fall arts preview

Fall ArtsPreviewSept 8, 2010

2 | WEDNESDAY, SEPTEMBER 8, 2010 Fall arts preview ThE chRoNiclE

chronicle file photo

Poetry on Duke buses, a project initiated last year, has carried on into 2010-2011 in hopes of allowing more students to experience the art.

The writing on the bus.

resurrection dancetheater

this page

amy caron

wole soyinka

duke arts festival

next page

page sixrenaissance music

joe college day

page seven

page ten

contents.

page eleven

ThE chRoNiclE Fall arts preview WEDNESDAY, SEPTEMBER 8, 2010 | 3

NASHER MUSEUM OF ART AT DUKE UNIVERSITY

September 2, 2010 – February 6, 2011

IMAGE: Jeroen Diepenmaat, Pour des dents d’un blanc eclatant et saines, 2005. Record players, vinyl records, taxidermied birds, and sound. Dimensions variable. © Jeroen Diepenmaat. Image courtesy of the artist.

The Record: Contemporary Art and Vinyl is made possible by The Andy Warhol Foundation for the Visual Arts. Major support is provided by Marilyn M. Arthur, the Mary Duke Biddle Foundation, Duke University’s Council for the Arts, the N.C. Arts Council, a division of the Department of Cultural Resources, Charles Weinraub and Emily Kass, E. Blake Byrne, Barbra and Andrew Rothschild, Christen and Derek Wilson, and the Graduate Liberal Studies program at Duke University. This program is supported in part, by public funds from the Netherlands Cultural Services. Additional support is provided by Dr. and Mrs. Robert F. Allen, Catherine Karmel, Peggy and John Murray, Francine and Benson Pilloff, Caroline and Arthur Rogers, Olympia Stone and Sims Preston, Angela O. Terry, Richard Tigner, Nancy Palmer Wardropper, Peter Lange and Lori Leachman, Lauren and Neill Goslin and Merge Records.

www.nasher.duke.edu/therecord | 919-684-5135

Duke Arts Festival grows in breadth, durationby Sanette Tanaka

THE CHRONICLE

For the second consecutive year, the Duke Arts Festival will celebrate student arts by showcasing their works and inviting artistic alumni back to campus.

A variety of work will be featured, including paintings, photography, prints, sculptures, poetry, music, dance and theater performances, videos and media art for nearly three weeks, Oct. 22 through Nov. 6. Duke alumni who have made careers in arts, entertainment or media fields will also lead discussion panels Oct. 28 through Oct. 30.

“I want to make student art-making truly visible on cam-pus by bringing together a vibrant and activist community of student artists,” said Vice Provost for the Arts Scott Lin-droth.

He added that the showcased pieces will come from stu-dents of all disciplines—art majors and non-majors alike.

“Most students know that the arts departments of-fer opportunities to play in music ensembles, participate in theater and dance productions and take lessons and courses in [arts],” Lindroth said. “Even so, it’s a sad fact that many students who were deeply engaged in the arts in high school wind up dropping the arts when they arrive at Duke.”

The first celebration of student arts took place in No-vember 2009 and spanned a single weekend. Duke grad Andrea Coravos,Trinity ’10, conceived the idea because she wanted to create an avenue for student artists to “get

recognized or make money.”This fall, the Festival is longer and more complex, allot-

ting space for a greater number of visiting artists, Lindroth said. Submissions will be accepted through Sept. 30. Last year, about 100 students had their visual art presented, but Lindroth added that he expects more submissions this year considering that music, dance and theater performances will be involved.

Although the majority of the work will be shown in the Bryan Center, the Festival may utilize additional venues as well, including the Old Perk, Smith Warehouse and the Fredric Jameson Gallery in the Friedl Building, he said.

The Festival is sponsored by the Office of the Vice Pro-vost for the Arts, the Alumni Association, the Career Cen-ter and the Duke University Union Visual Arts Committee, but additional departments—including the Music Depart-

ment, Dance Program, Theater Studies Department and English Department—will present performances and readings as well.

“Several student arts organizations are getting involved, including DefMo, Sabrosura, Latent Image, the Visual Arts Committee, Hoof ‘n’ Horn and others,” Lindroth said. “I would like to enlist the participation of individual student artists to perform, dance and paint on the Bryan Center Plaza, on the quad, at bus stops, in the Great Hall and oth-er sites on campus. It should be very special.”

