Mike Rose, author of "The Mind at Work," extols both the wholesome, pragmatic qualities of handcraft and the implicit intellectual skills required of its practitioners. His recent article, "Rethinking Remedial Education and the Academic-Vocational Divide," is titled with a call to action; in these few words alone, Rose problematizes the polar…

This paper offers a way of rethinking Howard Gardner's theory of Multiple Intelligences. The bodily-kinesthetic intelligence is used as the point of critique. The author provides a detailed discussion of the act of dancing as counterpoint to Gardner's understanding of the intelligence. The author critiques Gardner's exemplar and evolutionary…

Discusses the senses as being more than just the usual five senses, but sensory systems. Explains technical details of the operation of each system. Defines kinesthesia as a sensory system also, and its responsibility for movement and instinctive knowledge of movement in space/time. Relates how children learn kinesthetically by using examples such…

Developments within education, psychology and the neurosciences have shed a great deal of light on how we learn while, at the same time, confirming for us all that learning is a profoundly complex process and far from understood. Against this background, and in this position article, we consider the recent rise in interest in the concept of…

A personal essay on age, touch, emotional closeness, and the fear of death in the context of student-teacher interactions and aesthetic education. (SJL)

A brief overview and synthesis of current knowledge on the development of nonverbal communication in young children is presented, and implications for teacher-child interactions during the early school years are suggested. (JD)

This article calls on dance instructors to teach efficient, kinesiologically sound techniques in dance movement that will not injure students and that allow for the proper use of muscles and joints. (JMF)

Motion media refers to film, television, and other forms of kinesthetic media including computerized multimedia technologies and virtual reality. Imagery reproduced by motion media carries a multisensory amalgamation of mental experiences. The blending of these experiences phenomenologically intersects with the reality and perception of words,…

Rip Van Winkle would not recognize Corsicana (Texas) High School since its curriculum coordinator began implementing learning styles techniques in various pilot programs. Lecturing to rows of bored students has been replaced by students' active involvement in group activities, listening centers, and tactile/kinesthetic exercises on the floor or at…

A teacher reports on helpful advice she received from a colleague when she started teaching: to teach students in the cognitive mode in which they learn best (auditory, visual, kinesthetic, or tactile). (TE)

Describes the four types of learning modalities (kinesthetic, tactual, auditory, and visual) and provides suggestions for adapting teaching styles. (SK)

This feature examines the diverse nature of imagery, how images work, and the use of imagery--in creative dance for children, to enhance alignment, and as a therapeutic device. Also explored are creative visualization and research tools for observing and categorizing the use of images by dance teachers. (IAH)

Explores kinesthetic and musical intelligences. Emphasizes the importance of understanding the physical reality of the body and sensory receptors as well as the dimensions of feeling and expression. Summarizes Tomatis's interpretation of the auditory and vestibular functions of the ear. Conveys the community and spiritual values of music, dance,…

Asserts that meaning is inherent in physical activity and does not have to be constructed. Suggests that some students will not easily discover the meaning inherent, but should be challenged to connect meaning to broader life experiences. (Contains 24 references.) (NB)

Dance educators must define the concepts that distinguish dance from other disciplines and other forms of movement. Dance makes use of space, time, and force to become a distinctive art form involving kinesthetic perception and emotional self-expression, as well as motor skill development. (PP)