Stanford Dance Education: Amara Tabor-Smith’s Vision

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Amara Tabor-Smith: Reimagining Dance Education for a New Generation of Leaders

Stanford University is witnessing a quiet revolution in arts education, spearheaded by award-winning performer, choreographer, and educator amara tabor-smith. Beyond traditional technique, tabor-smith is pioneering a curriculum that asks a fundamental question: how can dance training cultivate not just skilled performers, but future leaders, policymakers, and agents of change? This approach, rooted in the belief that “everything is connected,” is reshaping the landscape of higher education in the performing arts.

amara tabor-smith. Photo by Robbie Sweeny, Courtesy tabor-smith.

The Collaborative Classroom: Learning as a Two-Way Street

For tabor-smith, teaching isn’t a one-way transmission of knowledge, but a dynamic collaboration. She actively seeks out questions she can’t immediately answer, viewing them as opportunities for deeper study and research. “I love being around young minds,” she explains, “their thinking, their struggle, their messiness, their tenderness, their vulnerability.” This reciprocal learning process is particularly vital in a rapidly evolving world.

As the generational gap between instructor and student widens, tabor-smith recognizes the importance of staying relevant. She avoids imposing outdated perspectives, instead prioritizing information that resonates with students and supports their growth as artists and creative thinkers. This commitment to contemporary relevance is a cornerstone of her pedagogical philosophy.

Artist in Residence: A Hub of Creativity and Innovation

Since 2017, tabor-smith has served as an artist in residence at Stanford University, a role that allows her to balance teaching with her own artistic endeavors. She teaches four courses annually and co-leads an arts fellowship program through the Institute for Diversity in the Arts. Further expanding her reach, she directs a five-week artist residency in Bahia, Brazil, in collaboration with Instituto Sacatar, catering to graduate students. This multifaceted position allows her to nurture talent while simultaneously creating her own work, with a main-stage production planned every few years.

Did You Know?:

Did You Know? The Instituto Sacatar, located in Bahia, Brazil, is a renowned international artist residency program that provides a unique environment for creative exploration.

Afro-Now-ism: Connecting Past, Present, and Future

tabor-smith’s current artistic work centers around “Afro-now-ism,” a concept that explores the interconnectedness of the African diaspora’s past, present, and future. Her recent piece, Revival: Millennial reMembering in the Afro NOW, created at Stanford, honored the 50th anniversary of the Committee on Black Performing Arts (CBPA) by examining this cyclical relationship. The work served as a powerful reminder of the enduring legacy of Black artistic expression.

Revitalizing a Legacy: The Committee on Black Performing Arts

As artistic director of the CBPA, tabor-smith is committed to preserving and expanding its historical impact. Founded during the Black student activism of the 1960s, the CBPA has long been a vital platform for Black artists in theater and dance. Beyond productions, the organization also published Black Arts Quarterly, a journal tabor-smith aims to revitalize as an annual publication. This initiative will provide a crucial space for critical discourse and artistic innovation within the Black arts community.

Pro Tip:

Pro Tip: Supporting organizations like the Committee on Black Performing Arts is crucial for fostering diversity and inclusion within the arts landscape.

Balancing Act: Creativity, Caregiving, and Time Management

tabor-smith acknowledges the challenges of balancing a demanding artistic career with personal responsibilities, particularly as a full-time caregiver for her 96-year-old mother. However, she views these challenges as opportunities for growth and refinement. Her recent five-year reappointment as artist in residence at Stanford provides a stable platform to continue her work and explore the potential of arts education to shape future generations.

What role should universities play in fostering social change through the arts? And how can educators best prepare students to navigate the complexities of a rapidly changing world?

“Conjure Art 101” and the Embodied Experience of Learning

tabor-smith’s innovative courses, such as “Conjure Art 101,” delve into the realms of ritual, spirituality, and Black feminist magic. These courses, alongside “Moving the Message: Reading and Embodying the Works of bell hooks” and “Moving the Message: Reading and Embodying the Works of Audre Lorde,” prioritize the body as a crucial instrument for understanding and processing information. This approach challenges the traditional academic emphasis on purely intellectual thought, echoing Audre Lorde’s assertion that “I feel, therefore I can be free.”

Ultimately, tabor-smith’s vision extends beyond the development of skilled artists. She hopes to empower students to become liberatory teachers, transformative leaders, and active contributors to social transformation and collective well-being. Her work demonstrates the profound potential of dance education to cultivate a more just and equitable future.

Frequently Asked Questions About Amara Tabor-Smith’s Work

  • What is the core philosophy behind amara tabor-smith’s approach to dance education?

    tabor-smith’s philosophy centers on the interconnectedness of all things and the belief that dance education can cultivate not only skilled performers but also future leaders and changemakers.

  • What is “Afro-now-ism” and how does it influence tabor-smith’s artistic creations?

    “Afro-now-ism” is a concept that explores the relationship between the past, present, and future of the African diaspora, informing tabor-smith’s work with a focus on cultural memory and contemporary relevance.

  • What is the significance of the Committee on Black Performing Arts (CBPA) and tabor-smith’s role within it?

    The CBPA is a historically significant organization founded during the Black student activism of the 1960s, and tabor-smith serves as its artistic director, working to revitalize its legacy and amplify Black artistic voices.

  • How does tabor-smith integrate spirituality and ritual into her dance curriculum?

    Through courses like “Conjure Art 101,” tabor-smith explores the power of ritual and spirituality as tools for embodied learning and personal transformation.

  • What is the ultimate goal of tabor-smith’s educational approach?

    tabor-smith aims to empower students to become liberatory teachers, transformative leaders, and active contributors to social transformation and collective well-being.

Share this article to inspire a broader conversation about the future of arts education and the power of dance to shape a more equitable world. Join the discussion in the comments below!



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