have to go to school for fifteen years to understand and create something.” The Wellness & Self-Care series, which started last year, has several workshops scheduled for this month. The upcoming virtual workshop Yoga and Movement: Heart Opening Flow on Feb. 8 focuses on the third and fourth chakras in our body to “balance a powerful sense of will and purpose with an open and receiving heart.” The amount of wellness-oriented workshops this semester is quite intentional, since it’s more important than ever to find mindfulness, connection and support within a creative activity. “We’ve shifted to workshops where it’s more about wellness, being together and having some kind of community,” Erixson said. “You’re with different people and you get to create together for an hour and forget about Courtesy of DukeCreate all this other stuff happening elsewhere.” The DukeCreate program began in the Arts Annex in 2015, where group classes centered around visual arts. These workshops have found their success in
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DukeCreate had its “highest attendance rates ever,” Kevin is more than ready to step up to this semester’s challenges. “When the pandemic hit, we quickly adapted and shifted to of course all online, and we started hitting our stride,” Erixson said. “This semester especially we’re running on all cylinders.” The DukeCreate program’s popularity demonstrates the high demand for these creative opportunities at a time when it’s easy to be overwhelmed. It is also no surprise that students enjoy coming to workshops where they are free from any judgment or pressure to perform. “These workshops are very low barrier, low entry. Come and make some mistakes and it’s no pressure,” Erixson said. “From
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the past by providing programs with students’ specific interests in mind, but no idea is off the table when it comes to DukeCreate. Students can help shape the workshops by sharing their thoughts with Kevin and other members of the DukeArts staff. “I welcome their ideas and feedback always,” Erixson said. “If you have an idea, I’m going to bend over backwards to make it happen because I find student feedback essential to everything that we do. My hierarchy of importance is that students are always first.” Throughout this semester, Duke students will doubtlessly need time to explore, relax and have fun with one another, and DukeCreate has a wide variety of workshops for everyone to try. Since all the workshops are online, it’s easier than ever to attend one of these workshops and realize how big of a difference it can make to one’s monotonous daily routine. “DukeArts’ broad vision is to spark some kind of interest in the arts, and there are a lot of amazing things happening in the arts at Duke,” Erixson said. “We’re trying to let students know that there’s a lot of great things going on around campus and a lot of great classes that they can be taking.” This is an important reminder for those who see Duke as the STEM-oriented research school it’s known for, and students of all disciplines should feel comforted to know that student creativity and well-being, as demonstrated by DukeCreate and its partnerships, is and always will be a crucial element of the Duke experience. DukeCreate is sponsored by the Office of the Vice Provost for the Arts (DukeArts) and University Center Activities and Events (UCAE). For a full list of events, visit https:// arts.duke.edu/workshops.
“Creating is healing. Taking time to create together or in solitude is an important bridge to healing and happiness in hard times.” —Ashleigh Smith ‘20 Art History Major Concentration in Museum Theory & Practic Nasher Museum of Art Intern
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JOHN HOPE FRANKLIN INSTITUTE
DUKE PERFORMANCES
Ralph Rugoff at 20-22 the Ongoing Biennial
Jame Ehnes, violin & Orion Weiss, piano
Satruday, March 13 | 8-9 pm | Virtual $10 / FREE for Duke students
Wednesday, February 3 | 1-2 pm | Virtual https://duke.zoom.us/meeting/register/tJEsd-uhrDgiE9dKfiHakJ_ kA58R76wSVlH9 Ralph Rugoff (55th Venice Biennale Curator and Hayward Gallery Director) in conversation with FHI Social Practice Lab Director Pedro Lasch with a response from Franklin Humanities Institute Director Ranjana Khanna. Organized by Pedro Lasch and the FHI Social Practice Lab with support from the Franklin Humanities / World Arts Initiative at Duke University, this Conversation Cycle is part of a larger program entitled ‘20-22 The Ongoing Biennial’. In person visits with some of our guests will also be presented at a later stage in collaboration with the the AAHVS Department and the Nasher Museum of Art.
OFFICE OF THE VICE PROVOST FOR THE ARTS
Duke Create: Hip-Hop Vibez
Tuesday, February 23 | 6-7 pm | Virtual
Join current MFA dance candidate Ife Pressword for this workshop-style hip-hop dance class. Participants will learn bold and fiery choreography and be provided with a space to be confident, get a good workout, and have fun! Issa vibe! Open to all skill levels. Wear comfortable clothes and sneakers and bring water.
