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no solos
mentoring: psyche & artistry
instruction: voice & writing

Current Offerings



The no solos approach to voice is born of four decades of musical adventures and sweetened by my on-going study of Continuum movement.

I no longer teach private voice lessons. I prefer, instead, to work in retreat settings; we need a stretch of protected time in order begin to soften the body and open the ears. This summer, I’ll be at the Puget Sound Guitar Workshop, teaching Song Study and The Mysteries of Unison & Harmonic Blend.


This is a sturdy and convivial practice of timed writing—satisfying in itself, and capable of providing ground for any genre. The goal is to cultivate both artistic stability and ways of surprising the mind. This approach is indebted to both Natalie Goldberg and Carl Jung. 


Come fall, I’ll offer the first in my series of four no solos writing class, called Grief and Writing practice. It’ll be in-person, in Seattle. Contact me to join the announcement list. 


Mentoring sessions replenish the (often unexpected) sources of creativity and resilience in modern adult life. Together we dive beneath the conversational,  even therapeutic, conventions that can suppress originality, artfulness, playfulness, and our unique styles of eloquence. Here are three recordings of conversations I had with two colleagues about mentoring. Our theme was Restoring Rest, Play, and Confidence: “The Hidden Art of Mentoring.” 


Bi-monthly, 75-minute phone/Zoom sessions. Contact Kim to schedule a complimentary 20-minute call to see if it’s a fit.


"Though somewhat akin to Clarissa Pinkola Estes in wisdom, scope, and skill, Kim is an original. Her no solos philosophy

is a welcome antidote to stale, superficial, or formulaic approaches to artistic & personal mentoring, and community development."

Lianne Raymond

"Kim has dual citizenship in both

the mythic and mundane worlds.

This makes her a priceless ally

should life present you with an amazing dream or daunting task."

Dr. H.A. Pruzane

…So there sat the poor miller’s daughter, and for the life of her she could not tell what to do; she had no idea how straw could be spun into gold, and she grew more and more frightened, until at last she began to weep.


Rumpelstiltskin, Grimm's Fairy Tales

Hallmarks of an Artistic Practice

…This is one of the astonishments of my life: given clear structure,and a minimum of instruction, the most extraordinary, memorable, art will reliably arise from non-professionals in unglamorous settings. 

An artistic practice can be a source of personal nourishment or it might unfold in such a way that it becomes relevant to a community. Either’s fine and the world is better off. more

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