In my transition from acting and voice trainer in theatre program to academic advisor for the university exposed me to a diverse student body suffering a range of mental health conditions. Although I share breathing practices with my advisees to help them find their center, I see that college students need a broader toolkit for wellness. Moreover, the faculty and staff who tend to the students also need support.

My work as an advisor includes helping students who have suffered sexual assault, students whose parents have been abducted by ICE and now fear for their safety, and students hit by cars on campus and losing their personal identity with their athleticism. At a time when people are inundated with quick hacks online, we need to get back to basics and return to the inhernet wisdom of the bodymind for healing and wellness.

Arthur Lessac always knew the power of body wisdom to heal oneself. This 30-minute warmup will share somatic practices curated from Lessac’s Kinesensic Voice and Body Training that ground the practitioner and give space for a feeling or thought to occur so the practitioner can get unstuck and move towards wellness. In taking the Lessac work out of the studio and into the everywhere of everyday, participants can regain personal power through soft awareness and self-love. It’s only when we feel grounded and well that we can take care of ourselves.

This interactive workshop poses that an embodied voice practice is a catalyst for change—aligning with the “Changemakers” theme. By discussing established methodologies of Lessac Kinesensics with evolving understandings of voice, identity, and agency, this session honors tradition while inviting these practices into more non-traditional spaces.

Through exploration, attendees will explore how shifting from unconscious habit to intentional choice can expand vocal freedom, reduce effort, and reshape self-perception. Drawing from both theatrical voice training and speech-language pathology perspectives, the session highlights how embodied approaches can serve as tools across performance, pedagogy, and clinical contexts.

In the spirit of changemaking, this work invites participants to reconsider voice training not only as skill acquisition, but as identity-centered practice with the power to influence how individuals understand themselves and relate to others. Attendees will leave with strategies for integrating embodied voice work into their own life, teaching, coaching, or therapeutic environments, contributing to a more inclusive, responsive, and forward-thinking field.

This experiential workshop explores the vital intersection between the Suzuki Method of Actor Training and the Miller Voice Method (mVm)®, offering a rigorous framework for the actor to maintain vocal transparency under extreme physical duress. While Suzuki training builds a “grammar of the feet” through high-stakes physical forms that heighten animal energy, it can often lead to unintended glottal tension or vocal holding. By integrating mVm’s Active Breath and the “Vocal Impulse,” participants will learn to utilize the grounding force of Suzuki’s stomps and statues to fuel, rather than restrict, their resonance. The workshop moves through a curated sequence of physical challenges—activating the sympathetic nervous system—while simultaneously practicing the mVm active breath required to stay vulnerable and communicatively present. This synthesis addresses the “paradox of acting”: inhabiting a state of intense readiness while remaining an open channel for authentic expression. Through this integrated approach, actors develop a resilient, grounded presence, ensuring that the physical rigors of a performance translate into a dynamic, effortless vocal life that can reach the back of any theater without strain.

History of the VSR, highlighting past editors, discussing recent trends/growth, and what we envision for the future. We will invite feedback/discussion/questions throughout.

I discussed with Alison that this would be presented as an all-member session offered in a hybrid format, so that members don’t have to choose between this session and hearing presentations.

Have you heard the word “Hypermobile” lately?

Strongly linked with neurodivergence and the nervous system, the world of science, medicine, education and performance are convening on this chronically misunderstood condition with growing momentum. Affecting performers disproportionately and often accompanied by symptoms which impact the voice and breath, this presentation will highlight key, focused points from a complex topic to help empower voice practitioners to support their Hypermobile students’ voices.

Imogen’s work is a translation of traditional voice methods for the growing hypermobile cohort within the voice world. Born from years of tried and tested singing and actor training in the US and UK, expect a dynamic presentation including an overview of the condition, common vocal symptoms, common misunderstandings and how to make adjustments and implement tools which enable hypermobile students to access breath support, release, alignment and more.