DUKE PERFORMANCES
– KODO Legacy
Renowned recitalist James Ehnes m Duke Performances debut with pian on Weiss in a programme of violin s from across two centuries. Ehnes, ‘a in a class of his own’ (The Times), lea a light, lyrical sonatina by Schubert, moving on to Prokofiev’s Sonata No Major, which is both virtuosic and ex sive due to the fact that it was origin written for flute. The pair will then tu attention to Sonatine, a recent work Aaron Jay Kernis, one of the younge awarded the Pulitzer Prize. Kernis an tors, having won a Grammy togethe ing of the Kernis’s Violin Concerto, w as being an ‘incredibly powerful live part superbly executed.’ Stepping b Saint-Saëns’s First Sonata concludes miered in 1885 with the composer h will receive a unique Vimeo link to w the Duke University Box Office befo be available for viewing for 72 hours
Saturday, February 13 | 8 pm | Virtual – KODO is a pioneering taiko drumming troupe that has performed internationally since 1981. Named for the Japanese word translated as – “heartbeat” or “children of the drum,” KODO’s synchronized strikes and energetic delivery unite audiences by underscoring the simple, universal urgency of life itself. In that way, the vast majority of Kodo’s performances around the globe occur beneath a banner reading “One Earth.” Transcending cultural boundaries and bringing people – together through this ancient art form is KODO’s primary mission.
DUKE PERFORMANCES
Voces8
Saturday, February 20 | 8-9 pm | Virtual $10 / FREE for Duke Students
DANCE
Social Dreaming Matrix for women and female-identified dreamers 8-part series | Virtual
Dive into the waters of our collective, creative, female unconscious. Please join as we share our dreams, free associate to each other’s imagery, and bring forth creativity, vitality and re-generativity. This matrix hopes to liberate the suppressed, repressed and oppressed wisdom and ingenuity of women and female-identified dreamers. Eight sessions; join for one or all. Hosted by Susan Webb, MD, psychoanalyst and MFA student in Dance: Embodied Interdisciplinary Praxis at Duke University. Questions: susandonna.webb@duke.edu ZOOM: https://duke.zoom.us/j/93960321965?pwd=Yi9rcEJrQXlmUDZSc05lTXo1MkxnZz09 / Meeting ID: 939 6032 1965 / Passcode: 761442. ABOUT LSC: LSC focuses on the equitable transformation of social structures and the articulation of new modes of governance through aesthetics. Part of the Kenan Institute of Ethics, supported by FHI, Duke Arts, Duke Dance. Director: Michael Kliën.
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In Conversation: Nat
Friday, March 19 | 12 pm | Virtual https://vimeo.com/event/563246/c8
Singer-songwriter Natu Camara — k Turner of Guinea — joins for a free p her work, career, and activism in sup women throughout West Africa. The Duke Performances’ annual Black A and culture of the African diaspora t by Brian Valentyn (Duke Performanc Natu Camara’s virtual residency at D pre-recorded performance, that will day, March 20. Tickets and info: http events/edmar-castaneda-natu-cama DUKE PERFORMANCES
British vocal octet VOCES8 brings to Duke Performances a program celebrating its vernacular musics. Since its founding in 2005, and becoming a professional ensemble in 2007, VOCES8 has attained international recognition for its concerts and recordings which feature an extensive repertory. Noted as “undoubtedly gifted” by The Times (London), VOCES8 is at home singing English choral pieces, jazz standards, and pop tunes. The ensemble’s concerts are beloved by a loyal fan base for the musicians’ engaging stage presence and musical precision, and their mission extends through world-class commissions and a devotion to music education. Their Enchanted Isle program takes up the traditional landscape of English, Scottish, and Irish folk repertoire with a contemporary eye, featuring some of the greatest composers of Tudor England - Tallis, Byrd, Gibbons - and painting a picture complemented by later composers like Stanford and Elgar. Ticket buyers will receive a unique Vimeo link to watch the presentation online from the Duke University Box Office before the listed start time. Films will be available for viewing for 72 hours.
