Trainers | Singingfoot

Trainers

Two clearly grounded practices, woven into one shared pedagogy.

Singingfoot is built on an actual dialogue between dance, singing, composition and transmission. The method works because Aure Wachter and Alan Picol each bring a distinct field of expertise, already tested on stage, in the studio and in teaching contexts.

Aure Wachter

Dancer, teacher and performer working across contemporary choreography.

Aure Wachter trained first at the Toulouse Conservatoire, then at the Conservatoire national supérieur de musique et de danse de Paris, graduating in 2014. Her path has been shaped by stage work and teaching contexts in which movement, listening and physical commitment remain central.

She has worked with major figures in contemporary choreography, including Rachid Ouramdane, Maud Le Pladec, Nicole Seiler, Jann Gallois, Alban Richard, Eva Reiter, Michiel Vandevelde and ICTUS. The work developed with François Chaignaud and Geoffroy Jourdain around t u m u l u s is especially relevant here, because it makes visible a space where dance and song become two full compositional materials.

Institutional biographies regularly emphasise her interest in vocal practices. That is crucial to Singingfoot: her place in the project rests both on choreographic precision and on her ability to open a sensitive working field between body, voice and collective composition.

Clear movement foundations: support, pathways, availability, coordination.
Choreographic culture: compositional rigour, ensemble quality, spatial awareness.
Teaching practice: readable progression, precise guidance, attention to the group.

Portrait of Alan Picol — Alan Picol Photo: Stephanie Carranza

Alan Picol

Bass-baritone, vocal pedagogue and stage artist.

Alan Picol is a Paris-based bass-baritone whose first artistic grounding came through Breton choirs, where collective singing, polyphony, breath and movement were already intertwined. Since then, he has developed a practice connecting polyphonic singing, theatre, stage presence and vocal transmission.

He has worked with Les Cris de Paris since 2010, and continues to move through artistic contexts where the voice meets other kinds of stage writing. His encounter with François Chaignaud and Geoffroy Jourdain led in particular to t u m u l u s, then In absentia and Petites Joueuses, where his role extends beyond performance into musical direction, ensemble listening and the articulation between voice, body and space.

Within Singingfoot, Alan brings a clear grounding in vocal technique, polyphony, vocal improvisation, loops, unison and multi-voice composition. His work is less about producing standardised singers than about making the voice workable, embodied and compositional, including for performers who come first from dance.

Clear vocal foundations: breath, resonance, harmonic listening, projection, phrasing.
Polyphonic culture: unison, loops, simple counterpoint, circulation of roles.
Vocal pedagogy: de-dramatisation, precision, collective progression, pleasure in singing.