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Touch or Not to Touch? Exploring Boundaries in Singing Lessons

Katsia Kaya

Touch is a powerful tool in teaching and learning. For singing teachers, it can help guide posture, breath, or muscle engagement, offering students a tangible understanding of their body’s role in vocal production. However, it also raises important questions about consent, boundaries, and appropriateness. As a somatic practitioner and voice teacher, I’ve reflected deeply on this topic, and I believe that touch in teaching is both valuable and sensitive, requiring clear boundaries and intentionality.

Somatic voice session
Credits: A. Kononchenko

The Role of Touch in Singing Lessons

In somatic practices, touch is often used to bring awareness to specific areas of the body. For example:

  • Gently placing a hand on the student’s ribcage can help them feel the expansion during breathwork.

  • Lightly guiding the neck or jaw can show how to release tension.

  • Supporting posture adjustments can clarify alignment for optimal vocal resonance.

Touch can bridge the gap between abstract concepts and physical sensations, allowing students to embody what they are learning. However, the context in which touch is used matters greatly.

The Importance of Consent and Boundaries

Touch, even with the best intentions, must always respect the student’s comfort and boundaries. Here’s how I approach this sensitive area:

  1. Always Ask for Consent I believe in asking every time before I touch a student, regardless of whether we’ve worked together for years or just started. Consent is not a one-time agreement; it’s a continuous conversation.

  2. Build Trust Over Time I rarely, if ever, use touch in the first lesson—or even the tenth. Touch requires trust, and trust grows with time and mutual understanding. Each student’s comfort level is unique and should guide the decision.

  3. Consider Context and Setting Touch should occur only in appropriate, private settings. For instance, I avoid touch in public spaces like near a grand piano, in the presence of other students, or with an accompanist nearby. These environments can feel exposing and uncomfortable for the student.

  4. Clarify the Purpose of Touch Before using touch, I explain why it’s needed and what it aims to achieve. Transparency ensures the student understands the intention and feels empowered to decline if they’re uncomfortable.

    Somatic voice session
    Credits: A. Kononchenko

When Touch Can Be Transformative

When used appropriately, touch can create moments of profound learning. It can help:

  • Release chronic tension by bringing awareness to holding patterns.

  • Deepen the student’s connection to breath and body mechanics.

  • Encourage a sense of grounding and alignment that supports vocal freedom.

For example, a gentle hand on the diaphragm during a breathing exercise can help a student understand how to engage it more effectively. Similarly, guiding the tilt of the pelvis can illuminate how posture affects sound.

The Risks of Inappropriate Touch

Without clear boundaries, touch can:

  • Create discomfort or distrust between teacher and student.

  • Distract from the lesson’s focus.

  • Overstep personal or cultural boundaries, potentially causing harm.

The power dynamic in a teacher-student relationship makes it essential for teachers to tread carefully. Even well-intentioned touch can be misinterpreted if not framed within a clear, respectful context.

Balancing Touch and Verbal Guidance

Not every concept requires touch. Many adjustments can be guided through descriptive language, imagery, or demonstrations. For example:

  • Instead of touching the student’s ribcage, I might ask them to imagine their lungs expanding like balloons.

  • To address jaw tension, I often use cues like “think of your jaw as heavy and relaxed” rather than physical correction.

This balance ensures that touch is used only when absolutely necessary and when other methods might fall short.

Somatic voice session
Credits: Kononchenko


Final Thoughts

Touch in singing lessons is not a black-and-white issue; it’s nuanced and deeply personal. While it can be a valuable teaching tool, it must always respect the student’s autonomy, comfort, and trust. As a teacher, I strive to create a space where students feel safe, respected, and empowered to express their boundaries.

Ultimately, the question of “to touch or not to touch” is not just about teaching technique—it’s about fostering a relationship built on mutual respect and understanding. In this way, we can use touch not as a default tool, but as a meaningful and intentional element of a student’s journey toward vocal and personal growth.

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