As a young Black and Japanese woman at Juilliard, I want to make dance an experience that encourages and inspires the creation of healing, compassion, and community. I hope to make dance a platform through which experiences are shared and understood, allowing for the exploration of honesty and vulnerability between others. I view this artistic process as a form of self-expression that expands the possibilities of how we structure and govern the social relations of our society. My artistic portfolio consists of my first choreographic piece, titled “Finding Direction,” as well as a series of improvisations that I hope to develop further into a short film. I choreographed my first solo that emerged out of a deep state of confusion as to where and how the complexities of my identity could exist in a world that actively abuses women and artists of color. My intention with this solo was to communicate my uncertainty of who I was as an emerging artist and person and my refusal to consent to be a singular being. As I further my research in improvisation, my intention is to discover how an artist can remain authentic and honest to their work while creating transformative experiences for audiences. By turning these series of movements into a short film, I intend for my improvisation to become a form of problem-solving which requires communities to engage, listen, and learn. As part of my professional career, I want to implement this process of understanding dance and performance as healing, compassion, and community within youth education, especially in low-income schools and communities of color. The WCEJ Thornton Foundation Scholarship will help support my pursuit of a professional dance, choreographic, and educational career.

Like many young dancers, my parents enrolled me in ballet because I was an energetic and curious child. I began dancing at the age of three, where I immediately discovered a natural sense of rhythm and an immense passion for movement. Throughout relocations to Los Angeles, Houston, and Southern California, I continued to foster my passion for ballet by pursuing it as both a study and a discipline. However, throughout my academic and artistic careers, I found it challenging to navigate these various environments that continue to be hostile to women of color. My thighs were often “too muscular” in fifth position, while my biceps were too toned and developed in fifth en haut. It has always been a challenge to find the fragility and delicacy that a “true ballerina” should have. In high school, my desire to study and explore issues revolving around gender and race had continuously been hindered by the lack of courses in social sciences and humanities in institutions that often solely merit STEM-based talent. Out of this adversity emerged my passion to explore interdisciplinary approaches of learning, while redefining beauty in the world of ballet that is still rooted in Eurocentric notions of intellect, culture, and standards of acceptable bodies. Although these challenges have often resulted in a loss of confidence, my three years of involvement in the 100 Black Women of Orange County have given me the tools to build networks of confidence and resilience for myself and the women around me. As a Black woman with a Japanese mother, the women in my life have been my greatest sources of inspiration and encouragement both as a human being and an artist. My mother, my instructors at ballet, my mentors at 100 BWOC, and my female peers are all reminders of my pursuit to transform the dance world by fostering nurturing, creative, and inclusive spaces. The women in my life have encouraged me to continue to challenge the boundaries of a world that is still hesitant to relinquish its grip on what have been dominant forms of beauty and physique rooted in whiteness. As a first-year dancer at The Juilliard School in New York City, I am continuing my practice of building bridges of confidence and resilience within and across diverse communities by seeing connections between classical ballet and contemporary dance, not just as repertoire, but dance as a social movement practice. Through the discipline of dance, I have gained inspiration, self-confidence, and hope in a world that too often seems hopeless. As I develop myself as an aspiring professional dancer and choreographer, I intend to nurture my interest in dance pedagogy and instruction and its relationship to developmental psychology and identity by teaching younger children, especially young girls of color within communities that do not often receive the privilege of dance and movement classes. I hope to have a successful career in a professional dance company where I can contribute to the growing field of American dance and serve as a female pillar in the lives of the younger generations. I will share what I learn at The Juilliard School by teaching, innovating, and ultimately serving as a dance arts advocate so that future generations can learn, share, and find the joy in the freedom of movement.

