Posts filed under ‘Creative Writing’
Four Seniors Discuss How Idyllwild Arts Has Impacted Them
This week, we continue our conversation with four more graduating Idyllwild Arts Seniors and their experience at Idyllwild Arts – what they’ve experienced, lessons they learned and where they’re going next year.
Four Idyllwild Arts Seniors comment about their IAA experience.
Again, all four of these students – Scarlett a Creative Writing major, Becca a Musical Theatre major, Moira from the Creative Writing department and Paul, an Interdisciplinary Arts major with a Fashion Design focus, have distinguished themselves as student leaders and have set very high standards for their art.
1. Tell me about your experience at IAA? How has it affected you as an artist, dancer, performer or musician?
Scarlett: I am so grateful for the experience I’ve had at IAA. Writing was something I had only ever done independently and being thrown into an environment where my peers were strong writers and offered critique weekly, challenged me to improve and develop my own style. When I first arrived at IAA, I had never even read a short story or been taught poetry. Now, I have a support system of faculty and other students who are great artists and people. Each of them is intensely passionate about what they do as artists and I feel really fortunate to be surrounded by the IAA community on a daily basis. I definitely think my academics have allowed me to question and learn in an intellectual capacity not many schools offers. There’s almost a cross pollination within the humanities and arts in that I was taught to develop my own theory of what makes good art and writing and carry that into my own work.
Becca: I contribute most every aspect of my arts training to the Academy. Over these past four years, I have developed my skills as an artist, and the community has supported me fully through my education here. Coming to IAA, New York University seemed like an impossible goal for a young actor like myself. However, this school prepared me for the audition process, and allowed me to accomplish this goal, and continue my training and NYU in the fall. I truly would not have been where I am today as and artist and thinker, if it weren’t for a community like this, and such a supportive Theatre director and teacher, Howard Shangraw.
Moira: It’s about collaboration at Idyllwild and it’s very promoted. It’s nice to know how things work for film. It’s not just one person. It’s pushed me out of my comfort zone. I’m more of an editor and this year cinematographer I got to branch out and learn other aspects of film. I even wrote two screenplays. Despite the fact they weren’t “green-lighted” it was still a great process.
I really like forming so many connections with students from all over the world. We all have new connections in and out of the department itself. It’s great to have that foundation for myself for the future.
Paul: Idyllwild has given me the opportunities I really need to flourish as an artist and attain my personal goals. The variety of classes has really helped me make myself more rounded and most definitely had an instrumental rule in my getting into Central Saint Martins; my number one choice. The AEL grant was also an amazing opportunity that helped me get an understanding of organization in my field.
2. What’s been the most critical lesson that you’ve learned as a student? Is it something in the academics or the arts?
Scarlett: I’ve learned not to measure myself against other people. Growing up, I feel like I was taught to compete with others instead of myself. At IAA, this type of logic can be really destructive because it doesn’t generate positivity or hard work. Especially in the arts, competing with your own personal best is essential and I’m thankful I learned this during my time here.
Becca: I would say that I have learned that time management, for both my academics and arts it very important. I try to manage my time wisely, making sure I can move as smoothly as possible, and get my work done on time. It is always wise to push yourself and keep up, rather than procrastination.
Moira: You get back what you put into the work. You have to put yourself out and build a good reputation for yourself. If you want to do the work you have to fight for it and let people know that you have the passion and discipline to do the job well. It applies to both academics and the Moving Pictures department.
Paul: As a student here at Idyllwild Arts, I really think that the most valuable lesson that I’ve learned here is to be easy to work with. There’s such a sense of community here and all the departments work with each other, its essential that one can work with everyone.
3.Where have you been accepted and where are you planning to attend college/university/conservatory or art school? How did Idyllwild Arts education prepare you for the college audition/application process?
Scarlett: I was accepted to University of California Santa Barbara, Willammette University, and NYU. I am planning to go to NYU in the fall to study Dramatic Writing. My education here definitely prepared me especially in terms of assembling a portfolio, writing essays, and getting strong teacher recommendations. The community here is really supportive and helpful during the process but also promote you to find colleges on your own and make the decision based on your own individual goals. I think what’s rare here is that people don’t view colleges as good or bad. Instead, everyone tries to find the place that’s right for them and where they’re going to do their best, which is something I feel like most schools don’t emphasize enough.
