Adam Glick ’02

Adam Glick, the first Idyllwild Arts Academy graduate to serve on Idyllwild Arts Foundation’s Board of Governors, has begun his service by “listening first, suggesting and acting second.”

The 2002 Classical Piano graduate joined the Board early this year and has focused on “absorbing the history of the institution and how it has functioned.”

The Academy functioned beautifully for Adam, providing a “great experience” that included private lessons from Dr. Douglas Ashcraft, who’s still full-time on the Music Faculty.

Adam “would love to re-energize” the chamber group he used to play with. But the career that made him an attractive Board of Governors candidate doesn’t leave a lot of time for the piano. He is Senior Development Officer for the Brooklyn Museum, whose team of twenty-plus members is charged with raising some $40 million every year.

“It’s New York’s second-biggest museum after the Met in both collection and footprint. Our new director, Anne Pasternak, is leading a push to involve younger artists in Brooklyn and throughout the city, so it’s an exciting place to work.”

After growing up in Palm Desert and graduating from Idyllwild to UC Santa Barbara to double-major in Music and in Art History, Adam has lived in New York for a decade.

“I specialized in the history of twentieth-century painting for my Master’s from NYU—though I’m absolutely not a painter myself!—and worked at the New Museum of Contemporary Art, Madison Square Park, and the Marian Goodman Gallery before coming to the Brooklyn Museum last year.”

Returning to California for periodic Board meetings keeps Adam connected to a school for which he acts as an “ambassador” in New York.

“When people visit the Museum and say they’d like a more extended artistic experience, I say, ‘There’s this little town in Southern California. . .’”

Annette Haywood-Carter,
Film & Digital Media Chair

Bringing only a pen and paper to record Annette Haywood-Carter’s thoughts had been a bad idea. Interviewing the old-school way requires frequent stops, but Annette’s enthusiasm for her job swept her along like an express train. She had just finished her second year as Chair of Idyllwild Arts Academy’s Film & Digital Media Department.

“Being two hours from Los Angeles sets us apart,” she said. “And personal relations make all kinds of opportunities possible for the students.”

She meant her own relations with prominent filmmakers and actors. Born in Mississippi and raised in Macon, Georgia, she began her Hollywood career in the 1980’s, as script supervisor on dozens of big-budget films, including Driving Miss Daisy, Die Hard 2: Die Harder, Cliffhanger, and The Flintstones. After a number of the celebrated producers who worked with Annette supported her ambition to direct, she made her debut in 1994 with The Foot Shooting Party, in which she directed Leonardo DiCaprio.

Steven Spielberg took notice and invited her to direct an episode of the NBC science-fiction series, SeaQuest DSV. In 1996 came Foxfire, based on Joyce Carol Oates’ novel, Foxfire: Confessions of a Girl Gang. Annette’s direction of a then-unknown Angelina Jolie as the rebellious Margaret “Legs” Sadovsky is often credited with launching Jolie’s career.

Annette’s decision to raise her children close to her Georgia home led to several years of teaching in the Film and Television program at Savannah College of Art and Design. One fruit of her stint there was time to research the legend of Ward Allen, the elusive “Buffalo Bill of the Savannah River,” who vanished beneath its waters in 1927. She resigned her teaching job to direct Jim Caviezel, Chiwetel Ejiofor, and Sam Shepard in a script she co-authored, and Savannah was released in 2013.

For the third time during the interview, she changed her position in the overstuffed chair in the Academy’s Admission Office. But the pleasure of the chair couldn’t equal her pleasure in talking about the school’s Film & Digital Media Department.

“The term ‘digital media’ covers everything that’s going on—digital media is where the present is.”

Her excitement brought her, literally, to the edge of her chair.
“A lot of new equipment purchases have been made so that our students can always take advantage of the latest developments. For example, we’ve added Moving Magic production software and AVID editing.”
She changed her position again.
“Did I already mention that we’ve put in a film-scoring program?”
She probably had, since the old pen-and-paper way of taking notes could have missed half of what she’d said. But Annette’s creative mind seemed to move at the ideal supersonic speed for the film-loving teenagers she teaches: just fast enough to stay a step ahead of them, and therefore lead them to the far reaches of their artistic potential.

