As I teach, whether in institutions of academia, studio settings for professional artists, or community centers with folks of various ages and relationships to performance, I commit to discovering ways that our class/workshop/practice experiences can invite students/participants/practitioners to bring their full selves, full bodies into the space.  Each setting, each place of practice has its own history, as does each student, as does each form of practice, as does each teacher.  My role as a dance teacher can function most appropriately when I am paying attention to how various places, people, histories can meet one another in respectful and empowered ways.  I like to imagine the dance class as a space of negotiations (I borrow this term from scholar/artist Thomas F. DeFrantz).  In these negotiations, we will be honest about the divergent ways that we experience and imagine time, space, energy, motivation, intention, relationship, and propriety.  We will share, we will be together, will make mistakes and offenses, we will apologize earnestly, we will check ourselves, we will keep going.  As elusive as the concept is, I imagine the dance class as a place in which we can practice embodiment together from a place of love, and let that generate a beauty that we may not understand right away, and that we will consistently need to reevaluate.

I encourage and create space for all bodies and gender expressions.



BIG BODY: Experimental J-Sette Performance Workshop

Tension Continuums

The Switching

Umfundalai (various levels)