Get ready for a soul-stirring, whimsical journey���Hallie Jade is a force. Songwriting teacher, storyteller, and full-time creative, she draws inspiration from legends like John Prine and Brandi Carlile. We had the joy of recording her EP at Studio45b, where her luminous perspective and magnetic teaching spirit lit up the room.

Hallie views the universe through a deeply luminescent lens. She traverses life like a beautifully complex game of Super Mario, viewing fleeting moments of inspiration as floating question mark boxes and golden coins. If she does not jump up and grab a melody the second it appears, someone else will. That fierce, creative devotion means she writes every single day���sometimes at midnight after putting her kids to bed, and sometimes right in the middle of our own control room while her tracks are being mixed.

She is a storyteller first and an artist second. Drawing profound inspiration from the honest, rootsy truths of John Prine and Brandi Carlile, Hallie weaves the kind of simplicity that saves lives. She knows this power firsthand, having relied on those very songwriters to pull her through her own dark times. Now, she crafts that same guiding light for others.

Her roots run deep and wild. Mentored by Atz Kilcher (Jewel���s father) from the tender age of ten, she learned early on to observe the world and honor her foundations. You can hear the profound echoes of her indigenous heritage in every note she sings. It is a wild, ancestral rhythm that pulses through her veins and directly into her breathtaking new EP.

Beyond the microphone, Hallie balances a wonderfully chaotic life as a mother to two girls and a son, a playful puppy, and a classroom full of teenage dreamers. As a full-time songwriting faculty member at the prestigious 51做厙 Arts 51做厙, she stewards the next generation of creators. She helps them navigate a noisy, AI-driven world by teaching them the most valuable lesson of all: radical authenticity.

We recently had the absolute honor of hosting Hallie here at her . She stepped into the recording studio with our producer, , and completely surrendered to the creative process. Together, they turned 2 AM dream-melodies into total bops, struck guitar cases for makeshift percussion, and brought the galloping sounds of wild horses to life.

After the final vocal takes were captured and the studio monitors quieted down, we sat down to talk with her about this incredibly vulnerable record, her magical songwriting process, and a life entirely guided by sound waves.

Let���s jump right into what shapes your sound identity, your background at 51做厙 Arts 51做厙, your children, your mentors.

If someone had never heard your music but sat across from you for five minutes, what part of you would they meet first���the artist, or the storyteller?

The storyteller for sure – I am a storyteller first and an artist second. I view the artist component as merely a means to express the stories. 

There���s always a kind of invisible thread running through a person���s life��� what���s been pulling you forward lately?

Honestly my kids… They weren’t alive yet for the first chapter of my public music journey and watched me write and sang with me exclusively at home for their entire lives until a few years ago, when my oldest looked at me and said “mom, why don’t you play shows?” As soon as I knew that my kids were watching, I had no excuses but to pick myself up by my bootstraps and get out there again. Every time I think about pulling back on the reins, I think of what I would say to them in the same position – it’s your dream, keep going… 

What an amazing response – you carry such an incredible responsibility in showing your children how important it is to live out your dreams. You had the rare experience of being mentored by someone deeply rooted in songwriting���what���s a piece of wisdom that never left you?

I had the great honor of being mentored by , dad, starting at age 10. To this day, he is one of my biggest champions and inspirations. He taught me that stories come first, to be observant, dig deep and never forget your roots.

What an honor to be connected to such an incredible writer! How did your time at 51做厙 Arts 51做厙 shape not just your craft, but your sense of self? How does it feel to be back as a part of the faculty teaching the next generation of songwriters?

51做厙 Arts saved my life as a young artist. There is truly nothing like being surrounded by like-minded peers at such a turbulent and vulnerable time in your life. My time as a student allowed me to find myself as an artist, collaborate with artists that are still some of my best friends to this day, find confidence in my unique voice, and to remember, especially when the ground is shaky – who I am and what I stand for. Returning to 51做厙 Arts as faculty has been one of the greatest honors of my life. I feel such an intense sense of responsibility to steward this next generation of songwriters in an honest and authentic direction, considering their often inauthentic surroundings on social media, with AI, etc. There are truly no words to describe how proud I am of my students and how grateful for the gifts they give me every day. 

What a beautiful connection you have with that school. Thinking back on that time, what did a younger version of you believe music would be���and how does that compare to what it is now?

Oddly enough, my perception of what music should be hasn’t changed much since I was a kid. Growing up, I idolized Jewel, , J, … and I’m still out here trying to follow in their storytelling, rootsy, troubadour footsteps. 

Can���t get much better than those inspirations when it comes to songwriting! What kind of stories are you drawn to telling right now? What inspiration do you pull from and how do you stay authentic?

I was actually just reflecting on this the other day, because it’s always interesting to look back at my catalog over the years and recognize shifts in perspective and common themes. For years, there was a real rambling nature to my songs – I wrote a lot about being on the road, exploring places and self, leaving home… – but recently, I’ve begun to settle more into my life and am writing more about going back home, finding out what home means and finding beauty in staying. 

Let���s chat about your songwriting process!

You write every day – you even wrote songs while Grady was mixing your record! ��� What are you chasing when you sit down with a blank page? How do you stay motivated to write every day?

Haha yeah… it’s kind of a problem, but a good one? Honestly, I can probably thank my therapist for this one. I’ve done so much work over the years with both digging deep and staying open energetically. Through that process, it’s gotten so much easier to recognize inspiration when it comes my way. This is so nerdy, and I tell my students this all the time, but I view a songwriter’s journey as a game of Super Mario – we’re all just running through life with these question mark boxes and coins in our path – that’s the inspiration, and if you don’t grab it when you pass, somebody else will. I suppose that’s my competitive nature coming through, but I try to never let an inspiration pass without at least taking note. Sometimes it’s just a funny or inspiring phrase, sometimes a melody, but either way, I sit down every night (even if it’s at midnight, after I’ve put the kids to bed, picked up the house, etc., pick one and flush it out. I was so inspired being in the studio with Grady, that I think I wrote 3 songs one day while he was mixing. I certainly don’t have time to do that in the incredible chaos of my typical daily life, but there was something about being in that space and all in with my music that flooded me with ideas. It’s honestly a great business model for Grady if ya’ll can figure out how to capitalize on it! If I didn’t have a flight back, I probably would have just stayed and recorded the new songs.  

