Teaching Philosophy

My experience as a dance educator, choreographer, and leader in the arts has set me on a mission of inclusive innovation. Artistic excellence and inclusivity are not mutually exclusive, so I lead my classes with a devotion to developing equally exceptional artists and human beings. I operate using a student-centered approach and actively work against fear-based methods and unattainable expectations. Despite my aims to disrupt the hierarchical nature of dance, I also recognize the importance of ethical leadership. By incorporating a system of mutual respect between teacher and student, I am able to provide them with appropriate guidance and mentorship, while simultaneously validating their individualism, identities, and autonomy.

My methodology as a dance educator is rooted in centering students as individuals and a constant interrogation of tradition. It should be noted that my desire to untangle the complicated history of dance, and more specifically ballet, is due to my love of the genre. I am not seeking to abolish ballet as an artform, quite the opposite actually. My passion for the movement propels my initiative to deconstruct the harmful practices weaved through the training and professional realm in order for ballet to sustain its life in the 21st century. To tackle the entire ballet industry, we must first reexamine the foundation. Change begins in the classroom, and I believe as teaching artists we’re morally commanded to radically shift our approach to dance education to generate a more inclusive artform.

Discussions surrounding anatomy are interwoven into my class structure. In the rigidity of ballet culture, dancers often hear their bodies are “wrong” and that there is only one correct way to execute things. I renounce this ideology and make it clear through my language, pedagogy, and casting that every body is a dancing body. Knowledge is power, so I educate dancers on the different physical variations everyone might have and how their approaches to certain exercises may be different from the person standing next to them. All bodies are different and therefore require an individualized approach to technique. Being aware of one’s personal anatomy empowers them to make intelligent choices regarding their safety as they progress in their training, keeping them out of harm’s way. To aid in this development, I am keen to point out when a correction is for bodily health versus aesthetic purposes.

I seek to challenge students in a way that pushes them to the next level of their training, while still prioritizing their physical safety. I approach exercises with specific intentions: Is this a simple combination that challenges their endurance? Or a complex pattern that challenges their brain and coordination? As students progress those goals begin to merge but a scaffolded approach is best practice at any level whilst introducing new ideas.

I strive to support students’ unique strengths through creative skill building activities that engage them in technical analysis, choreographic tasks, and group work. It’s important to me that even within traditional ballet class I honor their expansive potentials as artists and leaders. By fostering an environment that allows their transferable skills to develop I provide them with the tools to succeed in all facets of life, including those outside the arts.

Valuing students’ identities and nurturing their ability to self-advocate is at the crux of my teaching philosophy. I implement various methods that allow students to discreetly inform me of things like pronouns, preferred names, or anything else about them that they want me to know. It is always up to the student if and how much they want to share, but having this information often allows me to enhance their class experience by validating their identities. I empower my students to practice self-agency when it comes to issues like tights/shoe color, costuming, and consent. Dance is a physical artform that often includes touch as part of class or choreography. I always ask dancers for their consent to give them physical technical correction or when choreographing partner work into a piece. The ability for students to say “no”, at any age, at any time, is imperative. Before students are dancers, they are people. When we show them that their personhood is respected, we unlock limitless possibilities and potential.

Just as all bodies are different, so are all brains. Something that I’ve found exists in general education but severely lacks in dance education are diverse teaching strategies for students who learn differently. Neurodivergent students are often drawn to activities such as ballet because it provides a structured learning environment with predictable routines and clear expectations. However, the artform fails when it applies a cut-throat attitude in the academic setting. Implementing academic accommodations such as reviewing material more than once, being open to questions, and delivering information in more than one way (speaking the exercise, demonstrating, showing with music, etc.) provides students with the tools to grasp not only the technical and artistic requirements, but also their ideal learning style. Teaching skills such as pattern recognition and strategies for information retention sets students up for success both in dance and in life. Diversifying our approach to teaching benefits all students, not just those with learning differences.

Teaching is so much more than the passage of information, it’s mentorship, innovation, and a massive responsibility. Equipping students with the tools required to thrive in arts and non-arts environments alike is invaluable. In an industry that teaches subservience, it is my ultimate goal for students to unlearn that mindset in my classroom and find their individual voice. Above all, my aim is for students to practice respect and integrity without complacency.