"Tala!"

                       

 

"Talking Tala! DNA of World-Rhythm!

In preparation for a free introductory Skype-Tutorial, download the FREE sample page from the

"Tongues&Tala: DNA of World Rhythm

Work-Book/Play=Book

 Familiarize yourself with all the first 10 basic "tala" (rhythm-word=pattern) as shown in the chart below, and listed from 1 to 10 here:

 

1Ta, 2Taka, 3Takita, 4Takademi, 5TakaTakita,

6TakitaDikita, 7TakitaTakademi, 8TakademiDhikademi,

9TakaTakitaTakademi, and 10TakitaDhikitaTakademi

Play with each word, pronouncing it an memorizing it, just by itself, for instance: 8:Takademi Dhikademi.

and do it, for example, 4x which looks like this:

         [8TakademiDhikademi]4x

Say all the syllables evenly spaced between each other, time wise, with no speeding up or slowing down, and repeat with no pause at the end.

And then, do the same with 9, which looks like this:

         [9TakaTakitaTakademi] 4x

Then, alternate between doing 8 4x, the 9 4x, and repeat. Keep all the syllables even and the tempo steady and constant.

And that looks like this:

[8TakademiDhikademi]4x[9TakaTakitaTakademi]4x -repeat

Do this with all the other "tala" or "tali" (plural) in whatever combinations you find fun or challenging.

As you become familiar with the sound and feeling and pronunciation, increase the tempo of your recitations.

Then, do all the same things you did in all the above, but now "clap" or "slap" your leg or legs, or stomp your feet (or any combination of all the above!) on all the "Ta" syllables that start this a capital "T", and all the "Dhi" or "de" syllables.

After you play-out with this for long enough to get bored and want to do something more, give me a call.

The Free skype tutorial intro --specifically adapted for Instrumentalists, drummers, dancers or singers-- is 5 to 15 minutes or so You will quickly know if it is something useful for you, or not.

With thousands of years of proven utility, you can't go wrong.

Talk and Tala to you then!

Marco Z

Look for    marco.zonka   on Skype and send me an invite. 

marcozonka@yahoo.com    

text to  022.351.0089 

 

Periodic_Table_of_Tala_p1.2.pdf

 

 

 

Periodic_Table_of_Tala_p1.2.pdf

 

 

 

 

“Tongues & Tala” Spoken-Word/Rhythm-Language for Dance, Drum & Song

www.tonguesandtala.com

“Tongues & Tala” is based on an ancient spoken-language of rhythm, melody & movement, adapted for use by contemporary musicians, dancers & drummers, choreographers & composers, and instrumentalists of all kinds and styles.  

Originating in India & Persia “onomatopoetic” languages (words that mimic or replicate musical sounds, or dance moves, or mimic and replicate animal movements and sounds) have been used for centuries to speak & remember rhythmic phrases for dance, drum & song.

Tala is “the dance of pattern & pulse” shaping the universe and everything happening within it.

It is also literally a “vocabulary of rhythm” created by ancient masters of the art, useful with any form of dance, drumming, vocal & instrumental music & choreography.

Harnessing the language facility of the brain (lyrical & emotional) in addition to “numbers” (linear & logical) “tala” words/sounds “internalize” rhythms & melodies & movements, without needing to “think” about it.

      

Drummers & dancers, singers & instrumentalists can use this language to more readily “embody” new rhythms physically as well as conceptually,  and arrange, compose & remember diverse melodies & dance patterns using "word patterns" (with or without melodic content) instead of numbers.

In any workshops and/or LIVE “Skype” audio/visual tutorial, please have your chosen instrument, drums and/or your body ready to move and "embody" the tala words!

In play-shops and online tutorials, a relaxed atmosphere of playful instruction, interaction, improvisation, and love for the endless learning process, is encouraged and supported.

 

 

 

 

“Tongues & Tala” & Cognitive Integration:

Spoken-Word/Rhythm-Play

Rhythmic right/left brain wave stimulation for enhanced cognitive/kinesthetic integration of "mind/brain/body" intelligence & coordination.      

