TEACHING STATEMENT

When teaching a group of artists, I believe in promoting a safe and energetic space for people to dive into their creativity and express themselves through movement. I strive to do this by presenting the class with my own individualized teaching values, which have derived from my versatile training background and discoveries in integrated practices. My teaching expertise lies primarily with jazz, modern, and contemporary, but I have also taught ballet, acrobatics, and hip hop.

My pedagogy is extensive because of the many styles and teachers I have trained under. In terms of historic figures, my teaching style aligns most with Lester Horton because his modern technique is one that I have had the most training in. My classes contain segmented exercises that strengthen and fire the body and incorporates athletic movement. A more direct influence of my teaching style is Will Johnston, for his class involves deep reflection and challenges dancers to think conceptually about their execution of tasks and movement. I try to incorporate his thoughtful approach to educating dancers into my own classes.

In the beginning of my class, I always ask my students to find themselves in a wide circle and encourage them to close their eyes. I will talk them through a brief personal check in, because establishing a mind-body connection allows for clear intentions and bringing them into their own personal awareness. I invite them to then feel the energy radiating from their peers, how they visualize their performance in class for that day to be, what they might sense to be absent from the space and how they can contribute to the space. Once they have established their purpose for the day, I then ask them to slowly open their eyes and take in their peers and the room. Starting my class this way introduces community and also gives each students a sense of purpose and intention. I then will lead the students in a warm-up that encompasses firing up the body while being mindful of alignment and the mind-body connection. I will then transition into across the floor phrases and a center combination that connects ideas taught throughout the class while also reinforcing alignment and checking in with dancers. I believe in conducting a backwards design class so that the students find their own connections within the class and feel confident in their execution. 

As a teacher, I pride myself in my ability to read the room and meet the students at where they are at that day. I always want my students to feel supported and that they are not being forced to meet a level they are unable to physically and emotionally meet that day. I also try to be as aware and attentive as possible to what the students need from me by asking questions. I try to be in constant communication with the class because while I feel that I can gather how they are doing through energy I am unable to sense exactly what they are experiencing or what they need from me. Verbal confirmation is key. I would argue that my main weakness in teaching is time management. I never factor in the perfect amount of time for each component of class, and I find myself feeling either dawdled or rushed. I think that it can be attributed to my choice of listening to the room and allowing myself to work on things longer depending on what I feel the class needs.

When determining a successful class, I believe it comes down to if I was able to make a connection with the students. Dance is such a special gift because it gives us the chance to be in physical and emotional contact with other people in a world filled with distractions. We constantly forget the impact that just being present and engaged in a class has, and I want to promote a positive and encouraging atmosphere for people to find their own artistic voice and feel comfortable to share it with others. My teaching philosophy revolves around presenting my true self to my students, so in return they feel safe and supported in dancing fully and authentically.