Black Atlantic: Okada Mizik Saturday, April 3 | 8-9 pm | Virtual $10 / Free for Duke Students
High-quality, commissioned films fe in-person performances will premier Each film, shot following local safety ration with an audio and video crew ‘Black Atlantic’ package, available a provides access to all three ‘Black A tions, including performances by Ok Camara & Edmar Castañeda, and Ja 3MA. Ticket buyers will receive a un sentation online from the Duke Univ start time. Films will be available for
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makes his nist Orisonatas a violinist ads with before o. 2 in D xpresnally urn their k by est composers to have ever been nd Ehnes are longterm collaboraer in 2019 for the violinist’s recordwhich BBC Music Magazine praised e performance, the taxing violin back again to the 19th century, s the evening, a piece first prehimself at the piano. Ticket buyers watch the presentation online from ore the listed start time. Films will s.
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known affectionately as the Tina public Vimeo discussion covering pport of the education of girls and e conversation officially kicks off Atlantic festival exploring the music through the Americas. Introduced ces). Free and open to the public. Duke Performance will feature a l air on Vimeo beginning on Saturps://dukeperformances.duke.edu/ ara/.
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eaturing artists originally slated for ere on Vimeo for ticket holders. y protocols, is made in collabow in each artist’s home city. The at a discount of 25% off for $22.50, Atlantic’ double feature presentakaidja Afroso & Lakou Mizik, Natu ane Bunnett and Maqueque & nique Vimeo link to watch the preversity Box Office before the listed r viewing for 72 hours.
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Brought to you by Center for Documentary Studies, Dance Program, Music Department, Duke Performances, and Nasher Museum of Art, with support from the Office of the Vice Provost of the Arts.
DUKE PERFORMANCES
Waxahatchee
Saturday, April 10 | 8-9 pm | Virtual $10 / FREE for Duke students It’s impossible to reflect on indie rock in the 2010s without mentioning Katie Crutchfield and Waxahatchee. After the breakup of her band P.S. Eliot, the Alabama-born singer-songwriter released American Weekend in 2012 and Cerulean Salt the following year, two critically acclaimed albums full of lo-fi indie rock and sharp, cutting songwriting. Those were followed by Ivy Tripp in 2015 and Out in the Storm, which landed on The A.V. Club’s top ten list in 2017, as well as tours with the likes of Sleater-Kinney, Kurt Vile, and Tegan and Sara. In 2018, Crutchfield moved from Philadelphia to Kansas City and became sober. Her first effort since undergoing those major life changes, 2020’s Saint Cloud, sees her move toward a more refined folk country sound while shining the spotlight brighter on her visceral, affecting songwriting. It may be her finest yet, and was hailed by Pitchfork as “a vivid modern classic of folk and Americana.” Ticket buyers will receive a unique Vimeo link to watch the presentation online from the Duke University Box Office before the listed start time. Films will be available for viewing for 72 hours.
NASHER MUSEUM OF ART
Nasher: Drop-in Hours
Every Thursday, Noon to 3 PM, February 25 through April 29 The Nasher Museum welcomes Duke students, faculty and staff to enjoy self-guided visits for viewing exhibitions and art on view. No appointment needed. To ensure the safety of all our visitors, drop-ins will be limited to the first 40 people who arrive. For those awaiting entry into the museum, we invite you to enjoy the outdoor exhibition, RESIST COVID / TAKE 6! OFFICE OF THE VICE PROVOST FOR THE ARTS
DEMAN: Virtual Resources for Duke Students
CENTER FOR DOCUMENTARY STUDIES
Off the Shelf Author Talk with Rachel Marie-Crane Williams Thursday, April 22 | 12-1 pm | Virtual
Rachel Marie-Crane Williams will give a virtual “Off the Shelf Author Talk” to discuss her new book from the Center for Documentary Studies (CDS) and UNC Press. Incorporating firsthand accounts collected by the NAACP, Run Home If You Don’t Want to Be Killed: The Detroit Uprising of 1943 is an illustrated/graphic retelling of the racism and civil unrest resulting in deadly violence in Detroit in June 1943, in which 34 people were killed, over half of them by police. The event will be cohosted by UNC Libraries, UNC Press, and CDS. Register at https://www.eventbrite.com/e/offthe-shelf-author-talk-with-rachelwilliams-tickets-135379255999?aff=erelexpmlt
DUKE UNIVERSITY ARTS RESOURCES & OPPORTUNITIES FOR COVID-19 As Duke University responds to the coronavirus crisis, students, staff, and faculty across campus are turning to the arts to offer new ways to connect and support each other during this uncertain time. This community wellspring demonstrates art is affirming during times of uncertainty. CAREER CENTER & CAREER CONNECTIONS With the spread of COVID-19, the Duke University Career Center will continue to provide services to students. We are offering virtual services via Zoom, Skype or phone for your convenience. Advisers are available for 1:1 advising appointments, these can be scheduled as usual in Career Connections. These appointments can be held via Zoom, Skype or phone as preferred. We will also continue virtual drop-in career advising on our normal schedule (M, Tu, Th, F 2-4pm) via Zoom. Please see the Career Center website for the day’s specific Zoom link. You will be routed to a Zoom waiting room and will be taken on a first come, first served basis, as is our normal procedure. If you have further questions or concerns, email: career-student@ studentaffairs.duke.edu.
