Welcome
into the musical universe of Lea Dasenka
As a vocal artist and sound practitioner, dancer and performer, I create spaces where the body, memory, and vibration meet.
Intuitive, spontaneous and constantly renewed creation, my practice of sound care is like diving into deep waters, a form of watsu on dry land where I guide and connect heart-soul-spirit to the sound of my voice and my instruments, where the body enters into vibration with the elements. I sing in a language of my own that resonates with Naranja shamanic frame drum; I make my Koshi carillons Aqua, Ignis and Aria dance and dialogue; I handle the Pangi seeds; I play and spatialise the Ocean drum, Cauris in a bouquet or even two tibetan bells. Like a dive into the heart of inner landscapes, each musical offering is an opportunity to get as close as possible to the Senti, to one's native vibratory frequency, to one's life energy.
Each sound is placed, inhabited, addressed.
Like a dive into the heart of inner landscapes, my musical offerings are an opportunity to get as close as possible to the Senti, that subtle life energy that flows within us.
"Sacred percussion echoes the human pulse. The pulsation of our mother's blood is our first continuous experience in the womb. We grow to the rhythms of her body. It is this archaic sensation that the priestess reproduces with her frame drum. By striking it, she perpetuates this creative process and weaves the rhythmic cord that will link the individual to his community, his environment and the cosmos".
Layne Redmond in When The Drummers Were Women, a spiritual history of rhythm
Entering this sound care is like crossing a threshold
A space where voice, drum, and vibrations open up an area of clarity: a safe, solid, and eminently alive place where constantly renewed sound creation allows a passage to familiar, deep, often ancestral sensations.
Those who allow themselves to be guided there speak of a journey rich in images and memories, an inner voyage where the body relaxes, the mind lightens, and sensitivity regains its rightful place.
The vibrations act as a subtle intelligence: they untie, bring together, and retune. They invite a deep anchoring, a full and harmonious presence, a form of rediscovered simplicity where life begins to flow again.
The music — by turns subtle, dense, or expansive — reveals unsuspected inner landscapes: childhood memories, elemental flows, visions, impulses... A field where we feel accompanied, welcomed, respected, where we can settle effortlessly and let whatever needs to emerge, emerge.
Each session is a moment that transforms the perception of the body, expanding space and time. We emerge more aligned, more open, anchored in a peaceful, unified and vibrant presence.
This sound care is a gateway.
A sensitive path to life.
A parenthesis that accompanies, sometimes repairs, often enlightens.
A return to the center.
The language of song, an artistic and therapeutic signature
I am often asked what language I sing in: I sing neither in French nor in any existing language (a priori...!), but in an intuitive expression of creativity, born directly from the breath, emotion, and vibration of the moment.
This dialect has no grammar, no fixed semantics. It does not address the intellect, but the body, the nervous system, and deep memories.
In the absence of cultural or cognitive references, listening takes on a different form: more open, more sensory, more direct.
This is precisely what gives it its power. Where known languages conjure up stories, images, and judgments, this invented language bypasses mental filters and allows the vibration to act directly.
Many people mention resonances with worlds such as Dead Can Dance or AWARË — archaic, ritualistic, timeless vocal aesthetics — but here, the voice is more than just musical accompaniment: it is activated as a ritual that allows for a crossing.
Each sound, each syllable is generated in response to what is present in the body and space. The voice then becomes a vibratory channel, capable of touching areas where words cannot go: buried tensions, restrained emotions, bodily memories...
"RITUAL seems to have become an incongruous word, denoting empty conformity and formalism. Yet the quasi-immutable and repetitive structure of rituals, their attention to gestures, give them a deeply unifying symbolic power, a stabilizing social function. Rituals build a relationship with the world and, in doing so, create what Byung-Chul Han calls a “community without communication,” that is, “a community in resonance capable of finding harmony and a common rhythm.” (...) Rituals help humans orient themselves in the world and make it livable. “They transform being-in-the-world into being-at-home. They make the world a reliable place; they are to time what a home is to space; they make time habitable. Better still, they make it practicable, like a home.” Ritual is the home of man.