Kim Henderson, Creative Writing Chair

“I might be willing to try play-writing at some point, or a young-adult novel. I want to try new things, like my students do!”

Being as good as Kim Henderson is at doing familiar things entitles you to confidence in your ability to accomplish new things. Some recent evidence of what has become Kim’s familiar success in producing literary fiction was the appearance of her short story, “Night Window,” in The Kenyon Review (http://www.kenyonreview.org/kr-online-issue/2016-winter/selections/kim-henderson-342846/).

Kim is Chair of Idyllwild Arts Academy’s Creative Writing Department. Her prize-winning collection of very short stories, The Kind of Girl, appeared in 2013, and her next major publication may be a novella about an El Paso family. Raised in New Mexico, she knows the Southwest intimately.

How can her students develop comparable skills?

“For one thing, I tell them over and over to include a lot of sensory details so that readers can see the universal in the particular.”

She pauses to smile. She does this frequently, yet each smile comes as a surprise because she so often looks absorbed by serious thought, as she had a moment before. Those frequent, surprising smiles are reminders of how much she loves working with the Academy’s aspiring teenage writers in the school’s smallest arts department, with twelve majors this past year.

“You have the students for a number of years and really get to know them. It’s like a family. Our students are pretty dedicated, and in a small department, peer pressure to create good work is strong. I rarely feel like I’m coming to work. I’m coming to be with people who like writing and reading. In many ways, these students are like grad students except they’re much more open and willing to try things.”

Preparing for her May 8 appearance in the Spotlight on Leadership series sponsored by the Associates of Idyllwild Arts Foundation, in Nelson Dining Hall’s Fireside Room, Kim reflected on her ten years at the Academy. Course offerings have expanded broadly during that time so that students would have more specific writing alternatives.

“”We try to expose the students to everything they will encounter as writers,” she said. “We teach poetry, fiction, creative non-fiction, memoir, and dramatic writing, which includes playwriting and a new offering, writing for television.”

Kim’s department also gives students the chance to collaborate in publishing Parallax (parallax-online.com), editing sections of poetry, fiction, and non-fiction. In addition, students publish a literary newsletter.

Many of her students can’t imagine their lives without writing, and Kim knows that writing can be a calling as much as a career.

“I think of something the poet Richard Hugo said: ‘A creative-writing class may be one of the last places you can go where your life still matters.’”

Bonnie Carpenter, Theatre Chair

It was 20 years ago this summer that Todd and I drove across the country to embark on our first big married adventure. We were only married 2 years at that point, living in a 400 sq. foot apartment in graduate school, and had NO idea about this little town of Idyllwild, CA. One summer turned into two and when 2 full time jobs opened up, Angelina Burnett (our housemate for those two summers) said, “Don’t stay. If you do, you will never leave.” We didn’t believe her at the time, but one year turned into two… and you know the rest.

Over the years I have held many different titles. Currently full time as the theatre department chair, I’ve been able to take time to reflect on the many students that have come through the doors of Bowman theatre over the past decades. Each fall brings new challenges, opportunities, and relationships. While I am certain I have made mistakes over the years, I too have grown up at Idyllwild Arts. Whether saying the wrong thing or failing to say anything, I have learned about the importance of this school and arts education. I’ve had the pleasure to watch kids come to understand academic subjects, gender and sexual identity, addiction, love, and most importantly for me, art. Before Idyllwild, I did not understand the incredible complexity of the role of “teacher” at a boarding school. I really thought I was hired to teach classes in theatre design, theatre history, or how to get into college. I have since learned that this job is much different.