With great enthusiasm, I submit an application for the Gayle McKinney-Griffith Memorial Scholarship. My fifteen years of ballet training have given me a sense of inspiration, self-confidence, and hope in a world that too often seems hopeless. As a Black and Japanese woman, I struggle to redefine the terms of expression and knowledge production within the world of ballet that has historically been rooted in Eurocentric notions of intellect, culture, and standards of acceptable bodies. Out of this adversity emerged my passion to explore interdisciplinary approaches of learning and creative movement practices that I will continue to develop at The Juilliard School starting in Fall 2025. I aspire to open doors for others who dare to dream through movement and dance and will continue to transform the dance world by fostering creative spaces for artists of color while developing my dance and choreographic practice. While learning the discipline of ballet can be challenging and painfully frustrating, overcoming these challenges provides a profound sense of achievement and is a humbling reminder of the fragility as well as the resilience of the body. I began dancing at the age of three at the Gustafson Dance Center. I continued to study ballet at the Los Angeles Ballet School, Houston Ballet Academy, and the ABT Gillespie School, where I am now a fifth-year student in the Upper Level. However, throughout my academic and artistic careers, I found it challenging to navigate these various environments that continue to be hostile to women of color. My thighs are often “too muscular” in fifth position, while my biceps are toned and developed in fifth en haut. It has been a challenge to find the fragility and delicacy that a “true ballerina” should have. In school, my desire to study and explore issues revolving around gender and race has continuously been hindered by the lack of courses in social sciences and humanities in institutions that often solely merit STEM-based talent. My involvement in support groups such as the 100 Black Women of Orange County have given me the tools to build networks of confidence and resilience for myself and the women around me. As I enter the next stage of my artistic and academic career at The Juilliard School, I intend to continue my practice of building bridges of confidence and resilience within and across diverse communities. In the future, I would like to share and teach what I have learned. My interest in dance pedagogy and instruction began when I completed the American Ballet Theatre National Training Curriculum Course for levels Pre-Primary through Level 3. During this intensive 10-day training, I was also exposed to the study of developmental psychology and its relationship to dance and identity. At The Juilliard School, I will be able to further my understanding of the intersections between dance, psychology, and identity. I hope to have a successful career in a professional dance company where I can contribute to the growing field of American dance, while choreographing new works and sharing my passion for dance with students as a guest instructor. I will share what I learn at The Juilliard School by teaching, innovating, and ultimately serving as a dance arts advocate so that future generations can learn, share, and find the joy in the freedom of movement. I would be honored to be a recipient of the Gayle McKinney-Griffith Scholarship. This award would help me significantly in paying for my Juilliard tuition and living expenses. Thank you for your time and consideration.

With great enthusiasm, I submit an application for the Bunker Performing Arts Scholarship. My fifteen years of ballet training has given me a sense of inspiration, self-confidence, and hope in a world that too often seems hopeless. In Fall 2025, I will attend The Juilliard School where I will continue to transform the dance world by fostering nurturing and creative spaces for artists of color while developing my dance and choreographic practice. As a Black and Japanese woman, I aspire to open doors for others who dare to dream through movement and dance. Ballet provides a sense of balance and freedom of movement through which to express my identity and construct meaning in the world. While learning the discipline of ballet can be challenging and painfully frustrating, overcoming these challenges provides a profound sense of achievement and is a humbling reminder of the fragility as well as the resilience of the body. I began dancing at the age of three at the Gustafson Dance Center and continued to study ballet at the Los Angeles Ballet School where I was introduced to live theatre and performance. During my second year at LABS, I debuted in their Balanchine rendition of The Nutcracker, in which I was fortunate enough to perform in various renowned theatres such as The Alex Theatre, The Dolby Theatre, Royce Hall Theatre, and The Redondo Beach Performing Arts Theatre. Throughout the rehearsal process, I learned about Tchaikovsky’s music and the world of musical composition. Although LABS was fairly limited in resources and funding, these early experiences gave me a sense of passion for dance and live ballet theatre. I realized that I had to have ballet in my life as a passion and a career. I have since continued to perform in various performances in addition to my pre-professional training at the Houston Ballet Academy and the ABT Gillespie School. Performance has allowed me to expand upon my ballet vocabulary, enabling me to switch between Balanchine, French, Cecchetti, and Russian techniques, as well as quickly adapt to the demands of non-Eurocentric choreographers. It is these experiences that have enabled me to understand dance and performance not just as repertoire, but