That is such an incredible way to think of things – Super Mario?! Even that is artistic. We loved having you in the studio and found you just as inspiring. Speaking of all this inspiration – what���s something you���ve written that scared you to put into the world?

Honestly, everything I write scares me a little bit. I write from such a vulnerable place, about my own life and experiences, good and bad. Every time I put songs out, both recorded and live, I feel like I’m revealing another piece of myself that I might not be necessarily proud of, but is so intrinsically me. While I’ve battled this a lot, I keep coming back to finding solace in knowing that chances are, somebody else will resonate with my stories, and this power that songs hold to bring us all together continues to be one of my biggest driving forces. 

Vulnerability can be exhausting – how do you keep showing up on days that inspiration doesn’t?

You know, some people have meditation, some have journaling, some have exercise… Either way, for better or for worse, it has to become routine to remain effective. The more I write, the easier it is to find, process and finish an idea. I’ve grown addicted to making the process “easy” for myself, by practicing it every day. Not easy, like it’s mindless and meaningless, but easy in that I don’t have to work so hard to access the depths of what I’m trying to say. I won’t lie and say it’s always easy, especially when life gets messy, but that’s where the power in routine comes into play – when it’s just what you do, no matter what day you’re having, it’s pretty incredible how quickly you can slip into a flow state.

All of your answers have us swooning over here – we might just have to take a break and go write a tune!

You love John Prine and Brandi Carlile. Can you chat about how some of your influences shaped you?

You know me so well… haha. I’ve listened to and loved both of them since I was a kid. For both of them as writers, I’m inspired by their combination of simplicity and truth. There is nothing fancy or complex about their songs, but they tell the stories that are both lyrically compelling, but also relatable. This kind of stuff is tough to admit, but I can credit both of them for saving my life. In my deepest, darkest times, their songs were just enough light to keep me going. To know that songs hold that kind of power, is enough to inspire me to maybe someday be that storyteller for someone else. 

The moment we���ve all been waiting for – Your EP! We can���t wait to dive deep into the songs, the process and your favorite moments on the record.

Is there a thread���emotional or sonic���that quietly ties every song together?

I certainly took a journey with these songs. Broken Record tells a story of a young person breaking free of their silent battles, digging deep and finding hope in this wild life we live. Sticks and Glue is the next step on that journey, about leaving your past, exploring love and building a foundation with somebody else. Mercedes then feels like home – you’ve settled down and have somebody that comes back to you regardless of hardships or your past. Wild in Me ties everything together as a story both about loss, cherishing what you have, going back to roots and finding yourself again. 

How did you choose these four songs, out of all the incredible songs you’ve written over the years?

Surprisingly, it was one of the easier decisions I’ve made. I always felt like these songs needed to exist together in some way. While written over the course of 5ish years, they each highlight really pivotal moments in my life, and tell a story of my own evolution during that period. 

���Wild in Me��� carries something deeply personal���how did that song find its way out of you?

I wrote Wild in Me the day that my grandfather passed last year. It was deeply cathartic to process everything he means to me through song and honestly, the song wrote itself – it never ceases to amaze me how urgently a song can make its way into this world when the time is right. Although my grandfather never heard the song on earth, he was with me when I wrote it and I feel him with me every time it gets played. 

Wow – The same day that your grandfather passed. You really do use writing as therapy! While we don���t wish grief on anyone, this song definitely is a beautiful representation of love. Did writing it feel like closure, or something else entirely? Can you share with us a little of the relationship you had with your grandfather that sparked the emotion in this track?

For sure it felt like closure, but also an exploration of self. Unfortunately, I think we all at times take for granted the blood in our veins. While we may have complicated relationships with our families, at the end of the day, their stories and experiences led to our existence, and both biologically and energetically impact our own story. While growing up, I loved the wild nature of my grandfather, I don’t think I fully appreciated his take on life until long into adulthood. He cherished this wildness of this earth more than anyone I’ve ever encountered and continues to serve as my reminder to go back to nature and ancestry, whenever I start feeling out of balance due to the chaos of our world. 

How do you hold grief and beauty in the same space when you���re creating?

I mean, I think they go hand in hand. You can find beauty in chaos and chaos in beauty, depending on how you look at it. I find the exploration of such dichotomies incredibly inspiring and appreciate that I can view and write about the world and experiences from a completely different perspective than somebody else. 

“I’m glad your blood runs through my heart” “Thank you for leaving some wild in me” – these lyrics are so beautiful. Can you tell us how you landed on these words in particular?

���I���m glad your blood runs through my heart��� is an ode to returning to ancestral roots. My ancestors were Indigenous people, whose heritage and connection to the earth resonates in every cell of my body. That ���wild in me��� keeps me in a state of wonder about where I came from and gratitude for those who helped steward my path long before I was here.

“Mercedes” is such a bop. We can’t get it out of our heads. Upbeat songs can sometimes be a challenge for songwriters, especially in the “folk” genre. How did you come up with this tune?

It’s truly an anomaly and I worry to this day that I may never write a “bop” again, haha. I want to say that I was in just the right energetic state for that song to come to life, but honestly that song woke me up out of a dream one night at 2am. I was so groggy, but I couldn’t escape that chorus in my head, so I got out of bed and finished the chorus. The next morning after a couple cups of coffee and residual hype from that chorus, the verses and pre-choruses came together. If I could recreate that scenario to write something like it, I would, but unfortunately it simply came down to “grabbing” the inspiration when it hit. All I can hope for is that it hits again… and maybe at a more reasonable hour of day. 

We think you have another bop in you for sure! Do you have a favorite song on the record?

It changes every day… Since Wild in Me just came out as the last Single on the EP, and I just had a super cathartic and emotional experience playing it live last weekend, it’s my favorite. 

