SoundAtaraxia
Sound · Vibration · Presence
Sound · Vibration · Embodied Wellbeing
SoundAtaraxia is my expression of sound, vibration and embodied wellbeing. I work with sound as something that can be heard, felt and experienced throughout the body.
Instruments
- Peter Hess® therapeutic singing bowls
- Tam-tam, solar and Thai gongs
- Método Vibria® therapeutic tuning forks
- Vertical xylophone and compact monochord
- Ocean drum and rain stick
- Lyre and other resonant instruments
- Orpheus 5 by Onar Sounds
On land and in water
Soundbath · Special Gongs · Drum Circle · Sound Yoga Nidra · Instrument Workshop · Land & Water Immersion · Water Soundbath · Water Soundscape · Individual Sound Floating · Peter Hess® Sound Massage · Astral Projection (by arrangement)
Created for retreats, groups and organisations; individual experiences are offered privately, from €100, by application.
I am a certified Peter Hess® sound massage practitioner, a Gong Master certified with Christine Heckel and further trained with Don Conreaux, and a certified Método Vibria® vibroacoustic therapy practitioner. My work has also been featured by the BBC.
For me, sound is far more than creating beautiful music. I work with resonance, frequency, rhythm, silence, space and sensation, creating experiences in which the participant can listen not only to the sound around them, but to their own body.
My relationship with instruments goes beyond technique. I continually practise, explore and refine how each instrument responds to different bodies, spaces and environments.
I also value the human craftsmanship behind instruments. Some of the instruments I work with have been handmade by friends and fellow practitioners. For me, there is something significant about an instrument made by human hands rather than mass-produced by machines: the relationship between maker, material and instrument becomes part of the experience of resonance.
This curiosity has taken me into many different musical and cultural environments. I have played music with nomadic communities in the Sahara, learned joik, traditional Sámi chanting, in Finland while making my own drum with a renowned Sámi artist, and explored traditional drumming and musical practices in communities across my travels.
My instruments also carry their own journeys. My gong, for example, has travelled extensively, including to a recording studio in Cádiz connected with the long-established traditional family of José de los Camarones.
For me, every instrument has a story, a character and a relationship with the person playing it.