Notable highlights of the Festival include a reading by U.S. Poet Laureate W.S. Merwin, the Department of Theater Studies’ production of “The Beatification of Area


Although last year the Festival only took place over a single week-end, this year’s iteration will encompass nearly three weeks and involve a greater number of both students and alumni.


The Duke Arts Festival will feature a wide variety of student art, including paintings, photography, prints, sculptures, poetry, music, dance and theater performances.

SEE festival ON PAGE 14


Xaviera SimmonsA participating artist in The Record:

Contemporary Art and Vinyl, August 26, 2010 - February 6, 2011. Nasher Museum of

Art at Duke University, nasher.duke.edu.

Sujata MohaptraResidency and solo Odissi concert on

October 30 by the foremost Odissi dancer and choreographer. Duke Dance Program,

danceprogram.duke.edu.

The Theme is Blackness: A Festival of Contemporary Playwrights

Featuring playwrights Lydia Diamond and Ed Bullins who will teach and work with drama

students (November 2010). Duke Theater Studies, theaterstudies.duke.edu.

Piffaro, The Renaissance Band

Specialists in the performance of early music will perform Claudio Monteverdi’s 1610

Vespro della Beata Vergine (“Monteverdi Vespers”) on November 21 in Duke Chapel.

Duke Music Department, music.duke.edu.

Amy CaronNew-genre interdisciplinary artist will be in residence at the Center for Cognitive Neuroscience from October 7 to November 3, 2010, and present Waves of Mu, a

neuroscience-based art installation and performance work.Duke Institute for Brain Sciences,

[email protected].

The Bad PlusThis innovative jazz trio will participate in a multi-visit residency (fall 2010 & spring 2011) that includes the commission and world premiere of Igor Stravinsky’s The

Rite of Spring arranged for piano, drums, and bass. Duke Performances,

dukeperformances.duke.edu.

Mabou MinesNew York-based experimental theater

collective will workshop and develop an adaptation of Tennessee Williams’ The

Glass Menagerie. Duke Performances, dukeperformances.duke.edu.

Makoto FujimuraJapanese-American artist Makoto Fujimura will focus on the role of the arts in restoration in the aftermath of trauma (spring 2011). Duke Divinity

School Initiatives in Theology and the Arts, divinity.duke.edu.

For more information on visiting artists contact Vice Provost Office for the Arts, (919) 684-0540 or sponsoring department.

The goal of the Visiting Artist Program is to support projects that will enrich the life of the university and broader community, augment the curricular efforts of a range of departments and programs, facilitate the interaction of artists and scholars, foster

the reputation of Duke University as a place where the arts are vital and diverse, and contribute to the arts as a whole.Photo credits: Ed Bullins (Lou Jones), Piffaro, The Renaissance Band (Andrew Pinkham), Amy Caron (Margaret Willis)

The Bad Plus (Michael Dvorak), Mabou Mines (Tom LeGoff).

Duke University Vice Provost Office for the Arts and the Council for the Arts 2010-2011 Visiting Artists.

Demetri Martin

MEMORIAL AUDITORIUM

Sept.17, 18Hayti Heritage Center, 8:00 p.m.Megafaun & Fight the Big Bull‘Sounds of the South’

Sept. 19Hayti Heritage Center, 5:00 p.m.Megafaun & Fight the Big Bull‘Sounds of the South’

Sept. 24 Reynolds Theater, 8:00 p.m.Loudon Wainwright III & Friends‘High Wide & Handsome’

Sept. 25 Reynolds Theater, 8:00 p.m.Carolina Chocolate Drops + Joe Henry

Oct. 1 Sheafer Lab Theater, 8:00 p.m.The Books

Oct. 3Reynolds Theater, 7:00 p.m.Till Fellner

Oct. 5Page Auditorium, 8:00 p.m.Dirty Projectors

Oct. 7Duke Chapel, 8:00 p.m.Stile Antico‘The Song of Songs’

Oct. 15Page Auditorium, 8:00 p.m.Ollabelle with special guests Jim

Lauderdale, Catherine Russell, Aoife O’Donovan & David Mansfield

‘The American Beauty Project’

Oct. 22 Page Auditorium, 8:00 p.m.Andras Schiff

Oct. 28Page Auditorium, 8:00 p.m.SFJAZZ Collective‘The Music of Horace Silver’

Oct. 30Page Auditorium, 8:00 p.m.Del McCoury Band + Preservation

Hall Jazz Band

Nov. 5, 6Reynolds Theater, 8:00 p.m.Ralph Lemon‘How Can You Stay In The House All

Day & Not Go Anywhere?’