Olivier Mannoni in The Disappearance of Rituals by Byung-Chul Han
The original beat
I play a beat that is sometimes simple, repetitive and structured, sometimes varied, complex and evolving, always depending on how I feel at the moment.
"Sacred percussion echoes the human pulse. The pulsation of our mother's blood is our first continuous experience in the womb. We grow to the rhythms of her body. It is this archaic sensation that the priestess reproduces with her frame drum. By striking it, she perpetuates this process of creation and weaves the rhythmic cord that will connect the individual to their community, their environment and the cosmos."
Layne Redmond in When The Drummers Were Women, a spiritual history of rhythm
Low frequencies propagate through the air and through different tissues. They are felt as much as they are heard. The body does not analyse them — it recognises them. The drum acts as an axis.
Its regularity provides a physiological reference point: breathing adjusts, the heartbeat tends to synchronise, the nervous system finds support. Repetition creates stability in which tensions can be released.
But the drum does not only work on an individual level.
In a circle, shared pulsations promote a subtle cohesion. Breaths come closer together, presences synchronise. A common field emerges, structured by rhythm.
The beat connects:
It connects the individual to their own body.
It connects bodies to each other.
It connects the circle to the ground that supports it.
It places human experience within a larger cycle of rhythms and seasons.
The drum does not force anything.
It reminds.
It reminds the body of its natural ability to reorganise itself around a centre.
The shamanic dimension
The drum is one of humanity's oldest instruments.
In shamanic traditions, it accompanies transitions, metamorphoses and rebirths. It connects the visible and the invisible, the body and the mind, the individual and the circle.
This dimension is inherent in my practice.
When I beat the drum, I am not just playing a rhythm: I am truly opening up a space. A space where one can descend into oneself, cross over, let go, listen differently.
The ritual setting creates a stable matrix.
The voice becomes a breath of connection.
The rhythm becomes an axis.
"Shamanism, as I embody it, is a path of radical listening to the living. A way of recognising that the body has a memory, that sound is a passage, that certain transformations do not take place in the mind: they are experienced and accomplished through the body. It is not a matter of belief, but of experience. In this space, each person remains sovereign. Vibration guides. Silence integrates."
Ancient wisdom, contemporary form
Certain ancient civilisations, particularly in Egypt, considered the voice and vibration to be tools for regulation and inner transformation. Ritual songs accompanied life transitions in spaces dedicated to the study and harmonisation of being.
My practice is rooted in this universal and archaic understanding of sound as a force of balance.
The vocal language I use — intuitive, non-semantic and born of breath — allows for direct reception, without cultural or cognitive filters. This neutrality promotes a deep and inclusive sensory experience.
‘This is not historical reconstruction or exotic spirituality, but a contemporary artistic approach inspired by ancient wisdom: vibration as a vehicle for harmony and inner coherence.’
News and past events
Diving into the heart of inner landscapes
in intensity and gentleness
One-to-one, duo or group sound rituals*
* up to 20 people, depending on the space available
You receive the sound care while lying down, in the most comfortable position for each person.
The elements of the musical offering
9 instruments
▸ Welcome ~ Infusion ~ Opening of the space
▸ Fumigation with sage & rosemary or palo santo
▸ Singing, voice con mi Naranja shamanic drum on frame
▸ Ocean drum
▸ Pangi seeds
▸ Cauris in a bouquet
▸ Koshi carillons Aqua, Ignis and Aria bailando
▸ Tibetan bells
▸ Return to the surface, return to the body if necessary, placing my hands on the head (Crown, Sahasrara), the upper part of the face (Forehead, Ajna) and/or the arch of the foot (Root, Muladhara).
▸ Infusion ~ Exchange and discussion ~ Closing of the space
Sing to honor
Offer to connect
Listen to transform
Bare voice, drum, breath, silence: each session is an invitation to return to the vibrant heart of oneself, to enter a sensitive and intuitive space, a space sometimes forgotten. It's a form of introspection made possible by sound creation, an accompanied dive that's both sensory and sincere. Initially very personal, over time this work has revealed itself to be a genuine form of care for those who receive it: a moment of listening, presence and possible transformation.