This Changemaker’s presentation will explore an integrated voice and body technique designed to develop traditional skills in alignment, respiration, resonance and range in a new way. In this innovative approach, the voice is liberated, strengthened, and developed through full-bodied physical activity. The body is engaged in structured integrated actions that explore the “universal pattern” in which all thoughts and feelings receive physical form in the body. Practically, the work explores how a weight-shift lays the foundation for a breath-shift, which prepares the way for a sound-shift, that results in a speech-shift in integrated acts of human expression. The approach rejects modernist approaches to training that consciously seek to “relax” past tensions, “release” psychological blocks, or “restructure” habitual patterns of muscular tension, all in a conscious attempt to unlearn seemingly undesirous past behaviors. The approach views the body, action, and activity as the most practical and immediate means of solving even the most complicated pedagogical tasks. The work is forward-focused, positive, and practical. It strives to meet the individual in the present moment through skill acquisition in an integrated voice and movement practice that leads to embodiment, presence, and power.

This experiential workshop explores the profound integration of Lessac Kinesensic training into the musical theatre repertoire. A primary goal is to eliminate the frequent, jarring disconnect performers experience between “acting the scene” and “singing the song.” By applying Lessac’s Vocal and Body NRGs to both scripts and musical scores, artists can bridge this gap, discovering a truly seamless transition from the spoken word to the sung line.

Participants will delve into how these kinesensic principles directly inform a character’s physical life, musicality, rhythm, and core intentions. This holistic method encourages actors to treat the music not as a separate technical requirement, but as a natural extension of the character’s emotional and physical journey. Through rigorous exploration of resonance, buoyancy, and structural action, performers gain the tools to maintain vocal health while achieving high-stakes emotional expression.

This workshop will provides a fresh, integrated approach to the musical theatre craft. It empowers performers to move beyond surface-level performance, fostering a deep, organic connection between body and voice. This ensures that every note and every word serves the narrative, creating a more authentic and compelling theatrical experience for the audience.

In contemporary voice and speech work, change is often assumed to be necessary, directional, and improvement-based. Yet today’s voice users are navigating evolving aesthetics, intensified performance and professional demands, increased visibility through digital media, and heightened awareness of consent and trauma-informed practice. In this landscape, how do we determine when change is needed and who these changes are really for?
This interactive workshop examines the power dynamics embedded in how we ask for and facilitate “ making changes” in multiple voice training contexts. Drawing from trauma-informed principles and consent-forward practices, participants will explore how assumptions about “better” shape our interventions. Through guided reflection, language shifts, and play-based embodied exercises that introduce mild destabilization (“the wobble”), attendees will practice remaining present with discomfort before rushing to fix or control it.
Rather than framing growth as continuous or corrective, this session positions change as adaptive, relational, and nonlinear. By cultivating tolerance for the messy middle of transformation, practitioners across disciplines can better support agency, clarity, and resilience in the voice spaces they lead.
This session responds directly to Changemakers 40’s call to examine present-day challenges in voice and speech work by reimagining how and why we pursue change.

In this presentation/open discussion, we will explore accent and voice stereotypes that are commonly encountered in our line of work. The aim is to reflect on past practices which may contribute to inaccurate or harmful stereotypes so that we may ensure that we don’t perpetuate such stereotypes in the future. Using stereotypes surrounding Scottish /r/ sounds as an example, I will start by giving a brief presentation based on a VSR article (*) I recently wrote. After this short presentation, we will open the floor to discuss any accent and voice stereotypes we might encounter in our work. Hoping to share best practices and knowledge from our individual fields of expertise with each other, I would like to explore questions such as:
• What inaccurate or harmful stereotypes have we encountered?
• How do we make our clients and the general public more aware of such stereotypes and their potentially harmful implications?
• How do common stereotypes or misconceptions influence our work?
• How do we ensure we don’t perpetuate inaccurate or harmful stereotypes in our line of work?
Join me in this discussion so that we may improve accent and voice representations in the future.
(* pending)

This invited panel of industry professionals will be a moderated discussion about the current state of Hollywood voice artists and what changes are one the horizon. We will have 6-7 guests and they will cover a variety of film/tv areas where voice is the prominent feature. This panel should be eye-opening for a lot of educators and freelancers and a chance to ask the questions that all of the trainers might want to know.

As administrative pressure increases on the arts in academia (i.e., shrinking budgets, heightened demands for immediate results, and increasing uncertainty about the actor’s future in an era of AI), many of us are being forced to condense curriculum, and trying to do more with less. Looking at past strategies and addressing our present challenges, we’re curious about how our pedagogical and artistic practices will evolve and adapt in the future. One of the questions that has arisen for us is whether the concept of being “in process” conflicts with the expectation of (and desire for) results, even as we acknowledge that a combination of structure and spaciousness can bring us closer to those results.