Each and every alumni has taught me so much more. I have learned about different cultures and living away from home and family at 14 years old. I have learned about adults having to set boundaries while simultaneously trying to teach kids how to break them. I’ve learned how important and significant the words of a mentor are to young adults. And I hope I have learned how to be a better parent because of the experiences I have shared with the students who have given me that privilege.

I am grateful for every tear cried in the bowels of Bowman or the foyer of Rush. I am grateful for the hours of weekend duty in a stuffy MacNeal dormitory office. I am grateful for the “Stich and Bitch” under the awning, the curse words shared opening the tanks to prop storage, or Sunday brunch in the dining hall. Thank you to each and every one of you who has created my “Idyllwild Arts” story.

Abbie Bosworth, InterArts / Fashion Design Chair

Few people immediately understand what we do in our diverse and interdisciplinary department. But perhaps our lack of clarity, instead of something to be bemoaned, is one of our strengths. When I first became Chair of the InterArts Department, I considered whether we suffered from a branding issue: not being visible enough, not having a clear enough name. I thought about changing the name of the department.

InterArts comprises the Fashion Department, where students follow a neatly defined track, exercising their fashion and design skills, learning pattern making, accessories, including jewelry, hat and shoe making, fashion history, and producing surprising and gorgeous sculptural garments for our fashion shows. We have at least a three-year track record of having all our senior fashion students go on to either Parsons School of Design, in Manhattan, or Central Saint Martins, part of the University of the Arts London.

Now for the complicated part: InterArts students who are not fashion students. But I don’t want to define them by what they are not. InterArts students forge their own pathways through the school, taking classes in different art departments. They may define themselves as storytellers, performers, designers, or digital communicators. All InterArts students learn to relate their art to issues in the outside world.

Most of my InterArts students care about social justice, politics, and saving our planet from environmental disaster. We practice our art as a form of expression and communication, for whatever power that may have. There are as many definitions of InterArts as there are InterArtists themselves, as each one follows a slightly different pathway, guided by his or her own unique obsessions and skills.

InterArts is ambiguous, but its lack of neat definition allows for a myriad of diverse artists to interpret and interact, for their projects to intersect, for their art to intercede in the issues of the day, and for interplay between personalities, talents, and intellects. And I think that is the way I like it.

Ellen Rosa Taylor, Dance Department Chair

A career as a professional dancer is one of the most physically difficult and often one of the shortest because of injuries and stress on the body. And yet it is one of the most beautiful and awe-inspiring of the arts to watch and, judging by the devotion of dancers, one of the most satisfying careers to experience.

Idyllwild Arts Academy Dance Department Chair Ellen Rosa Taylor started dancing at age 6, and at 13, told her mother she wanted to become a professional dancer. “I was always focused,” said Ellen. “I loved to be in the studio and never minded spending the time.”

Ellen studied ballet primarily until grad school. She received a bachelor’s degree in ballet from Indiana University on a dance scholarship and a master’s degree in fine arts in dance from Florida State University with a university fellowship and dean’s teaching fellowship. “In graduate school, I began studying contemporary dance,” she recalled. “If you have strong ballet and strong contemporary, you’re more employable. The more versatile you are, the more you can work.”

Ellen acknowledged the challenges facing any dancer in finding not just work, but the right work. “The challenge is in the career aspect, finding the right person to work for that supports you as an artist. You want to get somewhere you can do the roles you want to do. The first couple of years, finding your path in the art form can be difficult.”

Ellen has danced professionally with the City Ballet of Los Angeles, the Chattanooga Ballet Company, the Charleston Ballet Theater and La Danserie in California. Having taken the American Ballet Theater (ABT) National Training Curriculum Certification Program, she has always blended teaching with performing. “You learn more about your own artistry when you teach others,” she observed.

Since taking over the IAA Dance Department in 2009, Ellen has instituted the ABT curriculum of training for the department. “The ABT curriculum is now starting to show itself in our dancers,” she said. “They all have the same foundation. It’s not over the top, not affected and they have good technique. We make sure our dancers have strong ballet and strong contemporary.”

