Voices

From Bublé to bebop: Catching up with Chris Glassman (Stories 627238)

melissa.birdsey — Fri, 01 Nov 2024 12:56:56 +0000

From Bublé to bebop: Catching up with Chris Glassman (Stories 627238) melissa.birdsey Fri, 11/01/2024 - 08:56 From Bublé to bebop: Catching up with Chris GlassmanInterlochen’s new director of jazz chats about his musical roots, teaching philosophy, and vision for the future of jazz at Interlochen.

Director of Jazz Chris Glassman.

November 1, 2024

It’s been just over one year since Chris Glassman joined Interlochen’s faculty as Interim Director of Jazz Studies.

A lot has happened in that year. In April, the Interlochen Arts Academy Jazz Orchestra won first place in the Jazz at Lincoln Center Essentially Ellington Regional Competition in East Lansing. This fall, pianist Bryn Roberts and saxophonist Andrew Bishop joined the Academy’s jazz faculty. And in October, the Jazz Orchestra’s upcoming performance of Duke Ellington’s The Nutcracker Suite at the Bay Community Theatre in Suttons Bay sold out so quickly that a second performance was added.

But perhaps the biggest development is a change to Glassman’s title.

“The ‘interim’ is crossed out, and I’m the Director of Jazz Studies—which is amazing and very exciting,” Glassman said in a recent interview. “I’m really loving it: the students, the program, my colleagues, the building, the administration. You can just tell that everybody cares about the students first.”

Glassman brings a diverse set of experiences to his role as an educator. A bass trombonist and avid improviser, Glassman has performed with legendary acts such as Michael Bublé, The Temptations, and the Four Tops and appeared on coveted stages such as Madison Square Garden and Dizzy’s Club. He has also released several small-group jazz recordings as a bandleader; written arrangements for the Airmen of Note, Michael Bublé, and other jazz artists; and worked in arts entrepreneurship. Now, in his second year at Interlochen, Glassman is eager to continue shaping the next generation of jazz musicians both as artists and as citizens.

“I always tell my students that you have to be a human first, a community member second, and an artist third,” Glassman said. “If the students who have been in my presence are inspired to be great people, I’ve done my job.”

From reluctant trombonist to touring musician

Glassman’s first foray into music was as a drummer—following in the footsteps of his father and brothers. His mother, eager to avoid sibling rivalries, steered Glassman in a different direction.

“When it came time to pick an instrument for band, my mom said, ‘Please, just pick something else,’” Glassman recalled. “To get back at her, I chose the next-loudest instrument in the band after the drums and the piccolo: the trombone.”

Glassman admits that his high school self was a far cry from the dedicated students he now teaches.

“I tell my students all the time that I think I practiced my instrument a grand total of eight hours throughout my entire high school career,” Glassman said. “Truthfully, at 16 or 17, I had no idea what I wanted to do with my life. I didn’t even know who I was.”

Uncertain about his goals for the future, Glassman followed his older brother—now a percussionist with the United States Air Force Academy Band—to the University of Denver. While earning his bachelor’s degree in classical trombone, Glassman became disillusioned with the orchestral path.

“I love classical repertoire, but as a trombonist, the symphony gig is another beast,” he said. “You have to play four measures of music, consistently, correctly, every single time, with extreme precision. For me, the goal of playing in an orchestra wasn’t a strong enough drive to have that level of patience. I just wanted to play more. That being said, I still love every opportunity to play in a band or orchestra.”

Glassman began playing with a big band and a jazz combo and quickly found his creative spark.

“I was really excited about jazz,” he said. “Once I graduated, I was trying to decide what my next step was. I thought, ‘I haven’t had the opportunity to really study jazz.’”

Propelled by the goal of becoming a studio musician, Glassman began applying for graduate programs in jazz. Around the same time, he discovered trombonist and Michigan State University Professor of Jazz Trombone Michael Dease.

“I heard his playing, and I said, ‘That’s how I want to play the trombone,’” Glassman said. “That was a big moment for me, because I had never had a trombonist that I had identified with that much, that quickly. I thought, ‘This is what it’s supposed to sound like.’”

Glassman went on to earn his master’s degree under Dease at Michigan State University. Shortly after graduating, he took a job as a career coach in MSU’s music department.

“That was one of the most influential six months of my entire life,” Glassman said. “My boss, Christine Bastian, changed how I communicate and talk to people. It’s one thing to play your instrument, but if you can’t talk to people; communicate; be clear, direct, and kind in an email; and stay organized, you don’t have a chance to be an administrator, teacher, or anything else that requires you to be professional.”

Glassman’s stint as a career coach concluded when he was invited to tour with Canadian singer Michael Bublé. After touring with Bublé in the United States, Canada, the United Kingdom, and South America for a year, Glassman was invited to audition for the role of Interim Director of Jazz Studies at Interlochen. He was offered the position, and began his new role in Fall 2023.

Each one teach one

As an educator, Glassman draws inspiration from a phrase he learned from one of his mentors, renowned jazz bassist and educator Rodney Whitaker.

“There’s an idea that came from the pre-Civil War era: Many enslaved families, when one of them would learn how to read or write, would share what they’d learned with others,” Glassman said. “They would say, ‘Each one teach one.’ That concept was so profound to me, and it has become so deeply rooted in my teaching that it’s the core of everything I do. I want to teach my students to be great people, to love learning, and to feel inspired to share their knowledge with others. That’s what Rodney Whitaker does, and what his mentors like Marcus Belgrave and Barry Harris did before him—and so on through Mary Lou Williams and beyond.”

Glassman has also been inspired by one of Interlochen’s core values, Solo e Tutti.

“‘Solo’ means pursuing excellence in your craft through self-development and learning how to teach yourself,” he said. “Teaching yourself requires patience and a commitment to musicianship as self-improvement.”

“The ‘tutti’ part means that no art exists in a vacuum,” Glassman continued. “My favorite pieces of art and music, the ones that continue to stand the test of time for me, are the ones created through collaboration.”

Glassman says the competitive yet supportive environment at Interlochen Arts Academy mirrors the creative hotspots where jazz was born.

“Bebop was developed at Minton’s Playhouse,” he said. “There were so many musicians in the bebop canon who were there: Thelonius Monk, Charlie Parker, Dizzy Gillespie, Charlie Christian. These musicians were getting together every day. They were actually trying to compete with each other, but that community became a Petri dish for excellence.”

A vision for the future

Now, with his status as a permanent member of the Interlochen community solidified, Glassman is planning for the future of jazz at Interlochen.

“Thinking about my hopes starts with an act of gratitude: Looking at what’s really working, and there are things that are really, really working,” he said. “It’s a matter of continuing to take advantage of the resources that are available and continuing to have committed faculty. Pretty much everything else I see for the vision is either supplementary or additive.”

Glassman has already made progress toward his first goal: Bringing more guest artists to campus for longer visits.

“We’ve got a couple of great guest artists coming this year,” he said. “We recently welcomed Camille Thurman to our school, and she played with our students at the City Opera House in Traverse City. We’re averaging about two to three major guests per year, which is an improvement from the past.”

He also hopes to institute an annual tour.

“I would love to be able to take the students on some kind of tour at least once a year,” he said. “I want to perform at schools around the state—Detroit, Lansing, Grand Rapids—utilizing our local sphere or even at a national or international stage every year.”

Glassman’s greatest ambition, however, is to compete in—and win—the Jazz at Lincoln Center Essentially Ellington Big Band Competition. This year, he has combined the school’s Jazz Orchestra and Jazz Combo concerts to give students time to prepare for the competition.

