Just as a brush is the instrument for a painter, and a piano is the instrument for a musician, the human body is the instrument for a dancer. However, dance does not happen from a solely physical place. It is a mixture of elements; a simmering reduction of expressive, cognitive, and interactive calibration, which produce the magic of dance. I firmly believe that the language of movement has the intrinsic power of opening new pathways of listening and understanding between one’s self and another. The study of dance brings an awareness to the subtle nuances we experience between ourselves, our environment, and our surrounding communities. Dance has the power to strip a gesture from the outside world and centerpiece the true impression of a movement’s meaning. With this, the dance classroom becomes a sacred space within a school’s culture where students embody kinesthetic empathy. It teaches students to celebrate one another’s differences, honor interculturality, and appreciate diversity. Every day, I am privileged to witness the power of one human’s response to another’s energetic expression. It is this, to which I humbly dedicate my life.

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With a primary focus on social justice, I guide my students to develop their sense of self by awakening their awareness to the outside world and interpreting their findings within their bodies. As a constructivist educator, I foster a student-centered learning environment which allows students to create choreography based on their own interests, research, and experiences. By doing so, students feel invested in their process, that the work they’re creating is relevant. Within this structure, students develop their 21st century skills by critically thinking through a contextual lens, communicating their point of view with the language of movement and collaborating with their peers to create works of art that are reflective of their society. I always remind my students that, “Art echoes the time period in which it was created, and by creating choreography based on your own experiences, you are making history.” Through a curriculum grounded in the four cornerstones of dance education (creating, performing, responding and connecting), students become active agents within their classroom, school and surrounding communities. My goal is for each student to leave the dance classroom with the assurance that their voice matters and a passion to strengthen the moral fabric of their society.

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As an educator who constitutes the practice of teaching students ages 18 months – ninety-five years old, I have witnessed the overarching impact that dance contributes to each stage of life. I have come to the realization that, “dance is the art-form that attentively shapes the human experience.” Dance education lies beyond producing highly skilled performers. It involves developing the creativity, imagination, and individuality of an artist; something that is accessible to learners of all abilities. I guide the creative and performance elements of my class through imagery by focusing on the intention, texture, and overall essence of each movement. I put this to practice by utilizing Laban Movement Analysis concepts and vocabulary to concentrate on the intention of a movement rather than harping on a fabricated a visual product. With this approach, I am able to differentiate and individualize movement experiences in a way that highlights the assets each individual brings to the space and provide an inclusive environment for all.