Equity, diversity & Inclusion statement
While I have been intentional about creating inclusive environments in all my teaching, casting and hiring decisions over the course of my career, graduate school allowed me the opportunity to expand my awareness and tool kit, helping shape my approach to equity, diversity and anti-racist practices.
I participated in a Race And/As Performance graduate seminar, in which we examined ways race is performed and received in the US. Not only did this course open my eyes to see race in a deeper sense, and examine my own biases, preconceptions, and ways I am complicit in the system of White supremacy, I also began to understand ways in which I could be an advocate for those from under-represented racial groups. The class also gave me resources to use with the classes I teach so I can intentionally diversify the traditional cannon.
I was so moved by my seminar experience I applied for and was invited to join the UGA Diversity and Inclusion Graduate Fellows Program. Over the course of a semester, we attended multiple workshops emphasizing reflection and engagement on an axis of difference/privilege/ oppression, such as racism, classism, ableism, ageism, heteronormativity, misogyny and religious oppression. This program expanded my commitment to helping create spaces for a diversity of cultures, backgrounds, and experiences to thrive in my classes and directing work with extra consideration for the traumatization within many marginalized communities.
In addition to the tools and awareness brought to me in graduate school, my various work experiences (including Theatrical Intimacy training and research), openness, and interest in diverse cultures serve my students well. From teaching senior citizens to creating plays with girls in the Atlanta detention center to teaching at the University of Georgia, I have worked with many demographics that a major university may encompass. While at UGA I also worked with athletes to help them with professional skills and as a tutor. I have continued to take seminars since then expanding my knowledge of anti-racist practices, critical race theories, gender construction and sexuality studies.
My interest in diversity also prompted me to explore Kutiyattam theatre in India for a month and take workshops in Noh performance traditions. In addition, I served as the Seminar Assistant of the Teaching East Asia program at UGA every June for six years. As I have continued this work and developing relationships with these artists, I have learned to listen carefully and respect students and colleagues from all backgrounds. I find it essential to consider a world-view of theatre and performance rather than just a US-centric one.
Fostering a culturally responsive classroom is key to my approach. My classes include non-western theatre and underrepresented playwrights and productions as much as possible. I incorporate a variety of teaching styles and activities, staying mindful of images and other media that feature people of diverse backgrounds. I encourage open dialogue, validate opinions, and draw out participation from students whose cultural backgrounds may encourage passive deference. I also promote outside events and activities that promote diversity. I get to know my students with an initial survey that reinforces my commitment to diversity through its questions and through discussions, essays, and other activities. My work in Theatrical Intimacy led me to become a more trauma-informed educator as well, and I have sought out sources to further my understanding of what this means for my students, especially those who are BIPOC and/or LGBTQ+. Offering a great deal of choice within a curriculum allows students to help shape their education based on their own desires, goals and identities. With this information I can address students’ individual needs and create an inclusive learning environment for every student.
I participated in a Race And/As Performance graduate seminar, in which we examined ways race is performed and received in the US. Not only did this course open my eyes to see race in a deeper sense, and examine my own biases, preconceptions, and ways I am complicit in the system of White supremacy, I also began to understand ways in which I could be an advocate for those from under-represented racial groups. The class also gave me resources to use with the classes I teach so I can intentionally diversify the traditional cannon.
I was so moved by my seminar experience I applied for and was invited to join the UGA Diversity and Inclusion Graduate Fellows Program. Over the course of a semester, we attended multiple workshops emphasizing reflection and engagement on an axis of difference/privilege/ oppression, such as racism, classism, ableism, ageism, heteronormativity, misogyny and religious oppression. This program expanded my commitment to helping create spaces for a diversity of cultures, backgrounds, and experiences to thrive in my classes and directing work with extra consideration for the traumatization within many marginalized communities.
In addition to the tools and awareness brought to me in graduate school, my various work experiences (including Theatrical Intimacy training and research), openness, and interest in diverse cultures serve my students well. From teaching senior citizens to creating plays with girls in the Atlanta detention center to teaching at the University of Georgia, I have worked with many demographics that a major university may encompass. While at UGA I also worked with athletes to help them with professional skills and as a tutor. I have continued to take seminars since then expanding my knowledge of anti-racist practices, critical race theories, gender construction and sexuality studies.
My interest in diversity also prompted me to explore Kutiyattam theatre in India for a month and take workshops in Noh performance traditions. In addition, I served as the Seminar Assistant of the Teaching East Asia program at UGA every June for six years. As I have continued this work and developing relationships with these artists, I have learned to listen carefully and respect students and colleagues from all backgrounds. I find it essential to consider a world-view of theatre and performance rather than just a US-centric one.
Fostering a culturally responsive classroom is key to my approach. My classes include non-western theatre and underrepresented playwrights and productions as much as possible. I incorporate a variety of teaching styles and activities, staying mindful of images and other media that feature people of diverse backgrounds. I encourage open dialogue, validate opinions, and draw out participation from students whose cultural backgrounds may encourage passive deference. I also promote outside events and activities that promote diversity. I get to know my students with an initial survey that reinforces my commitment to diversity through its questions and through discussions, essays, and other activities. My work in Theatrical Intimacy led me to become a more trauma-informed educator as well, and I have sought out sources to further my understanding of what this means for my students, especially those who are BIPOC and/or LGBTQ+. Offering a great deal of choice within a curriculum allows students to help shape their education based on their own desires, goals and identities. With this information I can address students’ individual needs and create an inclusive learning environment for every student.