As a dance scholar, educator, and practitioner, my philosophical approach is rooted in cultural understanding. While some artists strive to create work that is physically impressive, theatrical, or abstract, my main interest is to comment on the human experience in a direct and relatable way.
My research in dance history is largely focused in American dance. As a nation of immigrants, our contemporary indigenous dance forms (modern, jazz, tap, and hip hop) all have rich cultural histories that are global in every sense. Approaching dance history education from the viewpoint of deep cultural context—that of the artist and that of the cultural climate the performance is nested within, gives students a comprehensive understanding of dance in society. Through a deep pedagogical practice rooted in Critical Dance Pedagogy and Culturally Relevant Teaching methodologies, I guide my students through transformative learning experiences designed to broaden their understanding of dance and the larger cultural context. This approach introduces the students to the myriad of career pathways in dance studies: dance criticism, advanced research methods, and cultural dance studies, for example.
I also believe that a meaningful understanding of dance history requires a kinesthetic component. Through my work with Dancing Legacy I have access to repertory and teaching methodologies of over a dozen early modern dance pioneers. For example, teaching racial and sociopolitical context during the Reconstruction Era alongside Donald McKayle’s Rainbow Etude provides students both an intellectual and kinesthetic understanding of a seminal dance work. This marriage of theory and practice teaches students performance intention. Furthermore, a deep understanding of the history and significance of a work gives them a primary experience that prepares them for performing and creating their own meaningful work.
Using praxis—the integration of theory and practice—as a foundation for my pedagogical practice, I encourage my students to make their own connections beyond the classroom. By broadening the students’ exposure to dance genres and incorporating eclectic global choreographers in the curriculum, I have found that my students start doing their own research. Students make connections to nature, science, or athletics in a way they hadn’t previously considered. These connections allow students to view their creative projects as research projects: they learn to ethically source material, supplement their creative experiments with dramaturgical research, and implement meticulous drafting processes that require feedback solicited from their peers.