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International Journal of Education & the Arts
http://www.ijea.org/
ISSN: 1529-8094
Volume 25 Number 20
October 16, 2024
Body as Classroom: Movement-based Performing Arts as an Approach to
Embodied Transformative Learning in a Secondary School Classroom
Nicoletta Cappello
University of the Arts Helsinki, Finland
Eeva Anttila
University of the Arts Helsinki, Finland
Dolors Cañabate
University of Girona, Spain
Citation: Cappello, N., Anttila, E., & Cañabate, D (2024). Body as classroom:
Movement-based performing arts as an approach to embodied transformative
learning in a secondary school classroom. International Journal of Education & the
Arts, 24(20). http://doi.org/10.26209/ijea25n20
Abstract
The present article explores how movement-based performing arts lessons focusing
on bodily imagination may expand secondary school pupils’ learning experiences.
The study centers on the learning experiences and emotions of 28 participants
described through art-based action research and the lens of interpretive inquiry. The
results of an open thematic analysis illuminate a process where initial resistance
towards physical and expressive activities gradually eased and led to changes in
pupils’ views on how creative movement and learning might be connected. The
authors interpret that movement-based performing arts focusing on bodily
imagination may enhance embodied experiences and emotional engagement that
support transformative learning in school contexts. The authors conclude that to
develop school cultures that work towards sustainable futures, pedagogical
approaches based on embodied transformative learning are needed, of which
movement-based performing arts lessons are one potential approach.
IJEA Vol. 25 No. 20 - http://www.ijea.org/v25n20/ 2
Introduction
This research is motivated by the need to imagine sustainable futures (La Casa Encendida,
2022) and to be co-creators of it (Haraway, 2016). General education, as a potential site for
social transformation, must foster imagination in order to prepare students to envision and
shape just realities and transform society (Haiven & Khasnabish, 2010, 2014). Both creativity
and imagination have an embodied dimension, and movement-based performing arts, which
are grounded in physical perception as the foundation of creativity (Zarrilli, 2002, 2020), offer
a suitable basis for their education. Globally, the general education system is still largely
organized according to the supremacy of the mind over the body (Macrine & Fugate, 2021;
Macrine & Fugate, 2022; Marshall, 2007). Based on the Cartesian principle, the body remains
erased from education in what Spatz (2015) describes as a curriculum of “stillness and sitting”
(p. 105). On the other hand, physical education may not embrace creativity and imagination
and may neglect the broader framework of embodied technique (Spatz, 2015), which refers to
physical practice as a field of knowledge in its own right. Embodied and movement-based
performing arts practices, as a field of creative embodied knowledge, have the potential to
update logocentric educational systems and involve students as co-creators of more just and
sustainable futures. However, movement-based performing arts are excluded from the general
education core curriculum in most European countries, including Spain; therefore, the
potential of movement-based performing arts to expand physical education toward creativity
and imagination remains untapped on a large scale.
The fact that movement-based arts are excluded from the core curriculum conflicts with
Target 4.7 of the UN 2030 Agenda for Sustainable Development: “Education for sustainable
development and global citizenship.” In an effort to achieve quality education, the European
Union (EU) has given a central role to creativity as a transversal skill in the EU Framework
for Key Competences (The Council of the European Union, 2018) in a recent Joint Research
Center of European Commission research (Venckute et al., 2020) and in Programme for
International Student Assessment of 2022 (OECD, 2019). However, EU legislation gives little
attention to embodiment, embodied learning, and creativity. Further, the connection between
theory and classroom application of embodied learning still shows significant points of
distance (Macrine & Fugate, 2022; Nathan, 2022), and the embodied dimension of creativity
has remained a tangential thread in educational practice and research (Griffith, 2021).
In the following section, we will present this study’s theoretical framework, which comprises
various perspectives related to kinaesthetic imagination, embodied learning, and
transformative learning (Anttila, 2015, 2018; Garre, 2003; Macrine & Fugate, 2022; Mälkki,
2011; Sheets-Johnstone, 2011, 2018; Zarrilli, 2002, 2020). We will then discuss the classroom
intervention based on the first author’s specific practical knowledge of movement-based
performing arts, a transversal area of the performing arts, cutting across acting, dance, and
Cappello et al.: Body as Classroom 3
performance that relies on “physically perceptive sensibility” (Zarrilli, 2002, p. 167) that can
be the primary tool and material for creation, performing technique, and pedagogy. Rather
than focusing on repertoire, movement-based performing arts are based on devising methods
for generating creative materials through movement improvisation and exploration (Barba,
1995; Heddon & Milling, 2006; Keefe & Murray, 2007). The emphasis here is on techniques
that focus on imagination as a bodily/kinaesthetic phenomenon as the keystone of performing,
learning, and composing movement. This approach employs techniques from some of the
most relevant performance pedagogues of the 20th century: Philip Zarrilli, Rudolf von Laban,
Jacques Lecoq, and Michael Chekhov.
