This was an interview published in the Association of Teachers of Singing Annual Review 2024.

Louisa Morgan, Stephen King and I discuss the role of touching in the singing studio and how to approach this with the student.

Louisa Morgan: Thank you so much for doing this interview; I really appreciate it.

Dr. Jenevora Williams: Thanks for inviting me—it’s a pleasure to be here.

Louisa: I enjoyed your session at PEVoC. It’s something we’ve been discussing a lot, especially since consent in the singing studio seems to be a hot topic. The VASTA Conference in Leeds later this month is also focusing on this. Could you start by explaining why, in your view, discussing consent is so essential?

Jenevora: Consent is vital because, historically, we’ve shifted between extremes. There was a time when touch was unregulated and often misused, leading to discomfort and, in some cases, abuse. This lack of boundaries was one reason safeguarding guidelines were introduced, making it clear that such behaviour isn’t acceptable. It’s important for everyone, especially young people, to understand that their bodies are their own, and consent should be at the forefront of any interaction. That's a message that we teach young children now; they learn about consent in school, and they learn that an adult can't just go up to a child and hug them without checking with them that they're comfortable for that. With professionals, such as singing teachers, it’s not about our intention to help; it’s about how the student feels and perceives our actions. My intention to go up and just touch the back of someone's neck just to loosen their head and feel that change of alignment, for me, may be a very useful and practical way to just communicate that intention, body to body, nervous system to nervous system. But for somebody who may find that uncomfortable, who's not used to it, or who may have had some kind of unpleasant experience associated with someone touching their neck, they may just freeze. And they won't say anything. And I might say, is it okay if I do this? And they just freeze and nod because they are compliant. And that is the sort of touch that I think we're now addressing. It's knowing that when we are student-centred in our teaching it is their wish that counts, not ours. That’s where the principle of consent is crucial—it’s about prioritizing the comfort and autonomy of the student.

Louisa: Yes, I think most of us recognize that asking is necessary, but it can be challenging to ask in a way that genuinely allows students to say no.

Jenevora: That’s precisely where frameworks like Stephen and Lydia’s consent model are so helpful. While designed for manual therapy, which requires specific training and insurance, the principles can still apply in a singing studio. Explaining and rehearsing responses can make a significant difference. For instance, if I’d like to guide a student’s neck, I’d first demonstrate on myself, explaining what I’d like to do. After getting their initial consent, I’d follow up with, "If this feels uncomfortable at any point, please let me know," and even rehearse a hand signal or verbal response for stopping. This way, they know they have complete permission to revoke consent if needed, which is fundamental for genuine comfort and openness.

Stephen: There is a current paradigm shift afoot. Thankfully the idea of ‘no pain, no gain’ is on the way out of the social zeitgeist, and collectively we are moving towards more patient-centred approaches in healthcare, emphasising the importance of communication and collaboration between healthcare providers and patients. This paradigm shift recognises that patients are not just passive recipients of care but active participants in their health journey. The traditional approach to manual therapy has been rooted in principles such as clinician-centred assessment, patho-anatomical reasoning, and technique specificity. However, contemporary evidence increasingly supports the need for a shift towards a biopsychosocial, person-centred framework. This shift acknowledges the importance of safety, comfort, and efficiency, and emphasises positive communication, collaboration, and patient empowerment.

Louisa: Many of us, myself included, have often avoided any touch in our teaching, as a reaction against previous norms. Is there a real need for touch in singing instruction, or is it more of a shortcut?

Jenevora: Touch can indeed be a useful tool, but it’s certainly not essential. While guiding someone’s shoulders with touch might quickly help them relax, there are always alternative ways—like self-awareness exercises or even visual cues. Touch can provide a quicker solution, but if a student or teacher is uncomfortable, there are many creative, effective alternatives. Schools, for example, often have strict no-touch policies, and teachers adapt by finding different approaches.

Stephen: In manual therapy, especially within the context of voice care, priors refer to the emotional, psychological, and physical memories stored in the body. These memories, known as “priors” because they represent previous experiences, influence how the body responds to current stimuli. The idea that the body holds onto past experiences is not new, but recent research in active inference and body-based psychotherapies has brought this concept into sharper focus, especially in manual therapies where touch and manipulation are involved.

In voice therapy, priors can emerge when a therapist applies manual pressure to specific areas, such as the laryngeal muscles or neck. What may initially seem like a mechanical response—muscles relaxing or vocal quality improving—can actually be an emotional or psychological release tied to a memory or experience. For example, a singer may hold tension in their laryngeal muscles, not only due to vocal overuse but also because of performance anxiety or emotional stress. These experiences are stored as priors in the body, and through touch, these stored memories can be accessed and released.

Jenevora: I think what's really important is the process of explanation. So, if I were to guide the back of someone’s neck, I would say what I’m going to do, and ask, is that something that you think you'll feel comfortable with? Most people will go, yes, that's fine. So then I say, if you're not comfortable, or if it's an unusual feeling, or whatever you're experiencing, can you please tell me? And I say, how are you going to tell me? So, you rehearse the reply. And it's either, can you stop now? Or it's putting your hand up. And you rehearse that. So, they know they've done it, and they know they can do it again. There’s total permission to turn it around. And then while you are directing the head and they're singing, you constantly check in. How is that feeling? Is it useful? The whole point of doing it is that it should be useful. And if they're not finding it useful, you've got to find another way to help; there's always an alternative.

