Treating the voice through Osteopathy:
The Singing Body
Ashley Stafford, Singer, Osteopath, Teacher explains the background to his work with singers of all standards and backgrounds.
Singers and singing teachers are increasingly seeking a clearer insight into specific ways in which the physical nature of singing relates to the whole body and the impact of various intrinsic and extrinsic factors upon it.
Singers and singing teachers are increasingly seeking a clearer insight into specific ways in which the physical nature of singing relates to the whole body and the impact of various intrinsic and extrinsic factors upon it.
The Singing Body is a programme of workshops, devised and facilitated by Ashley Stafford, (singer, teacher and osteopath), lasting either one or two days for groups numbering up to 30 singers, singing teachers, singing students and other professionals involved with the voice. Its aim is to develop a more complete understanding of the links between the technical demands of singing and the way in which we can enable our instrument, the body, to freely fulfill those demands. It explores the links between our imaginative feel for music and the body’s way of transforming that desire to communicate into a creative, expressive reality. The workshop is a forum in which the participants can begin or continue the journey of understanding how, often unconsciously, we block our channels of expressiveness, as well as how to open up to and experience the physical basis of musical expression.
Singers often find their performance blocked by a variety of physical difficulties, which masquerade as technical problems or nerves. Singing demands an astonishing level of co-ordination and integration of the mental, physical and emotional resources of the individual. It is not simply the co-ordinated physical and mental activity required of the athlete, but a balanced, clear, and coherent expression of the whole person. Using our outer and inner physical resources we communicate a complex of ideas and sensations to the listener, the expression of which is itself our own response to the musical notation of a composer’s unique, individual response to the world in a particular time, place and culture. No wonder there are so many pitfalls along the way! We are involved, it could be said, in a form of time travel and creative imaging, which brings a past event to the living, vibrating present.
As an osteopath and teacher, he is constantly confronted and amazed by the multiplicity of ways in which we uniquely manage our relationship with the physical environment and with ourselves. Whereas these challenges can be generalized and specified, as can our physical anatomy, physiology and neurology, each of us has an individual response, solution and outcome to any eventuality that arises. The Singing Body is an attempt to make available a practical, personally tailored approach to many common issues that interfere with our singing.
Osteopathy Tesimonial Star Image
"As a singer and performer, I immediately notice the impact of Ashley’s treatments on my voice, breath and the ease with which I use my body."
Leticia
west london
The key to this on a practical level lies in bringing singers to an awareness of their own physical and emotional predisposition, and constitutional strengths and vulnerabilities. Whether in the workshop or in individual lessons, using osteopathic diagnostic principles, in conjunction with a knowledge of the dynamic body in action, it is possible to identify core factors which inhibit a singer from fulfilling their potential. It is then possible to begin the process of change and development with vocal and mental exercises. The goal is to enrich individuality not to create anodyne perfection.
Some of the questions that The Singing Body addresses are:
- How can we release ourselves from unhelpful habits?
- How can we strengthen our hold on good habits?
- How can we maximize our ability to receive and communicate new information?
- How can we integrate this information with existing structures?
- How can we deepen our awareness and experience of that information?
Feedback from attendants shows that they gain a clear idea of the benefits of a holistic physical approach to vocal development and vocal problems. They observe, participate in and experience various practical exercises that demonstrate different aspects of the holistic approach. They leave with an immediate physical knowledge of how their own or their pupils’ singing has been enhanced and improved, and how to continue the process.
In short, the aim is to look more closely at the singer than the song; to evolve a situation in which the singer is free to be sung by the song; to create a physical environment where music has space for its own creation: that music is not wrung out of us but rings freely.