Theoretical Framework
Kinaesthetic Imagination
The most important practical and conceptual nourishment to the idea of kinaesthetic
imagination presented in this article comes through the classes that the first author received
during her bachelor studies in acting in physical theatre at RESAD Madrid. The most
significant influences came from: Helena Ferrari, who taught as a direct alumnus of the
Schinca method for expressive movement descending from Laban’s; from Mar Navarro, a
direct disciple of Jacques Lecoq and her teachings; and mainly from the teachings of Prof. Dr.
Sol Garre (a direct student of Philip Zarrilli) who teaches his technique in combination with
Chekhov’s. Drawing from the first author’s experiences in Garre’s classes
1
, imagination is
approached, as he frequently said, as a “kinaesthetic response to a stimulus,” consisting of a
dynamic combination of embodied sensations, emotions, images, and physical movement that
tends to expand daily body habits. Imagination is built through bodily presence, the horizontal
union of body and mind through complex psychophysical tensions. Imagination arises inside
movement, and it emerges through cultivating sensitivity to qualitative aspects of movement
(Sheets-Johnstone, 2018), promoting a creative interaction between kinaesthesia and
perception, leading to the elaboration of a personal and creative relationship to physical
movement (Garre, 2003), that can express individual and collective imaginaries. Beyond the
Cartesian dualisms that attempt to reduce the imagination to visualization, Zarrilli (2020)
considers that performer’s imagining is a “processes of attending to, becoming aware of,
opening perceptually toward, and being affected by […] verbal prompts” carrying a sensorial
stimulus, and of “allowing herself to be moved internally, externally, sensorially, and
affectively by each verbal prompt” (p. 224). In the field of movement-based performing arts,
imagination is conceived as an embodied process that emphasizes kinaesthetic sensations as
both creative material and tool. Imagination than a visual result, is “a process of formation,
1
Sol Garre “Acting Systems Course” Physical Theatre, (Madrid, Resad, 2015), Studio Training.
IJEA Vol. 25 No. 20 - http://www.ijea.org/v25n20/ 4
generation, enactment, or transformation per se” (p. 219) that happens through self-
movement. Imagining is vibrating with the whole body at the same frequency as the imagined
object to embody its movement patterns (Zarrilli, 2020). The contribution of one of the most
influential dance pedagogues of the 20th century, Rudolf Laban, provides many operative
cues for applying movement as a method for developing imagination and experiencing a
creative dimension of movement. Laban (2011) approaches gesture––intended as movement
charged with emotion and intention––as a catalyst for imagination. Michael Chekhov (2015),
the eminent Russian acting pedagogue, considers imagination the foundation of individual
creativity and skill, with an inherent logic that can be apprehended through movement
exploration. Imagination facilitates the connection of body and mind and thus permits the
mobilization of the full creative energies of the performer (Garre, 2003). Imagination for
Chekhov intersects with the personal worldview underlying one’s imaginaries and ethical
discernment. For Jacques Lecoq (2022), the famous French theatre pedagogue, movement,
through the display of imagination, supports an intuitive understanding of the dynamic forces
and spiritual qualities of nature, humans, and objects, and it provides a key tool for embodied
analysis of reality (Anttila, 2018).
According to Johnson (1987), a fundamental function of abstract thinking and meaning-
making happens by means of embodied image schemata rooted in gestural interaction with the
environment. Imagination, according to the feminist writer Lennon (2015), is not a synonym
for illusion as opposed to reality; however, it contributes to understanding and building reality
because it is constitutive of perception in a relationship of mutual influence that is rooted in
bodily experience. As Noë (2004) has shown, perception is essentially tied to physical action
and movement because it builds upon sensory-motor knowledge that enables it and structures
its contents, determining the very way we perceive, as well as what we perceive. On the other
side, Rucińska and Gallagher (2021) observe that physical movement operates as a constraint
on imagination, increasing the imagination’s epistemic value. New movements might add new
information to pre-existent perceptual sensory-motor knowledge and change perception. As
Anttila (2018) proposes, “reality and imagination may intertwine [in complex meaning
making] in these creative processes” (para. 5), and so may happen in knowing and learning
through moving.
