Sensorimotor development and language, or the adventure of the human race
And man stood upright…
This is perhaps one of the most extraodinary episodes in the history of the human race, with man risking unsteadiness on both feet in order to further extend his field of observation and action, and his area of influence. Thus having discovered how to stand upright and having completely revised the relationship of his head to the rest of his body, the way was now open for man to produce articulate language, to develop his singing voice and to increase its range.
The singing being
We are not dealing here with good or bad techniques, but with the notion of vocal, corporeal or breathing behaviour each of which is either adapted or unadapted to a given expression, a literary text, an acoustical context, a related situation, an intention, or even the spontaneity of the moment.
The vocal gesture
"The speaking and singing voice is basically a gesture, in other words a movement of the body to express a thought or feeling." (Tarneaud)
The vocal gesture is an all-embracing action involving the entire self, both physical and mental. The voice radiates from our innermost self. From the first cry at birth, the symbol of life, to the last breath taken on our deathbed, the voice (closely tied to the breath) is the lifeline bearing our emotions, hopes and fears…
To live in freedom, breathe in freedom!
« Go beyond what is breathing, there you will find breath » (Shri Aurobindo)
"Breathing with a capital B" is a universal, dynamic process in which man is included. It manifests itself in us through respiration, apparent as inhalation and exhalation. This is indeed a two-way flow between the inner and outer worlds, a gateway to All….
A Presentation of the Feldenkrais Method as part of a symposium on “The Means of Investigation and Pedagogy of the Singing Voice”
I was invited to give a presentation of the Feldenkrais method and its pedagogical utility in the training of singers, choir leaders, voice teachers and drama coaches, health professionals, and others. The one who did invite me was Dr. Guy Cornut, who knew my work from the singers of the Lyons opera (with whom I worked for 10 years) and various speech therapists (for whom I have led many workshops).
From where is François Combeau’s work coming ?
I’ve discovered and learnt many things through the interest I have shown in different methods and studies, whether it be in neurology and neuroscience (having relations to my work prior to becoming a Feldenkrais practitioner) or in pedagogy…
However, what I’d like to speak about now comes mainly from my personal experiences in life. It’s about what it is that we learn in life that allows us to retain or recuperate stability when confronted with either a physical or psychological accident.