Becca: Idyllwild Arts clearly prepared me for the application and audition process. When auditioning and writing my essays, I was reminded constantly to “show myself” and try and display to colleges who I am as an individual, which is what Idyllwild Arts is all about. During the Musical Theatre Audition process, I honestly felt overly prepared. I had all the tools and was able to remain calm and focus on myself without having to worry or stress about the people reviewing my work.
I was accepted for the BFA Theatre/musical Theatre programs, at Boston University, DePaul University, University of Miami, Pace University, New York University, Emerson College, SUNY Purchase, Sarah Lawrence College, Marymount Manhattan College, Eugene Lang College, and Columbia College Chicago. I will be attending New York University this coming fall!
Moira: I’ve been accepted to Columbia College Chicago, Ringling, S.C.A.D. in Savannah, Georgia. I was able to cut a reel for myself and have something to show for applications to schools and summer film jobs/internships. It’s been a big plus.
I worked on two films last year – Penelope and the documentary Kenza. This year I was the cinematographer for Life After Deaf, the zombie movie, and I am also editing another documentary, Family Like Mine. At Idyllwild you get a taste of so many different styles – narrative and documentaries. It’s really nice to have time to work on those projects. At any other school I wouldn’t have the chance to work on so many varied projects.
Paul: As I said, Idyllwild really was crucial to my acceptance to my dream school since the age of 10. Not only because Idyllwild has a good relationship with Central Saint Martins but also because of the classes and the visits from the school itself.
Creative Writing Students Attend AWP Conference
by Kim Henderson, Creative Writing Chair
Last week, Creative Writers Scarlett McCarthy, Maria Alvarado-Velasquez, and Becky Hirsch went to Chicago with Kim Henderson and Katherine Factor to attend the AWP (Association of Writers and Writing Programs) conference and book fair. AWP hosts one of the biggest writers’ conferences in the country, which typically features 400 presentations, including readings, lectures, panel discussions, receptions, and informal gatherings. More than 550 publishers are represented at the book fair.
Our students attended author panels on everything from creating a short story collection to writing Young Adult literature. They also gave a reading with students from the Chicago Academy for the Arts at the Palmer House hotel on Thursday night. The reading featured writer Seth Fried, author of The Great Frustration. Kim also read on Thursday night at The Southeast Review’s 30th anniversary party with Dinty W. Moore, Francine Witte, and Carol J. Clouse, while Katherine reconnected with old friends from the Iowa Writers’ Workshop, getting the latest news on poetry. The students stayed with homestays from the Chicago Academy for the Arts for part of the trip, and also spread the word about Parallax Online to high school students and teachers—be on the lookout for new work!
The group was able to have lunch and a mini-tour of downtown Chicago with alum Madison Hartzog-Warren, who attends Columbia College Chicago. Our three days in Chicago were packed as we made new friends and reunited with old ones, found tons of new books and writers at the book fair, and kept ourselves entertained during coffee breaks with famous author sightings.
Summer Program Alumnus Receives 2012 Honickman Book Prize
Tomás Q. Morín, a past fellow at the 2006 Summer Poetry in Idyllwild Festival, was recently awarded the 2012 Honickman Book Prize for his manuscript A Larger Country.
Tomas Q. Morin, Winner of the 2012 Honickman Book Prize
During the Summer Poetry in Idyllwild Festival Tomás worked with Pulitzer Prize winner and poet Natasha Trethewey and poet Cyrus Cassells, winner of the Lannan Literary Award and a Pushcart Prize. Mr. Morín states, “I had a wonderful time at Idyllwild’s poetry program. It was great spending time with so many talented students in the idyllic mountains of southern California. The faculty was stellar and encouraging of all the students. That kind of early encouragement and validation is priceless.”
He received his MFA from Texas State University, and MA from Johns Hopkins University. He is the recipient of scholarships from the Fine Arts Work Center, Bread Loaf Writer’s Conference and the New York State Summer Writers Institute, and was a fellow at the Idyllwild Summer Arts Program. He is a Senior Lecturer at Texas State University.
His poems have appeared in New England Review, Narrative, Boulevard, Slate,Threepenny Review, Best New Poets, and elsewhere.
