Make Duke Performances more inclusive

On Friday, Oct. 16, I attended the Don Byron New Gospel Quintet concert, which was the fourth Duke Performances event I have attended since arriving in August. I applaud Duke Performances Director Aaron Greenwald and the University for recognizing the roots of modern music. As an incoming, African-American professional student, I was excited to see the diversity within this year’s schedule.

I have enjoyed all of the performances thus far. However, I left Friday night’s performance feeling a bit unsettled. Prior to the concert, I visited two of the black-owned businesses in the shopping center adjacent to the Hayti Heritage Center, where the event was held. During each transaction, I mentioned that I was heading to the concert. “What’s going on?” they inquired. The two owners and their patrons had no idea about this event or the two-day “Hallelujah Train” event that had previously taken place. I asked myself: Is Duke going ‘in’ the community without trying to reach out and market these events, beyond traditional mediums, to local residents?

There were many empty seats on Friday night. Did the University consider distributing complimentary passes to one of the local churches or to music students at Hillside High? A simple gesture like this would aid in the ongoing and much needed healing process between Duke and the black community. As a student growing up in Charleston, S.C., I developed a love for the arts because institutions like the College of Charleston and the Spoleto Festival USA helped to plant the seed of arts appreciation in a 12-year-old saxophone player.

I trust that Duke wants to do more than simply host events “in Durham.” The goal, I assume, is to connect with the local community. If so, I encourage the Duke Performances staff to consider that people “in Durham” may need different invitations beyond press releases and the Internet. It may take additional work, but the healing process always takes time.

Arlecia Simmons

Divinity ’12