Written by Spring 2025 AFA Intern Anouk Mignon
Q: Who are you?
Nami: I am Nami Kagami.
I have been working as a teaching artist for over twenty years. For younger children, I usually introduce myself as a dance teacher, while with older adults, I might say I teach mindful movement. My focus is on building community. I always facilitate student-centered practices as a teaching artist, and most importantly, I try to create spaces where we can have a good time together.
Q: How did you first get involved in your specific discipline of art?
Nami: I do not quite remember exactly when I started, because I was really young. My mom and my grandmother tell me I was always moving to music, always dancing for them. I think I was what people call a “busy” child. They thought putting me into a dance class might help me focus and channel that creativity into something more structured.
It was not just about dancing around the house anymore. They decided to give it a try and see what would happen if I joined a class. From that moment on, I never stopped. Dance has always been part of my life journey.
Q: What role did the arts play in your upbringing?
Nami: I have often talked to my mom about this. In my family, there was not a professional artist on either side, but my mom thinks my grandfather might have had a creative streak; he always wanted to be a photographer. He could not pursue it as a career because he had to provide for the household, but he also painted as a hobby. That creative spirit was there, even if it was not part of our daily life.
For me, it was more of a discovery: I found my path once I started dance classes. My family has always supported what I do, and that has made a huge difference. Having that supportive network has really helped me keep going. I think it is so important to have someone who believes in you, especially when you want to pursue something outside the typical expectations. These days, it is often more “realistic” to aim for careers like medicine or engineering, and there is less space or even judgment around choosing a creative path. That is why having support and the freedom to be yourself is so powerful.
I am originally from Japan, by the way. I came here to go to college and major in dance. Back then, most students who studied abroad were going into fields like medicine or law; that was the norm. So, for me to come here to study dance was definitely outside the usual. I am really grateful to my parents for trusting me and supporting that choice.
Q: What is your educational background?
Nami: I was enrolled in a dance school in Japan from the age of three all the way through high school. After graduating, I moved to the United States to attend Hofstra University in Long Island, New York, where I majored in dance.
In terms of further dance education, I joined the Alvin Ailey International Student Program and later studied at Peridance. These experiences formed the foundation of my training.
Q: What was your path in getting where you are? How did you get there as a teaching artist and did you always want to do what you are doing now?
Nami: In Japan, dance was not really considered a career option at the time. That mindset is changing now, but back then it felt very limited. I believed that coming to New York City, the heart of the performing arts world, would help me pursue a career in both performance and teaching.
After graduating from college, I joined the Rod Rodgers Dance Company. Eventually, I was offered the opportunity to assist the director, Rod Rodgers. That is when I truly discovered the joy of teaching in a school setting. I had already been assisting at a dance school in Japan, but the context there was much more intimate. Teaching in schools here, I saw how students engage with and appreciate the arts in different ways. That experience confirmed for me that this was the path I wanted to pursue.
Q: You advocate for a liberated learning environment. How do you bring that to life in your dance classes?
Nami: For me, a liberated learning environment starts with building genuine relationships. It is not just about coming in and teaching what I want. It is about listening to what the students want to learn.
That shift from a teacher-centered to a student-led approach makes a huge difference. I center their voices, their backgrounds, their cultures, and their personal perspectives. That might include their heritage, how they view life, or what inspires them. I also emphasize choice. In my classes, there is no single right way to do something. Students are encouraged to explore and make decisions for themselves.
Q: Did you experience a particular “aha” moment in which you realized dance or teaching was your passion?
Nami: It was not really one single “aha” moment, but more the achievement at the end of it all, no matter the project. The process might take time. I might struggle, face challenges, or go through tough moments. But what keeps me going is that feeling of accomplishment at the end on both sides.
Whether it is seeing students complete a project and share their dances, or me performing on stage or creating something new, that sense of achievement is something truly unique. It is the kind of joy that comes from hard work, and I am able to put in that effort because I am passionate about what I do. It is a cycle of creation, commitment, and fulfillment. That is what drives me.
Q: How do the children you work with inspire you to continue being a teaching artist?
Nami: I learn so much from my students. Children are full of surprises. It is hard to pinpoint one defining moment, but I remember teaching a preschool class with three-year-olds. I demonstrated a hand movement: raising the hands like placing a crown on the head. Then one child said, “Oh, let the hands kiss each other.” It was such a beautiful way to describe the movement. That moment really stayed with me.
These days, I have embraced more varied ways of engaging students. It is not just about verbal explanation; it is also about visuals, music, texture, and emotion. I might show something on screen, play carefully selected music to reflect a mood, or use imagery and storytelling. Understanding that there is not just one way to teach has become central to my practice.
Q: What is the most challenging aspect of being both a performer and a teacher? How do you balance those roles?
Nami: Honestly, I do not see them as challenging. For me, being a performer and a teaching artist go hand in hand. One supports the other.
Because I am a dancer myself, I know both perspectives. I understand what it is like to be taught, and that helps me reflect on how I want to teach. I have experienced different methods—the pros and the cons—which I draw from when shaping my own approach in the classroom.
Q: What is one of the main takeaways you hope your students gain from your classes?
Nami: Whatever they choose to pursue in life, I hope they can look back and reflect on something they learned in dance class whether it is a specific skill or simply the confidence it gave them. I hope they remember things like, “Oh, I know a few jazz steps,” or “I remember the ballet positions.” Maybe they recall performing in front of an audience and realize, “Hey, I have done that before,” which helps them feel more comfortable in public speaking or other situations. I want them to carry those experiences with them and apply them in daily life.
Q: What would you tell someone who is interested in dance but feels intimidated by it?
Nami: Dance is for everyone. Even before we learn to speak, we use movement to communicate, it is a natural part of being human.
I always start there: no matter how someone sees themselves dancer or not, we have all moved our bodies to express something. Whether it is bopping your head or swaying to music, that is already dance. The key is to trust yourself, to be open and comfortable with your body. Give it a try and notice how it makes you feel. Do not worry about what others think just build confidence in your own way.
Q: What drew you to Arts For All? What are some projects you have worked on with students?
Nami: I recently completed a residency in Brooklyn through Arts For All. It included 17 sessions from fall through spring, with a short break in between. I worked with pre-K, kindergarten, and first-grade students so four classes in total. The focus was on creative movement, self-expression, and storytelling, culminating in choreography that incorporated their own ideas through small group work.
I also introduced other elements, like a digital storybook project and origami showing how folded paper can transform into different shapes and then translating that idea into body movements. The theme of the residency was Rise Up, and I gave students space to explore and create within that concept.
Q: Do you have any favorite in-classroom moments working with students?
Nami: I love when students start taking initiative when they begin teaching or demonstrating on their own. That is the moment I treasure most. When I see them take in what I have introduced and then make it their own, I know my job is done. They have internalized it. They are ready.
Q: How do you see art in your daily life?
Nami: Art is everywhere but you have to be open to seeing it.
There are days when I do not notice it because I am not in the right mindset. However, when I am present and in tune with myself, I start to recognize the beauty and creativity around me. I also take photos, and I have learned that I cannot force a creative moment. You cannot always push yourself to see something meaningful, especially under pressure. Art comes naturally when you are open and receptive. It finds you when you are ready.
Q: What does art mean to you, specifically?
Nami: Everything. Truly everything.
Art has taught me so much and has helped shape who I am today. It is at the core of everything I do. In one way or another, whatever I engage in is rooted in a connection to art.
For more information on Nami Kagami, watch her episode of “Arts For All: Behind the Artist” here.
