Contemporary Technique Class

In technique class we work with expansive locomotion in space, resistance and redirection, momentum and oppositional forces, precision with abandon, and efficiency of movement. I believe this creates a dynamic, nuanced, and grounded approach to dancing. We utilize floor work, standing center work, and end with technically demanding phrase material that allows the student to apply and explore all the elements from class. My studies of functional anatomy with Peggy Gould greatly influence my teaching. I employ explorations of kinesthetic re-patterning into all of my classes, training the body as the integrated system that it is. I encourage individual exploration, class interaction, and humor as a vital part of learning. This class can be structured to beginner, intermediate or advanced students.

Choreography/Creative perspective

In choreography class we work with stimulating ideas, melting resistance, developing discipline, delving into frontiers, and finding a creative voice. A unique choreographic and performance style arises from promoting a conscious body, a curious mind, and an open heart. I reject a "good/bad" paradigm and encourage personal exploration as a way to break down assumptions. Bringing a creative perspective to the table is an invaluable part of any field of study. Thinking outside the box and offering creative solutions to complex challenges in art, in the workplace and in life brings about progress. I believe in the integration of intellectual and physical as a means of progression and growth. This class can be taught to beginners or to advanced artists.

Improvisation Workshops

Redirecting Habits: We work with mobilization, grounding, and full body connectivity. We explore range of motion within our own body, and as it relates to another. I believe this creates a dynamic, nuanced, and grounded approach to dancing and a deeper understanding of our individual movement potential. We will do solo movement exploration, partner movement exploration, and the class will culminate in an open floor to explore the concepts. * This came out of my interest in how we, as improvisers, get locked into our set ways of moving. It was born out of a desire to expand the movement possibilities of my own body and thus the improvisational choices that I make.

Being Seen: This improvisation class investigates what it means to be seen. We will invite ourselves to be seen by others, and we will explore ways of moving from a place of honesty and individuality. Embracing the extreme artifice as a way to access the simplicity of the individual mover, thinker, artist, and human. We will do some writing, partner work, solo work, and the class will culminate in an open floor to explore the concepts. * This came out of my interest in the different possibilities that arise from being involved in a physical form. Asking questions like… what is artifice and what is real? What is closed off and what is open? How can one truly see another with no consideration of self, and how can one be truly seen in a way that simply reveals?

 

Einstein's Letter by Erin Reck, Photo by Lynn Lane

Einstein's Letter by Erin Reck, Photo by Lynn Lane

Repertory/Commissioned Works

- set existing repertory on your company or your students
- create an original work for your company or your students

Teaching Artist Training Program

Designed and implemented a program through the Sam Houston State University's Department of Dance that trains upper-level college students to teach creative movement arts in local schools and integrate STEM curriculum into the classes. Designed curriculum and orchestrated the trainings and monitored student classes. Met with local community educators and leaders to identify organizations in need. Initiated and maintained relationships with community partners. 

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