(Please note there are captions for the many Interlochen pictures; just hover with your mouse over photo.)
The symphony of winds rushing and skipping through acres of broad leaf and conifer trees, lake water slapping then gliding along a strip of shore: these sounds long ago saturated my brain and blood. The sonic tableau is further enhanced with human-created instruments and voices. The musical phenomena in which nature and people collaborate gifted me with a series of wonderment. My times spent attending internationally renowned Interlochen Summer Arts Camp (overshadowing all other camps) remain potent points of grace arising from a crucible of trying times.
I stay the impulse to write of my beloved father, how he taught and conducted orchestras there in the richness of summer’s glow. I might tell a bit about my four older siblings who studied, practiced and performed on their own respective instruments–cello( my oldest sister; also me), clarinet, viola, flute, bassoon and more as they changed preferences. And a couple of them later became summer counselors for the younger campers. Oh, wait, my oldest daughter taught art there for two summers. But they have their own stories.
And I will not be writing at length regarding the illustrious history of Interlochen Center for the Arts, both an arts camp (established in 1928) and soon a boarding fine arts high school school, other than to say it has offered programs for aspiring artists from grades 3 to 12 who have come from around the world. The place has expanded since I attended to include a College of Creative Arts, as well.
I’m not very interested in cataloging triumphs or failures (for example, I won first chair in the cello section of orchestra one summer only to lose it to my still good friend and far better cellist, Susan). Nor teachers’ strengths or weaknesses; the stress of competing against talented kids from all over the world; cramped yet lovely rustic cabin life; the regimen of getting up at the crack of dawn and flopping into bed exhausted, too tired to gossip or plan hijinks. And when allowed breaks, the best thing was to sit lakeside and sip a soda or dash off a letter home. And visualize a future in the arts, that shining life of work and inner rewards–and perhaps outer.
It was, in truth, not a time so much of great youthful fun as it was strictly scheduled and enforced hours as each worked at perfecting one’s capabilities as a young artist who was engaged in performing and visual arts. In short, it was intensive summer school for kids with many talents, but conducted in the midst of beautiful forested acreage by a lake. And it was heavenly regardless of the toil that came with it. I was thirteen and fourteen then fifteen and by then “excellence above all”was a main credo. It was the family’s, as well, as music and striving were seemingly what was needed; it felt natural.
My fingers ached, even bled at times despite thick calluses formed; my shoulders muscles bunched and sometimes spasmed after hours of practice in small field stone “huts”, side windows opened to a pungent, damp breeze. Still, sweat rolled down back and chest in high summer, my cello sticking to the bare spots of skin that hugged it. At night, it cooled enough. As I walked dirt paths through a bluish-lavender twilight, my cello snug at my side, music still swirled about as I passed Interlochen Bowl, an open air stage full of performers. It was as if music and other mysterious energies moved the very atmosphere I breathed. I felt, at times, as if I had walked through an opening to an idyllic garden of delights. Nothing was the same there as the outside world; all was finer, richer, sweeter. Tough but better. And at home I had plenty of creative engagement. This was just, well…Interlochen.
Perhaps as I finished voice lessons (hoping I’d have a chance to ace the audition for a musical theater production) I’d slip into the dark, musky backstage at Grunow Theater, spellbound as chameleon actors rehearsed. My small notebook would soon be full of messy notes for future reference…for something, I was certain. I learned more about the arc of storytelling, of drama’s effect when leavened with humor. And witnessed again the enchantment of imagination’s constructs. How I longed to tell such stories: a heavy velvet curtain swinging open, revealing a saga of human loving, toiling and dreaming. I started to consider playwriting more seriously, a leap from silliness I made up as a kid.
I also learned the basics of playing a full-sized harp, a resonant and wondrous thing, and thought for a couple of years that would become my instrument, it was so amazing to me and felt not so unnatural to play. In the end it was not. Frankly, it seemed too big to deal with as well as complicated to ever master.
I had taken some dance classes as all female children did back then, at least those who liked to jump about or impress their mothers. But I hadn’t had years of strenuous ballet study like the lithe dancers at Interlochen. Nonetheless, I visited the Dance Building often, in awe of flexible, strong girls who laced up their pointe slippers. It was a favorite place to take a break. I had secretly loved to dance almost as much as making music and writing. I just hadn’t had time with so many musical activities and other pursuits, and it was not encouraged by my parents. So, one summer I decided to take an elective for fun, a beginning modern dance class. My heart pounded as I prepared. Self-conscious in my snug black leotard and very pink tights, new ballet shoes so constricting. I longed to fling them off, run and leap. Maybe I was too athletically inclined to hope to dance there.