Nov. 7Reynolds Theater, 7:00 p.m.Allen Toussaint

Nov. 13Reynolds Theater, 8:00 p.m.Cedric Watson & Bijou Creole + Red

Stick Ramblers

Nov. 14Reynolds Theater, 7:00 p.m.Arnaldo Cohen & Mihaela Ursu-

leasa

Dec. 3 Reynolds Theater, 8:00 p.m.Vijay Iyer Trio

Dec. 4Reynolds Theater, 8:00 p.m.Bonnie “Prince” Billy & The Cairo

Gang

duke performances calendar


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Duke beatifies playwright Wole Soyinka

by Andrew O’RourkeTHE CHRONICLE

This fall, the Duke Department of Theater Studies will squeeze Lagos, Detroit, the 1990s and modern-day corrup-tion all together into Reynolds Theater. And you’ll even be invited on stage to see it happen.

Written by playwright, political activist and Nobel laure-ate Wole Soyinka, The Beatification of Area Boy brings a story of moral ambiguity and corruption in oil-laden Nigeria that will likely resound with today’s American audiences.

Area Boy was born at a turbulent time in Nigeria’s his-tory. Soyinka used his role as a playwright to express his dissent, running theatrical workshops that dealt with the politics of society at that time.

“The play evolved from ideas that came from the sketch-es during the tyrannical rule of General Sani Abacha,” Soyinka said. He was actually in the process of preparing a production of the play when he was charged with treason by the government and forced into exile. Soyinka left the country in 1994.

The play was never finished in Nigeria; its first per-formance took place at the West Yorkshire Playhouse in Leeds, and Area Boy has since been shown in other venues, including the Majestic Theater in Brooklyn, N.Y and now Duke’s Reynolds Theater.

“Wole calls the play a ‘Lagotian kaleidoscope,’” said the play’s director Jody McAuliffe, a professor of the practice of Theater Studies. “When I read the play, I was struck by a number of things, one of which was that the world that Soyinka created in the 1990s is similar to our world today.”

The play, based in Nigeria’s largest city, Lagos, tells the story of the idealistic decay of a young ex-couple sur-rounded by a world of corruption. Although the woman is about to marry into the upper echelons of society, the man takes on a role as a Robin Hood-type figure; “[The man] becomes a criminal, but he becomes a criminal on his own terms,” McAuliffe said.

McAuliffe’s production of Area Boy will incorporate many unique artistic choices and elements. For example, the audience will be seated on the stage with the players. “I wanted the intimacy of being very close to the perform-ers” along with embracing “the great expanse of the the-ater,” she said.

In cooperation with Bill Noland, professor of the Prac-tice of Visual Arts, and Danya Taymor, Trinity ’10, McAu-liffe went to Detroit to film background sequences to be incorporated as a multimedia element in the show.

“We wanted a place that was in the US... that could stand in, in some sense, for Lagos, and we felt like Detroit was the closest analogy,” McAuliffe said. “There’s a tremendous amount of vibrancy, while at the same time... [it has] the extremes of wealth, burned-out swaths.” The play will also incorporate plenty of music and dance, with an original score composed by Duke graduate Todd Hersberger and choreography by Clay Taliaferro, Duke Professor Emeritus of the Dance Program.

Soyinka has been working with the cast and creative staff over the past few days.

“I’m not new to the university,” said Soyinka, who has conducted seminars and given lectures on campus in past years. “This just happens to be centered around one of my works... [and] they expressed a wish for me to be around.”

He is here not to shape the creative process, but mostly as a facilitator for a discussion of the work, as well as to an-swer questions about what for many is the complex mystery of Nigeria’s past.

“I’m not interfering at all,” Soyinka said. “It’s an adven-ture, and I’m always excited, especially in a university set-ting where it’s a learning and teaching environment.”

The play promises to be a vibrant production that will engage audiences in an unconventional, intriguing way. The cast of undergraduate and graduate students from Duke and UNC will hit the stage on a run that spans from Oct. 21 to 31. For those who have always wanted to be on stage, your chance isn’t too far away.

