Ballet

Ballet

Teaching Philosophy

I encourage my students to explore all of the different identities they take on in dance spaces: “artist,” “athlete,” “mathematician,” “physicist,” and “philosopher.” We are artists first, and our art is supported by our athleticism. The precision demanded by the athletic requirements of dance calls on our inner mathematicians and physicists to note how our unique bodies adapt to the movement. Finally, in thinking critically about dance and other outside influences coming with us into class, we are philosophers unfolding the ‘why’ of our dance journeys.

I believe that ballet is a dance form for any and everyone, and it’s history, including its practice in non-Eurocentric cultures, is a testament to that. I approach ballet pedagogy holistically and historically, promoting a well-rounded learning environment where students feel challenged and empowered.

Specializations

Classical Ballet

  • Cecchetti (Certified in Grades I-V)

  • Vaganova

  • Non-Syllabus (including French and Bournonville influences)

Neo-Classical Ballet

  • Including influences from the Balanchine methodology

Contemporary Ballet

  • Including influences from the LINES and Foresythe methodologies

Ballet History

  • Including my original class “History of the Black Ballerina,” taught exclusively at the University of Michigan.

Bomba

Bomba

Methodology

I began studying Bomba, an Afro-Puerto Rican dance and music form, while studying at the University of Michigan and performed with a student-leg ensemble. Through funding from the Center for World Performance Studies, I travel to San Juan to research Bomba’s contemporary practice and interview Bomba masters such as Maribella Burgos and Jesús Cepeda. I was struck by the connection between Black experiences in Puerto Rico and in mainland United States. These experience have greatly influenced how I teach Bomba in a way that honors its origins as well as its continuous innovations.

Class Types:

Bomba (Improvisational)

  • Typically with live drummers, I cover the history of Bomba teach foundational steps. We focus on the etiquette of dancing (and singing) in a Batéy and moving through different movement ideas spontaneously.

Bomba (Folklórico)

  • Much like improvisational Bomba, I provide historical context and teach foundational steps. The class then learns choreography that uses this movement vocabulary while exploring choreographic elements like formation changes and cannons.

Jazz

Jazz

Methodology

I primarily studied Jazz under Randy Duncan at the Chicago Academy for the Arts and was introduced to what can be classified as Afro-Jazz: a fusion of Jazz and West African, Central African, and Afro-Caribbean dance forms. Jazz itself is a fusion of Black social dances, modern, and ballet and is considered a homegrown American dance form. Within my Jazz classes, I offer units that touch upon different eras of Jazz dance. My primary research and performance focus, however, is Afro-Jazz.

Offerings

  • Afro-Jazz Technique and Choreography

  • Jazz: Traditions and Evolutions [Includes Technique and Choreography Units]