Gills and Bellows
This workshop is for the physically attuned, sonically curious artist from any creative background. My practice has emerged over the past decade in response to disconnects in my own body, mind and heart. Influenced by Emilie Conrad’s philosophical writing on paralysis and fluid resonance, this workshop aims to integrate the voice into your physical practice through sonic vibration. We’ll regard each body as its own expert, making room for doubt and interrogation along the way. With the breath at the center of physical practice we will work both alone and with touch from a partner to investigate how vibration moves through our muscles, fascia, bones and ligaments. How can this sensation orchestrate our bodies for a richer experience? We will harness this physical sounding within relational scores and practice being together. The research I will share has been influenced by the work and practices of Jonathan Hart Makwaia, Nancy Stark Smith, Daria Faïn, Jennifer Monson, Urban Bush Women, Emily Johnson, and many others. No experience with the voice is required.
“[Tatyana] led participants in observing their own breathing, the breath of others, and the physical sensation of breath and movement. It was like the voice class you initially hated in college because you were convinced the teacher was always unprepared and was just making you lie on the floor to eat up class time, but then you realized its immense value during the last part of the year when the class all came together and made sense. For those of you who have experienced that class before, here is your second chance. For those of you who haven’t (and on whom this example is completely lost), keep an open mind and dive in.”
-Caitrin Sneed from her article on Brooklyn Studios for Dance
“Tatyana led us through a series of exercises and improvisational scores intended to fuse sound, sensation, movement and vocalization. We were working with “crossing modalities,” she told us. Cross-wiring our sorting of sensory information and cross-referencing ways of perceiving and ways of knowing. The result was potentially the most unique and engaging score I experienced in this whole series. I traced my spread fingers through the air because of the sound of the fan blowing through the room. I hummed because of the sensation of the puffy mats against my bare feet. I interacted with other bodies in the space as fluidly as if they were my other limbs.”
-Sophie Sotsky in her article on the series “What is Queer Performance?”
Lawrence University, Temple University, Movement Research,CLASSCLASSCLASS, Brooklyn Studios for Dance, Bureau of General Services – Queer Division
I am available for one-on-one vocal coaching, or may be able to recommend you to others who do similar work. Contact me directly.