Teaching Statement As a teacher of modern dance, I strive to present qualitative movement information while establishing a lush and inviting

atmosphere in and out of the classroom. My goal aims to ground each student with the fundamental, functional principles, specific to each students body, in order to enrich both technique and artistry. As a unit, we will embark on a journey of physical, intellectual, and cognitive exploration of movement styles and principles and, therefore, will engage in a mutual exchange of knowledge, trust, and understanding. When my students enter into the dancing space, I hope they will possess and I encourage a focused and receptive attitude towards the presented material, knowing that I offer suggestions in an attempt to divulge movement information that may or may not already be present within each students body. Students should appreciate that respect for the teacher and their fellow classmates is of the utmost importance; therefore, students should be willing to engage fully- that is physically, intellectually, and emotionally- to cues or information given in class. In conjunction, students entering class should present a goodnatured, spirited attitude, while understanding that this should not hinder a concentrated, focused mindset. With each opportunity, students are asked to challenge themselves to engage in unfamiliar movement pathways or principles with vigor, committing fully without fear of failure. However more importantly, students must understand that failure does not exist in my classroom. There is only more or less functional movement, meaning that fear need not saturate movement risks and encounters. This will allow each dancer to develop new skills without trepidation or the pressure of judgment.

Hughes 2 Throughout various class meetings, students will display an understanding of the expansive scope of the body. This includes such knowledge as the extensive area of ones own kinesphere in connection to both internal and external space. Each students dancing body should demonstrate knowledge of the functional weight of the body and its role in efficient movement. If a student feels an overbearing pressure to succeed, he or she should remember the importance of breath, in life and technique, in the hopes that he or she will not only gain physical relief but also obtain a greater sense of volume in and out of the body. Similarly, working from the skeletal structure and deep muscles will be of integral importance in order to obtain greater efficiency. Each student should strive for clarity of movement pathways without compromising any gained functionality. In terms of artistry, the most integral of ideals is simple: be present. I urge students to tackle the task of physically embodying the relationship between vulnerability as it is linked to presence. Students will come to understand and exemplify the importance of focus in creating presence, luxuriating in the subtle qualities of direct or indirect engagement as it applies to a distinctive aesthetic. The study of artistry is never finished, and before exiting class, a student will demonstrate knowledge of the effective use of choice in creating an individual aesthetic. This includes decisions between counterparts like detail oriented versus holistic, large versus small space, and internal versus external space to name only a few. A dancers exploration of artistry is continually changing, varying based on the fluctuating climate of daily practice. The art of dance, like any art, is subjective; however, I will present information integral to the nature and study of artistry as well as material native to my own aesthetic.

Hughes 3 The relationship between my students and myself is of integral importance to the success and quality my teaching. I aim to create an environment of mutual exchange that promotes and fosters the individuality of each student as a body/soul in space and time, listening intently with all senses to each dancers need. I pledge to enter each class without the troubles of the past or future, focusing instead on the present learning in order to further invest in a reciprocal environment. I will clearly articulate feedback using multiple techniques of learning, focusing on imagery, kinesthetic, and auditory information as it applies to movement. In addition, I will initiate physical and intellectual challenges, urging each student to his or her limit, while personally displaying clear artistic choices so as to foster individual decision-making.