OFFICE OF THE VICE PROVOST FOR THE ARTS
DukeCreate
Arts Workshops for All Skill Levels Get creative in everything from clay to coding—no experience necessary! DukeCreate is a series of free, hands-on arts workshops designed to help Duke students, staff, and faculty develop a variety of creative skills. Browse the links below to check out upcoming DukeCreate workshops and other offerings from the Cinematic Arts Program, Innovation Co-Lab, and the Duke Student Wellness Center.
8 | MONDAY, FEBRUARY 1, 2021
The Chronicle
dukechronicle.com
Nasher exhibit ‘RESIST COVID | TAKE 6’ partners with ADF By Jack Rubenstein Staff Writer
Courtesy of Nasher Museum
“RESIST COVID / TAKE 6” is the work of artist Carrie Mae Weems and has been displayed widely across Duke and Durham.
The Nasher Museum of Art is no longer just the modern, glass encased building on Campus Drive. It’s the gates of the Duke Gardens, the poles on the C1 route and the windows of the American Dance Festival studio, Rubenstein Arts Center and bus station downtown on Chapel Hill Street. “RESIST COVID/TAKE 6!” is the ongoing Nasher exhibit by artist Carrie Mae Weems, and it is unlike anything the museum has taken on before. These locations are just some of the 40 plus banners and posters around Duke and in the Durham community which celebrate frontline workers, display COVID-19 public health reminders and highlight the disproportionate impact COVID-19 has on people of color. The exhibit has taken on a number of partners since its start, including the American Dance Festival (ADF). Weems, who has a long-standing relationship with the Nasher and whose work is featured in the Nasher’s permanent collection, came to the Nasher’s Director Trevor Schoonmaker with the idea over the summer. She recognized that museums would not be open in the fall and needed to pivot. “We were lamenting that the building looked like it was asleep... Her email came at the most perfect moment for the Nasher,” said Director of Engagement and Marketing Wendy Hower. Being an outdoor, sporadic, and community based exhibit is not the only thing that separates “RESIST COVID/TAKE 6!” from the rest of the Nasher’s exhibitions. Partnering with Duke Arts and Duke Health marked the first collaborative exhibit in the Nasher’s over 15 year history. The exhibit had no opening event, and Duke’s name is not on any of the work. “The art is speaking for itself. It’s not about Duke doing this beautiful thing in the world; it’s about art doing a beautiful thing in the world,” said Hower. “The Carrie Mae Weems project was such a perfect fit in no small part to the content. Fighting racism, fighting a pandemic, getting the word out about how the pandemic is disproportionately hitting people of color — it’s where art can really make a difference.” The exhibit introduced the Nasher staff to new potential partners across campus and in Durham, and it changed the way the Nasher approached community outreach, seeking to make deeper connections with partners than before the pandemic. The prime example of this has spawned one of the museum’s most exciting projects for this spring semester. The American Dance Festival (ADF) had to cancel their festival this year, so their director, Jodee Nimerichter, put out a call for NC Dancers to perform outdoors in front of the Carrie Mae Weems exhibition locations. This call netted 17 dancers whose performances will be shared on social media and made available virtually this semester. “We really wanted ADF to feel like it was their project. It creates more synergy if we don’t have the Nasher or Duke name all over it. This is art we are responding to through movement. It is more exciting to the partners if they are creating something new; it’s actually original art being created in response to this exhibition. And, it’s much more fun for partners to do that than to crosspromote whatever the Nasher Museum is doing,” said Hower. No in-person events are scheduled for the spring due to COVID-19, but the Nasher still has plenty in store in addition to “RESIST COVID/TAKE 6!” and the ADF collaboration. Drop-in hours Thursday afternoons starting Feb. 25th will mark the first in-person visitors to the Nasher since March. While there is no registration required for drop-in hours, class visits will begin again by appointment only on Feb. 8th. Like in the fall, the museum plans on posting virtual gallery talks on their website and social media channels. Even after the pandemic, the Nasher plans to continue changing museum practices. The museum will now have a virtual component for everything moving forward, including at least three virtual 360 tour exhibitions a year available on their website. In addition, there will be more of an emphasis on collaborating with Duke professors and integrating the collection into the curriculum. This is already underway across various fields, with undergraduate dance students and graduate documentary students working on responding to “RESIST COVID/TAKE 6!” as part of their coursework this semester. In the fall, the Rhythm and Blues course made annotated playlists related to Weems’ exhibition. “We are really striving to amplify the scholarly work that facility and students are doing with our collections, and we are learning new ways to showcase that work,” said Hower. What the Nasher has been able to do this year with staff working from home and a shuttered museum is incredibly impressive. However, it has not been easy. “We can do a lot of exciting new things with very few resources. We can do a lot of new and exciting things with the existing staff,” but as Hower put it bluntly, “We’re embracing this time of innovation and curiosity and learning how to do new things in the digital realm with no additional money.” With a renewed commitment to innovative programming and community collaborations, the Nasher Museum has adapted to the challenges of COVID-19 and a constrained budget. An exciting semester and future for the museum seem all but certain.
