I see movement as an inherently transformative practice – moving from one place to the next, an action that leads to a reaction, shapes and lines that blur through space and sound to go beyond the sum of their parts. Dance is at once a common language we all share and incredibly unique for each of us, for nothing is more personal than our bodies, the instrument with which we meet the world and the frontline for so much political warfare. Movement as transformation is present in ever aspect of my work, whether it be choreographing bodies onstage that give voice to personal struggles and stories of social change or facilitating an embodied experience for people to feel moved, empowered and transformed in their own skin. Through this socially engaged and radically inclusive body politic, I am committed to building a movement through movement.


My identity and my work are firmly rooted in liminality and the breaking of categorization. I am an immigrant constantly navigating between two cultures, an artist equally committed to the rigor of my craft and the struggle for social change. My work lives at the intersection between healing and provoking, social and concert dance, personal and political narrative, and traditional and generative practices.  I am committed to crossing such borders, and thus, hope to build bridges. 


I believe that decolonization is inherently an impossible act, yet worthy of pursuit. For me, decolonizing the body means embracing embodied expression, circular (non-hierarchical) learning, and the generative process. It means moving away from traditionally European-derived dance values (like the linearity of classical ballet and the myth of the neutral body propagated by modern dance) and towards a socially engaged movement practice that values and acknowledges Afro-Latin influence and ancestry. It is an embracing of complexity, a commitment to truth-telling, and an on-going practice of excavating individual expression, collective memory, and ancestral lineage.