Acknowledgments & Commitments
This acknowledgment is not a disclaimer—it's a promise to continue listening, learning, and growing in accountability, particularly to those most impacted by systemic harm.
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I am fortunate to now live and work in what is colonially known as Bellingham, WA. Where the Lummi Nation and Nooksack Tribe are the original inhabitants of this land and the water around it. I recognize that I am here, along with other non native people, as a result of normalized colonization and genocide. The practices in mediation, connection, relationship building, and engagement with the land, which informs my holistic approach, is directly from the indigenous peoples in this country and around the world. It is important to deconstruct colonization, white supremacy and oppression of all types. One way to do this is by embracing mindfulness, authentic expression and embodiment.
I am grateful to learn from my BIPOC neighbors. I continuously try to unlearn biases, take accountability when I cause harm with the goal of fumbling towards a more decolonized way of being.
You can read about the Lummi Nation & Nooksack Tribe joint efforts in protecting water rights in the basin. See how you can support these efforts and learn more:
For anyone who would like to know more about the native land around them, check out this link.
Read books by BIPOC folks, follow them on social media, make space for their existence in your life to learn their stories and trace how your story is in relationship with theirs. Learn the names of the places you live and visit to begin to listen to untold stories around you.
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As a white non-binary, Appalachian dancer and dance instructor, I want to acknowledge that there are a variety of influences from my culture and cultures that are not my own.
My movements are my own personal expression, with undulations, isolations, hip-centric movement and acrobatic floorwork having been favorite ways to move my body since childhood. Being Appalachian, my culture was influenced by my ancestors Scottish & Celtic folks as well as those that are not in me heritage, Irish, African and Native traditions. They all uniquely merged in the isolated lands of those mountains. foothills and hollers.
This has been woven throughout how I connect with my ancestors and express myself, experience joy, be in queerness, explore sensuality and story tell. It was a struggle to embody and embrace these parts of myself as I was raised evangelical Southern Baptist, a group that considers dancing to be sinful. However, being in a family DJ business and a dad as a music critic and artist, I was able to witness the rich music and dance scenes throughout Kentucky and beyond. I have influences from bluegrass music, gospel, punk, metal, folk gospel, hip hop, emo.. a variety of genres and each their subcultures.
The folk tradition we call “belly dance,” New Orleans twerk and burlesque have also influenced my movements and dance vocabulary.
Twerk comes from a celebratory dance, Mapouka, originating in Côte d’Ivoire (Ivory Coast) West Africa. Twerk evolved with Bounce music in New Orleans. Queer folks made space in this dance form, with Big Freedia as a trailblazer. Hip isolations are central to other dances like traditional dances in Brazil, Colombia, Jamaica, Pacific Islands, just to name some. Each with their own history, culture and style of dance. All with controlled isolations and focus on hip and waist movements.
Belly dance, pole and burlesque have some overlapping history. Traditional forms of pole performance, such as the African fertility traditions, Indian Mallakhamb and Chinese Pole, have existed for centuries and the latter two focused on acrobatic strength and agility.
In the 1920’s, this was embraced and blended with the circus performers like “Little Egypt” (a performance name used by several dancers from 1890-early 1900’s) and other burlesque performers. They showcased this dance, referred to as “hoochie coochie” dance and it paved the way for modern burlesque and pole.
As a belly dancer, my study and practice originated with Jamila Salimpour and her daughter Suhaila Salimpor in the Raqs Sharqi style. This folk dance style originated in Egypt and was made popular through Egyptian cinema during a time known as the Golden Era, along with the “Little Egypt” performers.
Jamila paved the way for fusion belly dance through her creation of Bal Anat in the late 1960’s, which is still running today. I have been fortunate to train with Suhaila Salimpour and by those who were certified in her school of dance, specifically Kandice Grossman with Moon Belly Dance Studio. Also, I use a prop called a shamadan or candelabra, which is an Egyptian belly dance prop originating in wedding processionals where traditionally, a belly dancer lights the way ahead for the new couple. My incorporation is a part of my expression of fusion dance, playing with balance, isolations and enriching characterization.
While in Oakland, Suhaila Salimpore was influenced by Walter “Sundance” Freeman and Boogaloo dance, incorporating isolations in a popping style into her style of belly dance. Another thread in the movement tapestry.
What we know as strip clubs started to emerge more in the 1950’s. BIPOC, queer and disabled folks are the foundation of pole dancing and sex work as we know it now.
The term "burlesque" comes from the Italian "burlesco," meaning to "make fun of" or "satirize". Early forms were comedic shows that mocked high society and political events. To reclaim the gaze women and queer folks experience is powerful. Burlesque is a challenge to respectability politics, control and policing of women’s bodies and patriarchy as a whole.
All of these and so many more intersections influence my movement and expression.
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Queerness and the queer history that intersect with Black and Brown folks is also fundamental to my expression. As a queer, non binary person I dance in honor of the queer ancestors, elders, and trailblazers who moved before me—those whose bodies told stories in silence and in defiance, who carved their own spaces.
Often neurodivergence is another intersection of queerness and transness. Another identity that is also policed- dance has always been my stim and regulator.
I am dedicated to creating spaces for safe expression of the neurdivergent self as well- without fear of harm or judgment, outside of the ableist lens and understanding of dance, choreography and movement.
I especially honor the queer and trans folks of Appalachia—those whose love, expression, and gender-bending beauty often lived in whispers but whose joy was loud in their movement, music, and magic.
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