Teaching & Pedagogy
High-Tech Curriculum, Adaptive Pedagogy
Bridging Embodied Practice with Innovative Instructional Design
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Philosophy: A Brave & Adaptive Space
Philosophy: A Brave & Adaptive Space
For over twenty years, I have taught students ranging from four-year-olds to adults, moving between community centers in Iran and university classrooms in the United States. My pedagogy is grounded in the belief that the classroom must be a "brave space"—a site where bodies speak truth and students find agency through rigorous play.
For over twenty years, I have taught students ranging from four-year-olds to adults, moving between community centers in Iran and university classrooms in the United States. My pedagogy is grounded in the belief that the classroom must be a "brave space"—a site where bodies speak truth and students find agency through rigorous play.
My approach rests on three pillars: embodied actor training, instructional design, and adaptive pedagogy. I actively intervene when traditional Western methods exclude neurodiverse students or those with disabilities. By integrating Iranian traditions—such as Ta'ziyeh rituals that prioritize community building and external observation over internal recall—I offer alternative pathways to excellence that do not require students to mask their neurodivergence.
Screenshot of the gamified module map I designed for THR 100
Online Course Design:
I designed and developed a fully asynchronous Introduction to Theatre (THR 100) for the University of Kansas. This 16-module curriculum features gamified elements, contract grading, and a peer-review "Community of Practice.".
Recognition: This design was recognized by the KU Center for Teaching Excellence as an "exemplar of effective online instruction" for its success in community building..
Screenshot of the 6 module map, containing 70 pages I designed for THR 102
Curriculum Mapping:
Working with faculty leadership, I served as the primary architect for the "First-Year to Capstone Pathway." I developed standardized Canvas shells and assessment rubrics (including the "Capstone Project Agreement") to improve student retention and demystify the path to graduation.
In the studio, I blend Iranian performance traditions with contemporary Western acting methods. My goal is to de-emphasize "product" in favor of risk-taking and discovery.
Acting I (THR 106): I redesigned this course to utilize a "semi-ungrading" and feedback-focused assessment model. This lowers anxiety and encourages students to experiment boldly.
Key Assignment: The "Solo Life Story," an auto-ethnographic performance that connects personal narrative to stage technique.
Global Perspectives: My courses often integrate non-Western approaches, such as Ta’ziyeh and Puppetry, challenging students to expand their definition of performance.
With a Master’s degree in Puppet Theatre from the University of Tehran, I view puppetry as a gateway to interdisciplinary creation. I have taught puppetry and object performance to diverse populations, from university undergraduates to youth in international festivals.
Workshops: I have led hands-on intensives in Scenic Design and Model Building , as well as creative puppetry workshops at the International Puppet Festival in Tunis.
Community Engagement: Recently, I founded the "Persian Cultural Adventure" in Lawrence, KS, using puppetry and storytelling to teach heritage language skills to Iranian-American children.
Clinical & Trauma-Informed Foundations: My ability to hold space for intense emotional work is grounded in extensive clinical experience. In 2013, I directed Caterpillar with adults managing chronic psychiatric conditions at the Iman Rehabilitation Center in Iran. This experience, along with my collaboration with Dr. Goli to design trauma-informed theatre for teenagers during COVID-19 , has equipped me to handle sensitive content in the university classroom safely and professionally.
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