Wole Soyinka’s play The Beatification of Area Boy will be shown in Reynolds Theater from Oct. 21 ro 31. For ticket informa-tion, please visit the Duke Box Office in the Bryan Center.

special to the chronicle

Nigerian playwright, political activist and Nobel laureate Wole Soyinka’s play The Beatification of Area Boy is being staged at Duke as a part of the Duke Arts Festival. In the production, audience members will be seated on stage in order to create a particular sense of viewer intimacy.


by Andrew WalkerTHE CHRONICLE

This fall, Duke students will have the chance to experience a Renaissance mas-terpiece in as close to its original format as possible.

Acclaimed Renaissance septet Piffaro will perform Claudio Monteverdi’s Vespro della Beata Vergine in the Duke Chapel Nov. 21. This unique collaboration will feature select instrumentalists and voices from Duke’s student ensembles to celebrate the quadricentennial of the piece, which was

premiered in Venice in 1610. Founded in 1980, Piffaro specializes in

instrumental music from the late-medieval period and the Renaissance, preserving and reinterpreting the traditions of profes-sional court bands as well as the peasantry. They perform exclusively on historical in-struments, which lends their music a thor-oughly authentic timbre.

“The inclusion of Piffaro in this event is really critical,” said Director of Chapel Music Rodney Wynkoop, who is conduct-ing the performance. “Not only are they

Piffaro brings Monteverdi to the Chapel


Piffaro’s performance will feature select instrumentalists and voices from Duke’s student ensembles, compli-mented by the group’s unique instrumentation, which includes rarities like the Baroque harp and the theorbo.

experts on the piece, but they bring a num-ber of instruments that are important to a period presentation like this one.”

These instruments include the Baroque harp, the theorbo and the archlute, all of which were designed to perform the bas-so continuo technique that Monteverdi pioneered. In contrast to the strict coun-terpoint of earlier Renaissance music, the harmonic system of basso continuo is structured around a single bass line, giving musicians partial liberty to improvise their accompaniment. This style of composi-tion, known as the nuova prattica, permit-ted Monteverdi to construct complex and lyrical melodies in the choir voices without sacrificing the overarching harmonic logic of the piece.

Combining the nuova prattica with cantus firmus, the melodic backbone of

polyphonic composition, Vespro della Beata Vergine stands as an example of the range of different stylistic possibilities of late Renais-sance sacred music.The majestic 90-minute piece calls for choral ensembles in varying size as well as different combinations of woodwinds, brass and strings. Each move-ment alternates between solo and choir voices, emphasizing the contrasts within the ensemble.

“The solo movements of the piece are incredibly expressive; they change from twisting, slow chromatic lines to highly or-namented passages,” Wynkoop said. “It’s kind of a collage. Like Bach’s Mass in B minor, the piece gives a wide array of what can be done.”

Elizabeth Terry, a fifth-year graduate

SEE piffaro ON PAGE 14


Also playing as a part of the Medieval and Renaissance Music Series is Stile Antico, who will play the Chapel in October. The group will also provide a vocal master class, open free to the public.


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by Kevin Lincoln THE CHRONICLE

Time to restock your supply of tie-dye t-shirts—Joe Col-lege Day is on the horizon.

Since being revived in 2007 after a thirty-year absence, the day-long music festival on Main West Quadrangle has reassumed its role as a major aspect of the Duke University Union’s fall programming. In the last three years, perform-ers have included Pretty Lights and Cage the Elephant in 2009, Shwayze and White Rabbits in 2008 and Gov’t Mule in 2007.

Back during the heyday of Joe College in the 1960s and ’70s, the list of groups that played on campus contains some big names: Duke Ellington, Count Basie, the Beach Boys, the Grateful Dead.

After an event last year that saw five bands perform over the course of the afternoon and evening, the line-up has been reduced to three for 2010: Theophilus London, Anya Marina and Cute Is What We Aim For.

Joe College Day Director Nathan Nye, a Recess staff writer, said the festival—which is set to take place Oct. 2—decided to go with higher profile artists than in 2009.

“Last year there was a lot of quality artists but not so much name recognition,” Nye, who is a sophomore, said. “This year, we wanted to sort of balance those things, which we think we’re doing well.”