The Chronicle
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MONDAY, FEBRUARY 1, 2021 | 9
Duke New Music Ensemble explores virtual music performance By Tessa Delgo Local Arts Editor
Duke New Music Ensemble, also known as [dnme], was always rooted in innovation, but never more so than this semester. Founded over a decade ago, [dnme] focuses on performing music from the late 1900s and early aughts, as well as original pieces from Duke student composers. While the ensemble does not eschew classical notation, the group’s repertoire encompasses a wide variety of genres and instruments and is open to musical experimentation. This semester, the ensemble will be led by Dr. Verena Mösenbichler-Bryant, the Director of Undergraduate Studies for the Department of Music. In a typical year, the ensemble is led by a graduate student in the music program, but
the department decided to put MösenbichlerBryant — who also directs the Duke University Wind Symphony — in charge of the spring season. Since the ensemble was inactive during the fall semester, this will be their first endeavor in remote programming. “I think it’s important to find creative ways to make music virtually. We all miss the inperson interaction of music making … so much and none of the virtual projects can replace it. We tried so many different things last semester and since COVID started, we find what students miss the most is music making with each other,” Mösenbichler-Bryant said. “It’s ... not just a creative outlet for them but also it’s just really a way to connect with other peers. It will be a small group of students that are participating in [dnme] but every voice will have a chance to be heard.”
Courtesy of [dnme]
Before COVID, [dnme] met in person for rehearsals and live performances. They have since moved online.
The primary piece of programming for the semester will entail ensemble members meeting virtually once a week to explore the possibilities of remote, online performance. “There’s a huge delay issue with Zoom and it has to do with the internet connectivity and just the way Zoom processes what information is received,” Mösenbichler-Bryant said. “The ... issue really impacts how we can perform together. It just doesn’t work.” Mösenbichler-Bryant’s intention for the ensemble’s season of virtual meetings is to work around these technological challenges. She intends to explore virtual gathering platforms that might allow the group to evade the delay issue altogether, but she also intends on having members play around with pieces she has gathered that were written specifically with the notorious lag in mind. “Anyone who has some sort of performing ability can join this ensemble. The flexibility of the [dnme] is beautiful because we’re looking really for pieces that work for the ensemble,” Mösenbichler-Bryant said. “It will depend on who you can have on Zoom. The goal is really to explore with the Zoom platform and to see how we can make that delay work for us.” Additionally, the ensemble will collaborate with major figures in the Duke Arts world, such as Duke Performances and vice provost for the arts John Brown, on what MösenbichlerBryant called a “play-along” performance. For this performance, a rendition of Steven Bryant’s 2017 piece, “The Low Arc of the Sun,’’ will become a virtual community gathering. John Brown and the Ciompi Quartet, who participated in Duke Performance’s fall season, pre-recorded a track playing their instruments’ parts in Bryant’s piece. In March, Mösenbichler-Bryant intends on putting out a call to the general community — anyone who would like to play along with Brown and Ciompi Quartet can
do so by submitting a video of themselves performing the piece on their instruments. The project will also include a Q&A session with composer Steven Bryant and a virtual rehearsal prior to the filming of submissions. “In early March, we will take all the submissions that we have received and we’ll put them on top of the Ciompi Quartet and John Brown track, and then we’ll have created basically a full string orchestra,” MösenbichlerBryant said. “That’s a project that will then be shared as part of a virtual [dnme] concert.” Each semester, Mösenbichler-Bryant explained, what the [dnme] does is a little different because the ensemble takes on the unique identities of those directing and participating in it and then it never looks quite the same again. While using this semester’s especially unique virtual circumstances for creative exploration, she also hopes that it will be the only semester where ensemble members will have to work remotely. “I think that such an important part of our ensembles is our connection to the students. Music making is about communication, it’s about interaction, it’s about listening to each other. And all these things unfortunately can’t be replaced,” Mösenbichler-Bryant said. “I think they’re grateful that we’re trying to create opportunities for them. But everyone understands that it’s not the same. And it can’t be the same.” For now, though, Mösenbichler-Bryant believes that joining [dnme] is a great opportunity for any students interested in exploring “what is possible and how we can be creative together in this virtual space.” “You know, sometimes things won’t work,” Mösenbichler-Bryant said. “We’ll just use that and grow forward.” To learn more about [dnme], contact verena.m@duke.edu. All instruments and levels are welcome.
