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WORKING METHODS

WORKING METHODS

THE BODY AS AN INSTRUMENT

TaKeTiNa uses the body as an instrument. While using the body for musical expression is as old as humankind – TaKeTiNa uses vocal expression, hand and feet movements in a completely new way: participants are gradually guided into three different rhythmic movements with stepping, clapping and chanting – working methods that are a challenge even for trained musicians. Using our methods, this can be successfully learned by everyone even without a musical background. The learning process is therefore direct and profound.

 

Rhythmic Voice

The sound syllables are developed by Reinhard Flatischler and have no connection to any human language. They are condensed sound and rhythms.

When you speak the TaKeTiNa syllables, you move from your teeth to your throat, back to your teeth, and finally up to your nose.

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 the voice unfolds into a third independent layer, altering perceptions and deepening the experience.

 

Step Movements

Most of the TaKeTiNa steps consist of lateral movement, which cause an intense stimulation of equilibrium.

Working methods such as moving, sensing, and shifting the bodyweight from side to side over long periods of time forms a network that brings about a rhythmic orientation and a foundation for autonomous step movements. The repetitive stepping keeps the participants grounded.

 

Clapping & Arm Movements

Claps, rattles and arm movements are generally associated with deliberate movements. These working methods require a different regulation in the nervous system. They represent the conscious element in all the rhythmic layers.

With the simultaneity of autonomous movements in steps and controlled clapping, two normally separate areas of the human are joined. 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 the voice unfolds into a third independent layer, altering perceptions and deepening the experience.

 

SIMULTANEOUS PERCEPTION

All three rhythmic layers of the TaKeTiNa process (voice, clap and step rhythms) are in itself simple and elementary. The simultaneous manifestation of all three together however leads to a complexity, which requires a new form of perception – the “simultaneous perception”.

Simultaneous perception is the opposite of “multitasking” which consists of a very fast fluctuation between two, three or more events taking place at the same time. This naturally increases stress, while simultaneous perception is pure relaxation.

The information is processed on different channels simultaneously: sensory and motoric, auditive and vocal, outer vision and inner visualisation are happening at the same time without any time delay. Simultaneous perception is a doorway to inner stillness and a powerful tool for processing information in the daily life of our current complex and chaotic world.

RELATIVE COORDINATION

TaKeTiNa works with “Relative Coordination” – a fluctuation between rhythmic chaos and order phases. Repeatedly losing and regaining the rhythm develops a profound trust in rhythm. Doing and letting happen are interconnected, the rhythm fluctuates, is alive and easy to realize, the participant is in a flow state.

At the same time, participants learn to deal with chaotic processes in a creative way and thereby develop physical, mental and emotional flexibility. Inscrutable situations lose their menace, and you learn that there is an instance in everyone who can find the orientation on their own, even when things are “all over.” That gives deep confidence in life. It also reduces the fear of making mistakes which subsequently leads to making fewer mistakes.

PRIMAL RHYTHMIC MOVEMENTS

For the first time in human history we have immediate and easy access to an abundance of different musical voices on our planet. Analyzing recordings from the most remote corners of the world shows that all music emerges from the same primal rhythmic movements.

These are the three manifestations of rhythmic vibration: pulse, subdivision and cycle as well as the power of synchronization that leads to the archetypes of offbeats, polyrhythms, and cycles. Learning with TaKeTiNa means learning at the roots of rhythm. TaKeTiNa allows each person to physically experience these primal rhythmic movements, opening up a whole new dimension of learning and rhythmic experience.

LEARN AT YOUR OWN PACE

The TaKeTiNa process allows you to get in contact with the pace in which you are able to learn best. You are invited to find your personal learning pace during our working methods at any given moment. Pushing for learning results in a tempo that overrides your capacity can slow you down, whereas taking pauses at the right time can improve the speed at which you are learning.

In the TaKeTiNa process, that enables everyone to learn in their own pace, beginners, advanced and professionals are able to learn in the same group.