“I want to win this competition because I know we’ve got all the ‘secret sauce’ we need,” he said. “We just need to make sure that the band is prepared, make sure that we have our ducks in a row, and get some good recordings.”

Putting down roots

As Glassman settles into his permanent role, he’s quick to recognize the colleagues and loved ones who have supported him throughout his Interlochen journey.

“Courtney Kaiser-Sandler has become my closest mentor; she’s always giving me amazing advice and pushing me to follow my teaching philosophy,” he said. “The whole contemporary music department is amazing. We’re down on the garden level, and we have this wonderful little nerd community. Being part of a community, especially with people that you trust and that are honest, means you can constantly get feedback.”

“Eric Stomberg, the director of music, is really doing amazing things for this program,” he continued. “[Provost] Camille Colatosti has championed jazz—and me—since day one. And [President] Trey Devey, a fellow trombonist, is really leading Interlochen with care and commitment to students, excellence, and continuing Interlochen’s legacy in new and exciting ways.”

He also offers a special shout-out to his wife, Dr. Christine Roberts. A vocalist with advanced degrees in both voice and musicology, Roberts has not only supported Glassman, but has also shared her own talents with the Interlochen community as an adjunct instructor of voice and Artist Relations & Special Projects Manager for Interlochen Presents.

“She’s the best,” Glassman said. “Every good idea that ever came from me actually secretly came from her. She’s just too humble to take the credit for it.”

From shepherding the jazz program at Interlochen to leading a professional big band at The Alluvion in Traverse City, it’s clear that Glassman is already deeply invested in the northern Michigan music scene.

“We’ve got our roots down,” he said. “It’s really amazing.”

Want to keep up with Chris Glassman? Follow him on TikTok and Instagram at @brassglassman or on Facebook.

OnSecondaryVoices /sites/default/files/styles/hero/public/2024-11/chris_glassman.jpg?itok=32vIoSYh

Announcing Interlochen Online Programs for Adults (News Articles 624558)

marycaroline.whims@interlochen.org — Mon, 01 May 2023 14:57:13 +0000

Announcing Interlochen Online Programs for Adults (News Articles 624558) marycaroline.w… Mon, 05/01/2023 - 10:57 Announcing Interlochen Online Programs for AdultsRegistration will kick off in summer 2023, with online arts courses for adults beginning in the fall in music, musical theatre, creative writing, and more—all taught by Interlochen faculty members. May 8, 2023

When Interlochen Online relaunched with more flexible course options in the fall of 2022, the program rapidly built up a dedicated student base of young artists. Four-week courses and private lessons in a variety of subjects provided options for students who wanted to sharpen their artistic abilities in an engaging online setting. Now, Interlochen is poised to offer online courses for adult learners.

According to Executive Director of Interlochen Online Carin Nuernberg, the courses offer the same world-class instruction and artistic friendships Interlochen is known for, while providing the flexibility to fit with an adult’s busy work schedule.

Here, Nuernberg discusses what inspired the launch for adult learners, describes how the online courses will complement Interlochen’s on-campus options, and shares more details on the programs that will be offered.

Interlochen Online has already built a thriving community for younger students. What inspired the addition of online courses for adults?

Interlochen has been offering educational programs for adults for over 20 years. Through the Interlochen College of Creative Arts, adults can experience retreats and summer programs in music performance, creative writing, sustainability and nature, and a host of other subject areas on Interlochen’s campus in northern Michigan. In a perfect world, we would want everyone to experience the beauty and serenity of the campus, with its lakes, pine forests, gardens, and custom-made arts facilities, but that is simply not possible for most adults who live in disparate places and lead busy lives with family, work, and other responsibilities. What is possible, however, is to bring Interlochen’s expertise in adult education and its world-class faculty to adults around the world. And it became clear that adults were interested in engaging with Interlochen in this way as well. We also want to make sure that we are a resource for our alumni, that we can provide professional development opportunities for them in areas where they would like to strengthen their skill sets.

What are some of the advantages of choosing Interlochen Online as opposed to other online learning options for adults?

Not only has Interlochen had a rich history of teaching adults on its campus, but it has built Interlochen Online from the ground up with a team of creatives who have over 20 years experience in online education for adults. The team works closely with world-class faculty with real-world experience. They are Broadway and TV actors, accomplished songwriters and musicians, award-winning visual artists and filmmakers, and published authors who are passionate about sharing their insight and providing students of all ages with critical mentorship. Together, they design learning experiences that are inspiring and, at the same time, practical to allow people to learn in digestible ways, develop their skills, and connect with others around the world who share their same interests.

With other online options, you are often faced with scouring the Internet to find the quality you are looking for, or something that speaks to your needs, and it can be challenging and time-consuming. Or you turn to college courses that typically ask you to commit to a semester of study, which can be daunting for anyone juggling work and caring for loved ones. Interlochen Online courses allow you to engage in flexible, four-week experiences that are extremely relevant and efficient. They enable you to work directly with faculty who are gifted educators and artists who want to see you succeed in whatever your goals may be.

How do Interlochen Online’s adult learning options complement what Interlochen already offers with Interlochen College of Creative Arts? How do you know which program is the best fit for you?

In many ways, Interlochen Online courses allow you to get a head start on programs you may be attending in person. For instance, you can dive into music theory, which can help you prepare for programs like the Symphonic Band Camp or the Chamber Music Camp, or you could begin writing short stories in one of our creative writing courses and then workshop those stories in our Writer’s Retreat on campus. The online courses are also channels through which you can continue learning and engaging with your peers after attending an ICCA program. From our perspective, the best learning happens when you keep at it, little by little, much like practicing an instrument, and our task is to make it as meaningful and flexible as possible so that you can fit it into your life, make progress, and find joy in doing so.

You are not learning by yourself, but with peers from around the world who share your love of, and interest in, the arts.

Carin Nuernberg, Executive Director of Interlochen Online

How would you describe the program in terms of community? Are there any opportunities for adult learners to connect with each other?

Interlochen’s culture is one that is welcoming, supportive, and caring—and Interlochen Online designs every learning experience with these essential ingredients. You are not learning by yourself, but with peers from around the world who share your love of, and interest in, the arts. Each course gives you opportunities to talk with fellow students and share your ideas and projects, while receiving expert guidance from faculty. The learning environment allows you to connect with each other through messaging throughout the week and through online class meetings. Our hope is that the connections you make in our courses feed future collaborations, whether for professional projects or personal fulfillment.

What kinds of arts subjects will be available?

Interlochen offers seven arts disciplines, and our goal is to have online courses in every one of the areas. Our initial focus is on music, musical theatre, and creative writing, followed by visual arts and filmmaking. With respect to music, we offer instrument-specific courses as well as subjects such as theory, songwriting, and music production.

How can adult learners fit Interlochen Online courses into their work schedules?

Interlochen Online courses require five hours of your time per week. They are designed to be flexible so that you choose when to work on them. Each week you will have guided instruction that has been created by faculty and the Interlochen Online team. That instruction includes video demonstrations, listening and visual examples, practice opportunities, and the chance to discuss topics related to what you are learning with your peers. You can ask questions at any point in the learning environment—faculty check in regularly to make sure you have what you need. You can fit that guided instruction in a little bit each day or evening, or when you have longer chunks of time available on a given day or two.

Interspersed with the guided instruction is the chance to connect in real-time with your teacher and fellow students through video class meetings. The teacher sets up those meetings based on students’ widest availability. You do not have to attend these meetings, but they are a wonderful chance to be together with everyone. If you are unable to attend a meeting, a recording is made available each week so you can view it when you have the time.

