Building Community with a Kinesthetic Classroom

SUMMARY concentric circles. With planned inte- Children by nature gration, the teacher is attentive to the are movers, they learn quickly and Kinesthetic learning is curricular objectives yet open to what implicitly through kinesthetic and tac- demystified through naturally develops out of the students’ this author’s insightful tile experiences (Dunn & Honigsfeld, enthusiastic curiosity and willingness discussion on movement 2009). Creative movement is a remark- as a method for to participate. The resulting lessons able way of teaching and learning cog- meaningful learning are interdisciplinary, cross curricular, nitive and affective skills and improv- in the classroom. She and involve students naturally. explores the language ing physical, mental, and social and of movement, provides emotional health. Cross curriculum Current research correlates arts educa- clear examples of its use lesson plans that incorporate move- through specific activities, tion to academic achievement and sup- and draws important ment are an excellent tool to assist ports the theory that cognitive and connections between students with relating and internalizing affective concepts taught through movement and social- the various subjects much more clear- movement activities are successfully emotional learning. ly. Because information that is abstract learned and retained (Deasy, 2002). and hard to follow can be made When students are stressed, feeling concrete in a student’s mind through overwhelmed or insecure, it is chal- movement, the outcome is filled lenging for them to learn, which some- with extensive learning experiences. times results in negative classroom Because movement is organic and behavior. Moving rhythmically rids the generated through self-discovery, each student of anxiety and relieves muscu- student can choose how they want to lar rigidity. Conversely, it increases move. The learning objective, how- energy and focus. Movement supports ever, can be very focused on anything emotional and cognitive understanding from the design of the solar system to because it forces students to open up

Joy Guarino is an assistant professor of dance at Buffalo State University and a member of United University Professions.

Educator’s Voice n Volume VII n Page 24 Building Community Joy Guarino, United University Professions with a Kinesthetic their minds through physical expres- settings. The following encounter was sion. By associating a movement to a my third visit with a group of students Movement Classroom concept, this type of learning experi- aged 12-18 with Down Syndrome: supports ence helps to bridge verbal and non- verbal communication to assure that The classroom was filled with bodies emotional new information will be retained in moving in different directions, tem- and cognitive long-term memory; therefore it is high- pos, and dynamics. I called, ly likely to be recalled. The individu- “Freeze.” Suddenly, the space was understanding al’s physiological change alters the motionless as students held a static because it forces classroom atmosphere. Students learn pose. I announced, “Pay attention how to convey their emotional feelings to your body shape...are your arms students to open through movement and cognitively and legs reaching or crossed? Are up their minds you standing up high or crouching learn how their self representation through physical affects others around them. As stu- low?” In previous visits, they intro- dents become comfortable in the duced themselves by pantomiming expression. group, they begin to feel secure their chores and recreation inter- enough to take risks. Moving together ests. We discussed how they felt creates strong personal connections about themselves and practiced cre- with a common purpose, opens com- ative movement options (see Figures munication, and encourages collabora- 1-3). On this day, I hoped to com- tion. Moving creatively with an bine their feelings with movements. awareness of self and others’ personal “Some of you mentioned that people space inspires mutual respect, caring, laugh because they don’t understand and community. The classroom cul- you. Show me in a body shape how ture then shifts creating a safe, welcom- that feels.” One boy sat on the floor ing environment that is more and faced the wall. The entire conducive to learning. group’s movements were low, slow, closed, and hidden. Then I encour- Movement in the classroom is univer- aged them to talk about what it feels sal and inclusive: it can open doors for like to be accepted. They shared students with diverse needs and abili- times of feeling loved and part of a ties, as well as students in traditional team. The resulting movement was