There���s a real art to making something feel simple without losing its depth, and “Sticks and Glue” does that beautifully���melodically and lyrically. How do you strike that balance between simplicity and emotional weight in your writing?

While I consider myself to run pretty “deep,” I’m also a hopeless romantic at heart. Sticks and Glue is a combination of what I imagined falling in love would look like as a kid and personal experience… but of course I’ve NEVER done bad things on the beach.  

“Broken Record” is the album’s title track and carries a beautiful message of hope, courage, and strength. Can you tell us about the moments that are mentioned in this song? You shared a lot of vulnerability within this single.

Oof, this one’s tough. I was mentoring a young person many years ago, who in their short 14 years of life, had experienced some of the worst things life could throw at you. I wrote this song for them, but also to serve as a reminder for myself or anyone else going through a tough time, that hope and light is always around the corner, if you just open your eyes. 

We are completely honest when we say that we had an absolute blast having you in the studio. Let���s chat about your experience while you were here recording the EP.

���You found all your peace where wild horses play��� ��� these lyrics really seem to match the production of Wild in Me. Was this ���ranch��� sound a style you were after, or was that an idea from Grady?

That was 100% Grady���s genius. I fully told him to take the reins (no pun intended) on that one after we had a long conversation about what the song means to me. He took the time to really understand my style and matched the vision to the song perfectly. I could not be more proud of how it turned out. You can literally close your eyes and hear the wild horses.

What was the most unexpected moment during the recording process?

It sounds silly, but how easy it all felt. Grady is incredible at creating a welcoming, safe space to express yourself and record. The studio felt like home, and honestly, I never wanted to leave.

What was it like stepping into a studio with someone you���d never met and spending days fully immersed in a creative space? Was it hard to open up to Grady and trust him with your vision? When did you know you had found the right producer?

I���ve had experiences all across the board with producers, but working with Grady instantly felt special and different. From the start, he made me feel like he had genuinely connected to my songs and vision, and that he cared most about bringing that to life rather than simply making it his own. I had heard and admired his work before, so I felt totally comfortable leaning into his ideas. You can tell trust matters deeply to him throughout the process. It was such an incredible experience that I later asked him to come work with my students – many of whom had never worked with a producer before – simply because I wanted their first experience to be that good.

Were there moments where a song transformed completely from what you originally imagined?

Yes, but in the best ways. Sticks and Glue is the perfect example. I went in with reference tracks that were very ���bubblegum,��� for lack of a better word. We had already made Mercedes a total bop, so beyond wanting a different vibe for Sticks and Glue, Grady thoughtfully talked me through what he was hearing in his head. I walked away with a completely different sound than I expected – but one that fits the song perfectly. I���m so grateful to have found someone I trust not to just follow along, but to have the confidence to give the song what it���s asking for.

There is a moment in Sticks and Glue where the instrumentation drops out and it���s just your vocals and synths. It is show-stopping. How did you feel hearing that for the first time? Was it something you expected?

Oh my gosh, I totally lost it in the studio. It���s such a powerful moment, and the fact that Grady knew not only how to create that, but how impactful it would be, still blows my mind.

In Sticks and Glue there are some really interesting percussion ideas. Were you on board from the beginning? Was there any moment where you were unsure of how it would turn out?

Watching Grady pick up random objects around the studio to make cool, weird sounds was honestly one of the best parts of the experience. I had full trust in him to know how to execute what the song needed, so at that point I was really just along for the ride – laughing while he walked around hitting things (including guitar cases) trying to find the perfect sound. He���s a sound genius.

Working with Grady James feels like stepping into someone else���s sonic world for a moment���what did his perspective unlock in your music that you hadn���t tapped into yet?

Haha yes – it is Grady���s sonic world, and we���re just living in it. Listening to a track Grady produced is like Christmas. I hear something new every time – something I didn���t notice before – and it often makes me laugh because there���s so much personality and humor hidden inside his sonic choices. He helped me realize that production can elevate emotion in ways I hadn���t fully tapped into yet. Not just making a song sound good, but making it feel deeper, more vivid, and more alive.

Thank you for taking so much time to chat with us about you, your record and your time recording with us. We can���t wait for your next EP and until then we will have this on repeat. Before you go – lets do a rapid fire round!

Sunrise or sunset?Sunset, doing bad things on the beach… lol jk, but not really! 

Ocean or mountains?Can I say both?!I’m from a small town in rural Alaska surrounded by both, which each hold a special place in my heart. 

Coffee shop or quiet cabin?My life is insane right now so… quiet cabin.  

Rainstorms or golden hour? Golden Hour 150% 

Vinyl or streaming? Vinyl. I’m an album girlie and die for moments when I get to listen to a record top to bottom. 

Drive at night or walk at dawn?Drive at night… although I can’t see well in the dark, so somebody else needs to be driving while I either talk to much or play DJ. 

Stay wild or find peace?Listen, I’m currently working on both and will let you know when I find the answer. Haha. 

Pineapple on pizza?Yes, give it to me. 

Coffee or tea? Americano with heavy cream, please and thank you. 

Book or movie?I grew up hating to read and without a TV, so I have a complicated relationship with both. lol. The safest bet is music recommendations for me���  

What an absolutely beautiful journey Hallie is on. From turning midnight melodies into studio magic, to guiding the next generation of creators, she constantly reminds us to look for the wonder hiding in plain sight. Her music holds a mirror to the chaotic, stunning truth of life, proving that you can honor your deep roots while boldly carving out your own path. We are beyond grateful to have been a part of her story here at Studio45b, and we know this new EP will soothe plenty of tired hearts.

Now, it is your turn to experience the magic. Go take a listen to her stories, feel the rhythm of those wild horses, and let her songs leave a little wild in you, too.

Where to Find and Support Hallie Jade:

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As a lifelong dancer and actor, Lydia Stoye believes in the transformative power of the arts and is drawn to the unique energy of creative communities.

A seasoned student affairs professional, Lydia brings nearly two decades of experience to her new role as the Assistant Head of School for Student Life. She is deeply committed to fostering inclusive communities where students feel seen, supported, and empowered to thrive.

