University Courses Taught

Ballet Technique
Technique Course

Functional anatomy forms the foundation of the technical study, emphasizing connections to both human expressivity and creative potential. The class focuses on initiating movement from the bones and allowing the muscles to function with greater efficiency, supporting a physically sustainable and artistically expansive ballet practice. As dancers engage more fully with the historical form, the Cecchetti method is introduced to reveal unexpected possibilities for dancers’ authorship — aligning personal agency with the rigor of classical training.

Embodied Bricoleur
Inter-Disciplinary Course

Embodied Bricoleur is a laboratory dedicated to exploring movement, pleasure, and technique as tools for collective choreographic invention and research creations. Highlighting sensual experience, the course centers on the creative process while fostering critical reflection on pedagogy and the transmission of knowledge. It asks: How can we remix, reconstruct, and reuse embodied artifacts — those familiar movement fragments, habits, and gestures — to generate new meanings and insights from accessible dance materials?

Rhythms, Colors, Patterns*
Inter-Disciplinary Course

This interdisciplinary course explored the relationship between embodied movement and musicality, bridging dance technique with sonic awareness. Moving between practical and theoretical approaches to the dancing body and the experience of sound, we framed rhythm as both a technical skill and a historical form of knowledge. Students engaged with musical concepts such as jazz syncopation, polyrhythms, minimalism, and silence through structured movement exercises, guided listening, and hands-on work with piano, drums, and other percussive instruments.

Co-facilitated with jazz musician and piano teacher Asaf Fleischmann

Ballet in Times of Change, or: Why the Pleasant Face?*
Inter-Disciplinary Course

This interdisciplinary course examined the genealogy of smiling and other codified facial expressions within the spectacle of ballet. As a conceptual and practical inquiry into normative representation and the dancing body, we worked with improvisational tools to explore the textures of the face and how certain expressions become habitual within this historical form.

Co-facilitated with sound artist and dancer Zen Jefferson

Yesterday Today Tomorrow: My Movement Practice*
Inter-Disciplinary Course

Investigating movement technique and creative process as pluralist constructions, this course engaged an intergenerational perspective on aging and dance, encouraging students to critically reflect on their personal histories of movement — within both educational and everyday contexts — and to incorporate these into ongoing research on mobility, coordination, and precision.

Co-facilitated with dancer and dance teacher Regina Baumgart

Play it as it Lays
Composition Workshop
(Title borrowed from Joan Didion’s novel)

Throughout the course, participants developed small-group compositions, modifying score-based directives, reflecting on their effects, and performing iterative versions for one another. The workshop emphasizes embodied inquiry, collaborative experimentation, and the compositional potential of attentive listening and choreographic writing.