As a dancer with an extensive musical background and teaching experience—and degrees from Jerusalem and New York—I draw on a wide range of bodywork techniques including Feldenkrais, Alexander, Eric Hawkins, Ideokinesiology, Rolfing, Contact improvisation, and Eshkol-Wachmann Movement Notation.
In recent decades I have focused on body-work for all musicians, but especially for singers, developing a technique I call The Singing Body. My book which describes this technique in detail has been published in Hebrew and English.
My Journey So Far…
Workshops
I developed my bodywork technique at the Vocal Department of the Jerusalem Academy of Music & Dance in Israel. I deliver workshops for choirs, voice teachers and conductors throughout Israel; I have also trained opera singers, vocalists and musicians in various countries around the world including France, the Netherlands, Germany, Australia, and Italy.
Studio Work
My private studio has served as an incubator for the many vocalists, dancers, actors, musicians and plastic artists with whom I have worked, striving to find that unique physical language to meet the challenges encountered by each group and individual. I rely on my teaching ability and experience, but most importantly, I am an astute observer, highly sensitive to the needs of the body. I place great emphasis on grounding, muscle tone, warm-up, and sensing one’s weight. I also pay attention to each part of the body to see how it supports or inhibits the singer. Above all, I conduct this work while the student is singing to be able to correctly diagnose the problem and find the appropriate remedy that will result in enhanced performance.
Sometimes the problem is ‘remote’ from the voice – in a part of the body that to many would seem unconnected. In my experience, correcting a misfunction in one part of the body often results in resolving more than one problem for the vocalist or musician
And Always
Every encounter with musicians provides a new and exciting challenge that I look forward to and find very rewarding.