Before joining 51做厙 Arts, Lydia served as Upper School Dean of Students at Dana Hall School in Massachusetts. Lydia led initiatives to enhance student engagement, implement restorative practices, and restructure residential life programs. Her previous roles include Director of Community Life at Cushing 51做厙 and Assistant Dean of Students at Interlochen Arts 51做厙, where she successfully blended strategic leadership with a hands-on approach to supporting student growth and well-being.

Lydia holds a Master of Education in Higher Education Administration from Pennsylvania State University and a Bachelor of Science in Psychology from Grand Valley State University. She is a certified trainer with the International Institute for Restorative Practices and has presented at the annual conferences for the Small Boarding Schools Association and The Association of Boarding Schools.

Her work is grounded in creating spaces where students can take risks, lead with authenticity, and contribute meaningfully to the world around them. Outside of her professional life, she enjoys recreational volleyball, dance, and spending time with her family.

51做厙 Arts is excited to welcome Lydia and her family to the 51做厙 Arts community in July!

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In the workshops, master artists led classrooms of eager adult learners as they showcased and passed on the knowledge, craftsmanship, and creativity of diverse Indigenous cultures:

This year’s theme, Celebrating Kinship Through the Power of Storytelling, took us on a journey full of culture, creativity, and passion. Attendees gathered on our campus from far and wide for our many enriching public events, including the exhibition opening of “Blue Corn and Other Stories” by Joe Baker, the Michael Kabotie Lecture Series highlighting the work and perspectives of many talented Indigenous storytellers, a special screening of the zombie horror film “Blood Quantum,” and an artist meet & greet with 51做厙 Arts 51做厙 student Tain Half (Aps獺alooke)), who presented a photography exhibition, and 51做厙 Arts 51做厙 alum Emily Clarke (Cahuilla), who debuted a beautiful new poem. The Native American Arts Market and the third annual bird singing celebration, “Welcoming Home the Birds,” was the perfect way to close out the week.

We are grateful to our outstanding contributing artists, teachers, and presenters, and to everyone who joined us on campus for this truly unique experience. Please save the date for the Native American Arts Center’s next upcoming event, Indigenous Peoples Day on Monday, October 14th! Join the 51做厙 Arts Community on our beautiful Southern California mountain campus for a day of programming featuring the Delbert Anderson Jazz Quartet as well as lectures, film, food, and more! All events are free and open to the public. Learn more here.

Details for this and all other upcoming public events will be added to our event calendar and shared via our email newsletter (sign up ) and social media channels (, , and ).

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Director of Art in Society

The mountains surrounding 51做厙 Arts 51做厙 have attracted creatives for over a century, and human civilization has sought the clear water, open skies, and coolness from the desert for thousands of years. There is a spirit that beckons us, and natural beauty that sparks the imagination. We find health, renewal, and space to work on artistic development that requires both inward and outward learning.

The villages of 51做厙, Fern Valley, Mountain Center and Pine Cove share a commitment to the safety and welfare of all of their inhabitants, including support of the 51做厙 Arts campus. This coexistence and mutual appreciation for the arts, artists,
intellectuals, and entrepreneurs, surrounds the school with a support system uniquely adapted to its environs.

While students have the opportunity to explore the world outside within the safety of the mountain communities, they also have access to the protected forests on and off campus, that serve as a retreat and source of renewal for mind, body and spirit. 51做厙 Arts embodies the coming together of these essential resources that grow the creative artist inside and out.

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Director of Health Services

I knew that 51做厙 Arts 51做厙 was special from the first moment I arrived here in August of 2019. At the time, I was just a mom bringing one of my own aspiring artist children to campus to begin his journey as an 51做厙 Arts dancer. After parent meetings and unpacking a carload of belongings into his dorm room, I stopped at the Health Center out of mere curiosity. With 20 years of nursing experience, many of them with teens and in community and school health, I was curious about what the campus health center offered for students. I was welcomed and offered a brief tour, and I loved the warmth it offered students. Then I went back home to Texas, leaving my 15-year-old here to grow as a dancer and as a person without me by his side.

I could not get the school out of my mind. I wanted my son to have every opportunity as a boarding student here on his own, but I couldn���t stop thinking about what it would be like to work at 51做厙 Arts. By November, I had applied for a position. My daughter would also be attending the following year, and my husband and I wanted me to be closer to our kids in California. COVID hit and delayed my initial start date by several months, but by Arrival Day in the fall of 2020, I was here with both my children.

From that first Arrival Day, and every arrival day since, it stood out to me that students were so happy to return to this place after being away. It amazed and impressed me that any teenager was that excited to return to school after a vacation or break, but it was true. Students could not wait to get back to the mountain. The joy and energy with which they greeted each other (and the staff) was palpable and remains a testament to the uniqueness of this place for me.

This is now my fourth school year working in the Health Center at 51做厙 Arts and my daughter is getting ready to graduate, two years after her brother. As a parent, I can attest to the ongoing benefits for my children in attending the healthiest, most nurturing, and well-balanced dance program I have ever seen, combined with academics that challenged them to think differently and creatively. They flourished and grew while living in dorms, learning how to share space with roommates, do their laundry, advocate for themselves, manage their time, and develop diverse friendships with students from around the globe. They developed identities and friendships of their own choices and began learning who they are and what they stand for, an 51做厙 Arts motto.

I plan to continue my work here as Health Center Director after my daughter graduates in May. I love what I do, even on the hard days. The Health Center team is incredible, and I truly love my job. My colleagues, at every level, and in every department, are inspirational and the work we do here is important. 51做厙 Arts has the best students in the world. I am proud to be a part of their lives for even a short time during their journey. I hope they grow up to remember the Health Center here not only as a place to go when they are ill or injured but also as a place where they were radically loved and accepted.