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A simple circle open, high, and much faster. and tactile lessons provide an implicit “Freeze and hold the shape,” I learning opportunity for critical think- dance brought called, “...and relax. Now, create a ing, analysis, organization, and prob- about a profound shape that shows me how you want lem solving, and can be in fact, much to feel.” They all formed high, open more reliable at helping students to sense of belonging. shapes. I continued, “Reach and retain knowledge than reading text- Working in groups physically connect a body part to books and memorizing facts alone fostered mutual someone near you.” The students (Reber, 1993). Through movement connected elbow to ankle, wrist to activities students have an immediate respect and knee. “Freeze and hold. I want you opportunity to experience, observe, cooperation. to carry this feeling with you. If examine, and reflect on decision mak- someone laughs, remember this ing by using body-based language to shape and know how much you activate the mind and body as an inte- appreciate yourself and each other.” grated whole. Students recognize more clearly the details of their physical and In any aspect of education, kinesthetic emotional responses to a situation. By and tactile lessons allow for first hand analyzing their movement choices, stu- experiential learning. Through dents become more open-minded, involvement in the program’s struc- respectful, tolerant, and accepting of tured activities, the students continued assessment. to express their feelings and expand their emotional range. It was a compel- Movement activities encourage proper ling moment that empowered every- alignment/posture, endurance, and one in the classroom. A simple circle balance. In addition, Eric Jensen dance brought about a profound sense (1998) suggests a correlation between of belonging. Working in groups fos- movement and emotions. Sensory tered mutual respect and cooperation. motor experiences provide a direct This was just one of many scenarios link from the cerebellum to the emo- where I’ve witnessed the transforming tional and pleasure centers in the power of creative movement. brain. Exercise has a direct positive effect on brain chemistry, raising levels of endorphins, adrenaline, serotonin, and dopamine. Consequently, stu- The Benefits of a Moving Classroom dents who show responsibility for the conditioning and care of their bodies Movement activities work well, in con- may have a positive attitude and ulti- junction with, and as a compliment to mately a healthier life style. The Blue traditional book learning. Kinesthetic

Educator’s Voice n Volume VII n Page 26 Print for Teaching and Learning in the Arts (2007) affirms as well that movement embedded in classroom learning enhances psychomotor devel- opment and physically develops self- control and refinement of gross motor skills. Students not only learn to recog- nize and trust their impulses, but to act on or contain them as they choose. It also suggests an understanding of the relationship between bodies and per- sonal space which guides students with suitable responses to a crowded room or inappropriate touch. As a form of self-expression, creative move- emotions, motivation, empathy, and ment is a release and a social tool that social skills. When children engage in primes the brain for new ideas (Jensen, movement individually they obtain a 2001). diverse movement vocabulary that assists with physical functions and When children are exploring through expands emotional responses to cer- their senses, they have an aesthetic tain situations. When people move in frame for expressing feeling — a posi- groups or in a classroom environment tive alternative to many destructive they achieve a new level and a new choices. Psychologist and author found maturity in social interactions Daniel Goleman (1995) popularized and with emotional expression. In the term “emotional intelligence” or both cases, children experience each EQ in his landmark-selling book, component of Goleman’s emotional Emotional Intelligence. Goleman intelligence, resulting in better organi- describes emotional intelligence as the zation and problem solving, recogniz- capacity of recognizing our own feel- ing options, developing coping skills, ings and the feelings of others for moti- increasing focus and concentration, vating ourselves and managing increased self-esteem and cultural liter- emotions in our own relationships. He acy, recognizing strengths, improving believes that EQ is developed by critical thinking and analytical skills, in acquiring skills through five dimen- addition to learning successful cooper- sions: self-awareness, managing ation and teamwork.

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Students who show From Pedagogy to Practice some of my reluctant risk takers were in there taking guesses and giving The Dance/Movement Education: responsibility for answers.” Another teacher observed, Emerging Theories project is the conditioning supported by the SUNY Research “At first it was hard for them to show and care of their Foundation Incentive grant. The goal emotion on cue. I even commented, and purpose of this research was to ‘Amazing how all day long you show bodies may have discover significant trends in move- your emotions but on cue you can’t.’” a positive attitude ment education. The teacher noted later students were able to recall behaviors and control and ultimately a Community partners from classroom their emotions. healthier life style. and after-school recreation settings in Buffalo were interviewed. Next, origi- The Tools to Create Comfort nal psychomotor, cognitive, and affec- or Teaching Tools tive skill building lesson plans specific The question surfaced — if learning to the needs of their underserved pop- cognitive and affective skills through ulations were designed. Cognitive and movement activities is successful and affective concepts taught through enjoyable why is it not more widely movement activities were successfully used as a means of instruction in the learned and retained. classroom? Every day movements form the basis for creating kinesthetic Classroom students had fun as they lessons. We move every day. By willingly used movement in a learning implementing movement in a mean- environment. In 15 minutes students ingful way, teachers can bring aesthet- understood the food chain through a ic, cultural, social, and historical values game of leap frog. The participating to the classroom. With an understand- teachers enjoyed observing the process ing of the basic tools, every teacher can and noted it was a meaningful activity design consequential lessons. for students. One teacher commented, Movement lessons can ultimately cre- “I was amazed at how quickly students ate comfort and persuade change by could learn new topics through kines- encouraging participants to consider thetic activities.” Teachers also basic motions by starting small. remarked on how the classroom com- munity demonstrated self-esteem, It is helpful to begin with the vocabu- empathy, and respect. “They seemed lary of movement. There are three fun- proud of what they did and more open damental ways of moving: to taking risks. After only two sessions

