Artist Statement
As a creative individual, I have always gravitated towards the things that have inspired me throughout my life. Raised in a household that valued artistic expression, I found myself drawn to dance as a way to communicate my feelings and experiences. Though I’ve been in dance classes for most of my life, it’s not merely the discipline itself that keeps me dancing; it’s the space it creates for self-expression and connection with others. I identify as a creative person because I seek to build a platform where I can express myself freely, where others can reflect, and where we can collectively discuss and grow.
Dance, for me, is a language that transcends words. It has the unique ability to speak directly to the emotions of both the performer and the audience. If asked why I dance, I would say it’s because it empowers me, brings me peace, and gives me a sense of joy, especially in difficult times. But beneath this simple answer lies a deeper connection. Dance is the fabric of my history. Many artists use choreography to tell the story of the African American experience, and I find myself in this narrative, not only as a storyteller but also as someone living that experience. By dancing, I honor my family’s legacy, filling the shoes of those who were denied the opportunity to do so freely.
While my passion for dance has always been inspired by its history, joy, and the community that surrounds it, my motivations have evolved. Now, I am driven by the desire to create and perform professionally. Dance and art are outlets for healing, inspiration, and unity. They have the power to bring people together, despite differences. Pursuing both Dance and Animation as my majors has given me a unique opportunity to merge these two art forms, creating a broader canvas to inspire others and to forge a meaningful career. My goal is to continue to grow as an artist, to honor my lineage, and to break new ground in the ways I engage with art and performance. Through my work, I aim to not only share personal narratives but also contribute to larger cultural conversations. Ultimately, I dance to connect, to challenge, and to inspire. I hope that, through my art, I can help shape a future that honors its past, embraces diversity, and sparks new possibilities for all.
Strengths and Areas of Improvement
"I believe life guides us to experiences to learn what our strengths and weaknesses are so we can grow as individuals to build a stronger community. In the dance world, knowing your strengths can land you endless jobs and opportunities, but without knowing your weaknesses, you can often become blind sighted by your own ultimate goals. I, as a dancer, try to overcome my weaknesses by endless practice and being willing to learn new things while also listening to various aspects. As I have been dancing for most of my life, I have been quick to pick up on the styles that I was fortunate to learn at an early age. Some of the styles I find to be my strong suit are tap, which I have taken part in since I was three years old, and hip-hop, which has always been part of my life as I am a young black girl from Chicago, Illinois. These styles allow me to be free and genuinely have my own style while keeping my performance and techniques. Though, I have always been inspired by my two older sisters who have also danced their whole lives since they find comfort in any style that is thrown at them.
When I was younger, I attended Mayfair Academy of Fine Arts where every style and genre was taught with a hint of black excellence. While my dance studio was considered on the smaller side of Chicago, it was a well-built and loving community throughout the city. Unfortunately, the teaching styles were different from what I found college to be when I came to Ball State. For example, coming into my first tap class in my second semester of my first year, there was no other expectation that I would not be able to keep up in the class since I am quick to catch onto a rhythm and keep tempo. Yet, I was soon to learn that in the real world of dance vocabulary is a key factor of learning choreography. Even though some of my strengths included being a fast learner, working well with others in the class, and adapting to new things, I found it difficult to tell the difference between simple things such as a stamp and a stomp as in my old studio we would see a move and repeat it or count out the beats.
To adjust to my weaknesses, I as a student must set aside time to learn not only basic vocabulary of dance, but the history of the movements and where they were inspired from. Outside of dance, I keep a reputation of being on time, staying organized, and being empathetic and caring towards others. I work hard to reach the goals I have set for myself and make sure to manage my time so I can build upon them. While I may be comfortable where I am, I will never inspire or become successful in my mind if I never try anything new. Ultimately, I hope that I can grow to become a dancer with distinct knowledge of certain topics, treat my body in a healthy state to do the things I love, and become someone who I would be proud to know. "
Diversity Statement
As a Black woman, my outlook on diversity, equity, and inclusion is deeply rooted in my personal experiences and the communities I am a part of. I understand firsthand how important it is to create spaces where all voices are heard and valued. Throughout my life, I've navigated the complexities of being both a Black individual and a part of the larger Black community. Being a Black woman at a Public White Institution and a world not run by the minority has shaped my understanding of the systemic barriers that many face due to race, gender, and socioeconomic status. My perspective as an artist is one that seeks to highlight the black experience and the beauty in our differences while challenging the inequalities that persist in society. I believe art is a powerful tool for sparking change and dialogue, and it is my goal to use my work to amplify marginalized voices and explore themes of identity, culture, and resilience.
During my college career as an animator and dancer, I plan to address these issues by creating artwork that not only reflects my own experiences but also invites others to share their stories. I will actively seek opportunities to collaborate with fellow artists from diverse backgrounds and experiences to engage with the broader community to understand how we can build more inclusive environments. Through my projects, I aim to question societal norms, challenge harmful stereotypes, and open up conversations about the importance of representation in the arts. By engaging in these discussions both within and beyond my college experience, I hope to contribute to a more inclusive and equitable art world where every individual can see themselves reflected and valued.
Career Goals
As I approach the final stages of my academic journey, I am focused on building a successful career as a commercial dancer and artist. My aspirations center not only on refining my craft but also navigating the diverse opportunities available in the dance industry. I plan to leverage my education, training, and unique background to make an impact in various professional environments. My goals are centered on refining my technical skills and exploring diverse opportunities in the dance industry, aiming to create a career that is both artistically fulfilling and financially sustainable.