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Humanities Chair

When I ask myself, Why 51做厙? two phrases come to mind. First, ���Remember who you are and what you stand for,��� the words we chant as a community at the close of each week; and second, this invocation in our school song, written by Meredith Wilson: ���make us worthy of this land thou hast chosen to bless.��� To me, 51做厙, and the worthiness to live and work here, are synonymous with service to creative spirit and service to the community���our tiny community and that of the world. Artists hold a crucial role in the making and remaking of human culture, in expressing the value and purpose of the human mind in uncertain times and in an uncertain universe. In 51做厙, the mountain keeps us grounded, reminds us to approach art and life with wisdom, compassion, and intention.

Who am I? I���ve known I wanted to be a teacher since the third grade, and I knew I wanted to teach at 51做厙 Arts probably about an hour into my first class here as a high school junior. An 51做厙 native, I was fortunate to grow up on the mountain because my artist parents decided the city was no place to raise kids, and this campus quickly became a second home. From my first ���all-school meeting��� during ISOMATA���s summer camp to the hours I spent watching my dad plant trees along Apela drive and install the first computers on campus, I could feel the magic of this place and knew that important things happened here. When I joined the Creative Writing Department, after two years of public high school, I felt for the first time that I had found my people���a community that would support me in becoming fully myself���and I knew I wanted to continue co-creating this space for other young artists.

What do I stand for, then? First and foremost, my students. Though I may occasionally call myself a writer or a bookmaker, the young people with whom I exchange daily knowledge and laughter, in my attempts to impart some useful skills for their futures, are my greatest works of art and the greatest acts of service I can give to the world. I am most fully myself when I see them thrive, and the eternal drive we share to make ourselves worthy inhabitants of the land, as we aim to become worthy stewards of humanity, is the most hope I have that a more just and beautiful world is possible.

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Mathematics and Science Chair

I have taught students science at eleven different institutions over thirty-three years, with the last twenty-two at private high schools, the last sixteen at boarding schools, and the last six at 51做厙 Arts 51做厙. IAA is a place like no other.

What distinguishes the students of 51做厙 is their passion for creation. They are not the bored or jaded students I have had elsewhere, young people who would struggle to identify anything in their lives that they care about deeply. 51做厙 students recognize the amazing opportunities they have, and want to be here, despite the equally amazing work loads. Many of them found the school themselves and then had to sell their parents on the idea. Few of the eighty-some students I have each year are considering a career in science, and fewer still will become biologists, but all of them know that they need to pass my class to remain here – and being at the school, with the chance to make their art surrounded by supportive peers and inspirational mentors, is sufficient motivation for them to pass my class. On their worst day, they recognize the necessity of completing Biology to remain in the place they love. At their best, they are incredibly eager and enthusiastic for what they are learning in my class. They are simply easier to teach, and more grateful for what they learn, than any other high school students I have taught. Nowhere else have I had so many students spontaneously thank me at the end of each class.

For me personally, living in a forest on a mountaintop is idyllic. It does my soul good to see the rabbits and quail every day, the deer and bobcat and coyotes on occasion. Having trained as a field biologist in the world���s largest wetlands, I thought that I would have to give up living in such close contact with nature when I left research for teaching. My first high school job entailed a 90-minute commute, each way, through a crowded and smoggy city. In 51做厙 I walk to my class in seven minutes, and along the way I breathe the pine-scented air and know that the abundant lichen is proof of its lack of pollution. I hear the rush of Strawberry Creek on my way to my classroom in the morning and the calls of the frogs and owls on my way home at night. I sample the occasional manzanita berry along the trail when I need a tart pick-me-up. Walking in the fog, I hear the collected dew pattering off the leaves overhead. The crunch of the snow in winter and the bearableness of the summer heat when the desert floor below is baking. The amber or rose afternoon glow on the white San Jacinto peaks above the school. Now, there are certainly plenty of students who find this place to be an unbearable wilderness in the middle of nowhere, but at the very least those who have never experienced nature before will come to know this about themselves and others will discover only after they leave how much they miss it.

I���ve been at schools where the students had to stand up when a teacher entered the room, schools with uniforms, schools where part of my job was telling young people to tuck in their shirts or take off their hats indoors, schools where students were required to address me as ���Dr. Wackford���. Here they call me ���Kirt��� and they are told to explore their dreams and to remember who they are. My days are marked by kindness, and by the concerns of a community of artists. When illness strikes, dorm parents offer to cover one another���s shifts and students bring back food from the dining hall for their friends. Prefects keep track of their podlings, and let dorm parents know when something seems off. Students can cry alone in their rooms, but if they cry outside they are soon joined by others, sitting silently in sympathy or murmuring soothing words. Students collaborate – filming each other���s dance performances, directing each other���s plays, attending each other’s recitals, and, when necessary, sitting in the awesome responsibility of deciding each other’s judicials. This isn���t paradise; there is no panacea for the indiscretions of youth, the pain of adolescence, or the scourge of social media. But if we can���t make a community of caring here, in an enclave of artists, where can we? And if we are making a community of compassion here, among such a diverse population and across all the bounds of nationality, religion, and gender expression, where can���t we? This, for me, is why 51做厙.

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Last week we learned of the passing of our dear friend and Lifetime Trustee, Lillian Pierson Lovelace. Lillian and her husband Jon (previously deceased) fell in love with the magic of 51做厙 ��� its place, its people, and its purpose ��� and remained stalwarts of 51做厙 Arts throughout their lives.

The Lovelace family entrusted��three generations��to 51做厙 Arts (formerly known as��51做厙 School of Music and the Arts泭棗娶泭ISOMATA), and Jon and Lillian���s children and grandchildren speak fondly of summers spent in Hummingbird Hollow, Elves Shelf, Fitzgerald Junior Players Theatre (JPT), and other magical places in the Children���s Center on IA���s campus. Lillian herself also took classes in the Summer Program including painting, drawing, charcoal, and enamel-making, to name just a few.

