I teach because the field itself is broken. As freelance artists, expectations are high, work is precarious, and surviving demands us picking up ever more survival skills. So my workshops are not neutral skill-building, they are political rituals, coping strategies, and problem-solving laboratories that surface directly from the lived experience of making, curating, writing, and hustling since I started my journey as a young dancer at SNDO in 1997.

My pedagogy begins with disorientation: undoing the promise of “wholeness,” queering the somatic field, and refusing the ableist ideal of ease. From there, I invite students to invent worlds, build characters, and stage impossible propositions, where drag, crip practice, and speculative fiction collide.

Improvisation and somatic practice (Articulating Disorientation, I Improvise with the Layers) form the base: queer and crip critical negotiations of somatic practices are the substance. We learn to undo normativity through scanning, impulse, and surrender. Each subsequent workshop extends that base into different confrontations.


  • Performance & activism (Tactical Frivolity: Your Gloves Don’t Match Your Shoes) uses performance studies as a weapon, turning the camp of ACT UP and Reclaim the Streets into scores for teaching.

  • Posthuman somatics (The Non-Natural Body as Interface) treats the body as an interface, un-natural and hyper-relational, staging resistance to capitalist coding.

  • Precarious labor & survival (Shitting My Brains Out, Making Art, Got a Gift Card) holds space for cultural workers to laugh, rage, and build rituals that refuse burnout and neoliberal cruelty.

  • Speculative repertoires (Technologies of Impossible Repair) ties these lines together: a fictional but functional toolkit of exercises, rituals, and strategies to re-align with life on new terms.


Theory and practice are not separate, (are they anywhere?). Frameworks become exercises. Ideas become scores. Posthumanism, queer/crip critique, disability justice, and survival tactics move from reading lists into dancing bodies.