Over the course of my dance career, I continue to uncover the power that dance has over the universe. It has the capability to unlock hidden truths deep within the soul; reveal secrets that our minds have yet allowed our bodies to discover. For those who will allow it, dance will grant relief to the mover or audience member who has been consumed with the anxiety of today and quench the thirst of those who have been longing to experience more. My own dance training began with ballet and jazz. I was later introduced to contemporary and traditional West African Dance (guinea, Senegal, Mali, and Burkina Faso), which are the genres that I most often teach today. I have also done research in Issinryu karate (one heart way) and Afro-Cuban dance, all of which influence my movement vocabulary and teaching methods. I integrate live music, theatre and literature, which add life to my work.


I find enjoyment in placing choreography on dancers from all different backgrounds, even movers who are not technically trained. This distinguishes performers from technicians of the art form and provides concrete evidence that dance truly is for all who will affectionately attempt it. I love to take risks in my work and strive to always push myself beyond any comfort zone I have created for myself. My research interests are grounded in the dancing black body as a means of culture, the binaries that exist in traditional Africana dances, and feminism. This research feeds my choreography and creates opportunities to share with students and performers. I also desire to codify Traditional West African dances.


From a performer, educator, and choreographer’s perspective, the creative process involves being open to continually rediscover ones identity in relation to culture, aesthetics, history, and re-inventing past experiences. I teach to inspire, uplift, and engage people in a process of transformation. I view movement as many pathways or corridors that lead us to understanding ourselves and connect us to one another.