I have a deep affection for my students—most of them, at least. While I care for all my students, there are some who stand out as particularly special to me. This doesn't necessarily mean they are the most skilled, although that can be a plus; rather, it signifies that there is something unique about their personalities that draws me in, motivating me to understand them better, invest in their growth, and share my knowledge with them.

 

I strive to meet each dancer where they are in their journey, until they show a consistent disinterest in participating. If they refrain from attempting even the most basic movements—like walking or skipping—and become disrespectful or disruptive to the class, I allow them space to figure things out. My first priority is to connect with them as individuals, not just as dancers, so we can find common ground within the classroom.

 

Anyone can become a dancer if they choose to pursue it. It is never my intention to make my students feel the way my childhood teachers made me feel—doubted, unworthy, unappreciated, or inadequate, especially in Eurocentric dance forms. While I choreograph in genres such as lyrical, jazz, jazz funk, and contemporary, my own experience of rejection from early teachers ultimately led me to discover love and acceptance within Hip Hop. In my classroom, I champion the underdog, providing them with every opportunity to decide whether they want to improve and nurturing their interests. I understand that this process may take years, but once they find their focus, incredible transformations can occur. Their futures can be whatever they choose them to be.

 

I express my love for my students through humor and sarcasm, as I believe it's essential to learn how to laugh at life and navigate challenges with a light heart. Sometimes, this means throwing items like shoes or yoga blocks—not out of anger, but in response to inspirational achievements, whether big or small. I celebrate the little victories. It's within these small moments of acknowledgment that dancers can feel seen and heard as individuals.

 

At the start of each class, I ask students to share the best part of their day. This practice acknowledges their individuality, promotes positivity, encourages them to share with others, and fosters a sense of community within the classroom, embodying the foundational Hip Hop culture of peace, love, and unity. Each student is given a personally crafted nickname, and I may choose to never learn their real names, but having a nickname makes them feel special—and that’s significant.

 

I employ an experimental approach to teaching and learning, inspired by my mentor, the creative genius Jamaica Craft. Her lead-and-follow methodology in the creative process aligns dancers and choreographers as collaborative partners, resulting in iconic music videos for artists like Justin Bieber, Usher, Ciara, Ne-Yo, among others. Jamaica’s ability to cultivate a collaborative artistic environment has enabled her to choreograph and artistically direct for television, film, and award shows, thereby influencing pop culture.

 

I invite my students to learn alongside me, fostering an inclusive environment where teachers and students work together—creating a unique community of dance. In my classes, participants may not know what they will learn each week beyond the foundational work. I often don’t know what I will create either, but I ensure that my students are recognized throughout the process, as they inspire our creations.

 

I teach to share, to learn, and to grow. I embrace bell hooks’ philosophy of engaged pedagogy, which advocates for re-conceptualizing the knowledge base, linking theory to practice, empowering students, promoting multiculturalism, and infusing passion into learning to make it more engaging and meaningful (Florence, 1998).

 

My philosophy is to make both the learning and doing enjoyable so that everyone is excited to grow together. I want my students to connect with my passion—something that has changed my life. The emotions brought forth by musicality can dispel uncertainty. Dance truly enhances life.

 

I conclude each class with, "Thanks for coming out, God bless you, goodnight." – Russell Simmons, a pioneer in Hip Hop culture. 

 

Reference:

Florence, Namulundah. "A critical analysis of bell hooks' engaged pedagogy: A transgressive education for the development of critical consciousness" (1998). ETD Collection for Fordham University. AAI9975348. 

https://research.library.fordham.edu/dissertations/AAI9975348