Teaching drop-in class on Wednesdays 6:30-8:30pm; March 22 – April 19th through Movement Research at Abrons Art Center info here
Gills and Bellows
In this work we use our proprioceptive awareness to access our voices. How do the mechanisms of the voice function as part of a larger muscular-skeletal form? Through a series of intertwining exercises and methodologies we will investigate aspects of vocalization that include pitch, timbre and phonemic resonance, as felt experiences . We will apply this knowledge to small, interactive scores that allow us to harness musical relationships through a largely abstract lens. The goal of this work is to find more mobility, dimensionality and kinetic potential for the singing body. This investigation is rooted in physical practice. No experience with the voice is required.
“In Tatyana Tenenbaum’s workshop, I felt I was given the physical and sensory experience of the fluidity and multiplicity that [other facilitators] used to describe queer (or any) identity. A conservatory-trained musician and composer as well as a movement artist, 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?”
“For an hour of this workshop, Tatyana Tenenbaum 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
Past workshops have been hosted by
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.