Teaching philosophy – The direct and explicit philosophy that leads my studio technique work and pedagogy courses has me respect and learn a great deal from the students and use that information to continue to develop a philosophy that is dynamic and compassionate. The heart of jazz music and dance is improvisation and the classroom is often the site of collaborations between musicians and dancers. Studio classes use recorded music as well as guest musicians in the form of jazz trios and quartets and West African music ensembles. Local musicians such as, Kristian Alexandrov, Shannon Gaye, Derek Stoll and Tyler Hornby have all participated, serving as collaborators and teachers. I often use the model of ‘child’s play’ to inspire and to create and understand improvisational dance, this sometimes gives the impression that as a discipline it is deficient or lacks form and control. These in turn are not states that come to mind when we think of scholarly research. Yet the image of the child at play does not have to corrupt our image of deep contemplative and rigorous investigation. The image of play, and joy for that matter, are manifestations of freedom that can allow the dance artists’ viewpoint to be exposed as valid and in fact meritorious and certainly powerful when it comes to jazz. Through the intuitive responses and analytical investigation the act of dancing can be a rich source of knowledge and joy. I have coined a phrase- actually a concept “Synthesized- Movement- Creation Intoxication”, it is a state, and a strategy for artistic inquiry. I have coined this expression to convey the power of movement to create a state that encourages a sharp - sightedness that the mind alone cannot provide. SMCI also refers to the power of movement to stimulate and encourage turbo –creativity. This state, this enjoyment of the creative process, is a path towards illumination, greater understanding of the many themes that allow the human condition to be rich, and the lived experience authentic and powerful. Jazz dancing can mean exploring risk, practicing the act of surrender, practicing craft, moving with strength and suppleness, courage to take another path, skill in our discipline, love of ourselves; mind and body, and a general sense of playfulness and joy as we explore our human potential- expressing and playing with imagination and creativity. I have a life –long dedication to learning and have had the opportunity to work with many outstanding- artists, choreographers and internationally respected instructors including my colleagues in the BA Dance and Vicki Willis Artistic Director of DJD. Among numerous luminaries Matt Mattox, Frankie Manning, Buster Brown stand out. Teachers and peers such as Hannah Stilwell, Kim Cooper, Joanne Baker, Denise Clarke, and Heather Cornell have been influential. Hamidou Bangoura, Mouminatou Camara, Youssouf Koumbassa and Moustapha Bangoura, have also greatly informed my work. I have studied many forms and experienced many pedagogical approaches. I am dedicated to the ongoing study of many forms such as; modern/contemporary (Limon, Horton, and Graham), somatic practices, ballet, improvisation, Contact Improvisation, Rhythm Tap, funk and Hip Hop, Flamenco, Tai Chi, Classical Indian dance, West African Dance, West African Drum, creation/composition/choreography, Hatha Yoga, music, Capoeira, percussion, and theatre arts. I have a deep respect for, and interest, in cultural studies, diversity, and community dance practices, cross- disciplinary and cultural practices as they relate to the lived experience and art practice.
