Teaching

 

 I have come to realize that the most salient instructional movement training values I hold consist of creating generous honesty, thoughtful action, and responsibility of truthful intentions within each and every one of my students.  Technique is the development of a craft and in dance training I believe that craft can be defined by the terms efficiency and clarity.  Efficiency can be achieved through repetition, pattern training, and releasing of unnecessary tensions that arrive within the normal development of anatomical and psychological conflict.  In a complimentary fashion, the goal of achieving clarity in movement phrase work and choreography may be best found through concentrated mental and physical release through guided exercises that focus the student in a contemplative, yet action-based, format.

In regards to classes that are more design based I believe that students need to be encouraged to access all of their innate gifts, whether they are overtly obvious or previously dormant.  The composition class is the perfect atmosphere to encourage dancers to experiment with their own bodies, voices, writing skills, sound creation, and anything else that is of interest to them.  In the production of new choreography students embark on accessing the essential nature of what we can consider to be their own technique (in addition to that of the codified past).  As well, the breaking down of previously conceived notions of what dance “is” can service to open new doors towards becoming a neophyte artist or an experienced dance maker.

               I am passionate in bridging historical and contemporary synthesis within the context of instructing an academic dance course, such as a detailed history class.  There is an intrinsic beauty in the knowledge of our predecessors that consists of acknowledgement of legacy and the ambition required to become a prominent part of the dance history lexicon.  With this information students can bridge their understanding of the pioneers’ approach to artistic movement along with their own current day ideas.  They can choose to implement tactics provided by the past, or forge along new waters with guidance from realized trends and forms.  Armed with the understanding of years gone by, they can incorporate bold inventive ideas of yet unchartered territory. 

I read once that the role of a dance teacher can also be described as a “dance detective.”  This metaphor is actually quite an astute comparison.  Whether teaching movement based technique, encouraging a journey to explore creative personal proclivities, or searching for connections from the past to present, the goal is the same.  As an instructor it is imperative to find and utilize strengths and challenges for students.  The culmination of problem solving skills and steadfast commitment provide a platform for both the student and the facilitator to figure out pathways towards ultimate success.

 

Funk: Skills, Tactics, and Choreography 

Duration = 1 to 2 Hours

     Through the exploration of historical and contemporary urban folk dances such as B-boy/girling, Popular Hip Hop, and Clubbing Culture the students learn to let their inner funkiness loose.  Specific techniques of tutting, boxes, waving, ticking, threading, and gliding give an appreciation of the early constructs of American dance that grew out of New York City and Los Angeles from the 1980's to present day.  Incorporation of current trends in commercial Hip Hop dance allows the class to express themselves within a relative approach to groove-based mechanics.  The incorporation of inversions, power moves, and gymnastic-like skills will increase both strength and vigor in this learning environment.  With the combination of set choreography and improvisational exercises students will gain newly refined experiences as both dancers and choreographers.  The length of repertory learned/choreography created depends on the duration of the class time.

Influences:

Capoeira

B-boy/girling

Popular Hip Hop

House

Independent Social Dance

 

Music will be provided by the Instructor on an MP3 player.  Audio output is necessary. 

 

Contemporary: Moving from a Fundamentally Human Source with Passionate Outcomes

Duration = 1 ½ to 2 Hours

     By beginning with imagery exercises, meditation, and contemplative movement the dancer can access the moments before gathering full intention towards dance design execution.  In this way s/he can find a more realistic and seemingly genuine understanding of emotional phrase work and choreography.  Through analysis of habitual approaches the dancer can find more choices in their performance objectives.  The maintenance of a present state of mind will serve to keep the mover constantly aware of the choices at hand in any given moment.  The combination of skeletal awareness, expressive desires, and voiding of tension gives this dance an alluring display of the complexities of what it means to communicate the delicate and vibrant human condition.  This training allows the spectator to react with a kinesthetic empathy regardless of direct story or plot.

         The incorporation of phrase work that combines simple actions and gestures permits the student to explore the meaning of straightforward physical transfer in body design.  From this place larger dynamic shifts and spatial ranges are implemented to increase the dancer’s level of engagement and overall correspondence.  The class runs full circle in an ABA form and returns back to the inside (with an emphasis on the outside community created within the class period) in order to provide a satisfying conclusion to the time spent dedicated toward this full bodied emotional experience.

 

Influences:

Mindful Meditation

Authentic Movement

Bartinieff Fundamentals

Laban Movement Analysis

Alexander Technique

 

Accompaniment is preferred, but not necessary. 

 

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These classes are intended for movers from all backgrounds.  They can be easily tailored and modified for beginning movers or more advanced dancers.

 

 

 

 

 

 

 

 

 

 

 

Courses Taught

 

Montana Dance Arts Association Fall Workshop 

Beginning, Intermediate, Advanced Modern

 

Appalachian State University 

Funk

Contemporary 

 

American College Dance Festival

Funk

Advanced Modern

 

University of Nevada at Reno

Dance Production

Criticisms and Aesthetics

Advanced Ballet

Intermediate Modern

 

Iowa State University

Modern I, Modern II, Modern III

Ballet I, Ballet II, Ballet III

Jazz I, Jazz II

Teaching Children’s Dance

Dance Composition

Sound and Movement

History and Philosophy of Dance

Performing Arts Seminar Guest

 

Vanderbilt University

Fusion: Contemporary Funk

Intermediate Modern

Funk

Repertory

 

High Point Ballet

Hip Hop

 

Universidad de Heredia

Advanced Modern

 

University of Colorado at Boulder

Funk (Mixed Levels)

Beginning and Intermediate Jazz

Beginning Ballet

Beginning Modern

Repertory

 

Greensboro Ballet

Beginning Modern Intensive

 

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"The words 'absolute joy' can't even begin to describe what it's like working with Taryn.  Her intellect, mastery of technique and idiosyncracy is unparalleled.  I was truly inspired by her passion for her art and very much humbled by my experience learning from her.  The journey she took me on, despite it being short lived, was a sincerely memorable one." -Dan Miller

University of Nevada at Reno

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"The past two years, I studied under Taryn Packheiser working on expanding my knowledge and technique in Ballet and Modern.  I've had the opportunity to take her classes and participate in Orchesis I Dance Company. These outlets have helped me develop a deeper level of understanding and respect for this physical art.  Taryn is a kind and patient instructor who knows how to break down movement and teach it to all dancers, at any skill level.  She knew how to challenge us all as dancers and thinkers.  Having the opportunity to dance and learn from her has been to my significant benefit.  Taryn invests her time and energy into her students, as well as her love..."-Shelly Farley  

Iowa State University 

 

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"Taryn Packheiser changed my dance life.  I learned what dance is all about from her.  She showed me how to dance from my soul, to use my body, which I was clueless about how to use before, and how to use my mind to ground myself and experience the movement.  Taryn's heart is poured out onto the studio floor every time she teaches and makes everyone feel at home."- Samantha Furnas

 

Iowa State University

 

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