The only requirement each week is that you complete an assignment related to what you learned that week. The assignments are designed to be real-world and enjoyable—and you receive personalized feedback from faculty to help you learn and grow. The goal is that by the end of the course, you have a collection of work that showcases all you have accomplished.

When will courses be launched?

Registration for courses will kick off in summer 2023, with courses beginning in the fall.

What’s the vision for the future of online courses for adults through Interlochen Online?

We are feverishly working to grow our catalog of course offerings and ensure they are the highest quality with the best educators in the world. Our goal is to have hundreds of offerings across all of Interlochen’s arts disciplines so that Interlochen Online is a vital, meaningful part of the lives of students of all ages who are seeking to develop their artistic skills and connect with people from around the world who share their interests. In addition, we plan to offer certificate programs, which provide more in-depth study in a particular area and recognition from Interlochen of that accomplishment. Last but not least, we envision offering greater connection points between Interlochen Online and the College of Creative Arts, so that students can not only study online year round but also have more opportunities to experience campus in convenient, transformative ways.

Contact online@interlochen.org for more information.

OnHappeningsVoices

“It feeds the soul”: Interlochen Adult Choir Camp conductor and participant share the joy, camaraderie of singing (Stories 420234)

marycaroline.whims@interlochen.org — Wed, 20 Jul 2022 21:38:19 +0000

“It feeds the soul”: Interlochen Adult Choir Camp conductor and participant share the joy, camaraderie of singing (Stories 420234) marycaroline.w… Wed, 07/20/2022 - 17:38 “It feeds the soul”: Interlochen Adult Choir Camp conductor and participant share the joy, camaraderie of singingChoir conductor Jerry Blackstone and participant Kris Young discuss the joys of singing in community and the unexpected friendships that can form.

Conductor Jerry Blackstone, left, and participants in the Adult Choir Camp experiment with singing glasses.

March 27, 2023

Conductor Jerry Blackstone, left, and participants in the Adult Choir Camp experiment with singing glasses.

Adult Choir Camp participants rehearse a piece by Ralph Vaughan Williams.

Jerry Blackstone conducts a rehearsal at Adult Choir Camp.

Adult Choir Camp participants rehearse in preparation for their performance.

A requiem sparks a friendship

Kris Young stood in the wings, getting ready to walk onstage. The year was 2014, and the culminating performance for the Interlochen College of Creative Arts Adult Choir Camp was about to begin. When Young struck up a conversation with the woman who stood across from her, she had no idea that she was about to form a bond that would last over the next eight years and beyond.

The two swapped some small talk. Then, as Young listened, the woman shared about a personal tragedy she’d endured in the past month. She’d found solace, she said, in the piece the choir would be performing that night. The choir was singing Maurice Durufle’s Requiem, Op. 9, which offers rich, soaring melodies playing on the traditional Latin mass for the dead.

“She mentioned how meaningful that was,” Young remembers.

Young offered her new acquaintance a few words of comfort. When the camp drew to a close, it was time to part.

“We sang it and we said goodbye,” says Young.

But that wasn’t the end of the story. Over email, Young reconnected with her fellow choir member. The two decided to rent a house together for their stay at Adult Choir Camp the next year. The year following, they did the same.

Eight years have passed since they first met, and the two women have forged a lasting friendship. They correspond and continue to rent a house together every year.

“We became good friends, but that would have never occurred had it not been for Choir Camp,” says Young.

People from all walks of life

What is it about the simple act of singing that brings people together? When Young reflects on her time at Adult Choir Camp, a few important aspects of the experience are immediately apparent.

For one thing, communal singing has the power to transcend differences of any kind. The Adult Choir Camp draws a wide variety of individuals to Interlochen. This year, the choir included 99 singers, the largest group in its history. Some are skilled sight-readers, while others are just getting started. Some have an amateur’s interest in music, while others have been professional musicians for their entire careers and are now enjoying the chance to perform without the pressure.

Today, right here in this piece, we are starting to sound like a choir. We’re singing as one. We’re breathing as one.

Kris Young, Adult Choir Camp participant

Some have attended Interlochen Arts Camp or Arts Academy; some have not. The camp also draws a diverse mixture of ages. Often, family groups of parents and their adult children will attend together.

Though a few choir participants are Michigan natives, many come from other states.

“It's people from all walks of life, people that you probably wouldn't meet in any other setting,” says Young.

For her, the highlight of Adult Choir Camp is a moment that usually occurs sometime around Thursday afternoon. That’s when the individual voices finally begin to “click” as a unified ensemble.

“Before, we sounded like a bunch of sections rehearsing,” says Young. “But today, right here in this piece, we are starting to sound like a choir. We’re singing as one. We’re breathing as one.”

Regardless of skill, region, generation, or occupation, Adult Choir Camp brings everyone together. As voices rise and blend, personal differences matter less and less.

Time to make memories

Young appreciates the many opportunities for choir participants to make connections with each other. While most of the day is taken up with singing, there is plenty of time for everyone to meet and socialize.

Mornings and early afternoons are devoted to vocal warm-ups, sectional rehearsals, and full-choir rehearsals. Later in the afternoons, participants can attend optional interest sessions. They might enjoy a talk from a guest speaker, or watch a film together.

On Thursday night, the group assembles for the ever-popular talent show. According to Young, the acts range from “the sublime to the ridiculous.” Friday night sends everyone to the lakeshore for an evening bonfire. The program culminates with a final public performance on the last day.

The joy of singing

Grammy Award winner Jerry Blackstone, conductor of the choir, loves watching his singers enjoy their time at Adult Choir Camp. When asked what his favorite part of conducting is, Blackstone answers with a smile.

“I enjoy their joy. I love to see their faces shine,” he says.

Why do participants keep coming back year after year?

“I think it feeds their souls,” says Blackstone. “I think they can put the real world at bay and, for the space of five or six days, be immersed with friends and wonderful people in a very beautiful setting.”

Young, who has attended the program for nine years now, can’t help but agree. For her, singing in the choir offers a multitude of joys.

“The setting there at Interlochen is just so beautiful,” she says. “The exposure to all of the arts, the things that are going on around campus while you're walking around, the energy of the kids, the beauty of nature, the camaraderie of your fellow choir members, and just the amazing talent and expertise of Jerry [Blackstone]—I don't know that you can distill it all down.”

“There's nothing like it,” she adds, and then echoes Blackstone: “It feeds the soul.”

For more information about Adult Choir Camp, please visit the Choir homepage or contact Gary Gatzke at gary.gatzke@interlochen.org.

OffVoices

The artist’s eye: a conversation with Briana Yarhouse, Interlochen’s Director of Animation (Stories 469169)

marycaroline.whims@interlochen.org — Tue, 03 Jan 2023 14:50:31 +0000

The artist’s eye: a conversation with Briana Yarhouse, Interlochen’s Director of Animation (Stories 469169) marycaroline.w… Tue, 01/03/2023 - 09:50 The artist’s eye: a conversation with Briana Yarhouse, Interlochen’s Director of Animation“We are in a golden age of animation,” says Yarhouse, whose work has been featured in festivals around the world. January 3, 2023

From making flip books to crafting business presentations, Briana Yarhouse has seen it all. Yarhouse’s international experience and broad interests set her apart as a difference-maker in the animation industry, and a valuable resource for her students.

Yarhouse was hired in fall of 2022 as Interlochen’s newest Director of Animation. Her work has played in festivals from the Berlin Film Festival to the Canlandıranlar Animators Festival in Istanbul, Turkey. She’s a former professor at Kendall College of Art and Design, a respected animation juror, and a speaker and writer at prominent international festivals.

