THE STUDENT JOURNEY IN
MY CLASSROOM
A creative space where students emerge as confident, culturally grounded, sustainable artists using the SSLD Artist Development Model™ created and practiced by Candice Michelle Franklin, Master Teacher in Jazz
SSDL Artist Development Model™
“See-2-Launch”™
Created and Practiced by Candice Michelle Franklin,
Master Teacher in Jazz Dance
Being Seen → Being Supported → Being Developed → Being Launched
Teaching Philosophy
This arc ensures that students do not simply train — they transform. They leave my classroom as confident, culturally grounded, financially literate artists who understand that an artist’s job is not to fit in, but to be leaders charged to create a world that everybody else wants to be in.
SSDL Artist Development Model
"SEE-2-LAUNCH"™ Rocket Framework Graphic is based on the
SSLD Artist Development Model™
Created by Candice Michelle Franklin, Master Teacher in Dance
PHASE 1: BEING SEEN
1. Recognizing Student Brilliance
I believe every student enters the room carrying brilliance.
My role as an educator is to recognize that brilliance, show that I see it,
nurture it, and help it rise by creating the conditions where it can grow.
Whether I am teaching future educators, adult beginners rediscovering their
confidence, or young dancers shaping their artistic identity, I meet each
person where they are and help them move toward becoming the best version of
themselves. I want students to feel seen, valued, and capable of meaningful
creative work from the moment they step into the studio. Creating this
environment supports students in achieving their most authentic performance —
where they thrive and are seen “living their best life” on stage.
2. Vision and Collective Purpose
I believe in the power of vision and collective purpose. I
want all my students to participate fully, with each person having “skin in the
game” and contributing to a shared goal. In my classes, everyone works,
everyone contributes, and everyone supports one another. When expectations are
clear and the destination is visible, students deliver with focus, pride, and a
sense of ownership. They feel tangible value in the work and, more importantly,
they feel that they matter. That said, I
want every dancer to feel valued, connected to the goal, and confident in their
ability to contribute to something meaningful. When students understand that
they are integral to the work, the work gains power and passion — for both the
performers and the audience.
3. “Wrong & Strong:” A Safe Space for Exploration
I teach with the philosophy of “Wrong & Strong” to
remove the fear of failure and reinforce that boldness is more valuable than
perfection. Performing “Wrong & Strong” in class is essential to developing
an artist’s style and individual voice. Students in this environment work more
freely and learn that mistakes are not failures — they are information. By
creating a space where dancers can move with confidence, take risks, and try
again, I help them develop courage and self‑trust, so they exhibit fearlessness
even when they are unsure.
PHASE 2:
BEING SUPPORTED
4. Access and Removing Barriers to Success
Access is a core value in my teaching. Central to my
philosophy is removing barriers — especially those that create marginalizing
environments — by providing access and clearly showing what is possible. I
believe students thrive when they know what is expected of them and have the
tools to meet those expectations with confidence. I make information clear,
share resources openly, and walk students through the academic and professional
expectations required for careers in the arts. I connect students to opportunities,
introduce them to people who can support their growth, and offer feedback that
is direct, specific, and genuinely helpful. When barriers are removed and
pathways are clear, students step into their work with energy, focus, and a
real sense of possibility.
5. Community Building Through Intercultural Communication
Community is central to my teaching. I cultivate learning
environments where students feel connected to one another and to the myriads of
cultural histories that shape our field. Through Dunham’s lens of intercultural
communication and socialization through the arts, students learn to honor
difference, collaborate generously, and recognize the cultural forces embedded
in movement. I want the studio to function as a micro‑community — one where
empathy, curiosity, and shared responsibility are practiced daily.
6. Community P.I.E. Framework™
A core framework in my pedagogy is Community P.I.E. —
Performance, Incubation/Innovation, and Education.
- Community:
Creating an environment where each participant feels valued and guided by
vision and purpose.
- Performance:
Opportunities to work as a team, bring a vision to life, and share
artistry with clarity and purpose.
- Incubation/Innovation:
Encouraging experimentation, risk‑taking, and the development of original
ideas.