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campus arts
The show must go on: Hoof ‘n’ Horn to produce musical ‘Dreamgirls’ By Sydny Long Managing Editor
It has been almost a year since an in-person performance has been staged before an audience at Duke, but that hasn’t stopped student theater organization Hoof ‘n’ Horn from going forward with their spring musical. Hoof ‘n’ Horn will present the musical “Dreamgirls” April 8: how exactly this performance will be performed and consumed by the Duke student body is not yet certain, but the show will go on. If circumstances remain favorable and cases low, this will be the organization’s first uncancelled spring musical since last year’s “Pippin,” which, like most events, was called off shortly after Duke sent its students home for the semester. University-wide restrictions remain in place limiting the number of people allowed within close proximity of one another, rendering the cluttered stage and packed theater impossibilities until the global situation drastically improves. “We have to make decisions on how the final form of the show will be presented to the public given ever-changing COVID-19 safety regulations,” said “Dreamgirls” producer Kacia Anderson in an email interview with The Chronicle. Despite the logistical uncertainties,Anderson was confident about the organization’s choice of a spring musical. “Dreamgirls” recounts the rise of Black singing trio The Dreamettes as they find themselves plucked from obscurity to become first backup singers, then an independent group. An upbeat and dazzling show, “Dreamgirls’’ is perhaps most wellknown for its Black main cast, as well as its allusions to the careers of multiple famous Motown singers and groups from the Shirelles
to Little Richard. The musical seems a perfect fit for the current socio political climate, expertly combining a much-needed uplifting score with an examination of the struggles that Black women especially face. However, the timing, according to Anderson, is completely coincidental. “I don’t think any of us could have predicted that producing the show this Spring season would be so fitting given the past eight or so months.” Instead, the choice was more directly motivated by the success of the organization’s 2020 production of “The Wiz”, which was met with acclaim from Duke students and the Durham community alike for its energetic production and sensory-friendly performances. With a mostly Black cast and inspired by the sounds of Motown, “The Wiz” was the last in-person Hoof ‘n’ Horn performance as well as one of its most beloved. The opportunity to feature another Black-led show was of critical importance to the organization, even if they couldn’t have foreseen the national events regarding the Black Lives Matter movement and how the unending deaths of Black people at the hands of the police have shaped racial discourse over just the past few months. “I definitely feel that the show is important given the current cultural climate. Given the past success of ‘The Wiz’, Hoof ‘n’ Horn definitively wanted to continue to build on the success of the show and take another opportunity to highlight Black culture,” Anderson said. That showcase will arrive in some form in April, most likely through virtual means of production and performance. The persistence of the pandemic has forced nearly every campus arts organization to turn to virtual
spaces, harnessing platforms like Zoom to sustain the spirit of live performance. For Hoof ‘n’ Horn, this will likely include video recordings and editing decisions predicated on the lessons learned from the other virtual shows the company has hosted since social-distancing guidelines were first implemented. “I’m very lucky that people on this production
manage to deliver the same creative zest that has made their shows such a staple of the Duke arts schedule. “Depending on the final form, we have to enlist the help of a skilled and large team of editors. We hope this entire process, while new, will stay true to the heart of what it means to have a [Hoof ‘n’ Horn] production while maintaining
Photo by Richard Booker
Hoof ‘n’ Horn will present the musical “Dreamgirls” April 8, which will feature a largely Black cast. council and the resources we have among [Hoof ‘n’ Horn] members have some level of experience with virtual productions since the arts have made a shift to virtual performances due to the extent of the pandemic,” Anderson said. “Lessons learned from the editing and recording process are especially helpful, as well as ideas to bring a production to life in an untraditional setting.” Anderson is also confident that no matter the means of presentation, Hoof ‘n’ Horn will
everyone’s health,” she said. “Dreamgirls” will be an experimental endeavor for everyone involved, but the vibrant spirit of the show will no doubt translate to the audience that eventually experiences it regardless of the medium. “I hope that the Duke community will take the opportunity to engage with this virtual musical as a chance to learn and appreciate Black art and the influence it has in our lives,” Anderson said.