As department chair, Ellen is responsible for writing the curriculum for the academy’s pre-professional dance program, as well as non-major dance classes. She teaches beginning through advanced ballet technique, variations, pointe, pas de deux and dance conditioning. She recruits for the department and writes grant proposals for dance master classes and dance residencies. She also mentors students about their college or professional dance options. She has shaped and built a highly respected program, reflected by the acceptance of academy dance graduates into prestigious companies and universities.

Asked how it feels to be a dancer, Ellen said, “When performing, it’s your passion. When you wake up and go to work, it’s what you want to do. It’s not work. It’s a great life of passion and beauty — to dance, to choreograph and to teach.

“The transition from dancing professionally to teaching full-time was pretty easy. Coming here facilitated that transition. I never feel regret because I get to work with such amazing students.”
Ellen and family are now full-time Idyllwild residents.

For more about Ellen Rosa Taylor, visit www.idyllwildarts.org

Reprinted with permission from the Idyllwild Town Crier.
Article by Marshall Smith, Staff Reporter 2/17/2016

Laura Holliday ’11

Would you die if you couldn’t laugh?

Flattened by the world’s tragedies, could you muster the strength to get up if you thought the gloom would last forever? Was Will Ferrell thinking “No way” when he cofounded Funny or Die?

Or is analyzing the name of one of the comedy websites for which Laura Holliday directs videos being too serious?

“I don’t like taking myself seriously,” admits the 2011 Idyllwild Arts Academy alum, subsequently a graduate of The Second City Los Angeles and Upright Citizen’s Brigade Theatre.

Let’s ignore what she says and ask her a really serious question: were “Splitting Rent with Your Childish Roommate,” “Ordering Pizza with Your Childish Roommate,” and “Borrowing Clothes from Your Childish Roommate” inspired by someone else who would be remembered in Idyllwild? Can’t she tell us who her childish roommate was?

Politely overlooking her interviewer’s bad manners, Laura steers their conversation back on course.

“I love comedy, and now that I’m writing, directing, and acting in comedies, I’m doing exactly what I want, although on a small scale. My goal is to sustain this in TV or independent features.”

That’s no joke. Besides shorts like “The First Month,” Laura is already directing her first feature, which she scripted. The romantic comedy Daddy Issues showcases her talent for communicating with actors, which “comes pretty naturally to me.”

It is a precious gift for a director who must put performers at ease so they can be funny.

What aspect of directing does not come naturally?

“Visuals and working with a cinematographer. But practicing at ArtCenter College of Design”—in Pasadena, where she plans to graduate next spring—“has helped me think visually. Now it’s something I love.”

Jealous that Laura’s career is taking off? You’ll feel better if you remember she’s just a “Sad Lonely Girl” with “Attachment Issues.”

Lea Hausmann ’10

For people intimidated by classical music, 2010 Idyllwild Arts Academy graduate Lea Hausmann may have hit upon how to take the edge off.

“Sometimes we have our audience vote on what piece we should finish with.”

“We” means Lea, on violin, and her partners in the Amatis Trio (www.amatistrio.com), cellist Samuel Shepherd and pianist Mengjie Han. As BBC Radio 3 New Generation Artists (http://www.bbc.co.uk/programmes/articles/2J8nGhHFq1hX3KPB6S8bQHH/new-generation-artists-a-to-z), they perform in the most prestigious concert halls throughout Europe and Asia.

“We try in whatever way we can to make our performances innovative,” Lea says.

Shepherd will often tell the audience something about the piece Amatis is about to perform (https://www.youtube.com/watch?v=d1HEqytrw-Y).

“Studies show that people enjoy classical music more if they have some direction what to listen for,” Lea says. “So Sam might explain that the composer had just fallen in love, or experienced a tragedy.”

She transferred to the Academy as a junior, from Frankfurt.

“I loved Idyllwild. My school at home was extremely academic. Suddenly all the odd, artistic types were in one place at the same time.”

Lea would like to come back.

