I am a dancer, choreographer, dance educator, and movement coach. Both my passion and my profession are focused on technologies that lead to the development and maintenance of strong, flexible, balanced bodies that mature with grace. I live, work and travel internationally building my repetoire of creative expression, technical knowledge and inner wisdom.
Tulane University—New Orleans, LA
Department of Theatre & Dance
Modern II continues to evolve the legacy of Katherine Dunham by utilizing elements of the disciplines of social and cultural anthropology to master group dynamics in the art of dance and using advanced biomechanics to develop optimal strength and stamina.
Ballet IV explores a new dance pedagogy that focuses on both the art and the science of dance. Conditioning emphasising advanced biomechanics is fully integrated into the curriculum to encourage dancers to train and move with greater sophistication reducing the risk of injury and promoting longevity in the profession.
Académie Américaine de Danse de Paris—Paris, France
Ballet, Pointe, Choreography, History, Conditioning, Injury Prevention
Created a comprehensive curriculum to achieve better alignment and strength in the execution of Pointe work. Taught both student and faculty workshops on dance injury, prevention and rehabilitation. Developed competency in bi-lingual instruction.
Florida State University—Tallahassee, FL
Visiting Assistant Professor of Dance Science
Established a rehabilitation program for injured dancers that could not complete technique classes due to prolonged injury. The program allowed dancers to maintain academic status and remain engaged in the process of their dance education. This resulted in dancers having more self-awareness, greater confidence, and an enhanced knowledge of what it takes to succeed in their discipline.
Quality of Life Improvement & Maintenance
2010 - present
2010 - present
Florida State University—Master of Fine Arts
Performance & Choreography
I returned to graduate school after a successful performance career to expand both my artistic voice and my artistic vision. The graduate experience facilitated that expansion and also opened a new pathway to my professional life. During my tenure at FSU, I began the study of how to preserve the dancing body. I studied Kinesiology and earned certifications in Pilates and GYROTONIC®. I developed skill in how to greatly enhance performance for dancers and athletes as well as how to work with individuals with physical limitations to help improve their quality of life.
Breneau University—Bachelor of Arts
My undergraduate studies at Breneau University continued to build on my solid foundational knowledge of eight years of intensive ballet training. I performed with both resident companies of the university. It was at Breneau that I began to dream of making my mark on the dance world not just as a performer but as a dance educator. It was here that I learned the fundamentals of how to teach dance to all levels in Ballet, Pointe, and Jazz.
KM Dance Project, New Orleans
Kesha McKey's Boschimanne: Living Curiosities' explores the objectification of the feminine while using Saartjie Baartman as a catalyst to delve into the myriad of emotions women -in particular women of color- experience as being different or other. This work was cathartic and allowed me to embrace my sensuality and beauty as a woman.
Compagnie Georges Momboye—Paris, France
Georges Momboye’s creation Ciel et Terre—Heaven and Earth—cast four female dancers with dancing styles ranging from hip hop to ballet. I truly enjoyed the way the choreographer integrated our different styles into one perfectly aligned dance that never felt jarring or ill-placed. Throughout the rehearsal process my technique and skill continued to evolve as I incorporated new dance styles and practices.
Compagnie James Carlès—Toulouse, France
My primary project while with Compagnie James Carlés was Danses et Continents Noirs a series of works which celebrated the life, work, and legacy of such African-American choreographers as Pearl Primus, Katherine Dunham, Eleo Pomare, Talley Battey, and Donald McKayle. The project traced the history of Black Dance in America from the 1930‘s through the 1960’s. I experience both the opportunity and the challenge of articulating the nuances of the African American ethos through the mediums of choreography and dance while adjusting to the etiquette of the French performance environment.
Cleo Parker Robinson Dance Ensemble—Denver, CO
The Cleo Parker Robinson Dance Ensemble nurtured my creative artistic expression. I began my journey with limited understanding of modern dance which required a grounded sense of dancing that I did not learn in my classical ballet training. Nor did I have a strong ability to surrender myself emotionally to the dance in a way that the audience was not only able to see, but feel. The character roles in the Robinson company ranged from being a little girl, to being an African queen, to portraying a church woman in a solo that made me explore the sweetness and bitterness of living.
The diverse repertory which included works by Ronald K. Brown, Donald McKayle, Milton Myers, Eleo Pomare, David Roussève, Rosangela Silvestre, and Nejla Yatkin, among others forced me to enter the creative process in a new way that allowed me to soar within my artistry.
Ballethnic Dance Company—Atlanta, GA
The highlights of my tenure with Ballethnic Dance Company were, performing the company’s signature work, Leopard Tale which blends Ballet and African dance; Trouble—a collaboration with internationally renowned dancer/choreographer Irene Tassembedo’s and Compagnie Ebene (France); Urban Nutcracker; Chariscauro.
I became a strong, dynamic dancer through an ever increasing sophistication to body awareness and proper bio-mechanics. I lengthen my body to facilitate a more expansive movement, strengthened my pointe work, and began to fine-tune my transitional movement. I came to understand when to apply power and when to apply soft grace, which gave me greater poise. Today these elements are evident in the increased detail of my work. I entered the company as it’s weakest link and left it able to stand side by side with my colleagues as an equal—and in the opinion of some choreographers, "…a cut above".