Here, she shares valuable insights into her career and offers tips to students interested in pursuing animation.

How did you get started in animation? Are there any early memories or influences that brought you to this point?

I got started in animation in fourth grade, when someone showed me how to make flip books and rolled paper animations. I could take two pieces of paper, curl one with a pencil, and roll it back and forth to create an animation. I was so excited by that idea that I just kept making them even when I couldn't afford to do it. I didn't have any pads of paper, so I would cut paper out of newspapers and tape them together to make little flip books for Christmas. That was the start of me experiencing the magic of animation.

What were the first steps in your animation career?

I went to school for illustration, but from the very beginning animation has been a passion of mine. I began to work in animation in the 90’s, when computers became tools that were used in a variety of different industries. I started using various computer software programs to create my own hand-drawn animation. I was working for a company at that time doing screen printing and color separation, all by hand. I would come in on weekends and lunches to learn new programs, new software, new technology, because I saw it as a real key to accessibility. The potentiality of it was just so exciting.

You’ve done a lot of freelance work throughout your career. Can you talk about your experience of that?

I spun myself out of that position into doing freelance animation, web design, and illustration. A lot of the work I did in the past was with industrial animation. I worked for businesses doing presentations that they needed, everything from Herman Miller to mom-and-pop shops. I wanted to leave myself the space in my life to create my own short films. My passion was to have a lifestyle that would allow me to feed a family, make my rent and mortgage payments, and still have time to create my vision of what I wanted to do with animation. I did that for many years.

Teaching is more than just how you can talk about something. It's about sitting down with a student, mentoring them, walking them through a process, drawing collaboratively with them, and showing them how things work.

Briana Yarhouse

Before coming to Interlochen, you taught at Kendall College of Art and Design. What got you into teaching?

I always told people that I was never going to be a teacher because I can't put two words together. I'm an artist, I'm a writer, but not a teacher. Then, when I got the opportunity to do some workshops, I realized that teaching is more than just how you can talk about something. It's about sitting down with a student, mentoring them, walking them through a process, drawing collaboratively with them, and showing them how things work. A lot of teaching happens when I'm sitting over your shoulder and we're creating things together.

You’ve been able to show several of your films at international festivals. Why is doing that so important to building a strong career in animation?

It’s important to get your work out there so that you can become part of a larger community. What's happening in animation crosses borders so easily. Right now we are in a golden age of animation, where just about everything that you see has animation touching it in some way, from TV commercials, the games that you play, to the training videos, films, and TV shows you watch—whatever it might be. Animation is everywhere, and it communicates no matter what age somebody is. It doesn't matter what language you speak or your social, economic, or political background: animation communicates.

If you can get a piece into a festival, it can travel around the world; it can touch a lot of lives. When your name gets known, people start to reach out to you and say “Wow, that is amazing what you did.”

What are some ideas, themes, or storylines that you find yourself returning to again and again in your art?

I find myself drawn to collaboration as a medium for looking at the world, understanding who we are as a people, and having empathy for others’ identities. I also focus on those magical places we all encounter—maybe it's taking a walk along Green Lake, seeing a leaf move, and understanding the dynamics that go into that moment. The power of the artist's eye draws you towards something that might just be part of your mundane life until it suddenly takes on the magic of what it really is. It's a moment distilled that has echoes through all of reality. That's the kind of thing I'm interested in.

The power of the artist's eye draws you towards something that might just be part of your mundane life until it suddenly takes on the magic of what it really is.

Briana Yarhouse

What are your preferred mediums for animation?

I've worked digitally since the 90’s in hand-drawn animation, and I love the medium. Recently, I worked in a mixture of hand-drawn stop motion and pixelation, which is where you work in front of the camera and animate in location. My students employ all kinds of mediums including clay on glass, sand on glass, paper, digital—a whole variety of unique ways of expressing animation. I am interested in trying things I've never done before. That's really what drives me as an animator.

What brought you to Interlochen?

What brought me to Interlochen was knowing about the level of passion that occurs here, the history of Interlochen, and the level of goals and opportunities that students have. It's a chance to mold young lives at the critical point of high school. I've worked with high schoolers in the past, but being here at this intersection of passion, energy, and dynamic motivation is different. I'm one person, one seed, but through touching these lives I have the opportunity to change the world.

How do you connect with students? How would you describe your teaching style?

I teach in a variety of different ways. For instance, I'll walk a student outside and say, “Look around you and see all this movement. I want you to find three objects moving in space, start to draw them, and see if you can capture that movement. I know it's almost impossible to do. But let’s go into this knowing it's impossible to do and then see what comes out of it. What did we discover?” I want my students to learn to look at the world differently.

Why should young animators consider attending Interlochen Arts Academy? What is distinctive about the programs available here?

At Interlochen, you're going to have so many experiences you will never experience anywhere else on this planet. You will have opportunities to collaborate with students across all our arts disciplines. You will be impacted by some of the greatest writers, thinkers, and artists who are working today because we bring them here to talk to you. Who else does that? It's an amazing place.

Do you have any advice for young animators?

Draw lots of things. Look around you at what moves and how it changes. And most of all, find the things that are magical in your life. We’re all surrounded by magic. We disregard it as mundane, but everywhere you can look there's something unique or interesting that no one else is noticing. Find those things and instill them into your life. If you're moving clay, move clay! If you're drawing, draw! Be willing to make all the bad drawings you possibly can, so you can get them out of your system and get to the good drawings.

Are you working on any new projects or professional developments right now?

Currently I’m starting a collaboration with Karyna McGlynn at the Writing House. Karyna is an internationally-known poet, and we are starting a dialogue about what it looks like to cross-pollinate ideas from her poet’s perspective. What's it like to play in her sandbox? What's it like for her to play in my sandbox? We’re going to see what comes out of that.

What is something you’d say to a student that is interested in Animation at Interlochen?

If you're interested in Animation at Interlochen, I would say don't be afraid to apply! And keep making things. You don't have to have a lot of money or experience to get started in animation these days. You can pick up a phone or get a piece of paper and make an animation. The most important thing is just to keep doing it. Write stories, tell stories to your friends, listen to the stories your friends tell, and start writing down the things that you find interesting about their stories that you can take and make your own.

To learn more about Animation at Interlochen Arts Academy, click here.

OnVoices

5.6.7. EIGHT podcast interview with Director of Dance Joseph Morrissey (Stories 434594)

leah.stewart — Tue, 15 Nov 2022 20:52:03 +0000

5.6.7. EIGHT podcast interview with Director of Dance Joseph Morrissey (Stories 434594) leah.stewart Tue, 11/15/2022 - 15:52 5.6.7. EIGHT podcast interview with Director of Dance Joseph MorrisseyMorrissey draws from his rich background in international dance to invest in his students and shares his passion for training dancers for a life of leadership and excellence. November 15, 2022

Listen to the podcast interview with Joseph, and hear firsthand:

How he equips his current dance students to become future leaders
Words of wisdom for young dancers who are planning out their futures
What it's like to be a dance student at Interlochen Arts Academy
Exciting new developments in Interlochen’s dance program

Explore Dance at Interlochen Arts Academy

OnVoices

Access to the extraordinary: A Q&A with inaugural Executive Director of Interlochen Online Carin Nuernberg (Stories 433476)

melissa.birdsey — Wed, 02 Nov 2022 15:18:55 +0000

Access to the extraordinary: A Q&A with inaugural Executive Director of Interlochen Online Carin Nuernberg (Stories 433476) melissa.birdsey Wed, 11/02/2022 - 11:18 Access to the extraordinary: A Q&A with inaugural Executive Director of Interlochen Online Carin NuernbergNuernberg chats about the upcoming Winter 1 session, her vision for the future of Interlochen Online, and why young artists should explore online arts education.

