Courses

autumn 2017
SINGING MEANS TO LEARN TO LOVE II
After a very inspiring course in spring I will continue with some dedicated people to further the work of truly singing together.

Spring 2017
SINGING MEANS TO LEARN TO LOVE I
As I returned from a very inspiring week on “Stimmenthüllung” (Bad Boll, Januari 2017: uncovering the voice) I resolved to start a new course ‘Singing means to learn to love’. I have given courses and workshops with this title before. This beautiful and inspiring quote from Alfred Wolfsohn (teacher of Roy Hart and mentor of Charlotte Salomon) captures so much of what I feel singing really can be. 

from januari 2016 onward:
“Your voice, a string between Heaven and Earth”
In this course we will explore your natural voice. Singing from the heart, the yoga of sound, various forms of chanting. ‘Through singing to the self’. 

VOCAL ARTS
courses – workshops – sessions

An approach to the human voice that marries art (singing, chanting, oratory and dance), personal development and spirituality. It is a holistic way of voice-work that involves body, mind, heart, soul and spirit. 

The human voice, her mystery and beauty, has always inspired me. I have been particularly interested in and sensitive to the tonal subtleties beyond the verbal message. These communications are often as important as the sung or spoken words and it is exactly this that people, often unconsciously, respond to.

The Gregorian chants that I so often heard as a child, fascinated me by the multitude of sounds that surround and permeate the sung words. The harmony of the chants resounding in the church, opened up a dimension, and though I didn’t give it much thought,
I felt myself to be part of that sacred universe. Much 
later, I realized there is a whole spectrum of aural events that make sense of these experiences, such as natural overtones. Not just the overtones as explained by the science of acoustics, but also these numinous sonic events that I can only describe as a ‘whirl of thirds’, descending from the corners of the monastery chapel.

From 1980 onwards, I delved further into various forms of chanting and singing. In addition to classical, pop/rock and folk I explored traditional ethnic styles such as Druhpad.

In 1986 I started giving courses exploring chant and alternative ways of singing and I continue to develop this work. Point of departure in this approach is the beauty of our own natural voice that comes from within. Fundamental to this work is singing and playing with attention (mindfulness).

During the nineties I became increasingly interested in and studied for over 20 years modern approaches to the voice such as the ‘liberating and unchaining’ work of the Roy Hart Theatre, the groundbreaking and inspiring work of the Lichtenberger-institute and currently the Steiner-based Werbeck-method of ‘uncovering the voice’. 

I continue to study different aspects of music, the voice, personal development and spirituality. 

 

 

 

 

 

 

 

 

 

 


Courses & Workshops
themes 

All these methods are very interesting and useful and each may highlight areas of growth and liberation, but to me there is nothing as illuminating as working with people.

Song of the Heart
Allowing your deepest longing to find expression in a song or chant.

Vocal Archetypes
Exploring voices you didn’t know you have. In order to find your natural voice you may want to explore unknown territory. 

Your natural healing voice
Your ‘true voice’ versus your ‘conditioned voice’
A healing voice is not necessarily this very special gift people think it is. Your natural voice is a beautiful voice and is a healing voice. By becoming aware of the mental, physical and emotional  patterns that unconsciously activate when we ‘give voice’ we have the key to a new level of outer and inner freedom. 

Listening
The key to truly making music together is listening. Listening may very well be the key to all forms of communication. There are levels to the ‘Great Art of listening’ and there are levels within levels.

You can listen to your own voice/instrument, you can listen to the other voices/instruments you can listen to both, you can listen to both in the space where you make music including ‘registering’ the presence of an audience if there is one. Sometimes you need to listen, sometimes you need to hear. What’s the difference?

Our body and the vibrational field surrounding has it own ability to ‘listen’. From 1985 onward I worked for many years with the choir of the ‘Phoenix Fellowship’. In addition to singing and chanting we experimented with the effects of sound e.g. certain vowels. I noticed, whilst conducting, that different sound colors manifested as different shapes and densities in my hands and arms. In the process we also discovered all sorts of interesting things on ‘overtone chanting’.

You can listen with your critical mind or with (the ears of) your heart. 
Truly listening to another person can be a healing experience.