Tell us a bit about yourself …
I am Sara Matchett, professor at the University of Cape Town, where I teach and research in the field of theater, voice and performance studies. I am also a certified advanced breathing practitioner with Breathwork Africa and one of the twelve worldwide head trainers in Fitzmaurice Voicework®. 25 years ago I was co-founder of the Motherdongue Project, a collective for women’s arts aimed at performance and social involvement.
What does a typical day look like for you?
My days are a mix of teaching, research and creative work. I spend time in the studio with students, supervising postdoctoral research and work on various performance and breathing projects. I also work together with local and international partners on research and workshops, and occasionally present at conferences and contribute to publications.
How did your breathing trip start and what inspired you to pursue this path?
My interest in breathing work started in 1998, when I did a 10 -day Vipassana -Retraite in Igatpuri, India. My interest further developed through my academic and creative work, especially during my PhD research, which breathed as a way to make performance. Over time I integrated practices from Fitzmaurice Voicework® and various breathing practice in my education and creative process. These approaches are tailored to my interest in how breath connects with emotion, memory and voice. Working with Dr. Ela Manga and Breathwork Africa continues to deepen my journey with breath, combining science, spirit and creativity.
How have you seen your practice that benefit your practitioners?
Practitioners often report a greater consciousness of their physical and emotional situations, improved vocal presence and a deeper bond with their creative work. Breathing can support resilience and help individuals gain access to personal stories and embodied experiences that can be useful in both performance and daily life.
Do you have a favorite quote, mantra or motto that you live?
A quote that I often come back to is: “Breathing means” – Catherine Fitzmaurice. It reflects the process I use in my work, starting with breath, moving to sensation and allowing that to inform creative expression. A mantra that inspires me daily (it is in fact part of my e -mail signature) is “”There really isn’t something like ‘voiceless’. Only the intentional silence has been made, or the preferably unheard of ” – Arundhati Roy. This reflects the core of my practice, which examines breath as a medium for expression and presence, and performance as a space where voices, especially those often marginalized, can be heard and recognized.
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