(Please click this time on circles for captions.)
The dance teacher whose name I’ve forgotten watched me as I perspired through exacting warm ups. The glimmering Green Lake was behind our building and there were so many windows that blessedly, swift gusts from open water helped cool the vast mirrored room and us. I worked as the piano accompanied our movements each class, and studied my teacher and the others. I was so afraid I’d be determined to be anything but even a beginning dancer, tossed out of class. But I was determined, kept at each difficult position or move and did learn. I felt exhilaration, discomfort, mystification, deep joy of the body being freed. I felt terribly strong, similar to when I ice skated, but dance was even more interesting.
It was such a relief to give myself to movement, to not have to talk or sing or play cello–just let my body lead me, teach me. And I waited to learn a real choreographed dance, an event I considered my true reward. In a week we were making something good, and I followed each instruction, melded with others. Took my place with anticipation, made it past the run-throughs. In a short time, we would have a whole performance to offer.
The teacher beckoned to me at the end of a class. I felt breathless; was it good news or bad?
“How long have you been dancing?” she asked, her kind face betraying nothing.
“Oh, well.” I wasn’t sure what to say. If I told the truth, would she tell me I should not be there? “I had a few years of rhythmics classes as a kid, a little ballet…not so much.”
She put her hand lightly on my shoulder and sat me down.
“Do you want to dance? Is that why you took this class or to just have a lark?”
“Oh, I love dancing, it’s wonderful being in your class. I’m a music major, though.”
“I’m glad to hear it. Because you should dance more. You have such natural talent, I’m surprised you haven’t had training. In fact, I believe you could be a real dancer, make it a career eventually.”
“What?” I felt as though in a dream, the sort you must awaken from despite it being perfect.”But I’m already fifteen! I’d never be able to compete with other talented kids who’ve worked so hard–”
“But you could. You could go home and take dance lessons and work really hard, then study dance in college and do something good.” She smiled and gave me a quick hug. “I was like you, once. I followed my dream when it didn’t make sense. I began rigorous study in university and went on as a modern dancer, dancing all over the world. And I teach here. You have promise–modern dance suits you well. You dance from a very deep place. You should consider doing this, okay?”
I didn’t feel I could answer, as tears welled up. I nodded, smiling, and left.
Modern dancing that summer was the first time I’d fully discovered safety and exhilaration living within a body that had, as a child, endured years of sexual abuse. The first time someone had told me–beyond my figure skating (perhaps more a sport to me, not quite the art I longed for)–that I was acceptable physically, even valued in rarefied worlds defined by ideas and creative activity. Instead, my young being, my flesh and bones had long been burdened with self loathing and abandonment, the lurking, subterranean fear of vulnerability. Dancing that summer along with my teacher’s firm encouragement and appreciation sparked a change in self-perception, in my desire to do more than even survive capably, if possible. Or sometimes, stay alive. Just get by. The fine teacher never even knew it. Or maybe she suspected.
Although I did not become a dancer–there were other needs, trials and goals that took precedence–I yet do dance and experience relief and joy to do so.
There was much more to those summers than dancing, singing and acting (I got a decent part in “Pirates of Penzance”; sang in concerts), playing my cello and a little harp, and learning more writing skills. There was hanging out in the dusty, smelly art studios, watching others make curious objects. And I realized I wanted to explore visual arts more, as well. There was sitting in an audience in the open air Kresge Auditorium, not just performing. Being moved far beyond my ability to verbalize my feelings as great, music was performed. The greens-to-blues lake within audience view shimmered and soothed. And there was time spent getting closer to new friends, some kindred spirits with whom I kept in touch for years, and setting out on a sailboat upon undulating waves, and gathering around campfires. It was the singing trees and the breath of sky like a scarf about me; the taste of summered water; the pulsing light and tantalizing shadow upon the paths that led me to more discovery. I was at home in the world where art was being made by many, where I, too, was following my passion to create.
My times at Interlochen heralded healthier changes while strengthening my certainty that art can salvage lives, that a grand variety of arts created and shared is more fulfilling and exciting than anything else for many thousands. For me. I saw this in many others, how they came needing more and emerged from the time spent with something new. As I once wrote in a poem, there hopefully comes for many that “deepening at the seams”, those stitched together places where this human life tugs and even rips apart our yearning selves. We can heal those tears of the soul. Praise the ongoing design and redesign of greater moments. For me the result is a life full of empowering magic, lived with good love, and I get to be part of a worldwide community that loves to conjure something fresh, remake what is known. If only there was even more time to grab hold and give it away, tenfold.