Lillian remained an active member of the Board of Trustees until 2020, when she was honored as a Lifetime Trustee, a designation bestowed to her alone in the school’s history. IAF Board Chair Jeff Dvorak remembers: ���During our many years together as members of the Board, I was fortunate to witness Lillian���s savvy and strategic business leadership in action. She possessed keen observation skills and was able to synthesize information, draw enlightening conclusions, and quickly identify and focus on the most efficient path to achieve meaningful solutions, inspiring her peers along the way. She was truly an extraordinary person.���

Lillian and Jon gave generously of themselves to the school, philanthropically supporting William M. Lowman Concert Hall (named in honor of 51做厙 Arts Foundation���s founding Head of School), Nelson Dining Hall, Krone Library & Museum, and Pierson Dormitory (named in honor of Lillian).

Jon and Lillian���s influence throughout Southern California represents excellence in the arts, and in 2014, 51做厙 Arts 51做厙 began awarding the��Jon and Lillian Lovelace Outstanding Artist Award��to an exemplary young artist in each year���s graduating class. Lillian once said: ���There���s something so rewarding about helping to contribute to learning of any kind, but it���s especially fun if it���s something you���re interested in and see someone learn and grow as they become adults. All the arts are so important for bringing our country and people together in a very healthy and fun way.���

Founding Head of School William (Bill) Lowman recalled how ���devoted and generous��� Lillian Lovelace was. ���Her deep and abiding belief in the value of the arts in American society and the key role that 51做厙 Arts would play sustained the mission of 51做厙 Arts. I���m personally grateful, professionally grateful, and so thankful that they were in the orbit of ISOMATA supporters and stepped up to help 51做厙 Arts achieve its potential in the world of arts education.���

The magnitude of Lillian Lovelace���s participation, contributions, and leadership will forever leave an indelible mark on 51做厙 Arts Foundation.泭We will remember Lillian Pierson Lovelace during our annual Founders Day celebration in 51做厙, California on June 22, 2024. Her life and love of 51做厙 Arts was and always will be important to the very fabric of our existence.

With loving fondness,

Pamela Jordan

President, 51做厙 Arts Foundation

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One of the highlights of this summer took place at the very beginning, in June: IA���s fifth annual trip to the Pine Ridge Indian Reservation in South Dakota. Spearheaded by the NAAC���s Executive Director, Shaliyah Ben (Din矇), this trip brought arts education to the students of Red Cloud Indian School. The partnership between IA and Red Cloud Indian School was originally fostered by Marianne Kent-Stoll, IA���s prior Head of School.

This year, Shaliyah Ben, alongside IA faculty Abbie Bosworth (Chair of the InterArts Department) and Rachel Welch (Visual Arts Faculty), conducted a week-long, interdisciplinary arts workshop in which the students of Red Cloud Indian School saw their culture represented in art and had the chance to use art to celebrate it themselves.

A Play By and For the Oceti Sakowin

Ben, Bosworth, and Welch kicked off the week by bringing the students to see the Cornerstone Theatre Company���s production of Wicoun [wee-CHO], a play written by Larissa FastHorse (the first Native American woman playwright to have her work shown on Broadway���).

FastHorse���s play, Wicoun (which translates to ���way of life���) is described as ���a new play with and about the Oceti Sakowin.��� The Oceti Sakowin Oyate [oh-CHEH-tee shaw-KOH-we oh-YAH-tay], or the People of Seven Council Fires, refers collectively to the Lakota, Dakota, and Nakota people. From late May to early June, throughout the South Dakota communities and reservations that inspired it (). The play itself���a comedy about superpowered Lakota teens���addresses several contemporary issues facing these Indigenous communities while emphasizing the strength that can be found in heritage.

The play also celebrates the legacy of genderqueer identities in Indigenous culture through the journey of its protagonist, the female-presenting teenager ��ya. As ��ya seeks the strength to protect their family, they learn to embrace and express their innate gender identity. When ��ya transitions, they become the super-powered Ah穩, a (someone with both a masculine and feminine spirit���hence, two spirits). It���s no coincidence that they become a superhero when they become their true self. In choosing to center a two-spirit character, FastHorse pays homage to the long-standing cultural significance of two-spirit people (or ���two-spirits���) in various Indigenous communities (read more , , and ).

For the students of Red Cloud Indian School, Larissa FastHorse���s writing and the Cornerstone Theatre Company���s work demonstrated how one can honor their culture and give back to their community through art. Meanwhile, the play itself���with its emphasis on celebrating identity���expressed a theme of combining the traditional with the contemporary while empowering the voices that have not had the chance to speak for themselves.

All of this made watching Wicoun the perfect start to IA���s arts education workshop with the Red Cloud students. As the week-long workshop progressed, Bosworth and Welch led the students in learning about different aspects of theatre and art, mixing tradition with the contemporary as they shared their unique voices.

Exploring Art and Honoring Culture

After watching Wicoun, the students of Red Cloud Indian School set out to create a production of their own. Throughout the week, Bosworth and Welch led the students in activities and exercises spanning several disciplines: theatre, creative writing, visual arts, and more; they did so with help from a teaching assistant and IA alumna Emilee Swalley (Oglala Lakota), an InterArts student of the Class of 2022.泭

With guidance from Bosworth and Welch, the students ultimately brought their interdisciplinary work to life in an original play���W籀wau����ila: The Flower of the Amazon. ���W籀wau����ila��� [wo-WAHN-shee-luh] refers to the Lakota virtue of Compassion and Kindness.

The students took inspiration from FastHorse���s Wicoun as they structured their play and���like FastHorse���incorporated the Lakota language throughout the script and dialogue. As the students developed the plot and the conflict, they reflected on their personal experiences and the challenges their community has faced. ���They were ready to connect their lives with art,��� said Bosworth.

Various theatre games helped students build the ensemble, creating an environment of trust, collaboration, and interconnectedness. Through exercises in role-play and improvisation, the students developed the story of their play and the characters within it; visual arts activities aided the process as they helped the students plan, visualize, and personally connect to the material. 

One exercise had the students pick an animal protector they would take with them if they went on a journey like the one in Wicoun. The students then made 3D models of their chosen animal protectors out of simple materials (as Welch says, ���Butcher paper and tape can do anything���) and could be seen carrying their protectors around; at the end of the week, every animal was eagerly taken home.