Words Demand Understanding
Orlando White
CW reading, Friday, October 8th @ 7:30pm
A blog by Emily Roossien, parent of a student at Idyllwild Arts Academy
Not only poets, would-be poets, and creative writers would have enjoyed sitting in on the Creative Writing Reading Series on Friday, October 8th with Dine Poet Orlando White. Anyone who finds language fascinating in all its manifestations, how it works and doesn’t work, how it confuses and messes with your mind, how its lyrical sounds can soothe, would have enjoyed Mr. White’s explanations and descriptions of his use of language and poetry, in both the Dine and English languages. I certainly did.
Aided and abetted by his Dine, Navajo heritage, he uniquely expressed his personal need to capture his impressions of the world in brush strokes of words and to share ideas of writing, of poetry with his people. I found it interesting that his eventual interest in poetry started with a fascination of the black images of letters on the white page, how he saw the early development of letters in their pictogram state, how they would communicate to him and find their way into his poetry.
I learned that because the verb is focal to the Dine language, one cannot say, “There is a man outside.” Translated into the Dine language, this would have to be something like, “A man dances outside.” The verb brings the language alive. Inanimate objects become animate. They live – as in his “i” and “j” poems, which he says came to him in a workshop during a time he was trying to understand relationships.
Another appealing concept that impressed its image upon me is the distinctive way various cultures introduce themselves. Mr. White illuminated the difference of an introduction of self in the Dine language as opposed to the English. When someone says, in English, “I am so and so,” the Dine language struggles to translate this concept that is very foreign. It was my understanding from a strictly English speaking point-of-view, that everything around that person – the walls, the various objects in the room, the people, the air circulating, everything – acknowledges the person, as part of the greater whole, that is who he/she is. My mind could only grasp this by thinking of the Sanskrit greeting, Namaste: “The divine in me recognizes and acknowledges the divine in you.” It, the great All That Is, recognizes the equality of all, and pays honor to the sacredness of all.
And words demand understanding.
Visiting Poet, Orlando White: Bone Light
The following is a post from Katherine Factor, our Poet in Residence and Interdisciplinary Arts faculty.
Kicking off our Creative Writing Reading Series Friday October 8th at 7:30 in the Parks gallery is Dine poet Orlando White. The author of Bone Light, (published by Los Angeles based press, Red Hen Press) we welcome a young poet whose book offers a breakthrough look at language use.
I invited Orlando here because I have a strong interest in Native America, one I share with our Idyllwild Arts community and our summer program, so well known for participating in acts of preservation of native arts and crafts. To me, native literature at its best emphasizes value in native wisdom: cyclical thinking, simultaneous narratives/ varying points of view, confrontations with animism and nature, eco-feminism/a reverence for connection, a belief in experiment, a worldview that language is a creative act, and an inherent willingness to equalize space-time, dream and myth.
Such elements offer salient ideas and creative approaches for our students to encounter. And there is no doubt that the ramification of forced relocation and genocide – resulting in the loss of a people, land, and their varying language systems – offers important comparisons to other sordid histories like the Holocaust or Rwanda. While some native poets approach these issues head-on, exploring issues of life, alcoholism, poverty, or use of Indian humor, Orlando’s work is powerful because it offers constellating approach to post-colonialism – to what it means to be “speaking” today in what poet Joy Harjo calls the enemy’s language – English.
Poems in Bone Light operate separately as forays into a living Alphabet, subtle questions about the act of writing are posited, and these poems are involved largely with strange directions and discovery. Each poem is a bone lighting a fragment of an idea, of language’s purpose, past and present and future. For instance, there are poems that present a love affair between the letter “i” and the letter “j” – the letters are characters! Yet, together the poems speak to each other, revolve and repeat motifs, acting in tandem to both peel back layers and joint together a strong body of work.
So though Bone Light could be read as a native response to the disparities of language, it can also be read as a transcendent text. In Orlando’s work, ultimately, I find a shared universal: Language is a double-edged sword (or is it pen?) that contains both inventive magic and difficulty in its attempts to insert itself or apprehend an idea or whole culture. Navigating that edge contains a certain excitement, one our Creative Writers have responded to so far, and we invite you to do the same.
More can be found on Orlando and his poems at: http://www.orlandowhite.com