THE BODY AS AN INSTRUMENT

TaKeTiNa uses the body as an instrument. While using the body for musical expression is as old as humankind – TaKeTiNa uses vocal expression, hand and feet movements in a completely new way: participants are gradually guided into three different rhythmic movements with stepping, clapping and chanting – a challenge even for trained musicians. Using our methods, this can be successfully learned by everyone even without a musical background. The learning process is therefore direct and profound.

 

Rhythmic Voice

The sound syllables are developed by Reinhard Flatischler and have no connection to any human language. They are condensed sound and rhythms.

When you speak the TaKeTiNa syllables, you move from your teeth to your throat, back to your teeth, and finally up to your nose.

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 the voice unfolds into a third independent layer, altering perceptions and deepening the experience.

 

Step Movements

Most of the TaKeTiNa steps consist of lateral movement, which cause an intense stimulation of equilibrium.

Moving, sensing, and shifting the bodyweight from side to side over long periods of time forms a network that brings about a rhythmic orientation and a foundation for autonomous step movements. The repetitive stepping keeps the participants grounded.

 

Clapping & Arm Movements

Claps, rattles and 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.

With the simultaneity of autonomous movements in steps and controlled clapping, two normally separate areas of the human are joined. 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 the voice unfolds into a third independent layer, altering perceptions and deepening the experience.

 

PRIMAL RHYTHMIC MOVEMENTS

For the first time in human history we have immediate and easy access to an abundance of different musical voices on our planet. Analyzing recordings from the most remote corners of the world shows that all music emerges from the same primal rhythmic movements.

These are the three manifestations of rhythmic vibration: pulse, subdivision and cycle as well as the power of synchronization that leads to the archetypes of offbeats, polyrhythms, and cycles. Learning with TaKeTiNa means learning at the roots of rhythm. TaKeTiNa allows each person to physically experience these primal rhythmic movements, opening up a whole new dimension of learning and rhythmic experience.

RELATIVE COORDINATION

TaKeTiNa works with “Relative Coordination” – a fluctuation between rhythmic chaos and order phases. Repeatedly losing and regaining the rhythm develops a profound trust in rhythm. Doing and letting happen are interconnected, the rhythm fluctuates, is alive and easy to realize, the participant is in a flow state.

At the same time, participants learn to deal with chaotic processes in a creative way and thereby develop physical, mental and emotional flexibility. Inscrutable situations lose their menace, and you learn that there is an instance in everyone who can find the orientation on their own, even when things are “all over.” That gives deep confidence in life. It also reduces the fear of making mistakes which subsequently leads to making fewer mistakes.

SIMULTANEOUS PERCEPTION

All three rhythmic layers of the TaKeTiNa process (voice, clap and step rhythms) are in itself simple and elementary. The simultaneous manifestation of all three together however leads to a complexity, which requires a new form of perception – the “simultaneous perception”.

Simultaneous perception is the opposite of “multitasking” which consists of a very fast fluctuation between two, three or more events taking place at the same time. This naturally increases stress, while simultaneous perception is pure relaxation.

The information is processed on different channels simultaneously: sensory and motoric, auditive and vocal, outer vision and inner visualisation are happening at the same time without any time delay. Simultaneous perception is a doorway to inner stillness and a powerful tool for processing information in the daily life of our current complex and chaotic world.

LEARN AT YOUR OWN PACE

The TaKeTiNa process allows you to get in contact with the pace in which you are able to learn best. You are invited to find your personal learning pace at any given moment. Pushing for learning results in a tempo that overrides your capacity can slow you down, whereas taking pauses at the right time can improve the speed at which you are learning.

In the TaKeTiNa process, that enables everyone to learn in their own pace, beginners, advanced and professionals are able to learn in the same group.

WOULD YOU LIKE TO LEARN MORE?

WOULD YOU LIKE TO LEARN MORE?

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