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Feelings experienced by university students in the subject of Body Expression
Abstract
Unlike the usual academic path in their training through theoretical subjects, in Body Expression students have the opportunity to have a meaningful and embodied experience The objective of this research was to analyse the representations that the Social Education degree students from the University of the Basque Country had on the subject Body and motor expressiveness: proposals, techniques and intervention strategies in Social Education. The experience of this course has provided students with greater self-confidence, overcoming initial insecurity, and has also generated a feeling of enjoyment that has led to significant learning, despite involving great effort and personal involvement.
... Interestingly, the integration of a 40-h "body and motor expressiveness" course, as part of a University degree, helped students overcome their initial insecurities resulting in greater self-confidence (Monge & Idoiaga, 2022). Similarly, following 60-hours of body expression classes focused on emotions, university students improved their perception of self. ...
... Whether it is movement improvisation, body expression, or creative dance, these activities promote the exploration of an infinite number of ways to express individualities through the body. While this breath of possibilities might be appealing to some, the freedom to explore combined with no prescribed outcome expectation might be perceived as ambiguous for others (Monge & Idoiaga, 2022). Tolerance to ambiguity (TA) refers to the individual's ability to handle ambiguity and their level of comfort with it, whether they find it aversive or attractive (McLain, 2009). ...
... For instance, in Creative Dance, participants might be asked to explore ways to express sadness through various body movements or to choreograph a movement sequence that reflects different intensity levels of happiness. The high emotional content of these activities open spaces for connecting with emotions at a mind-body level which may unlock various creative dimensions (Monge & Idoiaga, 2022). Namely, emotional creativity is defined as "a person's ability (a) to connect with the reasons for and consequences of the emotional responses at the preparation stage of the creative process (i.e., emotional preparedness) and (b) to experience and express novel, effective, and authentic emotions at the verification stage of the creative process (i.e., emotional novelty and emotional effectiveness/authenticity respectively)" (Soroa, Gorostiaga, Aritzeta, & Balluerka, 2015, p. 233). ...
Interest in nurturing individuals' creative potential is rising. Yet, the potential benefits of incorporating creative embodied activities have been neglected in both applied and research settings. To address this gap, this study examined the effects of a Creative Dance program on university students' creative self‐efficacy, emotional creativity, tolerance to ambiguity, and ideation behaviors. A total of 143 undergraduate students participated, either in the Creative Dance intervention or a sport‐based control group for 15 weeks. A mixed‐method approach using questionnaires and focus groups was adopted. Linear mixed effects models showed that engaging in Creative Dance had a significant effect on ideational behaviors and tolerance to ambiguity. Specifically, students in the intervention condition improved their ideational behaviors and remained stable in their tolerance to ambiguity compared to student in the control condition who remained stable and regressed on those variables respectively. Focus group results highlighted the social effects of the intervention, which help to contextualize the quantitative findings. This study underscores the importance of integrating creative embodied activities to foster individuals' creative potential while highlighting the need to develop comprehensive assessment tools to capture the dynamic interplay between individuals and their environment throughout this process.
Most educators overlook the importance of corporal expression, even though it has been shown to have various advantages for children of all ages. In the teaching–learning process, teacher views and beliefs are crucial because they have a significant impact on students. Therefore, the purpose of this research is to analyze the existing differences in the perceptions of future teachers towards corporal expression according to their gender and educational specialty. A total of 437 aspiring Spanish instructors participated in the sample, selected by the convenience sampling method, and answered the Questionnaire to Assess Perceptions of Corporal Expression in Future Spanish Teachers to gauge their understanding of and preparation for corporal expression via Google Forms. The Mann–Whitney U test was employed to evaluate the possible differences between the diverse items and factors according to gender and educational specialty. The results displayed good perceptions of corporal expression throughout the sample, finding significant differences in most items and all the dimensions when education specialty is considered. Nevertheless, gender variables did not seem to mediate those perceptions. Therefore, university degrees oriented to education must include the same amount of content related to corporal expression to ensure adequate initial training regardless of the stage of education at which the teachers develop their academic activity.