Executive Director of Interlochen Online Carin Nuernberg.

November 9, 2022

It’s hard to envision a more perfect candidate for the role of Executive Director of Interlochen Online than Carin Nuernberg.

During her 20-year tenure at Berklee College of Music, Nuernberg was instrumental to the founding and growth of Berklee Online, leading the college to eight consecutive top online college course awards from the University Professional and Continuing Education Association. Prior to her arrival at Berklee, Nuernberg was involved with the online education startup SmartPlanet and creating the first online courses for the University of Washington.

Nuernberg now brings her passion for online education to her role at Interlochen, which she calls “a very special opportunity.”

“I pinch myself when I realize I get to work with such amazing educators and curriculum,” she said. “I feel extremely fortunate to be a member of the Interlochen community and work to expand access to it for learners around the world.”

Below, Nuernberg discusses the technological and curricular updates in store for the Winter 1 semester of Interlochen Online, her vision for the future of online education at Interlochen, and why students should consider studying the arts online.

We relaunched Interlochen Online on Nov. 1. Can you tell us why you felt a re-launch was necessary?
When we originally launched Interlochen Online, students in group classes needed to be available on a specific day and time, and that was the sole means through which they could connect to the teacher. We’re moving to a model that’s much more flexible and holistic by offering multiple ways to engage with the teacher and the learning experience.

For example, students can engage with the course through learning content that the teacher has designed, which might include video segments demonstrating concepts and activities that students can do independently as they have time. By building more opportunities for students to learn independently, we can open up ways for new audiences to be part of Interlochen.

Connection remains tantamount to the learning experience. Our learning platform allows the teacher and students to take part in rich conversations about the subject matter through group messaging. There will also be moments when students can join a live discussion. If they’re not able to attend, we’ll make sure that they are able to watch what happened during that meeting.

Tell us a little bit about the upcoming Winter 1 session, which begins Jan. 17, 2023. How will the upcoming session look and feel different than past Interlochen Online sessions?
We have six new courses that we have designed from the ground up: Songwriting Basics, Recording and Producing Music for Beginners, Music Theory Basics, Acting Basics, Musical Theatre: Acting a Song, and Creative Writing Techniques: Fabulist Fiction. The courses are four weeks long. Each week contains amazing content that we’ve developed to impart the learning outcomes, along with fun, engaging ways for students to connect and create, applying what they are learning in very tangible ways. For returning students, it’s going to look and feel like there’s a lot more that you can do outside of the class meeting time.

We are also reworking the learning environment itself. We want it to be a place where students are comfortable and feel like they belong, a place that represents all that is serene and welcoming about Interlochen. Through the user interface and design improvements, we’re leaning into all the ways students can engage with others. So while there’s content learners can work through independently, there are also rich ways for them to message each other, have group discussions, engage with the teacher, and get meaningful feedback on work they have created.

What is your vision for the future of Interlochen Online? What types of updates or new course offerings might we expect in the future?
My primary goal is for Interlochen Online to be recognized worldwide as the premier place for young learners to go to get an acclaimed education in the arts.

Another one of my goals is to represent all seven of our artistic disciplines online. A lot of our early efforts will be around developing curricula that supports young musicians, such as music theory, composition, songwriting, and instrumental performance programs. There’s also really strong student interest in theatre, filmmaking, and creative writing—there are some really wonderful opportunities to use technology to teach students how to develop their skill set in those areas.

We’ll also offer a few different kinds of learning experiences. We’ll have courses—the four-week experiences—and we’ll have private lessons for students who want to engage one-on-one with a teacher. We also want to offer certificate programs. Certificate programs will give students more in-depth instruction and allow them to earn a credential from Interlochen.

Lastly, I hope Interlochen Online will provide an opportunity for alumni to engage with Interlochen as teachers. By virtue of being online, we don’t have to have teachers who are based here in Interlochen, Michigan—we can work with educators from around the world. I’ve been talking with many alumni who have a strong connection to Interlochen, would love to be more engaged, and have a strong interest in education. I think we can give them opportunities to learn and grow as educators through Interlochen Online.

What are some of the advantages of studying the arts online?
Hands down, the biggest advantage is access to extraordinary educators. Depending on where students live, there might not be instructors who can teach them about animation, screenwriting, musical theatre, or any one of these wonderfully rich areas of study. Interlochen has so many incredible faculty who want to reach students around the world. Through Interlochen Online, they can teach students who might not have the ability to study our seven artistic disciplines in any other way.

Another benefit is that it can work on your schedule. Parents and students live busy lives, and the flexibility that online education provides is incredible.

I also think there’s a very personal element to online education, if it’s designed effectively. In a classroom context, a teacher may want to give feedback to every student, but they might not have the time. Instead of waiting for the next scheduled class and wondering what the teacher thinks of their project, with an online class students can quickly get that feedback, take it in, and continue to grow and develop.

It’s extremely powerful, as well, when you can bring together a group of learners from different backgrounds and cultures. Online learning is a beautiful way to do that: we can create community and make connections with people students wouldn’t otherwise meet in their day-to-day lives.

Why should students engage in a formal online program as opposed to learning on their own through websites, YouTube videos, etc.?
While we all benefit from finding a YouTube video that helps us accomplish an immediate goal, platforms like YouTube can be a gigantic rabbit hole. Sometimes you have to do quite a bit of searching to find content that not only meets your needs and provides good information, but also makes you want to learn more about the subject matter. It’s also really challenging for parents to screen the content their children are watching.

Studying with Interlochen means you’re going to get an extremely high quality learning experience. As a parent, I want to have confidence in the learning experience that my child is undertaking. At Interlochen Online, parents can know that their child is learning from an expert educator who has not only studied the craft, but has amazing ways to connect with elementary, middle, and high school students and ensure that they’re growing and developing in healthy, meaningful ways.

On a personal level, what excites you most about creating online educational experiences for Interlochen?
I recently sat in on an animation class at the Academy taught by Briana Yarhouse, and I asked the students how they would describe Interlochen to an audience who has never heard of it before. They used phrases like “freedom” and “connection” and “the ability to be yourself.” They told me that they were one of the few art students at their previous school, and now, they’re surrounded by amazing friends and fellow students who are equally passionate about their art form. They talked about the interdisciplinary nature of what they’re doing, how they get to learn from students who are pursuing other artistic disciplines, and how they can bring aspects of what they see other students doing back to their own work.

I think all of these elements make Interlochen an extraordinary place. My job is to expand that through online realms, to make sure that Interlochen Online students feel equally connected and inspired by the Interlochen experience, and to motivate them to continue to cultivate their interests and passions.

We’ve got all the tools to do it. I think the future is very bright.

Visit interlochen.org/interlochen-online to explore our new programs and register for the Winter 1 session.

