I come from: 39 dance studios, 4 particular kitchens, and 2 synagogues from the Wild Wild West, skyscrapered NYC, trampoline sidewalks of Berlin, and begrudgingly beautiful sunsets over the Potomac. I like to use scraps, discarded toys, and painters tape to cut and paste curious inquisitions into everything from pelvis-motored site-specific choreography to burritos. I believe in deepest plie to bend traditions, antiracist pedagogy to bend academia, and dance as an everything salve. As a Teaching Artist Mom, I mine, swap, and alchemically mix choreographic research, subversive pedagogy, and arts & crafts between stage, studio, classroom, and nursery. 

Educational letters include BFA SUNY Purchase and MFA University of Maryland. Work/love finds me teaching/making/womanifesting as a Teaching Artist and Community Curator at Dance Place, Adjunct Professor at American University and University of Maryland, Director of Operations and Mentorship at BlackLight, and Artistic Director of Heart Stück Bernie (HSB). HSB makes site-specific and proscenium extravaganza works in museums, theaters, stairwells, back rooms, and other places I convince you to engage with dance. 

My career highlights run the gamut from dancing in forsaken storage closets, to a Criterion film set, to performing for Baryshinikov with kale in my incisors, along with gigs at Tacheles, Dance Omi, Ponderosa Ongoing Research and Collaborative Happenings, The Kennedy Center, The Duke on 42nd St., Marfa, TX, on top of the Chelsea Hotel, Dance Place, American Dance Institute, the Hawaiian Room at the U.S. Botanic Garden, the Rothko Room at National Gallery of Art, The Grand Canyon, City Museum, Rhizome, and secret performances in Lincoln Center’s Koch Theater when I was done cleaning up at the end of the night. I was an Inaugural Artist in Residence at Dance Place from 2018-2020, received the 2022-2023 Fillmore Prize for creating work at the nexus of art and social impact, the 2024 Pola Nirenska Award for Outstanding Achievements in Dance, a 2025 National Dance Project Award for Wolver Maroon, and the 2024-2025 Carla Perlo Fund for Choreography and Performance. 

I have lived and danced in Berlin, New York, and Washington DC, studied in the international dance centers of Brussels, Budapest, Tel Aviv, and Vienna, as well as continued professional training at Juilliard, American Dance Festival, Tanz im August, Impulstanz, Doug Varone and Dancers, David Dorfman Dance, Ponderosa, MELT, and workshops with Joanna Kotze. My performance career spans work with renowned choreographers to emerging artists, including: Donald McKayle, Doug Varone, Ohad Naharin, Paul Taylor, Nicholas Leichter, Kevin Wynn, Mark Morris, Clint Lutes, alex/xan: the median movement, Janessa Clark/KILTERBOX, and Nora Petroliunas. I was a founding member and danced for ten years in Nelly van Bommel’s nøa dance in New York City. I also danced in Sam Bassett and Noah Baumbach films before I heard Virginia is for lovers, and my relocation there introduced me to the DMV dance community, where I have lovingly navigated the country’s worst traffic to drive to rehearsals for Tzveta Kassabova, Stephanie Miracle, Sharon Mansur, Robin Neveu Brown, Orange Grove Dance, Candace Scarborough, and Kendra Portier’s BAND|kp.

I am a founding team member of BlackLight, where I currently serve as Director of Operations and Mentorship. BlackLight is a service organization that curates and develops experiences, performances, training, and mentorship programming to support, celebrate, and uplift Black, Indigenous, LGBTQIA+, and Artists of Color. 

I live in Silver Spring, Maryland where I subject my husband and three children to artistic procedurals and cardboard extravaganza reckonings. Often overheard after an exchange with one of the kids: “Awwwww, MOM! Are you gonna put that in a show now?” And then, they’ll proceed to tell me how to do it better. But it’s warm here by the construction paper fire and the every-floor-a-dance-floor.