Teaching for “The Sounding Body” series on Wednesdays 6:30-8:30pm; March 21 – April 4 through Movement Research at Abrons Art Center info here
Gills and Bellows
This workshop is for the physically attuned, sonically curious artist from any discipline. The practice has emerged over the past decade as a response to sensorial disconnects—between felt experiences of sound/music, and that of “movement.” Influenced by Emilie Conrad’s philosophical writing on paralysis and fluid resonance, this workshop aims to integrate the voice into a new, physical practice through sonic vibration. This framework regards each body as its own expert, with the breath at the center of physical practice. Working both alone and with touch from a partner, we will investigate how vibration moves through our muscles, fascia, bones and ligaments. How can this movement of the diaphragm orchestrate our bodies for a richer experience? How can sound be harnessed as a physical force in order to propel momentum, tone, rhythm and form? We will investigate pitch, timbre and resonance as felt experiences, bringing this awareness to small, interactive scores. We will process our research along the way, making room for doubt and interrogation. The practice I will share has been influenced by teaching practices and methodologies of Jonathan Hart Makwaia (Experimental Voice), Nancy Stark Smith (Contact Improvisation), Daria Faïn (Coremotion), and the writing of Emilie Conrad (Continuum Movement), along with input from my collaborators (2011-present). 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.