Educator’s Voice n Volume VII n Page 28 n Shape — an interrelated arrange- blind folded person to get into the Shaping ment of body parts of one person shape by using descriptive words. or group. It is very important not to use ges- Placing body parts ture to show or use touch to guide into different points n Axial — movements around ones’ the blind folded person. of the kinesphere own axis. Activity 2: Physical Telephone — this n High/Medium/Low n Locomotor — traveling move- activity incorporates gestures to ments that traverse a space. address the malice of gossip. By seeing n Closed/Open how small changes in the process affect n Symmetrical/ Each can be linked to cognitive and the final outcome, students develop Asymmetrical affective skills. By calling out correlat- personal responsibility and empathy. n Real/Abstract ed movement suggestions, teachers It also requires focus, absorbing infor- coach their students to simulate an mation quickly, and memory. Students academic or social concept. The fol- stand in a line facing the back of the lowing three examples offer sugges- person in front of them, as if waiting in tions for how to create movement that line. Axial best reflects the concepts so that ideas transfer to learning. n The last person in line, taps the Movement around person in front of them on the ones’ own axis Activity 1: The Director — this activi- shoulder. The student turns ty uses shaping to focus on clear com- around and is shown four gestures. n Gesture munication but can easily be used for addressing leadership, vocabulary, and n Without talking or repeating the n Stretch patience. All of these skills assist with gestures, he or she turns and taps n Twist developing healthy relationships. the next person in line and repeats n Curve Students are placed in groups of three. what he or she saw. This continues One student is the director, one the down the line. n Swing shape maker, and one the blind-folded n Drop person. n When the gestures reach the per- son at the front of the line, that per- n The blind-folded person stands son and the person who initiated with his or her back to the shape the gestures face the group and maker as to not see the shape. simultaneously perform. n The shape maker forms his or her Activity 3: Circles — this activity body into an interesting shape. entails moving around a concentric cir- cle pattern to discriminate different n The director must instruct the continued on following page

Educator’s Voice n Volume VII n Page 29 Building Community with a Kinesthetic Classroom

Choreographic Elements n The teacher asks one student to make eye contact with another Element Example Example Example student and gesture in an appropri- Space level direction spatial pattern ate way. Time tempo rhythm pause n This continues and the students Energy direct, strong, sustained, indirect light sudden adapt their movements and gestures accordingly. Laban’s Effort Actions Although the lessons are specific, they degrees of intimacy and is also excellent provide a framework of content and for learning about the solar system and strategies for lesson development and molecular structure. By understanding implementation. As always it is impor- the relationship between bodies, stu- tant to tailor the lesson based on the key dents come to respect personal space. concept being taught, the student popu- Students engage in a conversation on lation being addressed and the context the various relationships they have with of the specific learning environment. people in their lives. A pre-drawn con- centric circle pattern is used to represent social distance. Conclusion n The teacher calls out one relation- Kinesthetic learning can be applied as a ship (ex. friend) and asks the stu- method to help students develop affec- dents to move to what they believe tive and cognitive skills. It is research to be the appropriate circle. The stu- based and its purpose is extensive, dents apply locomotor movement encompassing psychomotor and social- that indicates the relationship. emotional concepts. Creative movement conveys to students the social and emo- n The student creates a shape that also tional attributes of self-awareness, social signifies the relationship. awareness, and self management that instill a deep connection to and under- n Another relationship title is called. standing of self, others, and community. The students move to the suitable Movement has the capacity to reach a circle and pose. diverse range of students and can be incorporated across the curriculum as an integral tool for learning.

Educator’s Voice n Volume VII n Page 30 References Goleman, D. (1995). Emotional intelligence. New York, NY: Bantam Books Deasy, R. (Ed.) (2002). Critical Links: Creative Learning in the arts and student academic Jensen, E. (1998). Teaching with the brain and social development. Washington, DC: in mind. Alexandria, VA: Association for movement Arts Education Partnership Supervision and Curriculum Development conveys to Knowles, M., Holton III, E., & Swanson, Jensen, E. (2001). Arts with the brain in R. (1998). The adult learner: The defini- mind. Alexandria, VA: Association for students the tive classic in adult education and human Supervision and Curriculum Development resource development. Houston, TX: Gulf social and The Office of Arts and Special Projects. Publishing. (2007). Blue print for teaching and learn- emotional Reber, A. (1993). Implicit learning and tacit ing in the arts: dance. New York, NY: knowledge. New York: Oxford University New York City Department of Education attributes of Press. Dunn, R. & Honigsfeld, A. (2009). self-awareness, Differentiating instruction for at-risk students: What to do and how to do it. social awareness, Lanham, MD: Rowan & Littlefield Publishing Group, Inc. and self management that instill a deep connection to and understanding of self, others, and community.

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