“Tongues & Tala” & Cognitive Integration:

Spoken-Word/Rhythm-Play --rhythmic right/left brain wave stimulation) for enhanced cognitive/kinesthetic integration of mind/brain/body intelligence and coordination.        by marco zonka

Synchronous body-mind movements, with simultaneous verbal elocution, are known from cognitive development studies to enhance overall mind/body-functions and integration. Activities that reinforce these functions have a cumulative effect of enhancing both cognitive development, and brain/body integration, strengthening and building learning skills in all areas of brain and body development for children and adults.

A woman who had been in a car accident two years previously participated in a tongues & tala play-shop I was facilitating at her local community dance-center. After the session she came to me and said: “After my accident two years ago I felt a fog in my mind that I could not shake. After participating in this class, for the first time since then, I feel my mind is clearing.”

Cognitive studies about the integrative (and even remedial) effect of rhythmic verbal elocution --synchronized with rhythmic body movements that cross the mid-line of the body i.e., a repetitive right/left brain-pattern stimulation-- are a likely explanation for this effect upon her.  

The physical actions used in tongues & tala are: actions & movements with synchronous rhythmic verbalizations, done while moving in a way that crosss the vertical mid-body vertical axis (spine) in a series of fluidly symmetrical and/or asymmetrical body movements linked to verbal elocution. 

These actions are known to enhance integrative  learning capabilities of the  body & mind, enlivening the mind toward greater clarity of attention, perception, awareness. and presence.


“Tongues & Tala”, a spoken-language of rhythm, music & dance, is a well-articulated vocabulary of movements & words that verbally mimic musical and percussion sounds.

Using a “call and response” conversational style of interaction with “spoken-word rhythms”, with clapping hands and synchronous body movements, this language-based approach to movement and music is intuitive, self-explanatory, and comes easily to many people, especially children.  

“Tongues & Tala” uses a “watch/ listen/ do” style of integrative hand/eye&body/mind movements,  verbalized rhythm-patterns, and full-body dance and rhythm-movement patterns.

It is a way of “embodying” rhythms rather than “analyzing” them.

 

“Tongues & Tala” stimulates both emotional/ language and the logical/analytical facilities of the brain (roughly right/left brain functions) using words and movements, “real time” verbalizations & physical-actions/body-movements. 

These "balanced patterning" and repetitive actions  =linked to spoken-word patterns=  bring balance and coherence to cognitive processes, and enhanced receptivity to the "learning moment".

“Tala” words & sounds “internalize”  rhythm and melody with intuitive learning based on “watch/listen/learn/do-it” and "learning to learn" better, without really “thinking about it.”

Group sessions of “Tongues& Tala” are useful in any learning environment or setting, including dance, music and children’s schools.

“Skype Tutorials” are also available online for musicians and instrumentalists and drummers (and even whole ensembles) of any and all instruments and styles (guitar, bass, woodwinds, violin, piano, percussion –you name it!) and I show you how you can immediately put this language to use with any compositional or choreographic style you use. Contact me on skype with your instrument in hand for a free 5-minute introduction, and you will quickly know if it is useful for you or not.

Dance and Music Schools & Community Learning Centers: Please ask for a free introductory skype tutorial and interview for evaluation, with regard to booking these sessions at your school or community event center. 

Find me on Skype under SkypeName: marco.zonka

or write:   marco@zonka.org

Tongues & Tala:

DNA of World Rhythm & Music & Movement!
Spoken-Word Rhythm & Melodic Language-based Dance-Patterning for Movement, Percussion & Singers & Instrumentalists

@ _____________________________________________________

Part1: Walking the Talk; Vocabulary, clapping, singing & moving!
Part2: Tala for Dance & Drum in playful co-creation!
Part3  Tala for Dance, Drum Song/Melody                                                       Part4: Dance/Drum/Song & Instrumental accompanists unite!

How its Done:

"Tala” is a spoken-language of rhythm, melody & movement.
Originating in India & Persia “onamato-poetic” languages (words mimicking musical sounds & dance or animal movements) have been
used for centuries to speak & remember rhythmic phrases for dance, drum & song.

 Tala is the dance of "pattern & pulse & purpose" (yin/yang/unity)” shaping the universe and everything going on within it.


Tongues & Tala is also literally a “vocabulary of rhythm” created by ancient masters and useful with contemporary forms of dance, drumming, vocal & instrumental music & choreography.


By harnessing the language facility of the brain (right- brain/lyrical & emotional) more than just “numbers” (left-brain/linear & logical) “tala” words/sounds/syllables “internalize” rhythms & melodies & movements without really needing to “think” about it.