OnSecondaryVoices /sites/default/files/styles/hero/public/2022-11/carin_nuernberg_web.jpg?itok=GN5JTlI5

It’s elementary: “Charlotte Holmes” series author Brittany Cavallaro shares her journey from Interlochen Arts Academy to published novelist (Stories 433474)

marycaroline.whims@interlochen.org — Wed, 02 Nov 2022 14:10:11 +0000

It’s elementary: “Charlotte Holmes” series author Brittany Cavallaro shares her journey from Interlochen Arts Academy to published novelist (Stories 433474) marycaroline.w… Wed, 11/02/2022 - 10:10 It’s elementary: “Charlotte Holmes” series author Brittany Cavallaro shares her journey from Interlochen Arts Academy to published novelistMove over, Watson and Holmes—there’s a new crime-solving duo on the scene. November 2, 2022

Move over, Watson and Holmes—there’s a new crime-solving duo on the scene. They’re quick, they’re clever, and they’ll stop at nothing in their mission to hunt down the truth. Sir Arthur Conan Doyle would be surprised to find out that these gifted detectives are just teenagers, both characters in a young adult series by novelist Brittany Cavallaro.

Brittany Cavallaro is the New York Times bestselling author of the Charlotte Holmes novels, including A Study in Charlotte and A Question of Holmes (HarperCollins/Katherine Tegen Books). She’s also an alumna of Interlochen Arts Academy and an instructor of creative writing at her alma mater. Currently, she’s working with fellow Interlochen classmate Kit Williamson to adapt the “Valdemar Universe” fantasy series for television.

Here, Cavallaro shares the journey that took her from Arts Academy to being a published novelist and explains her gender-swapped rereading of the Watson/Holmes duo.

From Arts Academy student to published novelist

Cavallaro knew she was going to be a writer from a very young age.

“I was always reading,” she says. “I remember being embarrassingly old when I realized that there were actually people writing those books—that being an author was something that you could do.”

Once she’d chosen her future career, Cavallaro didn’t look back. She signed up for writing classes whenever possible and set her course for a school that would nourish her growing talent: Interlochen Arts Academy.

“Coming to Interlochen for my junior year of high school was the turning point for me,” she says. “We had instructors here who took us seriously as young artists and young writers. I was able to approach my writing with the same kind of commitment that had traditionally felt reserved for academic classes.”

Cavallaro has many fond memories of her time at the school, including classes with the founder of Interlochen Arts Academy’s Creative Writing program, Jack Driscoll. Driscoll instilled a love for poetry in his students and would frequently recite aloud from pieces he’s memorized. He also sprinkled his classes with advice for students who wanted to make this their career: “Talent will take you so far, but the thing that ultimately has to rise up to meet it is hard work.”

Cavallaro took his advice seriously, emerging from her year at Interlochen with sharpened writing skills, a passion for poetry, and a dream of publishing her own novel someday. After graduating high school, she attended Middlebury College and studied American Literature and Creative Writing. She followed this up with a year of study at the University of Edinburgh.

When it came time for graduate school, Cavallaro was forced to choose a favorite between her two loves: poetry and fiction.

“That was a really difficult decision because one of the things Interlochen had instilled in me was the idea that you should be a well-rounded writer. You should be able to work in multiple genres and they all inform each other,” says Cavallaro.

In the end, she chose the MFA program in poetry at the University of Wisconsin Madison, but took fiction workshops while she was there. She earned her Ph.D. in English Literature at the University of Wisconsin, Milwaukee. Soon, her first poetry collection, Girl King, was picked up by a publisher.

But Cavallaro didn’t lose sight of her dream of writing a novel. Before long, she began drafting a young adult series about two teenage detectives.

Reimagining Watson and Holmes

The Charlotte Holmes series was born when Cavallaro drew on her childhood fascination with mystery novels and reimagined the classic Sherlock Holmes detective stories in a modern setting. From the start, the two lead characters drove Cavallaro’s work.

“What really drew me to Sir Arthur Conan Doyle’s stories was the characters,” says Cavallaro. “I really loved the duality of Holmes and Watson—I loved that one of them was the brain and one was the heart.”

In Cavallaro’s series, Watson becomes Jamie Watson, a sensitive 16-year-old boy who finds an unlikely friend in his boarding school classmate, the girl genius Charlotte Holmes. The switch in Holmes’ gender was a purposeful decision on Cavallaro’s part.

“Readers tend to be comfortable with a male antihero,” she says. “We're comfortable with the male genius who is rude, stays on the outskirts of society, and isn’t here to make friends. But when we take those qualities and we map them onto a teenage girl, and when we make her the smartest person in the room, we get really uncomfortable with that reality.”

For me, writing fiction really comes out of wanting to develop a sense of atmosphere. I want to write the kind of book that you can disappear in, that you feel like you can live in.

Brittany Cavallaro

In the series’ first book, A Study in Charlotte, Jamie and Charlotte work against the clock to solve the murders of two fellow students—both of which are eerily patterned after crimes in famous Sherlock Holmes stories. Meanwhile, someone is trying to frame the teenaged detectives for the murders.

As she wrote the Charlotte Holmes series, Cavallaro was inspired by her time at Interlochen Arts Academy. The novel takes place at a fictional boarding school called Sherringford.

“For me, writing fiction really comes out of wanting to develop a sense of atmosphere. I want to write the kind of book that you can disappear in, that you feel like you can live in. Part of the reason why the Charlotte Holmes novels are set at a boarding school is because I attended Interlochen Arts Academy and I teach there now. It very much has its own atmosphere—it feels engrossing and immersive. It was fun for me to draw on that experience."

Teaching future novelists at Interlochen

From being a student at Interlochen, Cavallaro’s journey has led her back to a teaching position at the school. Recently, she brought in her former instructor, Jack Driscoll, as a guest artist for her own students.

Cavallaro finishes each day of teaching at Interlochen with her favorite part of the job: giving one-on-one tutorials to student writers. She’s passing on the same careful attention to detail that her own work was once shown at Interlochen.

“I really love the ability to see what my students are passionately interested in, and then treat their work with the kind of seriousness that it deserves and also the kind of seriousness that my work was treated with by my own teachers when I was a student here,” she says.

At Interlochen Arts Academy, Cavallaro was treated like she was already a novelist. Then she became one.

To learn more about the Creative Writing major at Interlochen Arts Academy, click here.

OnVoices

5 Questions with "A Beautiful Noise" star Jessie Fisher (Stories 432810)

marycaroline.whims@interlochen.org — Wed, 26 Oct 2022 17:40:08 +0000

5 Questions with "A Beautiful Noise" star Jessie Fisher (Stories 432810) marycaroline.w… Wed, 10/26/2022 - 13:40 5 Questions with "A Beautiful Noise" star Jessie FisherFisher, an Arts Camp alumna who’s starring in “A Beautiful Noise: The Neil Diamond Musical,” shares her top tips for maximizing rehearsal time and overcoming stage fright.October 26, 2022

Jessie Fisher

Pursuing a career in theatre can be deeply rewarding, but achieving excellence in the discipline often requires years of dedicated training. For young artists looking to secure a place on the stage, it’s important to seek out advice from theatre veterans like Jessie Fisher.

Fisher is an alumna of Interlochen Arts Camp, where she studied in 1994. On Broadway, she starred as “Girl” in the musical Once and played “Delphi” in Harry Potter and the Cursed Child. Fisher also garnered regional theatre roles in Of Mice and Men, Frankenstein, Cabaret, It’s a Wonderful Life, and more. Most recently, she took the role of “Jaye Posner” in A Beautiful Noise, a Broadway musical about the life of singer-songwriter Neil Diamond.

Here, she shares her top tips for young actors who want to pursue meaningful careers in theatre.

1. What are some ways to improve your skills at improvisation?

Improving your skills at improv comes with being a participant in the world. So much of improv requires you to be able to respond in the moment to any circumstance. Usually improv tends to hit on things that are current and happening in the world, but also it can deviate into so many different directions. I think just living and paying attention to as many different things as possible, being a good listener, and being willing to abandon your own agenda and go on whatever ride your scene partners are taking you on is important.