In addition to being bigger names, the newly announced line-up contains three varied, diverse acts.

“Theophilus London is an unknown, up-and-coming R&B artist with an artsy vibe,” Nye said. “Anya Marina is much more singer-songwriter, had the really fun cover of [T.I.’s] “Whatever You Like,” and has a really impressive body of her own work. Something really fun to chill out on the quad and listen to. Cute Is What We Aim For we thought was an interesting choice. They had some hits, and now they’ve moved in a slightly different direction: very fun stuff.”

Music won’t be the only attraction for students at Joe College, though. Nye said the day will incorporate crafts and some pieces of art for purchase.

Joe College aiming for festival feel


This is the fourth Joe College Day since the event was revived, after a thirty-year absence. Previous Joe Colleges brought such legends as the Beach Boys and the Grateful Dead to perform at Duke.

SEE joe college ON PAGE 13


The Underpants, Duke Players’ Orientation Show, gave freshmen their first glimpse of Duke’s Theater Department.

Undergoing orientation week...


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Duke University Fall 2010 Calendar of Events Duke University Fall 2010 Calendar of Events

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

Buy tickets online at tickets.duke.edu or visit the University Box office, Bryan Center, West Campus, Mon-Fri, 10am-5pm, (919) 684-4444

Persons with disabilities who anticipate needing accommodations, or who have questions about physical access, may contact the Box Office in advance of the event you wish to attend.

Calendar edited by Beverly Meek, Vice Provost Office for the Arts, 919-684-4687. buzz.duke.edu

For More Information For More Information arts.duke.edu arts.duke.edu

Arts D U K E

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www.carolinaperformingarts.orgOrder tickets online or at the Box Office, (919) 843-3333 M–F 10am–6pm

SutraNov 10–11

September9 McCoy Tyner Trio

15 Earl Scruggs with special guests The Red Clay Ramblers

24 Chick Corea Trio28 Dynamic Korea: Dance and Song –

Chae Hyang Soon Dance Company30 Leon Fleisher, piano

October1 Ozomatli8 Cedar Lake Contemporary Ballet

11 Hugh Masekela13–14 Mariinsky Orchestra

November5 Omara Portuondo8 Kremerata Baltica with Gidon

Kremer, violin/leader10–11 Sutra – Sidi Larbi Cherkaoui /

Sadler’s Wells London17 Carrie Rodriguez and Ben Sollee

December4–5 Nutcracker – Carolina Ballet

by Jessie TangTHE CHRONICLE

Action through non-action is what Utah-based artist Amy Caron aims to explore during her residency at Duke University’s Center for Cognitive Neuroscience from Oct. 7 to Nov. 3.

Sponsored by the Center for Cognitive Neuroscience, Department of Art and Art History, Visual Studies Initia-tive, Office of the Vice Provost for the Arts and Duke In-stitute for Brain Sciences, Caron’s time on campus centers around her eclectic neuroscience-based work, “Waves of Mu.”

The multifaceted exhibition incorporates paintings, photography, sculpture, sound and performance to con-vey and challenge conventional wisdom regarding the in-nerworkings of the brain.

The work’s inspiration came from the discovery of mir-ror neurons in the scientific community, with the title of the piece a reference to the Electroencephalogram oscil-lations that reflect mirror neuron activity. Mirror neurons fire in the brain both when an animal acts and when it observes the same action done by another animal. In the latter, the neurons “mirror” the behavior of the observed as if the observer itself is acting. This finding is considered one of the great breakthroughs in recent neuroscience his-tory.

Although Caron seems like an unlikely artist to produce such an exhibit—she received her B.F.A. in modern dance and mainly works in video and performance—“Waves of Mu” earned her a spotlight in Neurology Now, showcasing her as one of its “Inspiring People” in its July/August issue. She has worked closely with charismatic neuroscientist V.S. Ramachandran, whom Caron had seen on TV previously.

Caron’s piece delves into this phenomenon through a two-room installation that fully immerses audiences in a direct and indirect way. The first room is a rich and layered re-creation of the inner workings of the brain. Audiences will experience with their various senses as they interact with the complex model comprised of paintings, sculp-tures, tessellations, photographs and sound bites.

