My teaching has been informed by the integration of my formal university dance training, my work as a guest artist/teacher, my teaching experience, and my professional choreographic work derived by emotional risks exposing truths. I am dedicated to enriching students’ concepts of men and women in dance and shedding light on the impact and contributions made by past and present artists. I teach to inspire, connect, question, and elicit curiosity in my students through inquiry and evaluation.

 

Teaching is to students as water is to trees; by watering the tree you cultivate it, care for it, facilitate growth. It may grow stronger or weaker based on its environment, but the most important factor is water. A student under any circumstances can flourish if introduced to the right teacher. As such, dance instruction requires undivided attention, care, evaluation, adjustment, and support to enable fantastic dancers. Teaching itself also requires constant cultivation on the part of the teacher to further develop, thereby ensuring the student has everything he/she needs to succeed. For this reason, I work to instill these ideas in my classroom, have pursued certificates in dance education, and plan on obtaining my MFA. 

 

A dance instructor needs to also understand different avenues of learning. Auditory and musical learners, visual and spatial learners, verbal learners, logical and mathematical learners, physical or kinesthetic learners, social and interpersonal learners, and intrapersonal learners all require different pedagogical techniques. I have experience with a multitude of learning styles and I structure my lessons to reflect student learning requirements. I explain my intention in the beginning, show what is expected within the exercise, speak in tune with the beat of the music, count out loud, physically move their bodies with permission, draw diagrams, keep a strong structure, and encourage students to ask questions.

 

My technique classes incorporate conditioning work for strength, mental training for clarity and articulation, and strong performance skills that emphasize intent. My work is principally inspired by several artistic styles and techniques: release forms, improvisation, Horton, and Graham Technique. I believe no one ever arrives to a place of “all knowing,” for two reasons: 1.) it assumes the world of dance is finite, to which it is not; and 2.) that someone can arrive at this finality. With this perspective, I stress to my students to keep learning, keep exploring, and to do so from many different instructors.