I create a warm atmosphere by carefully building rapport with students. It is important to me that each student feels welcomed, seen, and heard in my classroom and rehearsal spaces. I recognize the value students bring to the classroom; the teacher, as the designated authority figure, is not the only one with knowledge to share and students deserve to be allowed and empowered to bring themselves fully into the room. Seeing the whole person and acknowledging that students are impacted by things that happen outside the room feels integral to my teaching style and values. Helping students learn to be functional and healthy humans is my main goal, as well as – of course – pursuing excellence in the art of dance. Prioritizing and valuing embodied knowledge, I frame opportunities for students to listen to and honor the knowledge they bring to the space. 

I work to incorporate a variety of teaching methods centering on clear expectations and feedback. I bring a unique background to dance instruction in that I have a B.S. in Secondary Education from Penn State University; I offer strong skills from my formal training. For example: clear and explicit communication, planning (across overarching curriculum, units, and individual lessons, as well as assessments), smoothly navigating transitions during class, deploying classroom management strategies, staying flexible and adjusting in the moment based on overarching course objectives/values (as well as planning ahead for such adjustments), and incorporating literacy/writing skills across disciplines. Additionally, I am committed to providing accommodations for students, as needed, in order to support positive interactions with dance as a practice for all students, regardless of their situation or ability.

Within the context of jazz pedagogy specifically, I am committed, as a white woman, to honoring the roots of the form and acknowledging the historical and cultural context of the form’s lineage. I work to ground my jazz classroom in African aesthetic values, such as improvisation, musicality, and the interrelationship between individuals and the community. I start each class in a circle, establishing a clear difference in value and form from Euro-centric practices. My jazz practice is influenced by the vernacular (particularly movement form the Swing Era), codified forms (such as Giordano technique), as well as contemporary practices in musical theatre and precision jazz.