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Millennial Capitalism: Global Perspectives – Spring 2019

Course Number: CULANTH 530S

Course Attributes: CCI, CZ, R, SS

Course Description:

This course historicizes the conditions under which a specific form of capitalism emerges; one primarily focused on financialization and debt. Students begin by looking to the inception of market capitalism in the Atlantic world accounting for its cultural logics: How race and racism operate in tandem with capital; the significance of the slave trade and the institution of slavery; the fact of empires and peripheries; and the centrality of gender to private property relations. The course concludes with an inquiry into those new forms of work and corollary forms of alienation that define the digital age.

Anne-Maria MakhuluFaculty Biography:

Anne-Maria Makhulu is an Associate Professor of Cultural Anthropology and African and African American Studies and Core Faculty in Innovation and Entrepreneurship at Duke University. Her research interests cover: Africa and more specifically South Africa, cities, space, globalization, political economy, neoliberalism, the anthropology of finance and corporations, as well as questions of aesthetics, including the literature of South Africa. Makhulu is co-editor of Hard Work, Hard Times: Global Volatility and African Subjectivities (2010) and the author of Making Freedom: Apartheid, Squatter Politics, and the Struggle for Home (2015). She is a contributor to Producing African Futures: Ritual and Reproduction in a Neoliberal Age (2004), New Ethnographies of Neoliberalism(2010), author of articles in Anthropological Quarterly and PMLA, special issue guest editor for South Atlantic Quarterly (115(1)) and special theme section guest editor for Comparative Studies of South Asia, Africa, and the Middle East (36(2)). A new project, South Africa After the Rainbow (in preparation), examines the relationship between race and mobility in postapartheid South Africa.

CULANTH_530_Poster

 

Will ‘Hamilton’ change how actors of color are cast?

By Camille Jackson

Theater-goers trying to figure out the surprising success of the musical “Hamilton,” which casts actors of color in the role of the founding fathers, should start with one particular reason, say two leading observers of musical theater: its hip hop soundtrack.

“Broadway musicals are supposed to produce hits. When rock took over it became popular music. When hip hop and rap took over, it became popular but [before Hamilton] there were no hip-hop musicals,” said William Henry Curry, the resident conductor for the NC Symphony.

Read more: https://today.duke.edu/2016/09/will-hamilton-change-how-actors-color-are-cast

Supported by the Power – Lonnie Holley

Exhibiting in the John Hope Franklin Gallery from December 15, 2015 – February 26, 2016.

 

Lonnie Holley is the artist working today who can best eliminate the barrier between taught and untaught art. This collapse of dividers, not unlike racial ones, represents a declassification or deconstruction of a deeply troubling history in order to create a more communitarian future.

Holley is a peerless artist who we best label contemporary, not folk. His sense of contemporary is more closely aligned with current social and political events than most contemporary artists who seem to have only evolved their use of materials.

In Lonnie Holley: Supported by the Power, sculptures emerge from Alabama yards and Atlanta corners. Holley’s themes in his art and music run concurrent to contemporary actualities: post-Jim Crow race pathologies or a recycling of consumer goods towards a more sustainable future.   His story is a southern tale. The history of the South conjures the most American of stories: a story of oppression from tilled fields and small yards to urban corners of southern and northern cities.

Holley, when compared to an exemplary artist like Robert Rauschenberg, creates works which are more zen-like, less neurotic and contradictory and more future-predictive in terms of 1/ connecting to tradition 2/ a recycling of materials to make a more sustainable art 3/ creating works with fewer conservation problems as they are already time-rendered 4/ its connection to music 5/ creating a language of liberation 6/ the connection to nature and local specificities.

On the main wall we see four totemic, cruciform-like works which convey the African-American exigency of forced labor, suffering and the genesis of religious sanctuary.   On the end wall, Never to be Opened Again, made by Holley in post-Katrina New Orleans, depicts a local history in ruins, a result of the baneful mix of a corrupted nature and politics.   In the two remaining works, Supported by the Power and The Catholic Ladies’ Picture, Holley creates a personal history (auto-portraiture as empowerment) and a conceptual nod to art history (art objects as carriers of power). Supported by the Power, consisting solely of 7 sculptures, we can still grasp the sum power of Lonnie Holley’s work.

Special thanks are due to: the artist, Matt and William Arnett, Bradford Cox, Rodney and Nancy Gould, MA, Joan and Michael Salke, MA, Jason Doty, Giovanni Zanalda and Lauren Feilich.

Events

Deconstructing American Theater’s Great White Way

Speakers: Sophie Caplin, Onastasia Ebright, JaMeeka Holloway-Burrell, Lulla Kiwinda, Monét Marshall, Casey Pettiford, Maria Zurita Ontiveros

Moderator: Jules Odendahl-James, Ph.D.

A roundtable discussion of women artists at Duke and in Durham who have been remaking the landscape of theatre production to foreground the work of women artists and artists of color. We’ll discuss inclusion efforts vs. diversity initiatives, color-conscious casting and decolonizing the Western theater imaginary, and the role of white artists in efforts to dismantle of power/labor dynamics and alternative artistic institutional structures toward greater equity and access.