You have to trust that whatever your response is to whatever is in front of you is the correct response, that your perspective is enough. It's not about saying the funniest thing or the smartest thing. The best gift I can give someone across from me is just responding from my own perspective, whatever that may be.

2. What can you do outside of rehearsal to maximize the effectiveness of your rehearsal time?

Work smarter, not harder. It's not necessarily just about clocking hours. Outside of rehearsal, think about where you fit into the big picture, and how you can show up the next day with whatever is most useful. That might mean making sure you know your lines really well so that you’re ready to do your job proficiently, or doing research where you might not know enough.

But that doesn't mean that you have to spend all your time outside of the rehearsal room thinking about what's happening in the room: it's also giving yourself permission to be a human and invest in your family and the other pieces of your life. Everything that happens—the things that make you a better person—will benefit you as a performer as well. Sometimes instead of pressuring yourself, you can just say: “You know what, I trust myself. I've done a lot of good work. And now I can enjoy my life more knowing that it makes me a stronger artist.”

3. What have you found to be helpful in overcoming performance anxiety or stage fright?

I'm not over it. I get scared every time I do it. There's a risk, and I don't try to deny it. The best way for me to get over stage fright is to accept that I am taking a risk, accept that my feelings of nervousness and fear are valid, because I want to honor the story I'm telling. It makes me nervous to do a skill live in front of a group of people where my voice could crack or I might forget a word. All the things I'm afraid of have happened to me; therefore, I know I've lived through them and I've survived them. But if I tell myself “this feeling that feels like fear or anxiety is actually just the excitement to share something I'm proud of,” then I can accept the fact that feeling that way is fine. And I can trust that everyone on stage is going to be there to support me. I'm not playing a solo sport.

4. What advice would you give to a young actor or actress who’s dreaming of being on Broadway one day?

There's no one path to Broadway: you get to forge your own way. It wasn't a focus of mine, originally. I went to school for chemistry when I was 18, and left a few credits short of a theatre degree. I've worked in this industry for 15 years, and then I waited until the COVID-19 pandemic to finish my degree. There are plenty of people who say “This is the program you have to go to. This is the school you have to get the degree from. This is the method of learning if you want to go to Broadway.” But that's not true for everybody. I think the most important thing is knowing what kind of art matters to you, what your artistic opinion is, what you want to be better at, and what that means for you. Defining your own version of success—instead of comparing it to other people's—is going to be the track that allows you to realize your dreams.

5. What is a perspective that young artists should seek to cultivate?

The big thing I wish people spoke to young people about more is the idea of success. Young people who set out to be artists often set their sights on big dreams like becoming a movie star or being on Broadway because those look in our minds like the definition of success. But along the journey of learning to become an artist, you’ll realize that there are so many ways to find success within your own boundaries. That’s all that matters. And that’s what keeps you challenging yourself, that's what keeps you growing as a human being and as an artist.

Along the journey of learning to become an artist, you’ll realize that there are so many ways to find success within your own boundaries.

Jessie Fisher

Make goals, have dreams, and then ask yourself if you still want that, or if your direction has changed. I know plenty of people who started as actors and then decided to become lawyers or teachers. Maybe the skills they learned as an artist took them in another direction. Maybe living in a particular city, building a life, and doing theatre just for fun was satisfying enough. Holding yourself to your own barometer of success is such a valuable thing for young people to do.

Explore theatre programs at Interlochen Arts Camp here.

OnAlumniVoices

A legacy in legato: Interlochen’s newest piano instructor, Kara Huber, picks up where Michael Coonrod left off (News Articles 431071)

marycaroline.whims@interlochen.org — Mon, 10 Oct 2022 14:38:17 +0000

A legacy in legato: Interlochen’s newest piano instructor, Kara Huber, picks up where Michael Coonrod left off (News Articles 431071) marycaroline.w… Mon, 10/10/2022 - 10:38 A legacy in legato: Interlochen’s newest piano instructor, Kara Huber, picks up where Michael Coonrod left offHuber’s first day at work wasn’t her first time being in Frolich 1118. She’d already spent many hours there… as a student. October 10, 2022

Since her junior and senior year of high school at Interlochen Arts Academy, Kara Huber’s love for the piano has led her to many impressive achievements. She’s performed across North America, Europe, and Australia; she’s made lauded solo appearances at the Kennedy Center for the Performing Arts, the Piano Virtuoso Series at the Canadian Opera Company, and more.

But it’s Huber’s work at Interlochen that truly brings her career full circle.

She spends her days in an office that once belonged to Michael Coonrod, a piano instructor of near-legendary status at Interlochen—and Huber’s own mentor when she was an Arts Academy student.

Interlochen was the place that helped transform her from a little girl who played everything by ear to a world-class musician with a passion for contemporary music. Now, she carries on her teacher’s legacy even while forging a path that’s all her own.

From playing by ear to entering conservatories
Huber developed an interest in music from a young age, starting when her parents put her older brother in piano lessons.

“I wanted to do everything that my older brother did. He would be practicing his pieces at the piano and after he left, I would hop up on the bench and play everything by ear,” Huber remembers.

Huber’s gift soon became apparent to her parents, so they enrolled her in piano lessons as well. When asked if there was a particular moment that solidified her resolve to become a pianist, Huber says she can’t think of one. She always knew.

“Ever since I started when I was five years old, it was something I loved. It was something I was so passionate about. This was my career and I always knew it, from the very beginning.”

She attended Interlochen Arts Academy in her junior and senior years of high school.

“Coming to Interlochen was the perfect place for me because I got to be surrounded by students who are just as passionate as I was for their art,” she says. “It was a very motivating place for me to be. It also helped me push myself academically and get lots of performing experience that I wouldn't have otherwise gotten.”

When the time came to enter into a conservatory, Huber was accepted everywhere she applied. She chose Cincinnati College Conservatory of Music. Afterwards, she earned an artist’s diploma at the Glenn Gould School of the Royal Conservatory in Toronto, eventually returning to Cincinnati for her doctorate.

Along the way, Huber began to teach her own classes. She was on faculty at the University of Louisville School of Music for two years while maintaining a busy performance schedule.

A passion for contemporary music
Huber’s virtuosic talent made her a standout in the concert world. She further distinguished herself through her selection of music: a thoughtful balance of classical and contemporary pieces.

“I like the classics—Beethoven, Rachmaninoff, the juicy repertoire that we all know. But also I have a passion for doing contemporary music and working with living composers,” she says.

She especially enjoys introducing audiences to modern-day composers they might not be as familiar with, like Joan Towers or David Rakowski.

“I think that's a fun way to engage audiences in a different and more meaningful way,” she says.

Huber treasures the musical conversations that result from commissioning new works. Her recent project with Natalie Draper, for instance, required them to collaborate, with multiple revisions of the piece sent back and forth before it was finished.

“I cherish anytime I can commission a composer to write a new work, because they're working musicians as well. I want to promote them as much as possible,” says Huber. She even started her own charitable foundation, the Klocke Foundation, to support underrepresented contemporary composers.

Kara Huber

Big shoes to fill
Huber doesn’t just balance the old and new in her music selections. As a teacher, she consciously carries on the work of those who came before her.

“I think it's a ‘pay it forward’ thing for me, because I was lucky enough to have so many wonderful piano teachers. I want to continue their legacy,” Huber says.