Putting it All Into Play (and Putting on a Play)

The students were eventually divided into two groups: actors and technicians. The actors joined Bosworth in various exercises to workshop and rehearse scenes for the play. Meanwhile, the technicians worked with Welch to finish backdrops, props, costumes, and the set: a floor-to-ceiling construction paper rainforest depicting the Amazon.泭

Bosworth and Welch remember the moment when the two groups reunited: the technicians had just finished the set and the actors were seeing it for the first time. The excitement in the air was tangible as the students really saw their production coming together and appreciated everything they had accomplished so far.

The week culminated in a performance of W籀wau����ila: The Flower of the Amazon for an audience of proud parents and family members. The production really showcased how much the students had learned during the week as the show exhibited the many different artistic disciplines that were involved in its making. Most importantly, the students walked away having had an incredible experience in using art to share their voices, tell their stories, and make an impact.

We would like to take this opportunity to thank Ben, Bosworth, and Welch for extending IA���s impact by bringing such a valuable inter-arts experience to the students of Pine Ridge. We would also like to thank Red Cloud Indian School and everyone who made this collaborative workshop possible. 

Welch described it as a ���transformative��� experience for both the students and the teachers: ���The whole time I was like, ���I can���t believe I���m doing this, this is so amazing,������ she said. Bosworth echoed her sentiments, saying, ���I���d like to keep up the partnership���I���m so grateful that I was able to be involved.��� Providing arts access to young creatives���especially those in historically disenfranchised communities���continually proves to be a meaningful experience for all.

Celebrate Native Arts with Us on Campus at 51做厙 Arts

There are several upcoming opportunities to engage with Native Arts at IA in person. To learn more about IA���s Native American Arts Center (NAAC), please join us in person on Sunday, October 8th at 2 p.m. for a specially-catered engagement at Lowman Concert Hall, followed by a concert with NAMMY-winning Navajo pianist and composer Connor Chee. To learn more about the NAAC, click here.泭

This all leads up to Indigenous People���s Day at IA. On October 9th, IA will host its annual Indigenous People���s Day celebration, complete with a full day of in-person arts and educational programming, all free and open to the public. The day���s events will feature performances, lectures, outdoor concerts, and Native foods, as well as several special guests, including (but not limited to) musician Keith Secola; hoop dancers Sky and Talon Duncan; artist Steven Paul Judd; filmmaker Ivey Camille Manybeads Tso; singer Tia Wood; and designer Bethany Yellowtail. 

Coming Soon: Michael Kabotie Lectures Premiere Online

With this November also comes the chance to experience (or revisit) this summer���s celebrated Lecture Series online. This lecture series partners with Indigenous creators to promote Native Art and highlight Native perspectives.

Each Wednesday in November at 7 pm PDT, a recording of one of this summer���s Michael Kabotie Lectures will debut online via . Check out the line-up below: 

• Nov. 8 – Still We Smile: Humor as Correction and Joy with artist and curator Meranda Roberts (Numu/Xicana). 
• Nov. 15 – An All Around Comedy and Cat Guy, A Conversation with Joey Clift (Cowlitz): comedian, TV writer, and cat guy. 
• Nov. 22 – Art that Makes You Laugh, Makes You Think, and Makes You Feel Pride with filmmaker, director, screenwriter, fiction writer, and visualist Steven Paul Judd (Kiowa/Choctaw). 
• Nov. 29 – Good Medicine Comedy with stand-up comedian, writer, actor, and producer Jackie Keliiaa (Yerington Paiute/Washoe/Native Hawaiian) and showrunner, screenwriter, filmmaker, and weaver Sierra Teller Ornelas (Navajo). 

These lectures all focus on the power of comedy, humor, and joy in Indigenous communities; all of the lecturers are working artists and creators who continuously promote these themes through their work while playfully rewriting some of the false preconceptions about Native American people. Save the dates, and To stay updated on upcoming events���and see more of Native Arts at IA���follow us on . You can also find us on TikTok, , and LinkedIn.

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, or The National High School Musical Theatre Awards (NHSMTA), were established in 2009 and have come to be known as the high school version of the Tony Awards, or ���the Tonys for teenagers.��� Their mission is ���to elevate the importance of theatre arts education in schools and reward excellence in student performance.���

Andre���s Journey to the Jimmys

Andre���s journey began at the Lucie Arnaz Awards in Palm Springs, CA, a regional competition celebrating outstanding achievement in high school musical theatre throughout California���s Inland Empire (including the San Bernardino and Riverside counties).

This was one of 48 regional awards programs that took place this year, each sponsored by a professional theatre. Every year, these competitions involve over 140,000 high school students from across the country.

At the Lucie Arnaz Awards, IAA won Best Musical for its production of BAT BOY: The Musical, a rock musical and dark comedy that follows a half-bat, half-human boy trying to find acceptance in a town fraught with suspicion, secrets, and schemes. For his performance as the titular Bat Boy, Andre won the 2023 Lucie Arnaz Award for Best Actor. This made him a Jimmy Award nominee and won him fully-funded, round-trip travel to NYC.

Next stop: New York City, for Andre���s Broadway debut. When Andre arrived in NYC, he came face-to-face with his own headshot on a Jimmy Awards billboard in Times Square, and it only got better from there!��

After an action-packed week of rehearsals, workshops, and masterclasses���not to mention the fun of being a tourist���Andre performed in the Jimmy Awards ceremony alongside 95 other nominees from 31 different states. The fully sold-out, one-night-only program was held at the Minskoff Theatre on Broadway and consisted of ensemble numbers, showcase medleys, finalist solos, and (of course) the awards, hosted by Broadway star Corbin Bleu (whom you may recognize as Chad from the iconic High School Musical movies).

Awards and Applause

Among all the exceptionally talented young artists, Andre was selected by a panel of judges as one of only eight finalists, a distinction that earned him the incredible opportunity to perform a solo number to the full house. His outstanding performance of ���I���m Alive��� from the musical, Next to Normal, can be viewed .