Part workshop, part round-table, this session will investigate rituals that can bring ourselves, and our students, efficiently into a space where deep creative work can happen. We will bring our own rituals to the table, offer possibilities for future examination, and invite discussion about whether breadth of knowledge implies sacrificing depth of knowledge, and how we might acknowledge when ritual gets stale. We aim to define hallmarks of embodied ritual that support longevity and welcome ideas, innovation, and collaboration.

As accent teachers and coaches, we use terms like “placement,” “posture,” and “tone” when working with students and actors–but what do these words actually mean? This workshop introduces practical tools for understanding placement, posture, and tone by engaging a
range of sensory pathways—visually, aurally, and through physical sensation.

PAST: This workshop acknowledges the methodologies that have shaped our training and teaching. We will frame experiences of placement, posture, and tone through several approaches, including David Alan Stern and others’ use of “placement,” vocal tract posture in Knight-Thompson Speechwork, and Lessac Kinesensics’ language of tone and structural energy.

PRESENT: We’ll ground the work in our current teaching practice by sharing strategies we have found consistently effective. These approaches reflect our varied training backgrounds, including Knight-Thompson Speechwork, Lessac Kinesensics, Fitzmaurice Voicework, and related practices.

FUTURE: Because many students and actors begin accent work without prior experience, our goal is to equip them with simple, practical tools they can use independently—especially in rehearsal or performance contexts where a teacher or coach is not present. We will also explore how to achieve “ease” when making deliberate physical adjustments in the vocal tract, which we believe represents an advancement in this work.

What if Lessac Kinesensics was not only a training approach, but a compositional language? This workshop proposes an innovative application of Lessac Kinesensics: as a generative framework for creating vocal composition, or for any practitioner interested in devising, directing, or scoring embodied performance.

“come again.” (2025), a piece for double choir, six speaking voices, and percussion, was composed using Lessac processes as structural material. Performers let the sensation of sound guide their expression, making the Lessac work a live, public act of artistic discovery rather than private preparation.

This workshop addresses a gap in our field: while Lessac Kinesensics trains the bodyvoice, its potential as a compositional tool warrants deeper exploration. Co-presenters Michal Nissimoff (composer and vocal pedagogue) and Aimee Blesing (Lessac Certified Trainer) argue that naming this potential opens new creative pathways for voice teachers, composers, directors, and movement artists alike. As vocal pedagogues, we are working with artists. Expanding our awareness to the non-conventional ways art could be approached is essential for the growth of our students and therefore, the performing arts industry. Audio excerpts from “come again.” will ground the workshop in live sound.

Lessac (1997, 240) asks ‘[I]s there, or should there be, a difference in quality between normal conversational speech and stage speech?’ Lessac asserts that the answer is both no and yes. He explains that the quality of the actor’s vocal production and embodiment of character should not decrease due to the demands of the physical environment (240). These demands can be linked to the performance medium. The five levels of communicative behaviour offers a means to define how the actor can maintain effective embodiment and envoicement of a character across media. The five levels of communicative behaviour draws from the work of Anthropologist E.T. Hall who describes four proxemic distances based on peoples’ perception and use of space: public distance; social distance; personal distance and intimate distance (Hall 1963: 1006) and from Lessac Kinesensics that expands on this approach by specifically focusing on the actor’s body and voice in behaviour.

In this presentation, Elisa Gonzales, Josh F. S. Moser, and Adi Cabral will discuss their new book, Spanish Accents and Dialects for Actors, a guidebook for Latine actors offering conscientiously researched, linguistically detailed analyses of Spanish-speaking regions of North America and the Caribbean. Drawing on their lived experiences as Latine actors, educators, and coaches, the presenters will share their primary objectives, research methods, coaching recommendations, and insights into the accents covered in the book. This presentation speaks directly to all three focus points of the conference. Past: This work was inspired by the historic lack of accent resources for Latine actors in English and Spanish, and the reductive nature of Latine accents in film, TV, and on stage to harmful stereotypes. Present: The presenters will discuss how their work, and that of global majority voice and dialect coaches broadly, is shifting the landscape toward authentic portrayals of our home accents, and how the current political climate is impacting Spanish-speaking actors and artists. Future: Looking ahead, the presenters envision this work as a living, expandable resource that supports the next generation of Latine dialect coaches, honors accent work as an act of language and accent reclamation, and calls on theater institutions and the film/tv industry to recognize authentic representation as both an artistic and ethical imperative.