“Waves of Mu” seeks to show brain


Amy Caron, whose work “Waves of Mu” is based heavily in neuroscience and the brain, will be a resident at Duke’s Center for Cognitive Neurosci-ence this fall. Her art incorporates paintings, photography, sculpture, sound and performance in an attempt to illustrate the brain’s inner workings.


Though Caron works intimately with science and neurobiology, her background is actually in modern dance, and she often operates in the fields of video and performance.

SEE caron ON PAGE 14


by Kevin LincolnTHE CHRONICLE

Dance is an art form that can be found anywhere in the world, in innumerable forms and functions. A few of these foreign varieties will be coming to Duke this fall as part of the Dance Program’s upcoming schedule.

The Resurrection Dance Theater of Haiti is performing a benefit concert in Reynolds Theater Sept. 19, the proceeds of which will go to rebuilding the two homes that house the group back home. Two of the three homes owned by the RDTH, which is comprised of orphans, former street children and child slaves, were badly damaged in the earthquakes

earlier this year. The Resurrection Dance Theater is a

distinguished group, highly regarded for taking in and improving the lives of oth-erwise destitute Haitian children through training and education in dance. Their performance heavily incorporates drum-ming and the story of their Theater’s his-tory to enhance the choreographed rou-tines. Earlier in the year, the RDTH even gave a master class to Duke students, and their performance on campus is part of a series—they’ll be making stops in Mary-land, Washington, D.C. and Virginia as well.

In addition to Haitian influences, the Dance Program will also feature an Indian

style of dance called Odissi. Sujata Moha-patra, a renowned Odissi dancer, will be an artist in residence with the Dance Program from Oct. 18 to Nov. 21.

“Ms. Sujata Mohapatra is an outstand-ing and internationally recognized Odissi dancer,” the Dance Program’s website reads. “Odissi is one of the several classi-cal dances of India, characterized by fluid movements and bhangis or sculpturesque poses inspired by the temple sculptures of Puri, Konark and Bhubaneswar.”

As she’s working on a piece here, Mo-hapatra will also give presentations at Duke and in schools around Durham, ac-cording to the Dance Department’s 2010 Newsletter.

“While at Duke, she will give guest lec-tures at the Asian and Middle Eastern Stud-ies Program, the Religion Department, the Franklin Center for Humanities and at the NC Center for South Asia’s faculty collo-quium,” the newsletter noted.

The staged performance of a Pallavi in the November Dances 2010 concert will mark the finale of her tenure here. Prior to this, Mohapatra will give a solo dance in the Odissi style at the Hayti Her-itage Center, also hosted by the Dance Program. Mohapatra’s stay is being sup-ported by a Visiting Artist Grant from the Council for the Arts in the Office of the Provost.

Duke Dance brings in Haitian, Indian styles


The Resurrection Dance Theater of Haiti, a dance group comprised of orphans and former street children and child slaves, will direct profits from their performance at Duke toward repairing their homes in Haiti.


electronic submission begins: September 10

CALL FOR SUBMISSIONS

Sponsored by the Office of the Vice Provost for the Arts, Duke Alumni Association, Duke Career Center, Duke University Union Visual Arts Committee.VISUAL o MUSIC o DANCE o THEATER o FILM o CREATIVE WRITING

Student artists are invited to submit work in all media forms including painting, photography, poetry, sculpture, mixed media, digital art, animation, film, video, music, dance and poetry.

2009 Festival entries: Dandelion, (Anjie Yu); Andy Warhol, (Stanislas Colodiet); Underwater (David Henry)

October 22 – November 6, 2010CAMPUS-WIDE STUDENT ARTS SHOWCASE

• Limit of 3 submissions per student

• Submit digital images at arts.duke.edu

• Visual artwork should be prepared/ framed for display.* 2-D pieces should be capable of being hung.

• Submit video entries via YouTube or a publicly accessible video-sharing site.

• Other dynamic media should be formatted as mp4 or mp3 files.

• Visual artwork must be must be dropped off at the Bryn Center on Oct. 13th or 14th.

• The deadline for electronic submissions is September 30, 2010.

Submission Guidelines

*Free framing workshops will be offered on Sep. 17 from 3-6PM and Sep. 24 from 1-4PM on a first come first serve bases in the Bryan Center. Prepare your work for display with techniques learned in this hands-on clinic.

Topics covered include mat selection and cutting, proper materials and finishing techniques, and overall de-sign. Free frames (up to 30”x24”) and materials will be available for works selected for the Festival exhibit.