“We hope to perform in the new concert hall and teach a master class. We gave master classes at a Chinese university last year. It was great fun.”

The Amatis Trio (www.facebook.com/amatispianotrio) would need to fit a visit to Idyllwild into a packed calendar.

“We’re lucky to be able to live entirely off of classical music, but it means a lot of traveling. Recently we did a tour to Hong Kong and Indonesia.”

That’s from their base in Amsterdam. Lea’s own schedule also includes periodic travel to Salzburg, in Austria, where she’s completing a Master’s degree in music.

As for the future of the Amatis Trio (www.instagram.com/amatispianotrio), “we’d love to set up our own festival.”

Their listeners vote Yes.

Teissia Treynet ’02

Seeing the link between Teissia Treynet’s work and her Idyllwild Arts Academy education requires imagination. That is, until her excited explanation spills out.

The Class of 2002 Theatre graduate remembers learning “about opening a theatre and putting together a business plan for it, and set design gave me the design bug that helps me give a client the aesthetic she wants for her wedding.”
Last December, Teissia’s company, Firefly Events (http://firefly-events.com/about), added to its Los Angeles and New York locations a new office in “an amazing wedding market”: Jackson Hole, Wyoming.

“Learning acting as a discipline”—at Idyllwild and at DePaul University, in Chicago—“teaches you to read people. And you have to read a client to figure out if she wants romantic, edgy, super-modern. . . it makes putting on a wedding as exciting as the opening night of a play!”

Because a couple that shops seriously in the luxury-wedding market may have the means to get married anywhere, Firefly usually plans and designs between one and three destination weddings per year.

“We did a memorable one in Morocco: two weeks of traveling throughout the country to source from local markets, then a week in Tangier to pull everything together.”

Teissia enjoys travel enough to give some thought to opening more offices.

“You never know. . . maybe the South of France.”

But other plans occupy her now.

“There’s getting an interior-design division going, since we’re already doing it on the side. And writing a book: a planning guide that will be an educational tool for aspiring wedding planners. Plus another book about the emotional journey of wedding planning.”

That journey can be a challenge to navigate if people don’t know what they’re doing, which is why professionals like Teissia can be so helpful.

James Baumann ’06

Being “passionate about education and social justice” has led James Baumann from California to Africa to South America.

The 2006 Idyllwild Arts Academy graduate in what was then called Moving Pictures was at San Francisco State University in 2013, studying Broadcast and Electronic Communication Arts. A professor mentioned a Tanzanian school that James felt he had to see.

“Tumaini Junior School”—tumaini means “hope” in Swahili—“in a town called Karatu, teaches both primary school students and older students. It turns nobody away, including orphans.”

Africa’s overcrowded classrooms often leave teachers with no choice except to lecture, but Tumaini Junior School’s insistence on student participation made it different. James documented the school’s success for his senior project.

“The film went on the festival circuit and was picked up by the Tanzania Education Corporation (http://www.tanzania-schools.org/content/supporting-schools-tanzania).”

He was busy in Tanzania, shooting the documentary in a month. His next project outside the U.S. has kept him away longer.

“In 2015, I moved to Barranquilla, Colombia. I teach English Communication, which is mainly film-based, at two different schools to children from ten to eighteen.”

James has continued making documentaries. Breaking Boundaries (http://jamesbaumann.com) records the challenges faced by Barranquilla’s ambitious teachers and students. His current project, Stories of Conflict, departs from the familiar terrain of education.

“A woman I knew shocked me by saying she opposed the treaty that just ended the fifty-two-year-long civil war. How could you oppose peace? But FARC”—the Revolutionary Armed Forces of Colombia—“had kidnapped her brother seventeen years before. She still doesn’t know what happened to him. My film collects stories from people who experienced the war to give them a voice.”

This summer marks the end of James’s time in Colombia. Yet the M.A. in Strategic Communication with an Emphasis in Social Justice that he will seek from American University, in Washington, D.C., suggests that decades of encouraging the voiceless to speak lie ahead.