Born in Belgium and raised in Tulsa, Oklahoma, Christina Woodrow-Schneider holds an MFA in Performing Arts:  Dance from the University of Wisconsin-Milwaukee, with the assistance of a fellowship by the Advanced Opportunities Program, and a BA in Dance Performance from Oral Roberts University.  She is the Director of Dance/Assistant Professor at Oral Roberts University of Tulsa, OK, teaching Modern Technique, Improvisation, Ensemble, and Choreography.

She has served at Holland Hall Preparatory School, teaching Modern Technique, Choreography, and Laban Movement Studies. As a member of Living Water Dance Community, she has performed and choreographed for over six years.  She has had the honor of presenting her work at the Oklahoma Contemporary Dance Festival, Oklahoma Dance Film Festival, Exchange Dance Festival, eMerge Dance Festival, and at Tulsa Ballet’s Studio K Creations. Schneider has had the privilege to work with artists such as Rachel Bruce Johnson, Loretta Livingston, Amy McIntosh, Kathy Thibodeaux, Bill Wade Jr., and Melody Ruffin-Ward. Her work seeks to explore how the human connection to movement can cultivate a person's body, mind and spirit.  As well, she currently serves on the Creative Committee for The Bell House’s Exchange Festival.  She believes dance in its lived experience, as both practice and performance, has life giving potential.  Her work largely utilizes collaboration and improvisational methods to create authentic movement experiences.

To Schneider, dance is a form of art and research that edifies, challenges and nurtures the whole person. In the classroom she strives to be a clear and articulate communicator verbally and kinesthetically.  As a pedagogue, Schneider seeks to be available to the needs of each individual as they pursue an education developing the unique gifts within each of them in addition to serving the community of dancers at the macro level.  Her classroom embraces the collective of individual learners, guided by the pursuit of faith and knowledge, creating space where students become observers, empathizers and inquirers. Schneider’s classroom invites a dynamic understanding of alignment and bio-tensegrity to guide efficiency of movement and technique, so that students become articulate and efficient kinesthetic communicators.  She works to offer students the tools to become whole people who are serious about querying, investigating, synthesizing, reassessing, and growing.  Students are challenged to become artists who discover that art and faith are difficult to separate, and that blending the two has a unique capacity to affect change in their world.  

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