In my teaching of dance technique and theory, I prioritize three main objectives: providing a cognitive-based somatic framework that helps students integrate their minds, bodies, and spirits in their dance practices; guiding students to understand the cultural and historical significance of dance; and creating an equitable space for students to self-actualize through their dance practice. To engage students in these objectives, I adopt a neurodiversity-affirming pedagogical stance that employs language informed by multiple intelligence theory, accommodating various learning styles while remaining inclusive of diverse identities. 

 

The study of dance nurtures the whole self—mind, body, and spirit. A somatic approach, influenced by Laban/Bartenieff fundamentals and yogic movement, that incorporates all three aspects allows for a deeper understanding and awareness of students' emotional and intuitive selves. Furthermore, a holistic, body-based practice helps students view dance as both a mindful wellness activity and a means of connecting with themselves and their community. This approach also encourages new ways of engaging with one's unconscious, such as kinesthesia. Additionally, it facilitates students in comprehending their movements' communicative efforts through the emotional and intuitive aspects of non-verbal communication.

 

To help students grasp the power of dance's cultural relevance, I carefully select and incorporate supporting materials that provide historical and cultural context, specifically from marginalized populations, including those identifying as people of color, women, LGBTQ+, low-income individuals, and differently abled. I prioritize multi-modal strategies in classroom materials by presenting a mixture of readings, video viewings, writing exercises, physical activities, online resources, and discussions within online and in-person class work. This theoretical foundation deepens students' understanding of a dance form's aesthetics and transforms them into culturally aware individuals by presenting viewpoints outside of their identity markers. For example, in modern dance classes, I emphasize multiple aesthetic elements that reflect aspects of the Asian and African diasporas in the movement. 

 

As an educator, I often encounter students who hold misconceptions that emphasize the superiority of Western-centric dance styles, such as ballet and modern, while overlooking that styles like jazz, tap, and hip-hop are rooted in African aesthetics. A student becomes self-actualized when they can objectively examine their biases and assumptions. By holistically integrating students' entire selves with the historical and cultural contexts of dance and adopting a critical pedagogical approach in the curriculum, I encourage students to evaluate and reflect on their personal and collective identities, which are shaped by the sociopolitical undertones surrounding movement styles and their bodies in response to their experiences. This process of self-actualization in response to personal identity empowers students to take control of their learning and personal growth both inside and outside the classroom. 

 

These objectives form the foundation of my dance studies and instruction in embodied performance. They cultivate an inclusive yet intellectually stimulating environment where students can critically explore cultural constructions of movement and the body through a humanistic and interdisciplinary lens. By focusing on praxis and a somatic approach, I help students cognitively integrate their experiences into their dance practice. The goal is for students to understand that dance is intrinsic to the human experience and to equip them with skills such as blending servant and steward leadership qualities and creative thinking to support their aspirations as artists and professionals, both in and outside the performing arts. This emphasis on inclusivity ensures that every student feels valued and respected in the learning environment.