dance as a social movement practice through an exploration of Afro-diasporic and African American experience. During my summer intensives, I have had the opportunity to explore modern and contemporary techniques which enabled me to see connections between classical ballet and contemporary dance such as the repertoire of the Alvin Ailey School. The various locations where I have participated have not only exposed me to different approaches to dance training styles, but have allowed me to imagine the possibilities of collaboration with emerging dance practices such as modern, contemporary, jazz, and hip-hop with extensive experience in ballet training. My determination to pursue dance as a career and a method of research and knowledge production has been inspired by artists and mentors, both on-screen and in person. Cinematic sources of inspiration were the documentaries, “First Position,” starring various young artists such as Aran Bell, Miko Fogarty, and Michaela DePrince, and “A Ballerina’s Tale,” which documented Misty Copeland’s journey to becoming American Ballet Theatre’s first Black Principal Ballerina. I have also been inspired by my immediate mentors and instructors. I have been encouraged to further my artistic journey on a collegiate level by one of my instructors and mentors at the Gillespie School, Brendali Espiritu. I am also inspired by Chloe Misseldine, American Ballet Theatre’s newly promoted Principal Dancer who is transforming how Asian Americans are represented in the theatre, and Alicia Graf Mack, the former first Black Dean and Director of The Juilliard School. In the future I would like to share and teach what I have learned. My interest in dance pedagogy and instruction began when I completed the American Ballet Theatre National Training Curriculum Course for levels Pre-Primary through Level 3. During this intensive 10-day training, I was also exposed to the study of developmental psychology and its relationship to dance and identity. Upon graduation, I hope to apply the liberal arts and fine arts training that I will receive in my pursuit as a professional dancer at companies such as Alvin Ailey American Dance Theatre, Boston Ballet, or The Joffrey Ballet, while simultaneously choreographing new works and sharing my passion for dance with students as a guest instructor. To that end, I will share what I learn at The Juilliard School by teaching, innovating, and ultimately serving as a dance arts advocate so that future generations can learn, share, and find the joy in the freedom of movement. I would be honored to be a recipient of the Bunker Performing Arts Scholarship. This award would help me significantly in paying for my Juilliard tuition and living expenses. Thank you for your time and consideration.

As a Black woman with a Japanese mother, I hope to continue to transform the dance world by fostering nurturing and creative spaces for artists of color and in Fall 2025, I will attend The Juilliard School where I will develop my dance and choreographic practice. Like many young dancers, my parents enrolled me in ballet because I was an energetic and curious child. I began dancing at the age of three at the Gustafson Dance Center. I continued to study ballet at the Los Angeles Ballet School, Houston Ballet Academy, and the ABT Gillespie School, where I am now a fifth-year student in the Upper Level. However, throughout my academic and artistic careers, I found it challenging to navigate these various environments that continue to be hostile to women of color. My thighs are often “too muscular” in fifth position, while my biceps are toned and developed in fifth en haut. It has always been a challenge to find the fragility and delicacy that a “true ballerina” should have. In school, my desire to study and explore issues revolving around gender and race has continuously been hindered by the lack of courses in social sciences and humanities in institutions that often solely merit STEM-based talent. Out of this adversity emerged my passion to explore interdisciplinary approaches of learning, while redefining beauty in the world of ballet that is still rooted in Eurocentric notions of intellect, culture, and standards of acceptable bodies. Although these challenges have often resulted in a loss of confidence, my three years of involvement in the 100 Black Women of Orange County have given me the tools to build networks of confidence and resilience for myself and the women around me. As I enter the next stage of my artistic and academic career at The Juilliard School, I intend to continue my practice of building bridges of confidence and resilience within and across diverse communities. Through the discipline of ballet, I have gained inspiration, self-confidence, and hope in a world that too often seems hopeless. In the future, I would like to share and teach what I have learned. My interest in dance pedagogy and instruction began when I completed the American Ballet Theatre National Training Curriculum Course for levels Pre-Primary through Level 3. During this intensive 10-day training, I was also exposed to the study of developmental psychology and its relationship to dance and identity. At The Juilliard School, I will be able to further my understanding of the intersections between dance, psychology, and identity. I hope to have a successful career in a professional dance company where I can contribute to the growing field of American dance, while choreographing new works and sharing my passion for dance with students as a guest instructor. I will share what I learn at The Juilliard School by teaching, innovating, and ultimately serving as a dance arts advocate so that future generations can learn, share, and find the joy in the freedom of movement.