Today we’d like to introduce you to Léa Lounda.
Léa, we appreciate you taking the time to share your story with us today. Where does your story begin?
I’m French, and I spent twenty years in musical theatre as a dancer and singer. The Lion King in Paris, Black Legends, the Hans Zimmer and the Lord of the Rings European tour. My body was my instrument and my livelihood.
That’s the part nobody tells you about high performance. You get very good at reading your body as output: is it strong enough? Is it holding up? Can it give me one more show? But you get very bad at reading it as information.
Then I came to Los Angeles, and a visa gap forced me to stop working. For the first time in two decades, I could not perform. And my body, which had been carrying twenty years of pushing without ever being allowed to feel any of it, broke down. Not dramatically. Just completely. I spent months in stillness that I did not choose.
Yoga was where and how I could move again, to listen without any performance. Astrology showed me my patterns, but understanding a pattern in your head does not release it from your tissue. The practice is what actually let my energy move instead of staying stuck as insight.
That’s how Stars to Spine yoga was born. Natal Chart, tissue, awareness. The chart tells us where you hold. The body is where we work with it.
Today I teach in Los Angeles and online, mostly to women who lead with strength and achievement and are quietly exhausted underneath it. Women who know how to perform and forgot how to rest. My work is helping them reclaim their body as a safe place to feel, not just a tool to perform.
I still perform, and I still love the stage. The difference is I’m not doing it to prove I’m worth something anymore. I create as an artist now, and I teach as someone who broke many times, got up and healed one more time.
Alright, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
No. Not smooth at all.
I started performing very young, and for a long time I told people it was because I loved it. That was true. It was also not the whole reason. I grew up with a mother who is bipolar, and by the time I was a kid I was already a parent in a strange way. My childhood was a mix of chaos, love -because there is a lot of love in family- and trauma.
What that taught me as a child is that I was safe when I was useful. Nobody said that, but that’s what I carried with me.
I often try to lifted my mom’s mood and make her laugh so I was putting on shows at home. One day on the train my mom sat on one of the free magazines with an Ad for the little king castings, I was 10 years old, she asked “Do you want to try?” I smiled with all my teeth “Yes!” and the rest is history!
From the outside it looks like ambition. From the inside it was a very sophisticated way of not stopping. Because stopping meant feeling, and I knew I had more trauma to face than I could count.
I lost myself somewhere in that. Not dramatically, just gradually. Work was the anesthetic. Achieving was the anesthetic. Every contract was proof that I was worth something, and the proof never lasted, so I needed the next one.
Then I moved, this part we already talked about.
And the thing I understand now, that I absolutely did not understand then, is that my body did not break because it failed. It broke because for the first time in my entire life, it was safe enough to. Nobody was depending on me. There was no show. So everything I had been carrying since childhood finally had room to come out, and it came out through my body, because that’s where I had been storing it the whole time.
I was furious at it, at the time. I thought my body had betrayed me at the worst possible moment.
Can you tell our readers more about what you do and what you think sets you apart from others?
I’m an astro-yoga guide. Astrology to find the pattern, yoga to move it.
Practically, that means I work at the intersection of two things people don’t usually put together. I’m an evolutionary astrologer, trained in the Jeffrey Wolf Green lineage, and I’m a yoga teacher certified in Vinyasa. My whole method is chart to tissue to liberation. I read a chart to find where someone’s patterns live, and then I build the practice that actually works with it in the body. A Moon placement is not just information, it tells me how you rest, where you brace, what your nervous system does when it feels unsafe. So we don’t just talk about it. We move it.
Most yoga tells you how to do the pose. Most astrology tells you what your placement means. I’m interested in the connection between them, why your body holds the way it does, and what to actually do about it. My audience mostly comes in for the astrology, because that’s the door. The yoga is the invitation once they’re inside.
The thing that sets me apart, honestly, is what I don’t do. I don’t do fortune telling. I think that’s a hot take in my field, but I’m not interested in telling anyone what’s going to happen to them. “It’s written in my stars” is not a valid reason to stop making decisions. A chart is a mirror, not a script. It shows you your patterns and your responsibility inside them, and then you still have to do the work. I also refuse the soft pastel version of wellness. My work is warm but it isn’t precious. The visual language I build in is goddess and warrior, stars and planets, not flowers.
I spent twenty years as a professional dancer and singer in musical theatre, so I also know exactly what it looks like to be extremely skilled at using your body and completely disconnected from it. My clients are usually high-performing women in that same position. They’re not beginners at effort. They’re beginners at rest.
What I’m most proud of is that I teach as someone who’s been there. Everything I offer, I needed first. I’m not passing along a technique I read about. I’m handing people the map I had to go find myself.
Before we let you go, we’ve got to ask if you have any advice for those who are just starting out?
I’d answer this twice, because I’ve started out twice.
To the performers:
You create magic with your craft. Please protect the source. The source is you.
That’s the thing I wish someone had said to me at twenty. Everyone teaches you to sharpen the instrument. Nobody teaches you to love on the thing the instrument is attached to. And you cannot be skillful for very long if the person underneath the skill is running on empty. Longevity in this work is not just about technique, it’s about whether you’re still a whole person by the time you get excellent.
This is a life of a lot of rejection and a lot of joy, often in the same week. Embrace all of it. Actually enjoy it, the auditions you don’t get and the shows you do, because it goes fast!
And when the day is done, make sure you have something that’s just yours. Something that isn’t for the work, isn’t for the audience, isn’t proof of anything. Just for you. I did not have that for twenty years, and my body eventually made me build one.
To the founders:
I’ll be honest, I’m not twenty years into this one. I’m still the person asking the question rather than answering it, and I want to stay that way for a while.
But from where I’m standing, here’s what I wish I’d known. When you’re building something that hasn’t been done before, it’s going to be solitary. There’s no map, no peer group who’s already done your exact thing, no clear playbook to copy. You have to carve your own space in the world, and that’s slower and quieter than it looks from the outside. Today the world is going so fast that it can feel scary but trust your gift, your idea. You have something new to bring into this world! Allow it time to grow!
Pricing:
- My astrology readings 101$
- My personalised astrology E-Books range from 55$ to 111$
- One on One yoga 111$
- Stars to spine cosmic alignment (blending Astro and yoga) 222$
Contact Info:
- Website: https://www.starstospineyoga.com/
- Instagram: https://www.instagram.com/starstospineyoga?igsh=NTc4MTIwNjQ2YQ%3D%3D&utm_source=qr
- Youtube: https://youtube.com/@starstospineyoga?si=UMYuHtxE0xO3HG2H




Image Credits
Brenda Bravo
