I draw inspiration from my training in George Balanchine Technique™ (The School of American Ballet) and Merce Cunningham Technique™ (The Merce Cunningham Trust) as well as being a performer positioned within the postmodern dance lineage of New York City, which values research in somatic experience, art in social and political contexts, and aesthetics of "release".

In addition to somatic modalities such as Susan Klein Technique™ (Hannah Hegenscheidt), my teaching is highly informed by the legacy of my mentor Janet Panetta (American Ballet Theatre, P.A.R.T.S., Tanztheater Wuppertal Pina Bausch), who I assisted internationally from 2013 to 2021. Beyond assisting Janet in the studio we sustained invaluable dialogues about the rigor of technique and teaching as a service to performers till her death in 2023.

I facilitate tools from Janet Panetta’s syllabus, physically demonstrating her approach and clearly stating the purpose of each exercise by proposing ways to focus the work that help make technique "a system of clarifying how your body works for you" (Janet Panetta).

In the process, I encourage dancers to explore ballet as a mode of social investigation and physical exploration, aiming to empower them as they personalize techniques of classical ballet by using the ballet class as a chance to practice specialized rhythms, multiple tones in the body, and clarity of direction of line in space.

My work with ballet extends beyond the studio into contemporary performance, examining its historical ties to professionalism and instrumentality. I integrate a deeply self-reflected practice with ballet to students who practice with me. I view ballet as a tool that empowers dancers in a variety of contexts.

As an educator, I strive to inspire students to take healthy, scalable risks that help them break free from inhibitions, fears, and habits that hinder their progress. My ambition is to contribute my expertise to a broader educational ecosystem that encompasses choreography, contemporary discourse, diverse techniques, and curatorial practices.

In my classes, which include students with diverse demographics and technical backgrounds, I demystify the star system in commercial ballet. Everyone matters. Dancers who have been underrepresented in ballet history matter. When everyone in the class feels that they matter, the labor enacted in the room is purposeful on the level of truth: that ballet could not have existed without the dedication and creativity of diverse practitioners.

Teaching ballet in the 21st century demands a heightened sensitivity to power imbalances. In these times, I challenge the conventional notions of ballet and explore how it can become a profound resource for students to examine their personal ethics while connecting with the world through their bodies.

I am passionate about empowering dancers. I emphasize the importance of how dancers feel in their own bodies and work collaboratively to help students find function inside their technical approach to movement. My coaching integrates feeling as a valuable means to map reliable pathways within the body, a capacity ballet technique excels at when embraced in its full complexity.

Teaching involves intimate negotiations with students and requires engaging with humanity in its messiness and complexity. I approach these powerful exchanges with the sensitivity essential for nurturing sustainable interpersonal relationships and fostering learning as an experience of freedom. As I respect the institutions who employ my teaching, I respect the students I work with through and through. My goal is to instill confidence in the practice and encourage students to view ballet as a place of possibility for movement rather than restriction.