Between taking advantage of the snacks, t-shirts, tote bags, craft activities and live music offered during last month’s Duke Arts Block Party, I stepped into the Nasher’s rotating exhibits and was struck by the pertinence of one installation: “Inscrutable Objects.” While the pieces themselves were eclectic and intriguing, the word “inscrutable” was wholly too relevant.
In comparison to last year’s block party, the celebration was more subdued. Ken Jeong was not there to emcee, and the number of performances was limited. Also missing was one of last year’s biggest standouts: the “mystifying” Birdmen, a group of huge, mobile art pieces that students interacted with while they traversed the event. But this doesn’t detract from what was a wonderful event that catered to those who care deeply about the arts at Duke. The only problem is, the general student body wasn’t there to take advantage of it.
Traveling through the Ruby’s back halls, one could find an Apple Vision Pro testing center, a tote bag designing activity and some activities taking place in the 3D printing lab – great opportunities that seemed almost entirely ignored. Most people instead gathered around craft stations by the Ruby’s entrance or alongside the food trucks that lined Campus Drive. Beyond these gathering places and next to these hidden gems was a traveling installation entitled, “AS WATER FALLS.”
The installation allowed viewers to interact with and manipulate a screen mimicking a waterfall — something profoundly moving if given the time and patience to occupy the right space in the viewer. Again, I witnessed only a handful of Duke Arts Block Party guests take advantage of it.
Contrasting the attendees’ general ignorance of these cool features was the passion and love shown by those performing at and running the Block Party. In one of the more heartening moments of the night, the Bulltown Strutters, a New Orleans-inspired street band, entered the Nasher while playing “You Are My Sunshine” — a mildly ironic twist from the band itself being the metaphorical “sunshine” of the party and positioning the second person at the center of the light in the song’s lyrics. After greeting the patrons in the Nasher they shuttled us along to continue the festivities at the Rubenstein.
In between their grand entrance and our march across Campus Drive, I overheard a conversation between a member of the Bulltown Strutters and a party guest who left the Nasher due to the band’s volume. In a knowing acknowledgement of the guest’s concern, the band member said, “they get a little excited.” Now only if the rest of us could do the same about Duke Arts.
Most undergraduates have only a vague understanding of DukeArts, yet there is seemingly no desire to learn more. In many ways, DukeArts stands outside of the Duke bubble — it isn’t directly part of many students day-to-day and often requires some purposeful venturing from East or West campus to the Nasher or Ruby. Still, somehow the major events, like an upcoming double-header performance by Adrianne Lenker, find a way to sell out. More passionate engagement with the less-notable events is needed to make bigger performances like Lenker’s more prevalent.
However, it’s that level of passion that is visible at an event like the Block Party. Allowing yourself to be around others who care and see the value in Duke Arts helps one blossom in their own appreciation.
The night was capped by a performance by Father Koi, a “hyperpop rising star” — ending the night off on a vibe and interest high note.
What was an impassioned argument for Duke and Durham arts pleased those who already know and love them but possibly failed to reach beyond its cultural niche. It’s on Duke undergraduates and their choice of how to spend their time to take Duke Arts from the realm of inscrutability and bring it to the forefront of Duke culture and consciousness.
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