In my teaching of dance technique and theory, I focus on three objectives: offering a cognitive-based somatic framework that assists students in integrating their minds, bodies, and spirits in their dance practices, guiding students to understand the cultural and historical relevance of dance, and giving space for students to self actualize through their dance practice. To engage students in these objectives, I focus my language on using multiple intelligence theory to cater to various learning styles. 

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In my experience in somatic-based workshops and research in the field, there is frequent referencing of a mind-body connection, but not often a mind-body-spirit relationship–especially when it comes to embodied movement in dance practice and performance. I have organized my somatic framework with Jungian psychology and vitalism to create a non-dogmatic explanation of spirit and communal connection. The naming of the spirit component is to gain a deeper understanding and awareness of students' emotional and intuitive selves. When applied to dance practice, this offers new ways of thinking when connecting with the unconscious parts of the self (e.g., kinesthesia) and communal energy sharing between performer and audience. 

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For students to understand the cultural relevance of dance, I carefully select and incorporate supporting materials for classes that offer historical contextualization. This theoretical background of dance helps deepen the embodiment of a dance form's aesthetics. For instance, I focus on the multiple aesthetics present in jazz class, including those that reflect aspects of the African diaspora. For example, when teaching a jazz walk, I would call attention to the grounded and polycentric posturing while noting the verticality of the spine. 

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As an educator, I have frequently had students explain some assumptions they were taught about "ballet being the basis of all dance" or "jazz dance not being as serious as modern." A student becomes self-actualized when they can objectively understand their biases and assumptions. The holistic integration of a student's whole self and the background information of the historical and cultural influences on dance I use in teaching provides a reflexive learning experience for students. By using a critical pedagogic stance in instruction, students further evaluate and reflect on personal and collective identity in response to their experiences. 

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These objectives are essential to my dance studies and instruction in embodied performance by having an environment where students prod at cultural constructions of movement and the body. Through a praxis and somatic-focused approach, I have students cognitively integrate themselves into their dance practice. The result is to have students understand that dance is intrinsic to the human experience while preparing them to see the dance discipline as more than just the body in motion.