14th annual Feminist Theory Workshop to continue online By Kerry Rork Campus Arts Editor
The Feminist Theory Workshop (FSW) will be having its 14th annual event throughout the month of March, inviting three scholars from around the country to share their cutting-edge research in the field. Unlike their past workshop events, which were held over the course of two days, it will be spread across three Friday afternoons, each highlighting a different speaker. The Feminist Theory Workshop was founded by the Professor of Programs in Literature and Gender, Sexuality and Feminist Studies and former Margaret Taylor Smith director of Women’s Studies Robyn Wiegman to fill an intellectual gap at the university. “Feminist Theory Workshop really came about to give feminist theory scholars a voice,” Program Coordinator Julie Wynmor stated. Jean Fox O’Barr Professor in the Department of Gender, Sexuality & Feminist Studies, Jennifer Nash, will be moderating the conversation with Assistant Professor Patrice Douglass. Previously invited as a speaker in 2016, Nash brings a new perspective to the planning of FSW. In translating the workshop online, Nash, Wynmor and the rest of the GSF staff were concerned about losing its intensity, its shared comradery and its networking capabilities. “In some ways, it’s like a community,” Wynmor expressed about past years’ theory workshops. “People know each other or they’ve heard of each other or they see them once a year at Feminist Theory Workshops.” To amend this problem, speakers were invited to reconsider the format for their talks. These discussions led to two scholars switching from a lecture to a dialogue with the audience. “They will have the opportunity to engage with scholars in an informal conversation,” Nash
said. “We won’t get to have our normal workshops which I think we are all mourning. We are all mourning not being in a physical space together, but I think we are excited for the opportunity to gather virtually to hear questions from the audience and see what conversation sparks.” Another benefit is the new accessibility for individuals around the world to attend. In the past, the lectures were live streamed through YouTube, and 18 to 25 international students were awarded scholarships to attend. “This will allow people the capacity to participate in the conversation by asking questions,” Nash noted. As with previous years, the scholars asked to speak at the event are renowned in their field for their innovative research. As Nash said: “We have these three folks who come from very different disciplinary orientations who share this kind of grammar of feminist theory but who think about what feminist theory is and practice feminist theory in distinct ways.” The first scholar is Sharon P. Holland, Townsend Ludington Distinguished Professor of American Studies at the University of North Carolina Her talk will take place on March 12 from 2 p.m. to 3:30 p.m. EST. She was initially invited last year prior to the event being canceled. Dr. Holland takes an interdisciplinary approach to feminist theory, examining perspectives from Black studies, gender studies, queer theory and animal studies. Her past works, most notably “Raising the Dead: Readings of Death and (Black) Subjectivity” and “The Erotic Life of Racism,” examined the Black experience through these different lenses. As of late, she is continuing work on her project “hum:animal:blackness,” tying animal studies into conversations about mankind. “I think part of what will be so exciting about being in conversation with Sharon,” Nash
Courtesy of Duke GSF
The Feminist Theory Workshop will be having its 14th annual event throughout the month of March. expressed, “is to hear her talk more about the three lines between these projects, and how her research agenda has changed and evolved over the course of her career.” On March 19 at the same time, Associate Professor of Government at Dartmouth College, Shatema Threadcraft, will share her most recent research. Threadcraft is known for her work “Intimate Justice: The Black Female Body and the Body Politic,” particularly in the field of political science. The event will conclude with a talk by Professor in the Department of Social and Cultural Analysis and the Director of the Center for the Study of Gender and Sexuality at New York University Gayatri Gopinath on March 26 from 2 to 3:30 p.m. EST. Her two works, “Impossible Desires: Queer Diasporas and South Asian Public Cultures” and “Unruly Visions: The Aesthetic Practices of Queer Diaspora,” appeared at the forefront of queer diaspora theories and conceptions of belonging.