"Tongues & Tala" creates a visceral, linguistic and kinesthetic experience that mentally and physically reinforces the natural patterning intelligence of a learning-positive mind.

The learning-positive mindset is also known to enhance the minds adaptive plasticity, supporting longevity, clarity of mind, and vitality of presence. 

Drummers & dancers, singers & instrumentalists can use this language to feel and “embody” new rhythms & to arrange, compose & remember diverse varieties of melodies & dance patterns. Please bring instruments & drums & your body to dance! Ankle bells & recording devices welcome!

By building a shared matrix of basic syllables in a common vocabulary of spoken rhythm-words, dancers and drummers and musicians can establish a firm but flexible foundation of shared understandings, and build more refined collaborative works.

A playful environment of co-creation and reverence for the living world is encouraged.

Accompanist for Occidental & Oriental world music & dance, Zonka is a singer, composer & percussionist
songs composed and performed by Zonka at:
www.marcozonka.org                                          &   marco@zonka.org

 

A free 5 minute “Skype Tutorials” is also available online for musicians and instrumentalists and drummers (and even whole ensembles) of any and all instruments and styles (guitar, bass, woodwinds, violin, piano, percussion –any insrtument!)

I will show you in 5 minutes how you can immediately put this language to use with any compositional or choreographic style you use. Contact me on skype with your drum or instrument in hand and you will quickly know if this approach is useful for you, or your learning environment, or not.

Dance & Music Schools & Community Centers: Please ask for a free introductory skype tutorial and interview/overview for evaluation, with regard to booking these sessions at your school or community event center. 

Find me on Skype under SkypeName: marco.zonka

or write:   marco@zonka.org

XExercise Co-Creation !

 Creation of Universe in Progress!   Help Wanted!

Language is the penultimate conveyor of meaning and significance.

Language, the universal arbiter of the human experience, codifies that experience and its history and memory over time, preserving it "forever" in written runes of codified sound patterns (phonic letters & words).

The brain itself is continually engaged in the process of encoding and decoding audio and verbal information in a language-brain lobe wholly concerned with language and sound patterns, one of the largest and most active portions of the brain.

So language and vocalization, as ancient and intuitive forms of pattern recognition and sound-communication,  embedded in our brain structure itself, is an excellent vehicle for recognizing, understanding  and remembering, patterns within music, drumming, and dancing, all of whjch can be expressed as "sound-patterns" and "word-forms". 

One of the most integrative and intuitive forms of learning is one that integrates verbal sounds and movements, with patterns of rhythm and music conveyed with feeling and meaning.

This form of learning is "embodied" learning, informing by both motor skills/body-memory as well as by word and "mind" related intelligence , awareness, and presence.

What is more: brain studies indicate rhythmic and deliberate "crossing of the mid-body axis" with movements of symmetry and asymmetry, grace and beauty, enliven and enervate the activated participant with a more fluid receptivity to the learning moment.

Play usually inspires the most enthusiastic and intelligent forms of learning. Through playful study of language & rhythm for dance & music, based on classical oriental knowledge and practice, Hindustani & Persian rhythm & dance language has proven its utility, and persistence, by way of its inherent usefulness, over thousands of years.

So its likely to be of use to you, too!!

That language has been distilled here into a series of words and phrases which. like recombinant DNA, engender an infinite variety of offspring. Like elements on the Table of periodic Elements itself, these sonic elements also recombine into increasingly complex forms and permutations, witnessed in the spectacle of living matter, as designed and made flesh by nature herself.

Origins of this language are ancient and have many dialects in dozens of tongues in countries all over the world, The ones used here are primarily of North Hindustani and/or Persian/North African origin.

People sometimes ask: Do these words/sounds/"tala" have any meaning?

All sounds carry meaning. Some are intrinsic meanings, and some are assumptive meanings.

Here are some assumptive meanings for the following syllables, based on English, Latin, Sanskrit and ancient Egyptian root-sound/meanings:

Ta --Affirmative! --Yes! --Agreed --It is! --It is so! --And so I AM!

Ka --spirit body, vessel, container

De  --God --masculine deity (pronounced "Dey" or "Dei")

Mi  --Self

Ta  --Yes!  --it is so!

Ki     --energy --power --source

Ta   --yes!