For this presentation, I will be focusing on Lessac’s three Vocal NRGS: Consonants, Structure, and Tone. The first half of the presentation will be a demonstration on the vocal NRG’s while the latter half will put them into practice through a performance of two contrasting classical monologues. In looking at the future needs of voice and speech practitioners, one element that is missing is representation in the voice and speech institutions. In my own journey, I have often felt isolated in this work due to the fact that I am more often than not the only Black body in the space. In presenting two classical monologues, I am combating the idea that “Black people can’t perform classical text.” In doing so, using Lessac Kinesensic, I am showcasing the richness of Arthur Lesasac’s vocal training and giving credence to the Black bodies in these elite vocal institutions. If we want to be Changemakers, we have to make voice and speech training more accessible and affordable to Black, Indigenous, People of Color (BIPOC) practitioners. This will ensure a future where all voices are heard and diversify the voice and speech spaces.

Arthur Lessac had a significant background in voice and speech therapy. He shared that some of ‘his work is pre-scientific’. Science in general, and specifically the science of voice and speech, has developed significantly since Lessac developed Kinesensics. Certified Kinesensics Trainers and researchers turned to Vocology to determine the efficacy of the Vocal NRGs found within Kinesensics. This panel offers critical insight regarding the alignment between the Vocal NRGs, vocal health and acoustic output. They share how Kinesensics as vocal pedagogy might contribute to vocal health and acoustic output and carry-over to effective context-based applications. The panellists are Viviane Barrichelo (SLP; SEV-SP), Marilene Grama (SLP) Marianna Rubino (PhD, CCC-SLP) and Marth Munro (PhD, Certified Lessac Kinesensics Master Teacher, CMA, RSME).

In this workshop, participants are invited to explore our research in progress on the dialects of Black Baltimore. To date, actors can access excellent breakdowns of historically white Baltimorean dialects, but there are fewer comprehensive resources designed for performers focusing on the phonetics, prosody, and vocabulary of the “Black Butterfly”: the neighborhoods of East and West Baltimore that are home to many of the city’s Black residents—who comprise roughly 60% of the city’s population. We are in the process of gathering and analyzing native speaker recordings and working with actors from Baltimore’s own Chesapeake Shakespeare Company’s Black Classical Acting Ensemble to record demos for a multimedia accent breakdown that traces the dialect’s centuries-long past and its ever-evolving present. We invite play and curiosity as we continue to refine our description of the dialect and develop a breakdown that will prepare Black actors to give voice to Bawldamore characters with authenticity and fluency.

This paper presentation shares how cultural context and dialect work functioned as a transformative storytelling tool in the Ramsey Theatre production of Steel Magnolias. Rather than approaching accent as a set of phonetic substitutions, the rehearsal process foregrounded cultural research and identity. Dialect work began early in rehearsals and focused on the cultural and historical context of Natchitoches, Louisiana, alongside the physical elements of Southern speech including oral posture, rhythm, and vowel shaping.

As actors integrated the Louisiana dialect into scene work, many reported a moment when the accent “clicked”—shifting from technical to imaginative and emotional inspiration.

The project proposes the concept of dialect as ensemble architecture: a shared environment that shapes relational dynamics, listening, and authenticity onstage. This paper reveals that good accent/dialect work is founded in embodied dramaturgy which supports truthful acting.

For voice and speech pedagogy, this process suggests that we continue to shift from individual accent correction toward ensemble-centered dialect practices grounded in cultural context—which positions dialect coaches as “changemakers” in how actors build theatrical community.

Accents associated with Eastern, Central and Southern Europe have long functioned in Anglophone performance as vocal shorthand for otherness, comedy or threat. For voice practitioners, this raises important questions about how accent work participates in broader cultural narratives surrounding identity, class and belonging.

This short teaching session examines how contemporary film, television and theatre use these accents and how voice practitioners might approach them with greater nuance. Drawing on examples from Killing Eve, Stath Lets Flats, Inside No. 9 and The Durrells, alongside more complex representations such as Heated Rivalry and Thunderbolts*, the session considers how accents are often paired with narrative tropes such as villainy, comic foreignness or rural poverty. In some cases, characters are repeatedly framed as coming from deprived village backgrounds, reinforcing cultural assumptions that extend beyond accent itself.
This session draws on existing dialect coaching practices such as accent biography that already account for sociolinguistic history, and applies them explicitly to contexts where they are often compressed or reduced and encourages voice practitioners to consider how migration history, education, multilingualism and social context shape vocal identity rather than relying on static accent stereotypes.