In her time at Interlochen Arts Academy, she studied under Coonrod, who taught piano at the school for nearly five decades. Over the summer of 2022, Coonrod and Huber worked together to teach the Piano Intensive. Coonrod’s retirement in the fall opened up his job—and his office—to his former student.

“Getting to carry on the traditions that he created after 46 years is really a special thing for me to do. It's very big shoes to fill for sure,” she says.

Huber remembers Coonrod’s warmth and words of encouragement, as well as his love for a particular writing instrument.

“He loved colored pencils, and I still have scores that have all the colored pencil markings in them,” Huber smiles.

Coonrod also passed on the practical piano advice that shapes Huber’s approach to teaching to this day.

“He really pushed finger legato—being sure that you're creating a very legato phrase with your fingers and not relying on just the pedal to do it for you. That revolutionized my playing, and I find myself really pushing my students here to do the same thing.”

Whether she’s introducing her students to the delights of contemporary music or encouraging them just as her own teacher once encouraged her, Huber brings an unmistakable spark to her classroom.

“It’s been a very special move to Interlochen for me,” says Huber. “It's always been my dream job.”

OnSecondaryVoices /sites/default/files/styles/hero/public/2022-10/Kara_interview_01.jpeg?itok=ZOOcsf1g

Word magic: Interlochen’s Director of Creative Writing Karyna McGlynn shares her passion for poetry with students (Stories 429520)

marycaroline.whims@interlochen.org — Wed, 28 Sep 2022 20:08:57 +0000

Word magic: Interlochen’s Director of Creative Writing Karyna McGlynn shares her passion for poetry with students (Stories 429520) marycaroline.w… Wed, 09/28/2022 - 16:08 Word magic: Interlochen’s Director of Creative Writing Karyna McGlynn shares her passion for poetry with students McGlynn forged her unique poetic voice in slam poetry competitions. She shares her story and gives advice to young writers. September 28, 2022

Karyna McGlynn was in fifth grade when she won her first poetry prize. After submitting an original chapbook and earning the John J. Berman Young Author’s Award, McGlynn realized that her life would never be the same.

“It was the first time I felt really recognized for something, good at something,” McGlynn remembers.

Now the Director of Creative Writing at Interlochen Arts Academy, McGlynn has found considerable success as a poet. She’s earned the Rumi Prize for Poetry and the Academy of American Poets' Prize, as well as numerous fellowships. She’s taught at universities across the United States, and her poetry has been published in magazines from Ninth Letter to Kenyon Review.

But despite the many accolades she’s earned, McGlynn remains connected to her roots. Her poetic voice was forged in the raucous world of slam poetry. For as long as she can remember, McGlynn has been a girl who loved the sounds of words. Now, she’s ready to share them with students at Interlochen.

“I’m obsessed with the sound of language”
McGlynn’s romance with the written word started at a very young age, with her family setting the example.

“My mom was a language arts teacher, my stepdad was a college professor, and my granddad was also a professor,” she says. “I grew up with a family of teachers, and I grew up being read to constantly.”

I'm obsessed with the sound of language. I’m obsessed with the ways we can recombine words, and I always have been.

Karyna McGlynn

From the beginning, McGlynn was fascinated with the auditory qualities of language. Years of listening to comedy and spoken word albums only fanned the flame.

“I'm obsessed with the sound of language,” McGlynn says. “I’m obsessed with the ways we can recombine words, and I always have been.”

It wasn’t until middle school, however, when McGlynn realized she had a gift for verse. Her initial success spurred her to create many more chapbooks, and she eventually became interested in a more auditory way of expressing herself: slam poetry.

Writing for the stage, writing for the page
At a poetry slam, poets perform their work aloud in front of an audience and judges. These readings are often very spirited, with audiences offering live reactions and judges deciding who gets to stay in the competition.

“They hold up Olympic-style scores from 0.0 to 10.0 and tell you exactly what they thought of your poem,” says McGlynn.

McGlynn came onto the poetry slam scene at its peak in the 1990’s. She was a member of five National Poetry Slam teams, and the experience strongly impacted her approach to writing poetry.

“Slam poetry taught me so much,” says McGlynn. “In creative writing workshops, we often talk about anticipating readers’ needs. We ask: what does the reader need to know at this point? Are they suddenly bored here? Are they a little confused? Do they feel like you're showing off? Is this joke actually landing?”

“Slam poetry is great because when you get up on that stage, you are getting immediate feedback from a quite rowdy audience,” she laughs.

True to her childhood passion, McGlynn remains intensely conscious of the sounds of words.

“I really think a lot—and always have—about writing not only for the page, but for the stage. Writing for the ear, writing for the mouthfeel.”

Advice for young writers: be precise, imitate the best
Slam poetry isn’t the only real-world experience McGlynn brings to Interlochen. She’s penned six books of poetry. She was also Poetry Editor and Managing Editor for Gulf Coast, so she can offer an insider’s perspective on the editorial process.

“I'm able to get students to think about what is going on from the other side of the desk,” she says.

Every single choice you make on the page counts—all of it has to be a deliberate decision.

Karyna McGlynn

She advises young writers to be painstakingly precise: mistakes as innocuous as a misnamed document or a formatting error can be the difference between rejection and publication.

“There's no room for mistakes in a manuscript. There's too many people competing for that,” she says. “Every single choice you make on the page counts—all of it has to be a deliberate decision.”

When asked for advice on developing a writing voice, McGlynn acknowledges that the answer is counterintuitive.

“Imitate other writers,” she says. “You discover your voice through imitating other people, in the same way we learn to walk and talk by imitating the people around us.”

Teaching in a feedback loop
In addition to her work as a poet, McGlynn is also a collage artist. In keeping with one of Interlochen’s five key capacities—Interdisciplinary Perspective and Collaboration—she’s made it her mission to recruit visual artists and other creatives to work with her young writers.

“I'm bringing in two New Yorker cartoonists and graphic novelists to teach Cartooning for Writers over the next year,” she says.

Other current and upcoming offerings include a spoken word class, a humor writing workshop, and an image and text class which McGlynn says will explore everything from collage and erasures to TikTok memes.

Having already served as associate professor of creative writing and literature at Christian Brothers University, McGlynn is excited to put her teaching talents to work once again.

“When it's working well, it's super addictive. It's a feedback loop,” she explains. “When I really get into a subject matter, and I'm having fun explaining the wonder of, say, the metaphysical conceit, to my students, they can feel me having fun. They're more engaged and they start asking me better questions. They start exhibiting natural curiosity in ways that push me not only in the classroom, but in my writing.”

For her, the dual lifestyle of teaching and writing becomes symbiotic.

“My students inspire my poems all the time,” she says. “They're constantly giving me ideas for poems, ideas for collages or images, and saying ‘here, you can have that if you like it.’ They're giving me jokes. I go home, inspired, with cartoon hearts in my eyes every night.”

A bright future
The future is bright for McGlynn, who’s seen two of her poems accepted for publication in Poetry this October. She’s also hard at work on a new book, a collection of lyric essays about dance.

“The working title is Epic Dance Scenes,” says McGlynn. “It's going to be essays that are part cultural criticism, part memoir, but all unified by dance scenes in movies.”

McGlynn’s journey in writing has taken her to many exciting places, but she remains, at heart, the same girl with an obsession for the beauty of precise sound and vivid imagery. One of her poems, “When Someone Says I Love You,” describes how a few words can change everything:

“the whole room fills up with iced tea, something gives:
the sun peels from your window, a sugared lemon
whole, flaming, hanging there … ”

For McGlynn, the power of language is a kind of magic that’s accessible to everyone.

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