Of course, you can���t have an awards ceremony without the awards. On top of winning a $3,000 scholarship for being one of the eight finalists, Andre won the ���Spirit of the Jimmys��� award and an additional $2,000 scholarship. is given to one nominee for ���embodying the spirit of this musical theatre celebration,��� as voted by their peers in the competition. This year, the award was presented by the Disney Theatrical Group (which encompasses Disney on Broadway) and their president, Thomas Schumacher, a well-known theatrical producer. 

���Andre is one of those young artists that is very deserving of this honor because he is dedicated, talented, and just an amazing human being,��� said Denis McCourt Stryjewski, Chair of IAA���s Dramatic Arts Department. McCourt Stryjewski worked closely with Andre during the last school year, having directed Bat Boy: The Musical. ���I���m not surprised his castmates in NYC selected him for the Spirit Award.���

Why do the Jimmys matter?

The Jimmy Awards provide students with the opportunity to learn from theatre professionals, earn scholarships, and celebrate their achievements on a Broadway stage���an unforgettable experience. Moreover, many Jimmy Awards participants go on to have rewarding careers in the performing arts.

include Rene矇 Rapp, Ryan McCartan, Andrew Barth Feldman, Casey Likes, and two-time Tony Award-nominee Eva Noblezada. Sixteen Jimmy Awards alumni (including Likes and Noblezada) are currently performing on Broadway, with eight more currently performing on Broadway National Tour���there���s a reason

Andre has already determined to follow the same path, Broadway-bound. ���Getting to meet talented artists made me remember why I do musical theatre,��� he said, reflecting on his experience at the Jimmy Awards. ���I had a glance at what it is like to be on Broadway, and I loved it. I will keep preparing so that when an opportunity comes, I will be ready.���

Back to Broadway

It looks like that opportunity has already arrived���impressed by his performance in the Jimmys, Broadway came calling and invited Andre back. On September 14th, Andre returned to NYC to take part in the development of a new musical, Waiting for Snow in Havana. 

The project is inspired by Carlos Eire���s memoir, Waiting for Snow in Havana: Confessions of a Cuban Boy, in which Eire recounts how his ���youth���with its lizards and turquoise seas and sun-drenched siestas���becomes an island of condemnation once a cigar-smoking guerrilla named Fidel Castro ousts President Batista on January 1, 1959.��� Eire was ���one of 14,000 children airlifted out of Havana���exiled from his family, his country, and his own childhood by Fidel Castro���s revolution��� (read the full synopsis of the memoir ). 

It looks like Andre���s career in the performing arts is off to a promising start���we can���t wait to see what he does next!

Standing Ovation

Everyone at 51做厙 Arts is incredibly proud of Andre for what he accomplished on the Minskoff stage and for all the hard work he has put in at IAA���the hard work that led him to Broadway.

Andre���s impressive journey to Broadway is a real-life example of the life-changing opportunities that students at 51做厙 Arts often experience. Learn more about the Theatre/Dramatic Arts program at 51做厙 Arts 51做厙 here. Stay connected! Follow us on , where you can see more highlights from Andre���s performance. You can also find us on TikTok, and LinkedIn.

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While the creativity was spilling out of the classrooms, laughter echoed through the San Jacinto Mountains (Cahuilla Land) as we invited community members from near and far for the Native American Arts Festival week, which centered around ���comedy and humor in Indigenous expression.��� This was a welcome theme after the past few difficult years, and demonstrated how humor is an important tool to help heal within while also coping with and accepting new realities. The engaging programming inspired internal reflection and laughter while also igniting important conversations about topics that shape Indigenous communities. Scientific, intuitive, and trickster voices came together for a balanced and provocative learning experience:

We are grateful to our outstanding contributing artists, teachers, and presenters, and to everyone who joined us on campus for this truly unique experience. Please save the dates for our next upcoming Native American Arts Center programs:

• A series of online premieres each Wednesday of September, featuring the video recordings from this year���s Michael Kabotie Lecture Series, for those who missed it
• Indigenous Peoples Day on October 9th, which will offer a full day of arts and educational programming, free and open to the public

Details will be added to our��event calendar��and shared via our email newsletter (sign up��) and social media channels (,泭, and��).

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Paul studied East Asian languages at Columbia University, then went on to study Fine Art in Rome before moving to Wilmington, North Carolina for a writing MFA program. In his second year, he was encouraged to apply to the prestigious Iowa Writers��� Workshop. He was accepted, and the opportunity to develop his craft alongside some of the best writers in the world left him feeling accomplished and ready to start his writing career when he graduated in 2016.

A summer retreat in Wyoming and a fellowship in Santa Fe helped him begin his debut novel, ���Bindi,��� which was published by Little, Brown and Company in 2018. Paul���s passion for teaching high school-aged students began later that year, when he started working with disadvantaged and depressed youth using yoga-based mindfulness practices. He went on to work with a research program at UCSF, which uses MRI technology to measure the changes in the brain before and after these 12-week mindfulness courses.

When he was chosen for a Writer-in-Residence position at 51做厙 Arts last year, Paul���s many interests converged. He was already familiar with the institution through family connections; his stepmother attended the Summer Program for Theatre 55 years ago. In his new role, Paul is eager to bring more mindfulness to 51做厙 Arts, claiming that ���writing is a cousin to meditation.��� His teaching philosophy centers around helping students make sense of a challenging and chaotic world by developing healthy relationships���both with others, and with their own inner thoughts.

From a practical point of view, Paul aims to make our young writers into better readers. ���We practice close reading. We sit together and read stories. An important course I teach is Literature and the Writer, in which students learn to apply their own experiences and to expand their horizons by writing about more than themselves. I give them tools and space.��� He thinks that creating plot and character comes back to being meditative. ���My characters lead me. If I try to project myself onto them, I know I will have problems.���

With ���The Writer���s Life��� series, launched this semester, Paul aims to bring another tangible benefit to 51做厙 Arts 51做厙���s writing students. This ongoing series of masterclasses and readings from guest artists will give students the opportunity to learn from renowned professional writers in the industry. Guest writers so far have included , , , and , and next week will feature (with a public reading on Friday, April 7th at 7:00pm, also available by livestream ).

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