¿Qué es la expresión corporal? ¿para qué sirve el lenguaje del cuerpo? ¿qué metodología de enseñanza resulta más apropiada para trabajar contenidos expresivos? ¿cómo provocar un aprendizaje significativo a través de la utilización de una progresión lógica de actividades expresivas?. El presente trabajo se ha llevado a cabo con el propósito de tratar de dar respuesta a estos y otros interrogantes contribuyendo a la formación permanente y específica de los profesionales en materia de comunicación no verbal. Se trata de analizar la expresión corporal como una práctica de intervención que permite encontrar un lenguaje propio mediante el estudio y la profundización del empleo del cuerpo. Se parte de la hipótesis de que es fundamental que los profesionales vinculados a contextos educativos y recreativos descubran el potencial de la expresión corporal para el desarrollo integral de la persona. De esta forma, para utilizar la Expresión Corporal como herramienta formativa es imprescindible ser capaz de adaptar y/o combinar las diferentes actividades expresivas a las necesidades educativas y recreativas del grupo con el que trabaje.Palabra clave: Expresión Corporal. Lenguaje del cuerpo. Comunicación no verbal. Aprender haciendo. Actividades expresivas.Abstract: What is body language? What do you use body language? What teaching methodology is more appropriate to work expressive content? How do you teach significantly through the use of a logical progression of expressive activities?. In order to contribute to a specific training of professionals in nonverbal communication, the present review seeks to analyze the body language as a discipline that allows you to find a personal language through study and deepening the use of body . It starts from the assumption that it is essential that education and recreational professionals discover the potential of body language for the development of the individual. In this way, it will be able to develop their own sessions, adapting and/or combining various expressive activities to educational and recreational needs of their groups.Key words: Body Language. Non verbal communication. Learning by doing. Expressive activities.
Tras recordar el carácter social de la música y la necesidad de incorporar el aprendizaje entre iguales en el repertorio metodológico de la enseñanza formal de la música, el artículo plantea la diferencia entre grupo y equipo, las condiciones necesarias para la cooperación y los diferentes escenarios del aprendizaje entre iguales (aprendizaje colaborativo, cooperativo y tutoría entre iguales), y ofrece ejemplos de prácticas para cada uno de ellos.
El propósito del estudio fue indagar sobre los efectos psicológicos de la expresión corporal en estudiantes de la Universidad de Costa Rica. Se trabajó con 35 jóvenes de dos grupos: 17 de taller de teatro y 18 de apreciación de teatro. Su promedio de edad: hombres 18,78 ± 1,42 y mujeres 18,52 ± 1,91 años. Los sujetos de taller realizaron ocho sesiones de expresión corporal de dos horas, una vez por semana por ocho semanas. Los sujetos de apreciación recibieron ocho clases magistrales sobre teatro, de dos horas, una vez por semana por ocho semanas. Las mediciones del estado de ánimo se realizaron por medio del perfil de estados de ánimo (P.O.M.S.) pre y post de la primera, la cuarta y octava sesión. Las mediciones del autoconcepto general se realizaron previo al inicio de la primera sesión (Pre), al final de la cuarta sesión (Test), y al final de la octava sesión (Post-test). Como resultados se encontraron mejoras significativas en los estados de ánimo de tensión y vigor, así como en la variable de inhibición-empatía-desconfianza. Se concluye que la expresión corporal puede influir positivamente sobre estados de ánimo y el autoconcepto de estudiantes de nivel universitario, durante su primer ciclo en la Universidad.
Physical education teachers enjoy the special privilege of guiding children to discover unique ways for expressing and communicating ideas, attitudes, thoughts, and emotions through movement. Creative dance lets children explore movement possibilities limited only by one's imagination. Individually and collectively, creative dance encourages students to create, interpret, and apply multiple responses to movement questions posed by the teacher. In this article, the author states that it is vital that physical education teachers provide students with a variety of movement opportunities that exercise and bring expression to one's whole being. He states that an effective method for engaging intermediate grade students in initial creative dance lessons is to introduce themes related to their interests and experiences. Physical educators with limited dance background can easily capitalize on movement ideas presented in contexts of individual and team sports. Combining sport themes with dance is one of many ways of having students think and move creatively. Sport provides a common and familiar starting point for children and can be used as a means of teaching the basic elements of dance. Connecting dance with sport and play provides students with a deeper appreciation and enjoyment of movement.
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