This practice based research investigated how movement and spatial awareness can support learning to sing as a didactic starting point. The research took place at three locations within part-time arts education, with both children and adults, in collaboration with three singing teachers.I gave short singing lessons focusing on warm-up exercises and also tested the findings in my own teaching practice in secondary education. Inspired by the pedagogical visions of Zoltán Kodály and Luc Nijs, I developed exercises that integrated three forms of embodied movement: spatial movement, movement in place, and inner movement. This approach is not new in singing pedagogy, but I investigated how it can be used consciously and innovatively. The analysis of lessons, discussions, and peer review with a group of experts led to a revaluation of spatiality within the Kodály method, especially the use of hand gestures. It also became apparent that the use of aids, such as a piano stool, helps beginning students develop their voice placement.The research concludes that spatial working methods can be valuable for singing education. The three phases of embodiment also offer interesting perspectives for further research.