Di     feminine deity, feminine energy

Ki     -- power, --source

Ta   --Yes! --It is so! And so it is! I AM!

So therfor, the "pattern" above, which is:

4:Ta Ka De Mi 3:Ta ki ta 3:Di ki Ta   (=10)

Which roughly translated means: 

Yes! --It is so! --I AM!

Spirit body, Vessel, Container --Masculine Deity-Self

Yes!  it is so! Energy --power --source--Yes! It is so!

And so I AM!

Feminine deity, feminine grace, power, source --Yes! --It is so!

And so I AM!

 

 

These are primordial affirmations intrinsic to the high-tech vehicle of communion and communication that we call language, the stream of sounds and meanings we call music, and the chorus of beauty, power and light that is the adventure of life itself.

This playbook invites the muse of maestral & dancer -- the  adventurer and adventuress--  on a whirlwind of "Power/Pattern/Pulse" .

As it turns out: It is not just the root language of music & movement , but the universal  root language of the entire natural world: "Amplitude/Frequency/Duration " in the the anatomy of living proportions evidence by the physical body of the universe itself.

That is why music both expresses and resonates with, in and of the natural world, because it speaks the same language of proportion, balance and scale.

*

Without a direct and personal experience of this hand/eye. body/mind approach it can sometimes be hard to imagine if it will be of use to you.

That being so, please have a look at some of the material below and call me with your video and audio feeds enabled on skype, and I will give you a free 10 to 15 minute tutorial, adapted specifically to whatever melodic instrument you play, whatever drum or drumming style you play, or whatever dance form you dace.

You can find me on skype under skype-name:

marco.zonka

Ah go on and call: I DARE you!!!

+

Below is an DRAFT/expert from the

"Tongues & Tala: DNA of World Rhythm & Dance" playbook,

This book presents a language of movement & music, based on classical Indian & Persian/North Afican influences, in a universally useful & accessible way.

When musicians, dancers, drummers & choreographers all "speak and sing the same language" collaborative works of very nuanced cooperation and co-creation become possible, as seen in so many classical arts.

Whole Body-Mind Intelligence:

Using classically developed verbalizations of rhythms, through music and melody, and through movements & dance, the Tongues&Tala System engages the learnig process by way of fully integrated hand-movements&claps, body-movements, and rhythmic or musical verbalizations. Recent brain studies indicate that these kinds of multilevel-learning processes (music and dance!) have been found to be of great benefit in enhancing and strengthening ones learning capacity in all areas of learning and growing.

   

On the following pages a series of syllables and “word-patterns” unfold before your eyes. These patterns follow an internal logic of development intrinsic to all languages, but in the vocabulary presented here is purposefully adapted to expressing music & rhythm-based feelings & thoughts as melodies, drum patterns, or dance patterns.

The universality of the language distilled here is presented in a concise syllabus of syllables, each element building on and developing the elements that came before it, while also introducing new musical-elements and rhythmic-patterns.

As I played with various forms of rhythm-word languages, extracting the essential core of rhythmic elements embedded in them, I began to see a pattern of simplicity moving toward ever-increasing complexity similar to the Periodic Table of Elements from chemistry, and analogous to life itself, on its endless arc toward systems of higher order, complexity, and nuance.

The coincidence is not, of course, by chance, but by nature.

 

All systems of order and proportion in the natural world follow unerring principals of “balance” & “proportion”; an outworking of very simple to very complex geometries of great subtlety, power, and beauty, unfolding in real-time; and so it is the same with the universal laws and elements of “sound”. And so, right along with universal anatomies and morphologies of sound, comes the musings of music, rhythm & dance.

Balance & Beauty!


 Is Beauty Subjective? When an infant looks at any given human face (all of them expressing a “neutral” or “non- expressive” plain-face) infants spontaneously respond to faces that “common culture” sees as most attractive and “beautiful” yet the infant does this without any “acculturation”  whatsoever.

How? Why?

 

Whether looking at the spiraling arms of atomic-ratio’s or the cross-section of a galaxy or a Nautalis shell, all the same rules of “proportions” apply, all of them based on the “Fibonacci Series” 1;1;2;3;5;8;13 & so on, ad infinitum (more about that later). Because the human mind is given structure and proportions by the same universal laws of form and order governing the animal-morphology of living-matter, it innately recognizes those characteristics in all that “meets the eye”, or “meets the ear” so to speak.