- Education:
Grounding students in history and cultural context while strengthening
their ability to articulate creative choices and master technique.
I originally created Community P.I.E.™ as a framework to guide my development and
design of community music and dance programming throughout New York City, but found
the structure also beneficial at the conservatory level. These pillars guide students to learn with
intention, vision, and purpose, giving value to themselves and their
performance. Together, they help students understand that creativity is both
personal and communal.
PHASE 3:
BEING DEVELOPED
7. Dunham Principles as Pedagogical Foundation
My teaching is grounded in the principles of Katherine
Dunham, whose pedagogy honors the whole person — body, mind, and spirit.
Dunham’s emphasis on disciplined practice, research‑to‑performance,
intercultural communication, advocacy for the marginalized, and socialization
through the arts shapes the way I teach dancers to become conscientious,
culturally grounded, and socially responsible artists. Following the Dunham
Way of Life has developed me into a more intentional dancer and classroom
leader, and I pass these values on to my students. Dunham teaches dancers to
approach their craft as an artistic practice capable of transforming others and
impacting the world. This means I am giving dancers tools to become effective
artists with integrity — not superficial performers who quickly burn out, but
artists who create meaningful, lasting work.
8. Artistry and Creative Identity Development
On Day One of each of my pre‑professional trainee classes, I
tell dancers their purpose: “As artists, our job is NOT to fit in, but to
create a world that EVERYBODY ELSE wants to be in.” That said, I believe one of
the most important parts of training is helping students develop a strong
artistic identity and unique personal style. I want students to understand that
their individuality is an asset, not an obstacle. I encourage them to explore
their instincts, make choices, and trust the qualities that make them
different. Technique provides structure, but identity gives direction, clarity,
and voice. By giving students space to experiment, supporting their curiosity,
and reinforcing that their perspective matters, I help them build the
confidence to stand in their artistry. My goal is for each dancer to leave my
class with a clearer sense of who they are, what they bring to the work, and
how they can contribute something original and meaningful to the field.
9. Resilience and the “Whack-A-Mole” Mindset
I prepare students for the realities of the dance world by
teaching resilience as a core skill. I often describe the artist’s journey as a
“whack‑a‑mole” experience — corrections, “show notes”, lost auditions, injuries,
and scrutiny over art choices are daily experiences, yet artists. like a
whack-a-mole, continue to “pop back up” and return to their craft. Moreover, crazy, unexpected show snafus will ALWAYS
occur, but for the artist, the goal is not to avoid them but to respond with
adaptability and strength. That is the mark of a true professional. Audition
preparation and mindset training help students maintain a high tolerance for
rejection while continuing to pursue their artistry.
PHASE 4:
BEING LAUNCHED
10. Financial Literacy for Sustainable Artistic Careers
I believe artistic excellence must be supported by practical knowledge. I teach students that financial literacy — understanding intellectual property, agents, budgets, contracts, funding, sponsorships, grants, branding, and creative resourcing — is essential to sustaining a creative life. When students learn how to support their ideas with strong financial and administrative foundations, they gain agency and the ability to shape their own futures.
Launch them. That's the work."
— Candice Michelle Franklin, Master Teacher of Jazz Dance
CONCLUSION
The SSDL Artist Development Model™ “See-2-Launch™” framework is my way of ushering students into their own brilliance, giving them the courage, clarity, and community they need to rise. By providing this framework of SEE → SUPPORT → DEVELOP → LAUNCH, students gain a clear, structured pathway to grow as artists with confidence, purpose, and cultural grounding. Each phase strengthens their skills, builds momentum, deepens their self-awareness, moves them from possibility to power, and develops that “whack-a-mole” mindset they need to succeed and sustain a meaningful career in the arts-both mentally and financially. Although training is rigorous, this approach allows students to work with joy, compassion, and understanding in a way that is deeply human and honors identity, culture, and creative purpose. All in all, when students journey through this model, they don’t just grow; they launch into the world ready to lead, innovate, and thrive with vision, agency, purpose, and power.
