“We can teach in ways that transform consciousness, creating a climate of free expression that is the essence of a truly liberatory liberal arts education” (Hooks, 1994, p. 44)

By Giuseppe Falla

In this sense, my classes are designed to encourage open dialogue while learning.  This is a new era where we must realize that teaching means being aware that the learning process comes from both sides. Students and teachers can build a strong community where both sides nurture each other to improve in a world begging for empathy, respect and love.

My pedagogical practices are designed to foster students' freedom to change, express, respect, listen, and celebrate multiculturalism through tangible actions and not just words.  I create an approach that allows their consciousness to continually enrich, explore, and modify. Therefore, I am a teacher who is aware of the importance of being in constant introspection, recognizing my fears and vulnerabilities so that I can be mindful of transcending them and building a teaching practice where I can remain calm and channel the energy, emotions, and passion of the students with respect and empathy.

Because dance has been and continues to be biased by a Euro-Western perspective that has not allowed room for the enrichment and development of all forms of dance, I encourage students to examine and challenge neutralized and normalized patterns to make them more visible and thus dementalized. Graduate dance programs must responsibly prepare professionals to transform the teaching methodology centred on Euro-Western forms into a student-centred pedagogy that challenges the established and dismantles inequitable perspectives. Dance must be oriented toward honoring and embracing diversity and traditions. 

The body has its own language. One that transcends our consciousness and constantly speaks on our behalf. Everything we don't say or don't recognize is translated into even the smallest gesture. Movement is the expression of our deepest layers.  In this sense, dance is a powerful pedagogical tool that allows students to reach their potential by connecting, cultivating, and expressing their inner voice.

As a teacher, I structure my classes around methodologies that prioritize the needs of the students. To achieve this, I incorporate culturally relevant teaching practices, critical dance pedagogy, and student-centred approaches. These three aspects are crucial in creating and strengthening teacher-student relationships. I am a teacher who finds it crucial to take the time to get to know each student so that I can guide them by recognizing their individuality and what each student needs to express their inner voice and critical thinking.  An important question I constantly ask myself is, "How can I relate the content of this course to my students? I believe it is my responsibility to be constantly observant, to pay attention to differences, to ask questions, and to be informed. When teaching, I find it extraordinarily enriching for students to create from their own experience, embrace their different dance accents, and make them aware that their movement inhabits not only their memories but also their ancestors.