What sparked your interest in dance?
When I was three years old, my mum and I entered a mother-daughter dance competition in Jamaica. The moment those spotlights hit the stage, and the music started pumping, my mind went to a different place. I felt something I will never forget. I felt at peace. It felt like I had found my home.
I still remember the bright smile on my face, looking at my mum as we danced to the Cha-Cha Slide. That feeling of pure joy and release has stayed with me ever since. As I grew, different mentors, communities, and experiences helped turn that spark into a long-term commitment to the art.
What has been your proudest moment as a dancer thus far?
My proudest moment so far has been becoming a member of the cast of The Lion King in Germany. Receiving the offer and later signing the contract were truly defining moments for me. It was one of those rare instances where everything felt real all at once, and I finally had that quiet but powerful sense of ‘I did it.’
It proved that the years of discipline, sacrifice, and consistency had led to something tangible. Having the unwavering support of my friends and family throughout that journey made the experience even more meaningful and deeply rewarding.
Who are some other Bajan dancers whose work you admire?
One of my early favourites growing up was Gene Carson. Seeing his work on stage always gave me chills. The way he evolved and showcased Landship as a cultural movement was truly inspiring to witness.
I also deeply admire the work of Jada Best. Studying alongside her at university, I was constantly impressed by her creativity, innovation, and the uniqueness of her ideas. She changed the way I look at creativity and choreography, to think outside the box, and nothing is ever weird or unpleasant.
Another person I greatly respect is Aisha Commissiong. Performing her work and being under her guidance have both been incredibly fulfilling. Her mentorship pushed me beyond my limits and helped shape me not only as a dancer but as a person.
Honourable mentions that inspire me also go to Nandi Yarde, Makalah Harrison, Kemal Marshall, and Dancin’ Africa, all of whom continue to impact and elevate the dance community in meaningful ways.
What does “perfection” mean to you? Do you think that it’s worth pursuing?
“Perfection” isn’t really in my vocabulary when it comes to dance. To me, it feels like putting a limit on creativity and artistry. But the truth is, there are no limits.
Growing up, I learned that practice doesn’t make perfect, but rather, it makes progress. If you put a cap on what you can achieve and call that “perfection,” you block yourself from exploring new paths. Even the smallest details you think you’ve perfected always have room to grow.
Is “perfection” worth pursuing? No. The moments that aren’t perfect are the ones that become real. They’re the moments when you surprise yourself, when growth happens, and when you realize how far you can push yourself. By letting go of perfection, you open the door to greater possibilities, creativity, and connection without the fear of imperfection holding you back.
What do you ultimately want to achieve with your work?
Ultimately, I just want to keep discovering what the body and mind can really do. I’ve always been fascinated by how we move, by how much strength and control it takes to make something look effortless. I’m not the most flexible, but I’ve learned that with hard work, precision, and resilience, you can surprise yourself. You can push past what you thought were your limits.
For me, dance isn’t just about creating something beautiful. It’s about experimenting, learning, and connecting through that shared challenge of finding what an artistic body and mind can achieve. I want my work to keep exploring that space where movement meets imagination, where discipline becomes expression, and where people can see not just the art, but the human effort behind it.
