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Body as instrument

The Rhythmic Voice

The sound syllables used in TaKeTiNa have no meaning. They are condensed sound and rhythms developed by Reinhard Flatischler and have no connection to any human language. When you speak the TaKeTiNa syllables you are moving from your teeth to your throat, back to your teeth and finally up to your nose. With GaMaLa it is the same: Ga – Ma – La: Throat – Lips – gum. Speaking those rhythm syllables over longer time periods activates rhythmic movements in your nervous system which has the power to stop compulsive thinking.
In the call-response parts of the TaKeTiNa process the voice unfolds into a third independent layer, altering perceptions and deepening the experience.


The Step Movements

Many TaKeTiNa steps consist of lateral movement, which cause an intense stimulation in the equilibrium. With every step  participants of the process shift their bodyweight from on side to the other – rhythmically and unchanged for long periods of time. Moving, sensing and shifting form a network that brings about a pround rhythmic orientation and a perfect foundation for autonomous step movements. The low impact stepping over long periods of time connects also with deep grounding.


The Arm Movements

Arm movements are generally associated with deliberate movements. They require a different regulation in the nervous system. They represent the conscious element in all the rhythmic layers and allow the opening of a spectrum between the autonomous movements of the steps to conscious movements of the arm movement.