Stephen: Now take for example you had encountered a negative experience around your larynx, something like a tennis ball hitting it and leaving it achey and bruised. If massage is applied and gives you an ache, the body might link the negative prior to the current experience which won’t be very healing, and depending on the circumstances even retraumatising.

Now imagine there is a different context. Not a clinician led model but a patient centred model whereby there is a contract of consent to the touch seeking to allow for the removal of hands before something negative occurs. The EQUATION framework seeks to provide that consented space with a negotiation in the therapy.

The equation is a mnemonic. It invites a conversation around what might be about to happen.

(1) EXPLAIN: Introduction to anatomy and relevant research—Which area of the body

do you propose working in?

(2) QUALIFY: Explain how/why this is relevant to the client—Why might it be helpful?

What has the client said or demonstrated that has prompted you to make this

choice?

(3) UNDERSTAND: Check understanding—How has the client understood your

rationale?

(4) ASK: Give opportunity for questions—Does the client have any questions about

what you have said?

(5) THINK: Reflect on what you know—What is the appropriateness and usefulness of

the selected technique, given what you know about the client and their story?

(6) INTO SPACE: Place hands onto client—Does this touch prompt additional reflec-

tions for you or the client? How does their body respond to the touch?

(7) OPTIONS: Offer (and, if necessary, demonstrate) alternative techniques—Would the

client prefer a different technique?

(8) NAME: Name a plan for saying no—If the selected technique is associated with

distress or discomfort, or the client feels it is not useful or helpful, how can they

let you know? Agree a signal for you to stop the treatment if they feel uncomfortable.

Louisa: In group settings, some of us use partner exercises where students work in pairs. Do you think that poses any issues, as some might not feel comfortable being touched even by a peer?

Jenevora: Absolutely. Consent isn’t just relevant between teacher and student; it also applies peer-to-peer. In performing arts, there’s often an unspoken expectation to tolerate physical contact, but this doesn’t mean everyone is comfortable with it. Just as intimacy coaches work with performers on boundaries, establishing comfort and options from the outset in any teaching setting can encourage respect and autonomy.

Louisa: Masterclasses can be tricky in this regard, especially since they’re public, fast-paced, and involve a certain power dynamic where students may feel pressured to please the instructor. What’s your take on this?

Jenevora: The public nature and pace of masterclasses make it difficult for participants to voice discomfort. There’s also a performative element for the master teacher, which can sometimes overshadow the student’s needs. In such settings, touch is often used as a shortcut, but I believe it’s best avoided. Instead, instructors can use words, imagery, or demonstrations, all of which allow students to take away valuable insights without the complexities of physical contact in a high-stakes environment.

Louisa: So, your advice for masterclasses would be to avoid touch altogether?

Jenevora: Exactly. In masterclasses, where you don’t have a prior relationship or trust established, it’s best to find other ways to communicate and guide. The goal should be to give the student something positive and constructive to reflect on, not to fix everything in one session. Minimizing touch or any form of personal criticism helps keep the environment respectful and supportive.

Louisa: Another concern is the language used in these settings. Comments like "good girl" or "good boy" can feel infantilizing, even for adult students. Do you have thoughts on that?

Jenevora: It’s a delicate balance. Creating a supportive environment means being mindful of words and respecting students as autonomous adults. Encouraging masterclass instructors to reflect on their language and approach can foster a more respectful experience for everyone involved.

Louisa: When working with older students, could touch be beneficial? For example, there are many teachers working with retirees who might appreciate the comfort of gentle touch.

Jenevora: Absolutely. Touch can be very meaningful, especially for older individuals who may experience less physical contact in daily life. That said, it’s still essential to approach each individual based on their comfort level and needs, regardless of age or gender.

Louisa: And what about teacher safety, especially younger instructors working late or with older students in isolated settings?

Jenevora: Teacher safety is a critical consideration. I always make an audio recording of my lessons to provide a record, which also discourages any inappropriate behaviour. In situations where touch is involved, framing it within a professional context—like sanitizing hands or wearing gloves—can further reinforce boundaries and professionalism. Ultimately, if there’s any doubt or discomfort, it’s best not to touch at all.

Louisa: Would you recommend discussing touch and boundaries during initial consultations with new clients?

Jenevora: It depends. Often, touch doesn’t come up in every lesson, so it may not be necessary to introduce it upfront. If you’re in an institution, however, it’s important that the institution addresses it with both students and teachers.

Louisa: We’ve covered all my questions. Is there anything else you’d like to add?

Jenevora: The great thing about human touch, is that being touched is a really important part of being human. And we know this from elderly people who are not touched very often, that they really lose out emotionally and their health deteriorates. So when you're having a conversation with an elderly person, if you hold their hand while you're talking to them, it communicates a completely different level to just chatting. I think it’s crucial to remember that human touch can be immensely valuable. Physical connection, when appropriate, releases oxytocin and dopamine, enhancing both emotional and physical health. It’s just about finding the right balance and context so that touch remains a positive and consensual part of our human experience.