Participants will engage in a brief practical exercise exploring how shifts in accent framing can alter perceived authority, intelligence and character status.
Engaging the conference theme of Past, Present and Future, the session reflects on inherited accent traditions, examines present-day representational challenges and proposes more culturally responsive approaches to accent pedagogy.

This mini-session presents the SDS Technique (Stop–Down–Strong), a practical, three-step framework designed to support musical theatre singers in accessing high notes with greater efficiency, clarity, and expressive impact. Grounded in vocal acoustics, articulatory phonetics, and vocal pedagogy, the session introduces a focused, repeatable exercise integrating semi-occluded vocal tract exercises (SOVTE/ETVSO) with vowel adjustment strategies across languages, particularly Brazilian Portuguese and American English.

Participants will be guided through an experiential sequence that demonstrates how vowel shaping and nasalization influence resonance, spectral balance, and vocal efficiency. The “Stop” phase uses SOVTE to regulate vocal coordination; “Down” applies a downward intention strategy to expand resonance without excessive laryngeal elevation; and “Strong” focuses on achieving intensity and projection as efficient acoustic outcomes rather than effort-driven production.

Aligned with the “Changemakers!” theme, this session bridges past, present, and future by integrating established vocal practices with contemporary multilingual demands and a forward-thinking, accessible pedagogical model. By reframing high notes through acoustic awareness and cross-linguistic application, the SDS Technique offers voice practitioners a clear, adaptable tool that challenges effort-based approaches and supports more sustainable, versatile voice training.

This workshop proposes practical modifications for working with hypermobile performers on Kristin Linklater’s “Intermission Warm-Up” floor sequence from Freeing the Natural Voice (pp. 117-126). Although Linklater’s progression effectively encourages release and relaxation, some hypermobile bodies may encounter instability, overextension, and injury when repeating the exercises without specific awareness and adaptation.

After briefly defining hypermobility, emphasizing its connection to neurodivergence, and contextualizing it in inclusive voice work, we will explore slight modifications to three moments in the Linklater floor series: the diagonal stretch, shaking breath and vibrations from the hip socket, and bouncing the pelvic swing. These modifications aim to maintain Linklater’s image-based approach while introducing subtle muscular awareness and supportive alignment strategies to enhance proprioceptive clarity, joint stabilization, and protective range of motion for the hips, knees, and shoulders.

This workshop connects to the conference theme by encouraging awareness and a healthy praxis for future students of voice. For hypermobile speakers, access to a free and integrous voice, without compromising physical safety, means balancing ease and release with structural support. Attendees will leave with tools for a more inclusive pedagogy, enabling them to better recognize and address the needs of hypermobile bodies.

For the past half century, Rodenburg has been one of the world’s leading teachers of voice and presence, working with actors, athletes, and leaders across every field where communication and readiness matters. When the Method revolution of the mid-20th century rightly pushed back against beautiful-but-empty elocution, it brought emotional truth to the center of performance. Something essential, however, was left behind. Rodenburg spent decades identifying what that was, and building a rigorous, practical framework for identifying and reclaiming it.

More than just theory, the Three Circles are a practical roadmap of how human energy moves toward the self, into the room, and in genuine exchange with another person. In this workshop, participants will develop the ability to identify which Circle they and others are operating from at any given moment, understand why it matters — in the room, in the relationship, in the performance — and practice the specific, craft-based physical skills required to shift.

This work is informed by the past, grounds us in the present, and offers potent tools in confronting the challenges of the future. All of us were born with presence, but most of us have unconsciously learned to suppress it to varying degrees and in various ways. As we move into an era where algorithms regularly and intentionally undermine human connection, it is more essential than ever that our full presence is identified, released, and celebrated.

A panel discussion to process the impacts of current events (local, national, global) on voice and speech in higher education as well as the challenges imposed on teaching and our students’ daily lives and futures.

The idea for this panel was inspired by a conversation between LA area Vastans at a gathering organized and attended by Allison Vasquez and Sayda Trujillo. Over spritz and fried food, we engaged in real talk about what it feels like to teach right now and how this moment just feels different.

