Forget Everything You Know and Remember All the Things You Are is a ten-week improvisation workshop led by musician and multidisciplinary artist Sarah K. Pedinotti (Lip Talk). Open to artists and non-artists alike, this course invites participants to rediscover creative flow through rhythm, laughter, and embodied play. Drawing inspiration from jazz improvisation, somatic practice, and creative meditation, each session builds toward a sense of collective attunement—where the body becomes an instrument of awareness and joy. Participants are encouraged to bring their own craft—musical, visual, or otherwise—and explore how improvisation can deepen presence, trust, and freedom in both art and life.
Sarah K. Pedinotti is a multidisciplinary musician, producer, and storyteller based in Brooklyn, New York. Under the moniker Lip Talk, she creates music that blurs boundaries between song, art, and improvisation. She co-runs Snack Mix, an ongoing improvisation residency in NYC that brings together a rotating cast of musicians for spontaneous, exploratory performance. Her recent multimedia installation, Mantis Shrimp Matrix—which premiered in Bangkok and Tokyo—combined sound design, environmental art, and visual storytelling. Over the past twenty years, she has produced, performed, and recorded across a wide spectrum of styles.
Originally from New York’s Capital Region, Sarah began performing at local venues including Caffè Lena, where her love of live improvisation first took root. Her work invites audiences and students alike into a spirit of deep listening, play, and creative freedom.
Full Description:
Forget Everything You Know and Remember All the Things You Are
This course is a welcoming space where participants from all walks of life—artists and non-artists alike—reconnect with their innate improvisational instincts through rhythm, laughter, and embodied play. It’s about letting go of what we think we know and remembering the full spectrum of what we already are.
Improvisation isn’t about losing the ego, but about balancing intention and surrender—allowing creativity to move through us without the need to make perfect sense. It’s a practice of flow rather than perfection, where listening, presence, and curiosity guide the way. Through body awareness, sound exploration, and collective rhythm, participants rediscover their natural creativity and learn to approach their art, their work, and their daily lives with renewed openness and trust.
Each week builds gently, moving from grounding the body into rhythm and breath, to exploring sound, movement, and spontaneous ensemble play. By week ten, the group feels like a living instrument—a community attuned to listening, responsiveness, and joy.
Participants are invited to bring their own creative tools and practices. A guitarist might explore rhythm and phrasing in new ways; a photographer might discover visual rhythm or emotional timing; a writer might find new language through sound. And someone who doesn’t consider themselves an artist at all might simply come to rediscover the joy of play and the pleasure of listening in community. This improvisational approach adapts to any discipline because it’s rooted in presence, not perfection. The work we do together aims to open the creative channel and make space for each person’s individual goals to emerge naturally.
The class draws inspiration from jazz improvisation, somatic awareness, and creative meditation, grounding each session in rhythm and joy as universal connectors.
Influences include:
• Pauline Oliveros – Deep Listening: Expanding perception through sonic attention.
• Nuar Alsadir – Animal Joy: Laughter as spontaneous truth, a release from the grip of self-surveillance.
• Ross Gay – The Book of Delights: Cultivating joy by noticing small daily moments of wonder.
• Laraaji – Laughter and sound as pathways to joy and cosmic play.
• Butch Morris – Conduction: Conducted improvisation as collective listening and composition in real time.
• Julia Cameron – The Artist’s Way: Restoring creative flow through play and daily practice.
By the end of the ten weeks, participants will not only have expanded their creative range but also developed a deeper trust in their intuition—the quiet intelligence that guides improvisation, connection, and self-expression.
