Areas of Interest
Education: Master Classes, Intensives, and Residencies
Choreography: The objective of my choreographic work is to excavate the repressed, curious and awkward sentiments towards issues of love, death, success, disease, and sex. CaribFunk™ choreographic explorations showcase my interest in the analysis of culture and social and gender topics by exploring and illustrating existential themes.
Dance Fitness: Fitness is another vein of the CaribFunk™ brand. Students participate in a cardio based class that provides a total body workout. The class consists of interval training which includes choreographed phrases set to Soca, Dancehall, Samba, Afrobeat, Merengue, and more!
Performance: Solo and project specific work
Program Development and Curriculum: I write and develop dance and dance fitness programs and curriculum for students in K-12 and academia. I also develop programs that provide alternative and contemporary approaches to arts education, dance fitness, and dance therapy (expressive arts).
Research Interests: 1. The politics of “identity” and “becoming” through the exploration of the hip wine (circular rotation of the hip). Focusing on Black feminist writer, Audre Lorde’s use of the term erotic, in the sense that women achieve empowerment and knowledge through an energy—a creative energy that provides an awareness of self, history, and our bodies, I argue that the hip wine is a practice of erotic power. CaribFunk™ technique is rooted in an Africanist aesthetic and Euro-American expression coalescing the vertical and horizontal. It embodies Caribbean performance and politics, Caribbean popular culture as a methodological and pedagogical practice and explores Bahamian Junkanoo, Jamaican Dancehall and Trinidadian Carnival as a reservoir of knowledge that investigates the sensual and spiritual; 2. I investigate how Caribbean cultural performance (Bahamian Junkanoo, Trinidadian Carnival, and Jamaican Dancehall) can be viewed as praxis; 3. I engage in ethnographic research that investigates and identifies artists that focus on Caribbean aesthetics as a methodological and pedagogical practice.; 4. I investigate and explore dances of resistance and subversion in the Caribbean Diaspora and how techniques, teaching methodologies, and performances are constructed from performances of resistance.
Dance Studies, Critical Race Theory, Black Feminism/Womanism, Popular Culture, Critical Pedagogy, and Cultural Studies and are my areas of interest.
Choreography: The objective of my choreographic work is to excavate the repressed, curious and awkward sentiments towards issues of love, death, success, disease, and sex. CaribFunk™ choreographic explorations showcase my interest in the analysis of culture and social and gender topics by exploring and illustrating existential themes.
Dance Fitness: Fitness is another vein of the CaribFunk™ brand. Students participate in a cardio based class that provides a total body workout. The class consists of interval training which includes choreographed phrases set to Soca, Dancehall, Samba, Afrobeat, Merengue, and more!
Performance: Solo and project specific work
Program Development and Curriculum: I write and develop dance and dance fitness programs and curriculum for students in K-12 and academia. I also develop programs that provide alternative and contemporary approaches to arts education, dance fitness, and dance therapy (expressive arts).
Research Interests: 1. The politics of “identity” and “becoming” through the exploration of the hip wine (circular rotation of the hip). Focusing on Black feminist writer, Audre Lorde’s use of the term erotic, in the sense that women achieve empowerment and knowledge through an energy—a creative energy that provides an awareness of self, history, and our bodies, I argue that the hip wine is a practice of erotic power. CaribFunk™ technique is rooted in an Africanist aesthetic and Euro-American expression coalescing the vertical and horizontal. It embodies Caribbean performance and politics, Caribbean popular culture as a methodological and pedagogical practice and explores Bahamian Junkanoo, Jamaican Dancehall and Trinidadian Carnival as a reservoir of knowledge that investigates the sensual and spiritual; 2. I investigate how Caribbean cultural performance (Bahamian Junkanoo, Trinidadian Carnival, and Jamaican Dancehall) can be viewed as praxis; 3. I engage in ethnographic research that investigates and identifies artists that focus on Caribbean aesthetics as a methodological and pedagogical practice.; 4. I investigate and explore dances of resistance and subversion in the Caribbean Diaspora and how techniques, teaching methodologies, and performances are constructed from performances of resistance.
Dance Studies, Critical Race Theory, Black Feminism/Womanism, Popular Culture, Critical Pedagogy, and Cultural Studies and are my areas of interest.