Is this another paradigm shift in voice and speech training where we explore what really matters? I’m interested in this question less in terms of macro solutions or methodologies, rather, how we each in our own orbits evolve and do our parts.

How can we as educators better serve vulnerable student populations who are suffering disproportionate harm from the cultural and political shifts of the last few years?

What core values guide your curriculum and approach?

How do you see these values in the context of the current political, economic, and cultural landscape?

How do you implement these values into your teaching practices?

What do students really need today? Practically, what skills and practices do you see as most relevant/essential/beneficial for today’s students and why?

Additionally-

How do we as educators ground ourselves and find balance as we navigate present challenges?

The goal: to create a warm and focused space to discuss experiences during a fraught and dangerous time in higher education and to share any wisdom and potentially change making ideas.

The goal: to create a warm and focused space to discuss experiences during a fraught and dangerous time in higher education and to share any wisdom and potentially change making ideas.

Panelist 1: Marilene Grama
This presentation investigates spoken voice practices for the stage through excerpts from Lessac Kinesensic vocal training, considered in dialogue with decolonial perspectives, in Brazil. It argues that vocal pedagogy should value the singularity and cultural identities of artists rather than simply reproducing established techniques. The methodology includes the author’s autoethnographic perspective, drawing on her experience with the training to inform the research and support the creation of the “Speech Practices Laboratory.”

Six undergraduate Performing Arts students from the University of São Paulo (USP) participated in four meetings dedicated to spoken voice practices and discussions. The activities were collaboratively designed according to the group’s research interests and incorporated practical elements from Lessac Kinesensic. The laboratory was guided by decolonial thought, particularly the work of Catherine Walsh and Paulo Freire, in dialogue with scholars. This pedagogical approach emphasized dialogicity, critical reflection, curiosity, autonomy, and freedom while respecting the plurality of participants’ voices. Adaptations were also made to address the specificities of Brazilian Portuguese.

Analysis of participant questionnaires and logbooks helped assess the laboratory’s contributions to speech practices. A case study further highlights the development of a pedagogy grounded in attentive listening to each participant’s history and individuality. The research aims to foster voice pedagogy that celebrates diversity and artistic singularity.

Panelist 2: Valentina Loncaric
What happens when a voice pedagogy developed in English is translated into a language that does not share its vocal, cultural, and pedagogical foundations? One focus of this presentation is the transition of Kinesensic training from an American English-centered model to one that functions equally effectively within the South Slavic group of languages, using the Croatian language and culture as the basis for research. Secondly, South Slavic voice and speech traditions have historically highlighted correct articulation, accent, and standard language. The Kinesensic training, which has a holistic, somatic, playful, and exploratory learning style, contrasts with the more formal, cognitively oriented teaching traditions typical of Croatian academic environments. Holistic approaches to voice—such as the concept of the body-voice—have only recently begun to enter actor training in Croatia.

Exploring how embodied voice practices adapt across languages, through this example of Kinesensic training, may reveal new ways of understanding voice pedagogy. Practices that are not linguistically limited may offer a flexible framework open to diverse cultural and educational contexts and culturally responsive practices. Also, in the context of present and future AI-shaped knowledge, somatic, holistic, body-oriented, and playful voice training might have a significant role in voice pedagogy, where personal contact can play a crucial role in human development.

Panelist #3: Abimbola Adetola Stephen-Adesina
This presentation gives an overview of how Lessac Kinesensic (LK) has been applied, integrated and evolved in the training of Theatre Artists (TAs) in Higher Education Institutions (HEIs) in Nigeria. The purpose is to report the past, present and future of vocal and emotional usage of TAs in HEIs have through a feeling process. The Theatre Artists I have engaged with over the years have identified specific consonant orchestra sounds, but for this report, emphasis is placed on: T snare drum drumbeat, N violin, and NG Oboe. The TAs are usually invited during class exploration sessions to find these sounds in their own native languages (in order to honour their identities – cultures and languages), and apply them to the English language texts. With LK’s “Organic instruction” and other LK terminologies, without forcefulness, but a conscious control and awareness, the TAs were able to self-teach themselves by tasting, sensing and feeling the sounds in isolation and in connected words for performance purpose and everyday use. The LK pedagogy has been in use in HEIs in Nigeria since 2013. The uniqueness of LK on the voice, speech, body, and mind of the TAs in HEIs has improved the resonance, articulation, pronunciation and embodying character portrayal on stage and other performance spaces.