I teach voice informed by my artistic practice in experimental vocal improvisation which has led to the unmasking of my ADHD body. In this practice I found useful a few things which I've encapsulated in the two terms: erratic and erotic. 

I see the erratic as:

• An ability to move towards sensation as sensation calls, without rhyme or reason

• Using voice and movement to support impulse to manifest 

• An alternative to social codes that privilege stillness or silence, investing instead in motion that supports the body to show up with more ease in the appropriate context 

• A way of supporting restlessness, fruitful obsession and sonic relations seen as sensual relations

I see the erotic as

• A manifestations of pleasure at the body level supported by voice and vibration

• Intimacy of the viscera, air touching the most intimate parts of the self through breath then unfurling into the world through voice 

• Caress, intimacy that is non-sexual, proximity, emotion, tenderness

• An ability to feel fully through all the body has to offer

My PhD is artistic research in experimental music composition, particularly looking at creating with voice through my ADHD body. The PhD in itself is not in vocal pedagogy, for that I have certified as a Fitzmaurice Voicework teacher in L.A., with further training done in Canada, New York and Europe. For my PhD I also researched other approaches to vocal and embodied expression, particularly Roy Hart, Action Theatre, Skinner Releasing Technique, Body Mind Centering, and others. My vocal pedagogy is also informed by my training as a music producer, sonic artist and composer, often drawing from understanding of precise sonic qualities and a contextual understanding of sound in different environments and cultures and my many years of teaching music in an academic context. 

I teach performers that work with voice, public speakers and people who want to develop a deeply embodied understanding of their expressive vocal power. 

With my background in neurodivergent-informed artistic practice, ability to hold complexity and difference, I often draw towards me people that have found existing somatic and vocal pedagogies to not account for sensory difference with enough range. 

No.

My teaching style and intuitions are formed through my own experience as a neurodivergent person which makes me attune to sensory and attentional differences more profoundly. What this means is that I have a neurodivergent lens, technique and skills for people that need them, but am first and foremost guided by the needs of the person in front of me, be them neurodivergent or not.  

In voice teaching we learn to expand our habitual ways of using our bodies and voices to share more of ourselves with the world. This expansion can be scary - protections are usually in place to keep us from risking too much, often times because those risks led to hurt in the past or because what's unfamiliar can feel scary. Some of those protections are valuable and supportive, others are over-learnt habits that no longer serve us. Whatever the case may be, protections are always encountered with kindness, care and curiosity and above all, a gratitude for keeping us safe. 

Trauma-informed voice teaching means I, as facilitator, have an awareness of bodies moving through the range of open-protective and can discern when to offer invitations towards rest and when to move towards activation that might lead to encountering discomfort. 

It also means that I am aware of power-dynamics and invest in supporting students to make their own choices rather than following me at the cost of their autonomy. I tailor all my teaching to each individual and, if I find it necessary, often linger in the process of supporting students to build their own somatic autonomy using sound. 

You are here because ultimately you want to expand your relationship with your voice in embodied and empowered ways while working from who you are. Voice teaching is not trauma healing, it is not a place to resolve deep emotional struggles or to get psychological support. The work we do might, and often does, work well alongside tender processes of healing that are supported by specialists/care groups/communities that focus on emotional regulation or release or healing practices, but this is not the main focus of the work we do together. 

I got into voice teaching because I found artistic practice and pedagogy to be an immense support and outlet for my madness, but more often than not I found that the stories or struggles or baggage I came with became superfluous the more I gave myself over to sensation, vibration and sound. 

I specifically got into Fitzmaurice Voicework because it offered space for someone like me, erratic, unhinged, with big feelings and big repressions, to get in contact with how I feel and integrate that into the doing . 

The way I teach makes space for these big feelings, it doesn't leave them at the door but it invites them in in measured considered ways - asking what supports you to learn and what doesn't? I teach students how to find the edge of discomfort, and how to use comfort to support expanding the range of discomfort they can be with, when they feel able.   

We usually have a free 30 minute call to meet each other, discuss which learning pathway is more appropriate for you and set your learning goals. You then book the first session, online or in person in London. 

You can book sessions one at a time, weekly or fortnightly or book a block of six sessions for six consecutive or alternate weeks. 

You can cancel up to 48 hours before the session and reschedule twice. Exceptions are always made for mad mad unpredictables, use exceptions when you truly need them and not more.