One of the most formative chapters in my journey was my time working in production with Christopher Fleming, where I gained invaluable skills in lighting design for dance and how kindness is true artistry. Learning to light dance is more than just about creating aesthetic visuals—it’s about understanding the movement, timing, and emotional tone of the work. Stage managing shows became a key part of my growth, helping me sharpen my ability to coordinate between dancers, production teams, and directors to ensure everything ran smoothly. Along the way, I also realized how crucial it is to create a supportive, safe space for everyone involved. When the team feels comfortable and focused, they can perform at their best without the added stress of unnecessary distractions. These experiences gave me a unique appreciation for the technical aspects of production and how they can work hand-in-hand with the dancers' physicality to tell a story. In doing this, you directly are linked to the choreographers vision and vulnerability. Learning how to be a kind human in these settings was encouraged and celebrated. Chris and I worked together for 3 years and collaborated on projects including sharing stories, hanging bird feeders, and drinking a cold one. Additionally, stage managing shows became a crucial part of my skill set, where I honed my ability to coordinate between dancers, production crews, and directors to ensure smooth performances. I also learned how important it is to create a supportive and safe environment for production crews and dancers, so they can focus on their craft without unnecessary distractions.

Another influential experience in my development as a collaborator has been my time with the Liminality Project, a Greensboro, NC-based dance company led by Caitlyn Schrader. Working with Caitlyn and the talented dancers of Liminality furthered my understanding of how movement, space, and community come together in unique ways to invoke emotions, share ritual, manifest connections . Caitlyn's leadership and focus on interdisciplinary investigation have provided me the opportunity to explore various forms of dance, visual art, and engagement, which have driven my interest in cross-disciplinary collaboration even further. This is an environment in which creativity flows freely, and I am encouraged to contribute not just as a performer but also as a creative partner in the development of new work.

I have equally been privileged to work with kt Williams through her MFA thesis projects, dance films, and live performances. kt's artistic vision is rooted in innovative choreography and storytelling through movement; working with her has expanded my sense of how dance can be used to explore complex ideas. I danced in Kt's new works, including in the Dance Projects Artist Residency in Durham and Chicago. This residency enabled me to dive in deeply into the creation process; I learned very well the difficulties and successes that come from developing a dance work right from scratch. The two projects were collaborative in nature, and thus working with Kt and other artists stands out as an experience I will always treasure.

My work as an arts administrator for the UNCG School of Dance has further underscored the importance of collaboration in my career. As I coordinate events, performances, and educational initiatives, I’m constantly interacting with students, faculty, guest artists, and community members. The role requires a high degree of communication and organizational skills, as well as a deep understanding of the artistic needs of dancers and choreographers. By supporting the behind-the-scenes logistics of dance performances, workshops, and collaborations, I am able to create an environment where dancers and artists can focus on their craft and bring their artistic visions to life. My experience as an administrator has only deepened my appreciation for the collective effort required to make any artistic endeavor successful.