Making Holistic Connections Between the Voice, Body & Emotions
Tuesday 26th March 2024, 5:00 PM - 7:00 PM (London Time)
Discover the rich and expanding capabilities possible within you as this course introduces you to the Emotional Body® method’s approach to making physical, vocal and emotional connections. The emotional effector patterns will be introduced as the primary approach during this two-hour introductory lesson. References will be made to how Estill Voice Training® and gentle movement lessons inspired by the Kinēsa® process of somatic education can also assist individuals in expanding their expressive capabilities and developing harmonious communications throughout the body.
Emotional effector patterns are precise breathing and muscle manipulations linked to specific emotional feelings. Each effector pattern has three parts: (1) a breathing pattern, (2) facial expression, and (3) postural attitudes. All three parts work together to create one effector pattern, or biological code, that directly stimulates nerves, cells and organs. The resulting pattern works like a key that opens the door for one particular basic emotion to express throughout the entire body. The patterns are based on scientific findings, independent of gender or social heritage influences, and result in the expression of basic universal emotions and modes of expression.
Estill Voice Training® is an evidence-based system that promotes body awareness and mindfulness and provides exercises designed to develop control of specific anatomical areas of voice production that contribute to the sound and feeling of the voice.
Kinēsa is a somatic method that combines kinaesthetic movement lessons with physical emotion regulation techniques and somatic sensing methods, all designed to assist the individual in raising their awareness of their individual habits, and helping them assess and consider opportunities to form new behaviours that might improve their overall wellbeing.
During this lesson participants will explore…
- Emotional Effector Patterns and how they could impact the physical and vocal expression;
- Vocal expressions of emotion and feelings, and the impact internally and externally of what occurs with the shared energy that sounded expressions create;
- Fully connecting the voice and body with the patterns, along with intentions, desires, and actions in the creation of more consistent, holistic expressions;
- Concepts around physical, vocal and emotional personal tolerance levels, identifying and setting personal boundaries, and considering consent-based agency around emotional expressions;
- Centering, destressing, revitalizing and restoring the nervous system to achieve a calm and restful state, and a quiet mind.
Professor Laura Bond
Laura Bond is a Full Professor of Drama and Interdisciplinary Studies at UNC Asheville teaching acting, vocal and physical expression, voice-over, voice acting, and emotional expression.

Attend this course for as little as £22 as part of the Voice Professional Training CPD Award Scheme.
Learn MoreSorry, this is an archived short course...
We have plenty of upcoming short courses coming soon. See details of some of them below or look at the full list of short courses.

Monday 2nd June 2025
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Thursday 5th June 2025
5:00 PM - 7:00 PM
(London Time)
Advanced Belting Techniques: Coordinating the voice to communicate the human experience!

Matt Edwards
All voice types can belt, and there’s more than one kind of belting, but in introductory settings, it’s tough to cover every nuance that comes with training both aspiring and experienced belters. Join one of the leading voice teachers for commercial and musical theatre styles in the United States, Matt Edwards, for a dive into advanced belting. Empower your students to use the full range of their belt voice, and to move beyond the stereotype of belting!


Tuesday 10th June 2025
5:00 PM - 7:00 PM
(London Time)
Nasality in singing: a needed ingredient, a technical fault, or both?

Dr Charlene Santoni
Nasality refers to how much sound comes out of your nose when you speak or sing. It is an important concept in resonant singing instruction, and also one that has been privy to long standing debate. Some believe nasality is a needed ingredient in singing, while others consider nasality a technical fault. This presentation will provide three probable explanations for the opposing views, and a way forward. It will also highlight research that explores how a singing technique (voice focus) influences nasality, which may help to refine current rehabilitation strategies for individuals struggling with hyper- or hyponasal speech!