Sophie Caplin (T’19) graduated from Duke with degrees in Music and French and a minor in Visual Arts. A member of Duke’s Fencing team and of the campus theater community, Sophie directed multiple projects including Lauren Gunderson’s The Taming, the musicals Once on this Island and Ain’t Misbehavin’.

Onastasia Ebright is a senior Theater Studies major and music minor at Duke. Throughout her undergraduate career, she has been increasingly involved in “theater of color”, whether it be through producing and performing in shows like Ain’t Misbehavin’, writing and music directing her own work on the topic, or supporting and publicizing it throughout the student body. After graduation, she hopes to make a meaningful impact in diversifying the types of roles given to actors of color, adding different perspectives of ‘the black experience’ to theater, and to increase the on- and back-stage presence of theater makers of color.

JaMeeka Holloway-Burrell (she/her, hers) is a freelance director, most passionate about advancing the legacy of Black Theaters and Black Theatre Practitioners. Currently, JaMeeka is artistic director of Black Ops, a theatre company in Durham, NC she founded in 2015 for which she also directs (The Shipment by Young Jean Lee; The Typographer’s Dream by Adam Bock) and founder/lead curator for the Bull City Black Theatre Festival. Most recently, Holloway-Burrell directed Citrus by Celeste Jennings at Dartmouth College, A Doll’s House at Justice Theater Project, Twelfth Night at Shakespeare in Detroit and has assistant directed at The Oregon Shakespeare Festival and Playmakers Repertory Theatre. Among her upcoming directing projects includes James Ijames’ WHITE for the new Durham company, Bulldog Ensemble Theatre.

Lulla Kiwinda is a Trinity senior at Duke University currently working on her BS in Biology and AB in Global Health. Lulla began her theater journey here at Duke through Hoof ‘n’ Horn as a first year and has been a member of Hoof ‘n’ Horn ever since. In her junior year, Lulla had the pleasure of performing in Duke Players’ Once on This Island. This experience led her to demand more of her Hoof ‘n’ Horn community and the general theater community as a whole. Lulla is currently serving as Hoof ‘n’ Horn’s Inclusion and Accessibility Chair and she’s very excited to continue striving to make space for diverse narratives in theater.

Monét Marshall (she/her) is Director of Programs at VAE Raleigh, a creativity incubator. She is also a freelance actor, director, playwright, puppeteer, dancer and choreographer and the founding artistic director of MOJOAA PERFORMING ARTS COMPANY. Her Buy It/Call It trilogy of performance pieces (summer/fall 2018) have been critically acclaimed for their immersive approach to exploring the relationship between Black performance and mainstream arts spaces, the emotional labor of Black artists, the importance of Black joy and the connection between the slave market and the arts market.

Casey Pettiford is a junior at Duke majoring in International Comparative Studies with a focus on Latin America. Casey had the honor of playing Ti Moune in Duke Players’ Once On This Island production in her sophomore year, which has inspired her to continue collaborating with other artists of color at Duke and in Durham and to support their work on campus through her positions as a Creative Arts Student Team Member for Duke Arts, a member of Spoken Verb, and Membership Chair for Duke Players. Upon graduation, Casey plans to use her love of Spanish and global cultures to promote diverse programming and education in the performing arts around the world, as well as write and produce mixed media content that illustrates the complex experiences and perspectives of minority communities.

Maria Zurita Ontiveros is a sophomore at Duke from Mexico City, Mexico. Throughout her time at Duke, she has performed in Theater Studies’ feminist production, Vinegar Tom, and Dreaming, a workshop addressing problematic racial aspects of the comic strip Little Nemo in Slumberland. She has also witnessed acts of hate including swastikas, defacing a Latinx heritage mural, racist slurs, and white supremacy propaganda. Maria takes “art is the weapon” as her motto and seeks to address these issues as well as generalized inequality in theater.

Jules Odendahl-James is a professional director and dramaturg specializing in art+science collaborations, documentary performance and works by women playwrights. At Duke University, she is a lecturer in Theater Studies, the Program Director of Arts and Humanities Advising, a member of the Disability Access Initiative and a 2017-18 Teaching for Equity Fellow. At Duke, she has directed Vinegar Tom, An Experiment with An Air Pump, and Machinal. Her scholarly work has appeared in the journals Theater Topics and Theater Survey, as well as the collections The Routledge Companion to Dramaturgy, and Physical Dramaturgy. Upcoming directing projects include Men on Boats by Jaclyn Backhaus for the Justice Theatre Project and In A Word by Lauren Yee for Bulldog Ensemble Theatre.

This presentation is sponsored by the John Hope Franklin Center and the Department of Theater Studies. A light lunch will be served. Parking is available in nearby Trent Rd. and Erwin Rd. parking decks. The series provides 1-hour parking vouchers to guests.