The three speakers will carry on the tradition of revolutionary thinking at the Feminist Theory Workshops, enlivening research possibilities and inviting new and exciting conversations. FSW has become a signature feature of the GSF Department at Duke University. “It puts us on the map. There are a lot of Women’s Studies departments, Gender, Sexuality, & Feminist Studies departments around the county,” Wynmor stated, “and I think that hosting this event — which is very different than any event of its kind — allows people to know about Gender, Sexuality, & Feminist Studies but also to know about Duke and what’s important.” When asked about the value of FSW, Nash responded, “Gender theory is the most cutting edge space in the university. It is a space where we are thinking about gender, class, sexuality, and nation together in a moment when those intersections have never seemed more urgent or pressing.”
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MONDAY, FEBRUARY 1, 2021 | 11
Duke Coffeehouse resumes virtual programming efforts this spring By Skyler Graham Culture Editor
Duke Coffeehouse is a place that strikes a balance between relaxation and excitement, a place to unwind throughout the week, learn what hypnagogic pop means and dance through the weekend. Unfortunately, like every other library, cafe and social space, the Coffeehouse has been closed since March 2020. This spring, however, they will continue to host sociallydistanced and online events. Senior Nathan O’Hara, the booking manager of Coffeehouse, revealed how the space is trying to maintain a presence on campus and catch the attention of new students. “Ultimately the Coffeehouse serves as an alternative and arts space on Duke’s campus — so without the actual physical space available to us, we’ve had to pretty much reframe everything we do,” O’Hara said in an email interview. “We can’t serve coffee or hold in-person events. Instead, we’ve decided to use our budget to do two things: hold virtual performances and occasionally, outdoor and socially-distanced art workshops. Basically, the goals are to continue supporting artists during a time where live performances are near impossible.” Last semester, the Coffeehouse and WXDU hosted a socially-distanced screen printing event where students could make t-shirts and posters with their respective designs. They held online performances with artists including Al Riggs, Luxe Posh and Owen Fitzgerald. They plan to continue these livestreamed concerts throughout this spring, kicking off on Jan. 30 with legendary NYC anti-folk artist Jeffrey Lewis and local acts jphono1 and Empty Disco. As a major supporter of Durham-
based artists, the Coffeehouse is planning a livestream featuring Triangle-area shoegaze/ psych/dream-pop bands for Feb. 4. Raleigh’s The Veldt will headline this event supported by Durham’s Sweet Homé and Chapel Hill’s Gallus Mag. “I think that show will be really fun,” O’Hara said. “The Veldt have a super interesting story as indie outcasts in the Chapel Hill of the ‘90s, who went on to tour with bands like Slowdive and the Jesus and Mary Chain. Of course, we’re planning alongside WXDU to bring back the annual Brickside Music Festival, in virtual format in April.” The Brickside Music Festival, known as the “biggest day of the year at Coffeehouse,” is an all-day event, usually lasting over ten hours. Last year’s festival was supposed to feature Helado Negro, Josephine Foster and Saariselka, but was abruptly cancelled when the spring semester was moved online. After nearly a year of navigating virtual classes, meetings and now performances, the Coffeehouse team is ready to bring this massive event online. In addition to being Duke’s premiere venue for indie artists, the Coffeehouse serves as a social and study space, especially among firstyear students. Without the physical space being open though, the sense of community has diminished. “I definitely feel the impact of COVID on the Coffeehouse community,” O’Hara said. “In the end, it’s really meant to be a social space. The events really make the Coffeehouse unique, but I think my favorite part of working there prepandemic had to be just during working hours. Usually we’re open 6 p.m. to 2 a.m. as a study space with free coffee, and I really miss the variety of people coming in to grab an espresso and talk about their thesis research, art projects or just listen to music on the PA and shoot the shit. As much as I miss it, I’m more bummed
Courtesy of Duke Coffeehouse
In a normal year, the Duke Coffeehouse functions as a study space and underground concert venue. the first-years won’t be able to experience it for some time.” The Coffeehouse, located on East Campus, is a convenient study or social space for first-years in particular. While they may
not be able to understand the Coffeehouse experience this year, there is hope that these upcoming events and the passionate students managing them can preserve the culture of the Duke Coffeehouse.
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