Upon graduation, I plan to immerse myself in the commercial dance world, seeking opportunities with dance companies, entertainment productions, and media outlets. Organizations like Alvin Ailey American Dance Theater and the Dance Theatre of Harlem have always inspired me, as they push artistic boundaries while offering platforms for dancers to engage in community outreach and educational programs. These companies value both technical excellence and emotional depth, qualities I continue to develop at Ball State. I am passionate about using dance and art to tell meaningful stories and address larger societal issues.
In addition to refining my technique, I aim to break into the commercial entertainment industry, focusing on music videos, television performances, and live shows. I hope to collaborate with choreographers and production companies in dance hubs like New York City, Los Angeles, and Atlanta as these cities offer a dynamic environment for growth. Ultimately, I aspire to perform for global icons such as Janet Jackson and Beyoncé, who have shown how to merge artistic talent with entertainment. By gaining experience with different companies and professionals, I aim to cultivate a versatile and evolving career. I am committed to auditioning for commercial gigs, networking, and building a diverse portfolio to open doors in television dance media and collaborations with music artists.
In the long term, I hope to transition into the role of a creative director, creating innovative works that combine my love for commercial dance with my interest in animation. I aspire to create art that explores themes of identity, culture, and empowerment, reflecting both my personal experiences as a Black woman and the collective experiences of marginalized communities. To prepare for this, I plan to pursue classes in art, performance, and production management both during and after school.
To achieve my goals, I am actively seeking internships, auditions, and leadership projects that will provide real world experience in commercial dance and animation. I am also building my online presence by showcasing my skills on social media such as Instagram and by collaborating with other artists. By establishing a strong personal brand, I hope to open doors to performance and choreography opportunities in the commercial dance world.
Ultimately, my aim is to build a sustainable career that allows me to continue evolving as a dancer and artist, while contributing to the community through innovative works and mentorship. Although my path may evolve, I am determined to take the necessary steps to succeed in the commercial dance world and beyond.
Teaching Statement
My approach to teaching dance is rooted in the belief that movement is both a form of expression and a means of connection. As a Dance and Animation major at Ball State University, and through my leadership roles as Vice President and Public Relations coordinator of Outlet Hip-Hop Dance Troupe from 2024-2027, I will, and have spent the past three years choreographing and teaching my peers in a collaborative, student driven environment. These experiences, along with my work choreographing for my high school, Marian Catholic High School and Mayfair Academy of Fine Arts (now Black Girls Dance in Chicago, IL), have shaped my teaching philosophy into one that values both technical growth and personal storytelling. I strive to create a space where dancers feel seen, challenged, and empowered to explore their individuality while contributing to a collective vision.
I view dance as a language that carries history, emotion, and cultural identity, and I bring that perspective into my teaching. I encourage students to not only learn choreography, but to understand the deeper narratives behind movement. Particularly the ways dance reflects the African American experience and broader cultural histories. My goal as an educator in choreography is to foster an environment where students can use dance as a tool for self expression, healing, and dialogue. By integrating my background in animation, I also aim to expand how students think about performance and storytelling across mediums. Ultimately, I teach to inspire confidence, creativity, and community, helping students recognize both their artistic voice and their place within a larger cultural conversation.
Capstone Proposal
My Senior Capstone project will be an interdisciplinary dance film that integrates hip-hop choreography and digital animation to explore identity, competition, and artistic integration. As a double major in Dance (BA/BS) and Animation (BFA), I am interested in examining how the physical body and the animated body can function as both rivals and collaborators. Dance in animation has always been something that I feel has been present in the media and people take advantage of the time it takes. This project is inspired in part by Michael Jackson’s “Speed Demon” music video from Moonwalker (1988), which blends live performance with stylized animation to create a playful yet technically complex dialogue between performer and animated character. Drawing from this influence, I plan to create a narrative dance film in which I perform alongside an animated version of myself, initially competing through hip-hop choreography before ultimately merging into a unified performance.
The project will consist of three primary components: choreography, animation production, and film editing. The choreographic structure will be divided into three sections. The first element, competition between real and animated self, the second element, escalation and stylistic contrast, and my third element, integration and unison performance. The movement vocabulary will draw from hip-hop foundations including popping, locking, footwork, isolations, and battle-inspired exchanges. I will intentionally contrast grounded, weight driven movement in the live performance with exaggerated animation principles such as squash and stretch, anticipation, timing, and spatial distortion. These principles, originally articulated by Disney animators Ollie Johnston and Frank Thomas in The Illusion of Life, will guide the stylization of the animated figure.
The animation process will involve filming choreography with controlled lighting and a static camera, followed by rotoscoping and digital enhancement in Adobe After Effects, Adobe Premiere Pro, and ToonBoom. I plan to experiment with motion trails, glitch effects, and environment distortion to visually represent the animated self’s expanded physical possibilities. Sound design will play a significant role, incorporating layered hip hop beats and digital distortion effects to reinforce the theme of duality. The final product will be a 5–8 minute dance film presented in a screening format with a brief artist talk explaining the conceptual framework.
Since I know the timeline for Theatre 434 will be structured in phases. Weeks 1–3 will focus on research, storyboard development, Finding fellow animators to help on my project, and choreographic drafting. Weeks 4–7 will involve rehearsal and principal filming. Weeks 8–12 will be dedicated to animation production and compositing. Weeks 13–15 will focus on editing, sound design, refinement, and final presentation preparation. Throughout the semester, I will document my process through reflective journals and production notes.
The primary goals of this capstone are to demonstrate technical proficiency in both dance and animation, explore interdisciplinary storytelling, and develop a professional portfolio piece suitable for graduate study or creative industry opportunities. Ultimately, my capstone reflects my identity as both dancer and animator, proposing that artistic duality is not a limitation but a source of expanded creative power.