Registration for the workshop is required: 919.684.0540 or [email protected].

Showcase your artistic talents for the Duke community!

Bringing the Duke Arts, Mediaand Entertainment Community Together

MORE INFO @ ARTS.DUKE.EDU

Duke’s Theater Department made the move from the desolate areas of East Campus to the hustle and bustle of Main West this school year.

The department’s offices —which used to be in the Bivins building at the back of East—are now located in Page Auditorium. The relocation became possible when the Career Center vacated their space in Page to move into Smith Warehouse, said Miriam Sauls, director of theater and communications for the department.

“Just in terms of awareness and visibility, [the move] is good,” she said. “Our students will drop in more because we’re so much more accessible to upperclassmen. That just feels good for unity.”

Sauls added that being able to walk out of Page and into the Bryan Center—where a majority of the depart-ment’s productions take place—has been extremely con-venient. Most of the Theater Department’s productions

take place in Shaefer and Reynolds Theater, with the ex-ception of student-produced plays in Brody Theater on East.

But that is a small inconvenience compared to the benefits brought by being in Page, Sauls said. Other of-fices crucial to the department—such as Theater Opera-tions and the Box Office—are also located in the Bryan Center.

It has also been valuable just for the Theater faculty to experience the vibrant life on West after the move to Page.

“It’s just amazing how much goes on here in terms of people and tourists,” Sauls said. “I feel like we’re in the middle of a city now, where before we were in a village. It just feels like the energy that this University is teeming with is much more obvious to us now.”

—from staff reports

Theater department moves to Page

Oct. 21-31, Reynolds TheaterThe Beatification of Area BoyBy Wole SoyinkaDirected by Jody McAuliffe

Dec. 2-5, Brody TheaterDuke Players Lab Theater

Oct. 15-17, The Nasher MuseumWestern MenBy Adam SobseyDirected by Jay O’Berski

Nov. 3-13, Manbites Dog Theater“The Theme Is Blackness”

A Festival of Contemporary American Play-wrights, including:

Night of the Beast By Ed Bullins (World Premiere)Directed by Jay O’Berski

Harriet Jacobs By Lydia R. DiamondDirected by Dana Marks

duke theaterfall 2010

theater studies.

department-related.


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“We’re going to run a tie-dye table, tie-dye t-shirts that say ‘Joe College Day’ and have the bands on them,” Nye said. “We’re bringing in local artists to have tents set up where they can sell their wares, get some photographers; I know we have a henna artist who’s coming, a visual artist.”

Giving the event more of a festival at-mosphere has also been a priority. Efforts have been made to revamp the beer gar-den, encouraging people to spend time relaxing and socializing in the area in-stead of just grabbing a drink and leaving soon after, as participants have done in the past.

“We’ll start in the early afternoon and hopefully have [Joe College] go into the

night, have it be a nice evolution of food and crafts and things to look at and shop around; have a beer, listen to some really good music, and then toward the end of the night have our headliners come out and perform.”

With these new features, the hope is that more students will spend the entire day on Main Quad. And for the competitive, there will even be an eating contest with food provided by on-campus eateries—winner gets a prize.

The programming has an air of good-natured, casual fun to it—a throwback to the era of the original Joe College. Tailgate this is not.

“We’re really trying to put on a day that’s very relaxing, fun-filled, retro-themed that’ll let you come and chill out on the quad for a day,” Nye said.

JOe COlleGe from page 7


Additions to Joe College this year include a revamped beer garden, which will encourage socializing and relaxation, as well as craftsmaking and work for sale from local artists.


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The second room features Caron assuming the role of scientist in a work that involves video, theater and move-ment sections. She places the audience in unexpected points of observation which combine hard science with experimental theories that will trigger the mirror neurons of viewers, whether they know it or not.

“Even though nothing’s really happening to you, you

take on the feeling of what you see,” Caron told Neurology Now.

The science-meets-art intersection is one that isn’t often traversed, but Caron has done it in a manner both enter-taining and educational. “Waves of Mu” is remarkable in that it offers a unique and refreshing spin on a topic that is better understood through interactive visualization.

