Space
— A room of at least 10 m² for 1-1 sessions, 20 m² for the Circle sessions, with cushions to sit on for participants and high quality speakers

— Ability to dim or lower the lighting and ideally one spotlight — the cymatic patterns need contrast to be visible

— For expos: a stand of at least 2 × 2 m. A partly enclosed or acoustically shielded corner is strongly preferred; an open aisle position works but reduces the depth of the experience

Power & sound
— 1 standard socket within 3 m of the instrument. Total draw is less than a kettle
 — Room speakers
 — For circles: a quiet room. Sound from adjacent classes carries and breaks the container


Time
— Set-up: 30 minutes. Teardown: 30 minutes. Please include these in the room booking


What I bring
The instrument, microphone, headphones, cabling, cleaning supplies, and all facilitation materials.

Trauma-informed by design
I am a trained somatic coach. Voice work reaches people quickly — sound held in the body for years can move suddenly. Every session is built with that in mind: nobody is pushed, participation at the instrument is always invitational, and there is an explicit consent frame at the opening of every circle. A participant can stop at any point, and that stopping is treated as information, not failure.



Accessibility
The experience is delivered seated and works from a wheelchair. It does not depend on singing ability, musical training, or a particular kind of voice. People who have been told their whole lives that they cannot sing tend to have the strongest sessions. I hold the workshop in English, but speak and understand German, Swedish and Spanish. 


Screening and contraindications
Participants are asked in advance about pregnancy, epilepsy or seizure disorders, tinnitus or sound sensitivity, hearing aids and cochlear implants, recent ear or throat surgery, implanted electronic devices, and acute mental health crisis. Where relevant I adapt the session or, occasionally, recommend someone sit this one out and simply witness. The VOCANTRA is not a medical device and makes no medical claims. It is an experience of your own voice. It does not diagnose, treat or cure anything.


Hygiene
Microphone, headphones and all contact surfaces are cleaned between every participant, in view of the group. Single-use covers are available on request.


Equipment and electrical safety
The instrument runs on low-voltage power, is fully insulated, sits self-contained on its own base, and requires no fixing to your floors or walls. Cabling is taped or matted at every crossing point.

Insurance

I carry professional liability insurance. Certificate available on request.

Hosting something new is a risk you're taking on. Here's what I contribute so it isn't yours alone:


— Photography and video of the instrument, cleared for your use. If you have a camera on-site, please let me know. 

— Written copy for your website, newsletter and listings — you don't have to work out how to describe this
 — Social content: announcement posts and stories to my audience, tagging you, plus assets formatted for your channels

— On the day: I'll capture content at your venue and share it, with your permission and with participant consent

— A clear description of who it's for, so your community self-selects and nobody arrives expecting a gong bath


If it works, we run it again. Most venues I speak with are thinking about a series, not a one-off — I'd rather build something with you than pass through.

Where this is, honestly
The work is not new. I've been holding these rooms for ten years — classical tantric meditation, somatic coaching, voice and breath work, backed by a 650h VITA certification. I've been hosting 1:1 sessions on the VOCANTRA for years. The group format has already been out in the world — a burn, the Bodyhacking Conference, an underground museum. Unpredictable rooms, unpredictable states. That's how I know it holds. The first two formal workshops are booked, and there'll be film by the end of October.

This version of the instrument is new. 2025/26 brought a significant redesign — a proper evolution from art piece to product and the larger Circle plate. What this version doesn't yet have is the documentation it deserves. The film that would let you see what happens in that room is still being made. Photographs carry some of it. Not all of it.

So I'm being deliberate about the first venues. The partners who host this now are shaping what it becomes — how it's staged, who it's for, what a room actually needs. Early here means influence, not risk.

If you want a showreel and a track record of forty venues, come back in a year. If you want to be one of the first rooms in the world where this happened — this is the moment.

What's coming
Now — private sessions in Berlin, the first witnessing circles, the first venue partnerships.

Next — proper documentation: film and photography that finally show the instrument in a full room.

–
2027 — the VOCANTRA Certification and Founding Collective: trained facilitators inside partner venues, so the work can run in rooms I'm not standing in.

2027 — the instrument available to rent and buy to retreat centers and studios as a permanent installation.
2027 — the multi-person version so that 12+ people can experience it at once

Who else I'm looking for
Not every conversation here starts with a booking. If you opened this wearing a different hat, this is what I'm actively looking for:


Venue and retreat partners — the main thing. Rooms to hold this in, and people who know their community well enough to know it belongs there.
A business partner — someone who wants to build the commercial and operational side while I hold the method and the room. I'm a practitioner with partners, but no one is full-time yet, and I'd like that to change with the right person.
Investment and patronage — for the next production run of instruments and for proper documentation. Angel, grant, or patron. I'm open on structure and I'd rather find the right alignment than the fastest cheque.
Makers and engineers — copper fabrication, audio hardware, industrial design. The instrument is built and working; making it repeatable is the next problem.
Facilitators — practitioners who want to be trained in the method and work with the instrument in their own practice.
Film and media — anyone who wants to document something at the very beginning of it.


If one of those is you, just say so in your reply and we'll have that conversation instead.