Here’s how I’ve practiced and developed my ability to self-express, create, and teach music:
I am an artist first. I prioritize this over everything because I can’t help you if I’m not doing the work for myself. I want my discoveries and inspiration to fuel and drive the energy that I give back. What I teach is what I do.
I have a Masters in Ethnomusicology because I believe that expanding my understanding of vocal technique and expression beyond musical style or genre is imperative to a more holistic approach. This helped me expand my musicianship beyond the borders of our cultural conventions —and that means for you is that I never try to fit your artistry into a formula or make you sound like someone else. Our work together is about helping you sing your song.
I have a certificate, diploma and bachelors degree in vocal performance because I wanted to learn how to open up and find that part of me that was bursting at the seams. I could hear it, but I couldn’t access the power I felt inside. Choosing to study voice academically was the beginning of a life-long journey inspiring many questions about the physiological and psychological elements of voice. It was not only was a vehicle for my education, but has become an integral part of my self-discovery; the indicator of my own alignment and overall physical/emotional health.
I have over a decade of teaching experience working with individuals and groups including designing creative musical expression programs for the Sarah McLachlan School of Music and the Canucks Autism Network. I love people, hearing/seeing their vision and helping them bring it to life. Sharing that experience with others is an incredible honour and gift.
I studied Balinese vocal music in Indonesia over a 4 year span because I’m passionate about other styles of music and vocal transmission practices. The frustration and discomfort I felt studying classical voice was the catalyst to understanding and pushing the borders of my vocal potential. Working with the incredible leader and artist Ni Nyoman Candri encouraged me to open up through a simple process of mimicking and repetition. She confirmed for me why addressing emotion first was imperative to the physiological part of technique. I have been deeply influenced and inspired by her direct and tangible way of expressing.
I wrote my thesis on embodiment and alignment (check it out here) because I believe we need more academic contributions in the field of feeling, experiencing, and emotion. Working with an analysis-based graduate program challenged me to be more scientific with my thoughts and build new angles for my research, and deepened my understanding of voice in a more quantitative way.
I am a certified teacher of the Voiceworks® method and practitioner of the Somatic Voicework™ method because I wanted to understand more specific pedagogy for the physiological aspect of the pop/rock/folk styles of singing. This helped me access my own power as a vocalist in a more conscious way –and deepened my teaching methods to help others build new mind maps (instructional patterns) for a more efficient and holistic working model of vocal technique.