Each session is different. I don't propose a method, but a framework of welcome and attention, so that something can be deposited, circulate or emerge. It's an intuitive presence, fine-tuned and connected, that works through me, in the service of the living.
What I do is simple.
It's a way of being there.
With, and for that which seeks to express itself in other ways.
« You may not remember, but let me tell you this : someone in some future time will think of us »
Sappho, 7th century BC, poet, composer, musician and priestess of Aphrodite.
My offers
1/ Individual session — personalised regulation and realignment
A personalised sound therapy session. The session is tailored to your current state and your physical, emotional and energetic needs.
Through voice, vibrations and instruments, the work aims to:
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promote regulation of the nervous system
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release tension and blockages
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restore a sense of inner alignment
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support periods of transition or transformation
A safe, confidential and deeply attuned space.
2/ Group circle or ritual — sharing and energy harmonisation
A group format for experiencing vibrations in a collective dynamic.
The circle creates a common field:
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mutual support
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amplification of feelings
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group anchoring and coherence
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emotional and symbolic openness
The practice alternates between sound immersion, integration time and guided presence.
A moment of connection — to oneself, to others, to life.
3/ Multi-session programme — gradual transformation
Support over several sessions to establish in-depth work.
This format allows you to:
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explore different layers (physical, emotional, memory)
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anchor the effects of the treatments in a lasting way
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go through a life transition with continuity and support
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observe a gradual and integrated transformation
A structured, evolving and committed journey.
For whom, and for what needs?
My sonic offerings are addressed to those who are crossing thresholds in life — burnout, transitions, grief, metamorphoses —, carrying responsibilities or seeking spaces for deep regeneration... A safe space to deposit, traverse and rediscover harmony.
Each context calls for a unique form: individual or collective, intimate or institutional, the experience adjusts to the place, the time and the intention.
The thread remains: to create a space where vibration becomes passage, where everyone can rediscover a sense of unity, grounding and vitality.
Handwritten testimonials - Feedback from experience
"Thank you Lea, for this sound that has become a link, a link between two women, between all the women of the world, past and future, a link-vibration that resonates and takes us far away. The percussion, but above all your deep voice that sings of the universe and trance, the aquatic link... You spoke to me of a circle, I can well imagine it, with your performance at the centre, between the moon and the sun.
See you soon ☽ ☆ "
E, 04.14.23 ~ Percussion of the World, Paris
"I am very far from this world and even keep my distance from it due to bad "shamanic" experiences. Lea naturally made me want this sound treatment and I came out of it happy, reconciled. It's good and it feels good because it's true, simple, honest. Here, I didn't get "twisted", quite the opposite. Thank you Lea, and long life to all that!"
A, 08.03.25 ~ Cultural Center, Paris
My story
from Normandy to Stromboli via Mauritania
Born into a family of musicians on my father's side, I grew up in Normandy, close to nature and horses. It was there that my first acts of care took shape – dressing, listening, watching, connecting without words. When I was very young, I used to sing to call horses, one of my first rituals, a ritual of calling.
“ My connection to singing was forged as a child around horses, in this instinctive relationship with living things. ”
It was an instinctive, invented melody that opened up a secret path to them. I didn't know it yet, but this call song, which I thought was born out of play, actually exists in certain oral traditions of the North. And so, without knowing it, I began to explore the powers of sound and voice as a subtle language between worlds.
Life, the stage, and transmission
For over ten years, I have worked behind the scenes in live performance, cross-disciplinary creation and festivals, supporting artists and projects at the crossroads of cultures.
Communication, mediation, programming, partnerships, cultural initiatives: I learned to listen to collective impulses and dynamics, while specialising in world music, oral traditions, dance and performance art. All these forms culminate in transmission through the body, the voice and presence.