“The interdisciplinary nature of her approach makes it possible to explore education via contemporary art,” Michael Platt, director of the Center for Cognitive Neuro-science, told the Duke Institute for Brian Sciences. “The teaching potential of the piece is realized through the use of sound, sculpture, touch, visual, smell and taste sensa-tions. In these ways, the piece is totally immersive.”

Caron will present eight public performances of her work at Duke, which will be housed in Schiciano Audito-rium and The Studio of the Pratt School of Engineering.

The opening reception for “Waves of Mu” will take place on October 18 from 5 to 9 p.m. Registration required online. For more information, visit http://dibs.duke.edu/.

student in musicology who will be performing with the choir, said that the Vespro prefigures later genres such as the oratorio and the Baroque sacred cantata in its combi-nation of liturgical and non-liturgical elements.

“Since this work does belong to such a curious genre and contains elements both sacred and secular, church and theater, the listener may expect to hear areas of both austere singing and flashy virtuosity,” Terry said. “This range of singing style and difficulty contributes both to the work’s beauty and its impressive difficulty.”

The authentic Renaissance sound depends on a cer-tain sensitivity of voice, she added. The combination of this light approach with Piffaro’s period instrumentation will allow for an unparalleled listening experience within the acoustic space of the Chapel.

A guest lecture by musicologist Jeffrey Kurtzman on Nov. 19 will complement the performance of the Vespro.

Kurtzman, who has written extensively on the musical origins and 17th-century performance practice of the piece, will discuss its structure and broader historical context.

Above all, the event presents an exceptional opportu-nity for Duke students to perform alongside professional musicians in tribute to Monteverdi’s subtly intricate and transformative composition.

“It’s such a rewarding experience to learn a challeng-ing piece of music, and when other like-minded musi-cians are involved, the experience becomes this great collective success,” Terry said. “There’s really nothing like it.”

Also playing in the Medieval and Renaissance Music Series is Stile Antico, who will play the Chapel in October.

Piffaro will perform Monteverdi’s Vespro della Beata Vergine in the Duke Chapel, Nov. 21, 4 p.m. Tickets are $20 general admission, $5 student, and can be purchased at the Duke University Box Office or online at tickets.duke.edu.

PIFFARO from page 6

Boy” by Nobel Prize-winning playwright Wole Soyinka, a new media wall in the Link by visiting artist Fatimah Tug-gar and the renowned exhibit “The Record: Contempo-rary Art and Vinyl” at the Nasher Museum.

The Festival will also give aspiring students the chance to meet Duke alumni involved in the arts.

Alumni will be available to meet students at a dinner and reception, as well as participate in career panels cover-ing all areas of the arts, Lindroth said. The list of partici-pants has yet to be finalized but will include nontraditional career paths such as arts presenters, agents, museum cura-tors, filmmakers, musicians, dancers and actors.

Lindroth said he considers the weekend a networking event for students.

“Last year students very much enjoyed the opportunity to meet our alumni, and it is not at all necessary to be an arts major to attend the dinner and career panels,” he said.

FeSTIvAl from page 3

CARON from page 10


Caron will be in residence at Duke from Oct. 7 to Nov. 3, and in that time will present eight public performances of her work at Duke.

“The interdisciplinary nature of her approach makes it possible to explore education via con-

temporary art.” — Michael Platt,

director of the Center for Cognitive Neurosicence


Pick up The Chronicle’s Fall Menu Guideon Friday, September 17


CAROLINA CHOCOLATE DROPS+ JOE HENRYSAT., SEPT. 25, 8PM • REYNOLDS THEATER

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DEL McCOURY BAND+ PRESERVATION HALL JAZZ BAND SAT., OCT. 30, 8PMPAGE AUDITORIUM

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The Music of horace silver

SFJAZZCOLLECTIVETHU., OCT. 28, 8PMPAGE AUDITORIUM

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András schiffFri., Oct. 22, 8pm page auditOrium

SOUNDS OF THE SOUTH

MEGAFAUN & FIGHT THE BIG BULLFEAt. ShAroN VAN EttEN& JUStiN VErNoN oF BoN iVEr

FRI. & SAT., SEPT. 17 & 188PM | SUN., SEPT 19, 5PM HAYTI HERITAGE CENTER

DIRTY PROJECTORS+ KENNY CARR & THE TIGERS

TUE., OCT. 5, 8PMPAGE AUDITORIUMCo-sponsored by DUU Major Attractions

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