And the same is true for all that “meets the ear.”

There really is no such thing as “chance” in the natural world; what we call “chance” is more accurately and more honestly our inability to see and understand the laws governing that which we are observing and attempting, within the limits of our intelligence, to “understand.”

  How So?

Why does a well-tuned piano or guitar chord sound “good”?

 

Because all the vibrations in all the strings being hit or plucked “line-up” with equal proportions and “vibrations” (sounds) and so the human ear-mind feels/perceives something “pleasing” Encouraging the mind to passively and “naturally” perceive/experience this intrinsic proportionality in nature is a good “learning mind” to cultivate, because the perception/experience of sensory-based universality-of--proportions conveys “of itself” its own internal “logic” and “order”; the recognition of that order as “pattern recognition” is the basis of all forms of “learning” and “understanding”.

Language, as with understanding, depends on: Memory.

As the knowing know, there is more than one way to “understand something”, and more than one way to remember it as well.

There are four principle ways –or channels of experience- we will engage to inform the process of perceiving/learning/remembering body-mind here: word-mind memory; hand-mind memory; eye-mind memory; & body-mind memory.

Kinesthetically, our body-mind remembers experiences through all of these parallel channels of perception/sensory experience, and then encoded as “memory”. So a process engaging all of them enhances the learning potential and integrative ability of all of them. And because it speaks to the language of rhythm, music, and dance, it is a lingua franca common to all.

 For the sake of this play-book we will engage and try to maximize the utility of 3 of them.

  3 Ways of Learning/Understanding/Remembering:

1)       Body/Movement based memory (somatic/sympathetic);

2)       Spoken-word based memory (psychosomatic)

3)       Logic based memory (Para-sympathetic)

 Obviously all of these native sensibilities are interrelated and operate together; but by focusing on one and then another of these modes of memory can effectively maximize the integrative learning potential of each mode.

Horse Sense

“Horse sense” is not the primitive intelligence it is commonly thought to be, but is rather a tremendously complex and multileveled capacity of cognitive and intuitive comprehension that includes but goes far beyond mere “logic.” Embracing and utilizing this in any learning process expands and strengthens that learning process. Studies show that what is sometimes referred to as “blink” mind –an instantaneous intuitive discernment that can “sum up” a very complex situation or problem almost instantly—is a better “judging” mind or “decision-making” mind than the “logical deliberative” mind because it is able to cognitively apprehend greater levels of understanding than can ever be fully grasped by the “logical mind.”

In fact, the “logical mind” can quite strenuously inhibit a more relaxed and intuitive learning mind, and get in the way of the very process that it is trying to facilitate.

Lets start with the highest learning power of them all: Playfulness!!

Why do all baby living things spend most of their time playing? Because it’s the best way, whole body and whole mind, to learn!

So….

Warning!

Do Not Think Whatsoever about what you are about to do!!

Engage your cosmic horse-sense as you amble willy-nilly down any given wild road, or road less traveled.! It will help you experience and “learn” more than you will ever merely know!

Go to the Periodic Table of Tala (above and below); look at each page, and “speak aloud” each word and phrase. Combine more and more words together, saying them evenly and rhythmically. Challenge your own memory; start with just two words and build them up into phrases; see how many syllables you can remember; notice how certain patterns seem easy to remember, and other ones are harder, or don’t seem to “goove”. Ask yourself regularly: Is the groove really not there, or am I just not feeling groovy enough to find it? Be honest!

One thing is certain: the more you absorb and “embody” a broader vocabulary of rhythm, the more you are able to find the grove in rhythm patterns that were at one time unfamiliar to you.

Mix and match words & phrases in any way that is fun rhythmically or linguistically to you; Forget about your brain and just wrap your mouth & tongue around it (no fun intended!) and just speak it (or sing it!) in free-verse, or with a beat.

Your mind/brain likes language; when you engage these words playfully and say them clearly and precisely, the language- mind automatically begins remembering accents and “patterns” without even “thinking” about it. Allow some time for this spontaneous freeform “language acquisition facility” to engage itself. Later, you can engage it with more deliberation, and open up a new levels of “pattern recognition” (i.e.“language/learning acquisition”) building on the motor sensory memories of earlier experiences.