DA's First Open Mic of the Year

By: Luigi Avila

The Outside of No Bird, the location of DA's Open Mic.

On August 28th at No Bird – a creative space for artists to come together to showcase their work – the Douglas Anderson Creative Writing department kicked off the school year with their DA Back to School Open Mic. They collaborated with Mr. Citrone’s songwriting class. All art areas are welcome to participate. No Bird’s tall blue walls, chandelier lighting, and rows of white-cushioned chairs created a cultivated yet welcoming space. In the center lay a green sofa, two pink armchairs, and a black round table on a floral rug. The décor helped create a comfortable space that encouraged performers to feel safe sharing personal work and invited the audience to engage with the performances.  

The space buzzed with anticipation as students, teachers, and friends settled in for an afternoon of original student work. With composure, the young writers delivered a well-rounded lineup of performances ranging from fiction, nonfiction, poetry, and original songs. The event struck the perfect balance of professional polish and warm encouragement, making the audience feel both inspired and welcomed into the new 2025–2026 school year. 

Comforting Atmosphere  

From the moment the doors of No Bird opened, the Douglas Anderson community buzzed with anticipation. Friends traded jokes, and clusters of students chatted freely. The lively interaction felt authentic and relaxing. Near the back, a separate holding room gave performers a quiet space to prepare before stepping up to the microphone. Some students quietly reviewed their lines while others offered last-minute encouragement. Beside this room, a small kitchen offered snacks and drinks for anyone who wanted a quick treat. Not all performers waited in the holding area; some chose to sit with the audience, taking in the other performances until it was their turn.  

This sense of shared purpose is exactly what poetry scholar Jessica Helen Lopez calls “the glue of literary community.” In her essay “Open Mic as Community Building”, Lopez explains that when audiences are “not passive but active witnesses,” they create a circle of trust that lets performers reveal their most vulnerable selves. That trust was visible here. Students recorded each other’s pieces not for clout, but to show love and preserve the moment.  

Michelle Flores, Creative Writing Department Chair, sees this atmosphere as essential for young artists; “I think Open Mic is a space where they can feel safe and comfortable being exactly who they are.” Her words show what educator and writer Holly Korbey observes in Edutopia: when students are offered “authentic audiences,” they develop the confidence to share personal stories that otherwise might stay hidden. DA’s first open mic of the year demonstrated how a carefully nurtured environment becomes the spark for fearless expression.  

Performers' Vulnerability 

Pictured are Jazzlyn Palma (left) and Matthew Tisby (right)

One by one, the performers stepped out of their comfort zones. The pieces discussed past family experiences, heartbreak in meaningful relationships, and current personal issues. The program moved from song to poem to flash fiction and back again, creating a rhythm that kept the crowd leaning forward. A multilingual piece underscored the diversity of voices; songwriting and fiction blended seamlessly with heartfelt poetry. The flow was truly executed well, the dynamic worked to the benefit of the Open Mic. 

Harrison Clark, a freshman in Creative Writing, explained that he had attended earlier open mics and wanted another chance to show his growth. “I was pleased,” he said, “but I sort of regretted the last one I did. I thought I could have been way better and put more effort into it. I kind of wanted to make up for what I did before.” His honest self-assessment reflects the growth mindset many educators champion. As The New York Times education section notes, public performance gives young artists “an iterative process, try, reflect, revise, and try again.” The students truly used their stage presence to their advantage, relying on facial expressions to show emotion, tone to convey their feelings, and gestures to paint the picture. 

Senior vocalist Jazzlyn Palma brought the room to a hush with an original song born of heartbreak, “I couldn't eat, sleep, I could barely take a shower. It was really bad and the worst part was that we could have ended it on good terms. But we didn’t. Now I’m over this ex. But it was what inspired it.” Her song turned private pain into collective feeling. Educator Deirdre Gogarty, writing in The Journal of Creative Writing Studies, argues that such performances help audiences “witness the transformation of trauma into art,” which strengthens both performers and audience members.  

Songwriting Instructor John Citrone marveled at the students’ speed and skill. “The school year just started. But these songwriters put these songs together in two weeks, which is 10 hours of collective class time. They rose to the challenge and were able to perform so well.” His admiration highlighted how the evening showcased not only talent but also craft and how much intention they put behind it.  

Teacher's Affirmation  

Faculty support was more than polite applause; it was an active affirmation of risk-taking. Flores explained that for writers and songwriters, “You get a sense of how the audience is understanding your work. So, for me, I use it as part of my revision process. I hope the students take the same from it; it's all about listening to what audiences are responding too.” She frames the open mic as a trial and error experiment, where feedback from real listeners becomes a tool for artistic refinement. Teachers weren’t simply watching the performances; they were modeling how professional writers and musicians use live responses to sharpen their work. That example allowed students to see the evening not as a “teacher is watching you” scenario, but as a collaborative experiment where they could showcase themselves as individual artists, rather than just as students. A collaborative environment for all artists to come together. 

Creative Writing Instructor Christine Roland added, “I always find that building your skills in one area, makes you a better writer in other area. It is tough at times to go back and forth between genres, but they all pull from the same techniques in literary writing. The structure is what changes.” Roland reinforces a key idea of confidence within your writing and owning it in a variety of ways. It’s important to take these experiences to showcase what you have created. It helps you build confidence within your writing, as well as helps improve your writing. 

Future of the Open Mic  

The night’s success signals a bright future for DA’s Open Mic series. Students already spoke about upcoming pieces they hope to debut, and the crowd’s enthusiasm suggests growing audiences ahead.  

In an age when much creative expression lives behind screens, Douglas Anderson’s first open mic of the year proved the enduring power of gathering in person. The department launched its 2025–2026 season not only with artistry but with a shared commitment to vulnerability.  

They cannot wait to see you in the next open mic at No Bird, November 13, 2025, for the second open mic of the year.