My goal as a dance educator is to privilege the dance studio as a site for rigorous technical instruction and creative inquiry. My philosophy holds the belief that dance serves not only as an embodied practice, but as a transformative site of critical thinking and risk. I aim to foster an environment that develops the student as a conscientious critical thinker and leader, while also building awareness of their bodies, a willingness to take risks, and contributing to the greater field of dance in multiple capacities. 

 

I employ feminist pedagogy that is inclusive and student-centered. I recognize students carry various histories and enter the space with unique personal experiences. My classroom holds space for diversity, deconstructing authoritative pedagogical methods by meeting students where they are at while simultaneously striving for excellence. As a BIPOC educator, I recognize that dance does not exist in a vacuum, but instead carries history and social contexts. Dance has historically privileged specific bodies and I encourage students to interrogate these social constructs in their movement practice. I prioritize embodied learning, ensuring that students understand that technique does not solely consist of replication, but rather movement principles that can be utilized through various contexts. In contemporary dance classes, my students gain acute understanding of anatomical structures, how they work, and how to arrive safely into movement. Additionally, musicality, breath, expressiveness, and weight are discussed to influence more dynamics in quality of movement. This emphasis on safety and holistic growth of my students is central to my pedagogy.

 

In my Jazz pedagogy, I promote the practice while simultaneously paying homage to the historical influences that the technique is rooted in. My Jazz classes ensure the history of black vernacular social dance is recognized and celebrated, honoring many such as Pepsi Bethel and Al Minns. I intend for the space to serve as a reminder of those who came before us, elucidating the privilege to occupy and create community in the space. This is established through the watching of films and dance sequences such as “Hellzapoppin’”, the implementation of social dance moves within warm ups and across the floor progressions, as well as discussions regarding these names and their contributions to the field. Additionally, this reverence occurs in my contemporary courses where I underscore the importance of crediting and situating choreographic influences.

 

Lastly, my students receive the training to become their own teachers and contribute to the broader field of dance. Within my pedagogy, I train students to identify areas of weakness within themselves, and conduct avenues to recover from mistakes and take control of their progress. My hope is as they are equipped with tools in my classroom to engage critically with dance and maintain integrity, they will become strong, intrepid, and thoughtful changemakers in the dance community. However, the most essential component of my philosophy is that dance is an educational experience for both me and my students, where we learn from each other and progress together. My philosophy recognizes that lessons and units will always be adapted, personal experiences will arise that will change my way of teaching, and through a diverse population of students, I will learn new methods that prove beneficial to their learning and well-being. Even when my students venture into their new schools and lives, they will have left their own personal imprint on me and my philosophy.

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For references and/or teaching samples, please contact at tiffanytannerhale@gmail.com