Culture Carrier

Contributions to Diversity

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As the often sole Person of Color (POC) on the dance faculty in the studios I visit, I embrace the significant role of educating dancers beyond mere choreography. Recognizing that I am frequently their most consistent connection to Black/African American people and culture, I seize the chance to dispel stereotypes and correct misinformation. One method I use involves incorporating Black History facts into attendance activities, encouraging students to share their knowledge or inquire about the unfamiliar, while weaving in cultural and familial traditions from various student backgrounds to foster a sense of community and showcase the rich diversity among the dancers. Additionally, I teach the students about the roots of music, particularly highlighting the profound impact of the African diaspora on American culture, dance, music, and instruments.

As a former competition dancer growing up in a predominately white private dance institution, I am experienced in the positioning of being othered as an Afro-Anglo American. The lack of support and outright denial of an in-depth dance education and opportunities due to my natural abilities favoring Afro-centric dance aesthetics (groundedness, thoracic utilization, and pelvic usage) as opposed to Eurocentric dance aesthetics (cashew feet, flexible legs, ballet perfection), served as a driving tool behind my success as a professional commercial dancer and professional hip-hop dancer. The exclusion I experienced as a young dancer was also felt as an accomplished professional seeking teaching opportunities in Higher Education institutions. The majority of dance programs are centralized around Eurocentric dance forms Ballet and Modern, often neglecting the important contributions of African diaspora dance communities or opting for a singular course in Hip Hop dance as a one-credit elective to appear to provide a diverse education, most often taught by faculty that lack professional experience or education and whom are not indigenous to HipHop culture. 

At The Dance Academy of Loudoun, I choreographed a piece called "Bhangra," delving into the origins of this traditional folk dance from the Punjab region of northwestern India and northeastern Pakistan. Moving beyond the general "Bollywood" dance label, my students learned to differentiate between styles and to perform specific hand gestures as a sign of respect for Bhangra culture and tradition.

In 2022, I had the opportunity to choreograph a competitive jazz piece for 12-14-year-olds navigating the journey of puberty and self-discovery. One male student, reserved and quietly coming to terms with his sexual orientation, found liberation through "Agnes Dean," a piece celebrating a Drag Queen's life. The music, the choreography, and the role of being "just another dancer" allowed him to experience gender fluid movement, breaking free from his usual heteronormativity role. His excitement soared when he was lifted by his peers, symbolizing his newfound freedom. Introducing the students to voguing—an expressive dance form infused with LGBTQ+ history—I gave him a solo that allowed him to explore this genre. His final performance, his "coming out" piece, enthralled the audience and concluded with a powerful, self-definitional moment that elicited a roaring ovation and an emotional embrace from his fellow dancers offstage. Tears of pride streamed from his father's face, grateful for his son's genuine expression of identity, accepted and enveloped in love and support.

Another endeavor contributing to diversity was a visual project I produced with fellow dance educator, Ashley Wyatt. In response to the COVID-19 pandemic and the heartrending deaths of George Floyd, Breonna Taylor, and Michael Brown, we pioneered a platform for Richmond, VA area dancers to channel their voices against racism and social injustice. Rallying over 60 young dancers, we choreographed a piece to Keri Noble's "If No One Will Listen." It was an activation of our minority dancers from various leading dance studios, providing them with affirmation and a chance to be understood and supported by their white counterparts. This project demonstrated how the youth could leverage their dance platform to foster awareness and advocate for social change. The poignant lyrics of Keri Noble's song rang true: "If no one will listen when you decide to speak, if no one is left standing after the bombs explode, if no one will look at you for who you really are... I will be here still."

I am committed to creating and nurturing dance spaces that are welcoming and accessible to all. Through my educational efforts, I am an active member of several dance organizations, including the Dance Studies Association (DASA), the National Dance Education Organization (NDEO), and the Youth Protection Association for Dance (YPAD), I also proudly sponsor The Abby Warren Memorial Chapter of the National Honor Society for Dance Arts (NHSDA). In addition to my leadership roles, I proudly collaborate with the Dance Education Equity Association (DEEA) to deliver training aimed at combating racism, exclusion, and abuse within the realm of dance.

As the founder and director of the Black Dance Teachers Association (BDTA), I lead a dedicated community of BIPOC dance educators intent on creating a nurturing environment for BIPOC individuals. Our association serves as an essential platform where minority educators can voice their experiences, particularly those within predominantly white dance settings. The BDTA fosters a collaborative space where members can exchange insights, build professional networks, and share valuable resources and solutions. Additionally, we provide robust support to one another, aiming to advocate for and establish healthy work environments, inclusive and equitable practices, and to drive reforms in dance education that advance racial equality.

My expertise and dedication to cultural discourse within the dance community have led me to contribute as a panelist for significant discussions. I have shared my insights at The University of Richmond's "For the Culture" panel, which delves into the cultural shifts instigated and influenced by Hip-Hop, as well as participating in the RVA Dance Forum's series on "Racism in Dance." Through these platforms, I continue to influence and advocate for a more equitable and diverse dance culture. 

It is my goal to research and develop new knowledge in the areas of Hip Hop dance education, color-blind ideology, and color-consciousness ideology in dance. I aim to contribute to the eradication of white supremacist ideology and its dissemination in dance culture, particularly through a vernacular dance lens. I hope to collaborate with an institution in my home state of Virginia to develop a viable Commercial Dance program so the thousands of talented Virginia dancers will not need to venture out of state for a Commercial Dance education. 

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