Personal Description:

As a visual and sonic artist I explore the layers realms of the imagination as well as connections to the values and traditions of my culture. I draw on topics of negotiating contemporary identity and enchantment as a mixed Indigenous woman continuously searching for connections to land, self, and creative expression.

As a synesthetic artist my work is deeply inspired by the sensory engagements I regularly make in my sonic, visual, tactile, and emotional spaces.

As a musician, an experimental composer, and singer songwriter, I overlap in many genre settings from open mics at coffee houses, to extravagant art, music, and fashions shows at the National Arts Center in Ottawa or the Museum of Civilization in Quebec. My engagement in community music making initiatives overlapping with my research in cultural synaesthesia studies, have prompted a dream to construct multi-sensory sensoriums in a range of diverse settings, from museums, to community centres, to the forest. This has been achieved by Steph Singers's Bittersuite Orchestra and the Sensibility Festival in the Uk. Sensibility Festival specifically aimed towards attracting peoples with complex disabilities in hopes of providing an outlet for everyone to create art without limitations. I believe these initiatives and organizations have exciting possibilities for Canada.

As a performance artist, my work involves, but is not limited to working and modelling for/with photographers, makeupartists, costume designers, and other creatives in constructing a wide range of events and themed concept projects.

Tutoring Experience:

While new to online tutoring, teaching and mentoring people across the spectrum of age, ability, and/or demography has been a prevalent part of my university experience. Whilst attending Carleton University as full-time music student, there were countless situations wherein my colleagues and myself would assist younger students, guests, and each other, within and outside the classroom in the attempt to harness and strengthen our teaching skills, and albeit without pay. Various ensembles regularly introduced new players and one on one mentoring from advanced students was as a basic necessity for teamwork and success overall.

Tutoring Approach:

My approach to tutoring starts with the student. I like to find out where the student is at, what results she/he is wishing to produce by the end of each lesson and overall lessons. I additionally find it important to hear what the parents are expecting their children to learn and how quickly. Once established, I can find a rough plan of how we can start based on the level the student is at and develop repertoire to build up over the coming weeks. I like to tutor based on 4 keys ranges of repertoire:
a) breathing, scales, wristwork  Before even playing tunes I find it important to teach the student about the proper breath-work early on. I like to introduce one scale per lesson to familiarize the student with the notes/ sounds being used that day. Wristwork training I find essential as it prepares the students to self-exercises in avoidance of common musician injuries such as tendonitis and carpal tunnel b) technique and study training  technique and study training can take up a fair amount of the lesson depending on the level the student it at. These ensure muscle memory and familiarizing with ornamentation and speed variation
c) composition analysis and performance analyzing pieces cross-culturally and cross-genre (as I like to put) is something I like to introduce but I do stick to one genre if a student or parent prefers this.
d) creative composition  I find this the most fun part of the lesson. This is where the student can creatively prepare his/her own composition or small piece of music based on the stage we are at and I work with the student to develop a one or two pieces to record for an online performance as a cumulative project for the end of the lesson.