Teaching Philosophy
At the heart of my pedagogical philosophy, I strive to cultivate student empowerment and a positive experience of learning and growth. In both technical and theoretical class formats, I accomplish this through strength-based constructive feedback, maintaining self-reflection and self-assessment as learning methods, and incorporating one-on-one student-professor conferences. Strength-based constructive feedback uses an area of strength to help uncover and explore an area of potential growth. An example of strength-based feedback in a dance technique, choreography or improvisation class sounds like, “You are very proficient at sharp, direct and quick movements. In order for these qualities to be seen and fulfill their impact potential, work on developing and incorporating contrasting qualities of soft, indirect and sustained.” Assignments that require self-reflection and self-assessment give students a voice in their own learning by sourcing knowledge and discovery as emerging from within. One-on-one conferences build student-professor trust and offer a dedicated space where students know their challenges and discoveries are witnessed and heard.
The dance technique classes that I teach utilize a combination of choreographed sequences, somatic practices such as Bartenieff Patterns of Connectivity and Body-Mind Centering, and improvisation. Somatic explorations cultivate in the dancer a deep intimacy and first-hand experience with his or her anatomy and physiology, a knowledge integral to the artist who works with the body as a resource and medium for self-awareness and expression. At the same time, somatic training supports holistic body image and cultivates individualized embodied intelligence. Improvisation in the technique class places examination of a technical concept within a dancer’s own process of exploration while encouraging both the recognition and expansion of one’s habits and choices. Choreographed sequences offer movement schemes that prompt efficient sequence memorization, promote skillful dynamic alignment and build versatility via a variety of approaches to time, effort and space.
In both practice-based and theoretical classroom formats an understanding of multiple intelligences and respect for diverse learning styles play an essential role in my pedagogical methodology. In the practice-based classroom, I ensure the inclusion of all learning styles by sharing information using a variety of methods for delivery and exploration. For example, an inclusive dance technique class involves teaching movement sequences or concepts via counting (mathematical), sounding out the phrasing (musical), imagery (visual and kinesthetic), anatomy pictures or models (visual), descriptive anatomy (linguistic and kinesthetic), descriptive terminology (linguistic), and opportunities for both individual (intrapersonal) and group (interpersonal) exploration. The same holds true for my instructional design in the theoretical classroom where I ensure inclusion of all learning styles by utilizing graphs, diagrams, images and words; as well as embodiment (for example, learning a European folk dance in dance history), opportunities for individual exploration (as in free-writing) and partner or group discussion. Homework assignments and large projects always require self-reflection and suggest ways to use creative mediums beyond essay writing.
As an educational leader my initiative extends beyond my coursework to include creating opportunities outside of classroom and campus activities such as study abroad programs, conference presentations and field trips. Participation in off-campus events expands student access to the most relevant and innovative research in the dance field while preparing them to engage in their own research and contribution to the field as professionals. At the same time, my work as an educator requires that I maintain a strong commitment to my own continuing education, growth and discovery by seeking out opportunities to engage with the field through training, presentations, performances and publication.
I am both artist and educator, and these two streams of creative practice often converge. The art of teaching requires the honing of specialized skills beyond the delivery of information, to include a willingness to both give and receive authenticity, empathy and discovery. For this reason, each day I teach I develop integral skills to being human and therefore thriving as an artist. Each day I teach, I come away inspired by students, inspired by life and motivated to channel these inspirations into creative practice.
The dance technique classes that I teach utilize a combination of choreographed sequences, somatic practices such as Bartenieff Patterns of Connectivity and Body-Mind Centering, and improvisation. Somatic explorations cultivate in the dancer a deep intimacy and first-hand experience with his or her anatomy and physiology, a knowledge integral to the artist who works with the body as a resource and medium for self-awareness and expression. At the same time, somatic training supports holistic body image and cultivates individualized embodied intelligence. Improvisation in the technique class places examination of a technical concept within a dancer’s own process of exploration while encouraging both the recognition and expansion of one’s habits and choices. Choreographed sequences offer movement schemes that prompt efficient sequence memorization, promote skillful dynamic alignment and build versatility via a variety of approaches to time, effort and space.
In both practice-based and theoretical classroom formats an understanding of multiple intelligences and respect for diverse learning styles play an essential role in my pedagogical methodology. In the practice-based classroom, I ensure the inclusion of all learning styles by sharing information using a variety of methods for delivery and exploration. For example, an inclusive dance technique class involves teaching movement sequences or concepts via counting (mathematical), sounding out the phrasing (musical), imagery (visual and kinesthetic), anatomy pictures or models (visual), descriptive anatomy (linguistic and kinesthetic), descriptive terminology (linguistic), and opportunities for both individual (intrapersonal) and group (interpersonal) exploration. The same holds true for my instructional design in the theoretical classroom where I ensure inclusion of all learning styles by utilizing graphs, diagrams, images and words; as well as embodiment (for example, learning a European folk dance in dance history), opportunities for individual exploration (as in free-writing) and partner or group discussion. Homework assignments and large projects always require self-reflection and suggest ways to use creative mediums beyond essay writing.
As an educational leader my initiative extends beyond my coursework to include creating opportunities outside of classroom and campus activities such as study abroad programs, conference presentations and field trips. Participation in off-campus events expands student access to the most relevant and innovative research in the dance field while preparing them to engage in their own research and contribution to the field as professionals. At the same time, my work as an educator requires that I maintain a strong commitment to my own continuing education, growth and discovery by seeking out opportunities to engage with the field through training, presentations, performances and publication.
I am both artist and educator, and these two streams of creative practice often converge. The art of teaching requires the honing of specialized skills beyond the delivery of information, to include a willingness to both give and receive authenticity, empathy and discovery. For this reason, each day I teach I develop integral skills to being human and therefore thriving as an artist. Each day I teach, I come away inspired by students, inspired by life and motivated to channel these inspirations into creative practice.