I have sown seeds in places such as La Villette, Le Générateur, the GoodPlanet Foundation and L'Onde & Cybèle, where I produced Le Cri du Caire (Victoire du Jazz 2023 in the ‘world music album’ category), the Rhizomes festival, La Voix est Libre, Les Balades Extraordinaires, Les Exilé.e.s Poétiques... I coordinated the Chœur de femmes workshop, led by musician and singer Souad Asla, focusing on traditional songs and dances from the Algerian Sahara — a space for transmission, collective power and female memory.
"This cross-disciplinary approach has allowed me to develop an ability to connect: artists and audiences, traditions and contemporary forms, stage devices and ritual practices."
The lands of initiation
At the same time, source places have deepened this call: from the burning lands of the Mauritanian Sahara to the fiery flows of the Stromboli volcano, my journey has been sculpted to the rhythm of the elements. These places of intensity and austerity have shaped in me a deep connection to the sacred, to the memory of bodies, to the ancestral breath that runs through songs and gestures. There, I experienced turning points—intimate, raw, sometimes harsh, always powerful stories—that have marked a direction.
The Drum on my Road
In 2018, in the flat of a singer-musician friend, a drum stood there, hanging on the wall, a moon of animal skin watching over a diaphanous woman's torso. Because yes, right next to the circular object was a full page torn out of a magazine featuring this nude with a powerful title written in large letters: THE PLEASURE. I found this composition fascinating and intriguing, without yet realising that everything here already made sense: the power of women, allied since time immemorial to their drums.
A little later, I was drawn to a book. Inside, a self-portrait: that of a female shaman, bare skin, sage raised, merged with a majestic white she-wolf. This image became my screen background, a talisman. And then I met her in Paris. The photographer. The book's author. By synchronicity, she was invited to the same dinner party.
A season passes and in autumn I find myself at her home, in the foothills of the Vercors, at night outside around a silent fire. She takes out a large buffalo drum. And under her hands, the sound rises, deep and vibrant. It was the first time that evening that a woman had drummed for me. When she stopped, I asked her if I could try. I sat down, breathed, banged and sang. My head immediately seeks proximity, contact with the vibrating skin, I instinctively look for the angle, the axis that will generate the reverb, the harmonics to the sound of my voice.
Back in Paris, the call was clear: my own drum was to be born.
I called a friend, a great drummer and percussionist: "I've got the signal, the drum is now". He took me to Percussion du Monde. That's when I saw it. My first drum. Toro. It was offered to me. To my great surprise, Toro isn't circular, not like I'd imagined: it's octagonal. This was obvious to my friend with the moon drum: "Yes, Lea, that's not surprising, because you're all about circles and fluidity, but things still have to be square.
So I immersed myself in the practice, fusing instruments and dance, sculpting each movement into a unique vibration.
DasenkaSound
Today, I dedicate myself to DasenkaSound, a practice of sound healing and musical offerings born from these journeys—artistic, geographical, and inner. I collaborate with therapists, body practitioners, artists, cultural venues, art galleries and spaces dedicated to well-being.
Each context invites me to adapt the form while preserving the essence:
a vibrational, coherent, deeply embodied experience.
My approach combines:
▸ the rigor of live performance
▸ attentive listening to the body and nervous system
▸ the spiritual, archaic, and intuitive dimension of singing
▸ entirely improvised and tailor-made creation
Each session is a living architecture.
A space to gather, reconnect, and rediscover oneself.
Make an appointment
Venue and price to be determined together
Receive news:
upcoming dates, life stories, feelings
To be inspired
Images: Mauritanian Sahara, Stromboli, Le Domaine des Éveils, Noirmoutier-en-l'Île, Paris, Château de Manou, Cap d'Antifer, Belleville Cultural Center, Limoges BFM, Le Domaine des 7 Vallons, The Bourdelle Museum
© Lea Dasenka • Matthieu Soudet • Françoise Bouyer • Giada Seghers • Stella Lucie Swann • Lucile Grémion • Lake Sabe • Alexis Bernardet • Adé Frc • Dominique Jouxtel
Painting: Christ in the Storm on the Sea of Galilee © Ludolf Bakhuizen