Embodied Learning
From the perspective of cognitive sciences (see Macrine & Fugate, 2022), the notion of
embodied cognition considers the body as a central aspect in the making of cognition beyond
the brain. Sensorimotor activity and emotions are cognitive materials essential to the
formation of consciousness, knowledge, and sense of self. In resonance with the view of
embodied learning, 4E cognition approaches cognition as not only embodied but also
embedded within a situation, extended beyond the individual through absorbed cultural
Cappello et al.: Body as Classroom 5
practices and enacted inside a dynamic system by a self-producing and adaptive body
(Macrine & Fugate 2022). As Macrine and Fugate (2022) explain: “the embodied learning
paradigm suggests that actions, emotions, sensations, and environment can influence what is
learned” (p. 3). Embodied learning can be generally described as a learning theory in which
learners are entirely––through body and mind––immersed and interconnected with their social
and physical environment (Anttila & Svendler Nielsen, 2019). Embodied learning provokes
“changes in bodily states,” including sensations, emotions, and images, that are the “‘raw
material’” of both artistic creation and the learning process (Anttila, 2015, para. 6) and can be
“understood as ‘partners’ in learning processes” (Jusslin et al., 2022, p. 2–3). The actions that
convey learning affect the “pre-reflective level,” facilitating connections between different
levels of consciousness, pre-reflective and reflecting: “What is non-symbolic in origin
generates symbolic representations” by linking physical experiences to cultural meanings
(Anttila, 2015, para. 6). Philosopher and dancer Sheets-Johnstone (1999) argues that emotions
have an ineliminable kinaesthetic dimension for both human and non-human animate beings:
“Movement and emotion proceed hand in hand” (p. 262), movement is affective, and emotion
is a kinaesthetic phenomenon. In addition, as Anttila (2015) suggests, the connection between
physical movement and emotions might foster emotional attention, clarity of feelings, and
emotional repair (Anttila et al., 2019; Cañabate et al., 2020).
Sadly, as Anttila (2015) observes, in most educational contexts, “learners are too often
encouraged to suppress feelings, imagination, and sensations as something that is not useful
for success and academic achievement,” and further, “the educational climate that sets the
tone for learning often seems to work in the opposite direction” (para. 7) to connecting with
emotions, including in learning activities centered on movement. In the school system, the
implicit principle is to consider knowing as a disembodied activity, the body as an inert object
incapable of thinking, and movement as an automatic and feelingless action with no knowing
value (Sheets-Johnstone, 2011; Spatz, 2015). In opposition to this Cartesian vision, Sheets-
Johnstone (2011) has asserted the primacy of movement and the body in knowledge
generation, building upon Husserl’s natural progression from “‘I move’ to ‘I do,’ to ‘I can
do’” (p. 199). Therefore, knowledge (“I can”), including abstract thinking, emerges from
movement: “Primal animation is the bedrock of learning to move oneself,
and learning to move oneself is the foundation of perceiving the world” (p. 212). Sheets-
Johnstone (2011) suggests that Western culture might need to re-learn how “to move oneself”
(p. 212) through aware and non-habitual self-movement to rediscover spontaneity and agency
in movement and the role of moving in knowing. Learning to move oneself is both learning
about oneself and others through expressing one’s inner world through movement and reading
emotions, images, and sensations behind others’ movement (Anttila, 2015). Embodied
learning is often unpredictable and non-representational (Fenwick, 2015). Another critical
aspect of embodied learning is performativity (Anttila, 2018), a phenomenon regarding bodily
IJEA Vol. 25 No. 20 - http://www.ijea.org/v25n20/ 6
gestures that intertwine art and everyday life, impacting reality by reproducing it or
transforming it through practice and opening spaces for freedom and possibilities (Anttila et
al., 2019).
Bersalou (2020) invites scholars to embrace a more expansive concept of embodiment and to
go beyond the connection between embodiment and actual visible movement. Bersalou
considers only visible movement to be actual movement, and he does not evaluate actual
movement as crucial for entering the embodied dimension of actions, events, and situations.
Far from trying to contradict Bersalou’s suggestion on a theoretical level, we propose the
opposite strategy from an art-pedagogical perspective: to adopt a wider concept of actual
movement for framing a learning experience as embodied. This wider concept of actual
movement proposed here is creative movement as it conveys kinaesthetic imagination, which
ranges from invisible/visible movement, outer/inner movement, and external/internal
movement as three poles of a movement continuum. Manifesting through the displacement of
energy/breath (Yuasa, 1980; Zarrilli, 2020), inner movement and stillness can also be included
in the range of actual physical movement, lying on the “invisible” side of the invisible/visible
movement polarity. As Anttila (2015) suggests, “a felt-sense of the body can be heightened
through movement, through practicing different ways of paying attention to personal and
others’ experiences” (para. 11). Creative movement, by supporting kinaesthetic imagination,
may help to track, localize, and foster subtle changes in our bodily states––images, emotions,
and sensations––by enlivening the memories stored in sensory-motor circuits and intensifying
the experience of the tactile-affective-kinaesthetic elements of movement (Anttila, 2015;
Sheets-Johnstone, 2018). Creative movement, as presented in this article, might serve as an
educational tool to facilitate on an operative-practical level the application of theoretical
knowledge about embodied learning in the classroom in connection to creativity.
Transformative Learning
A crucial role of emotions in cognition and reflection is recognized by Mälkki (2011), who
sheds light on embodied aspects of transformative learning in her relevant theorization. By
connecting the theories of Mezirow (1978, 2000) and Damasio (1994, 1999, 2003, 2019),
Mälkki suggests that consciousness follows the body in the pursuit of survival, being oriented
by emotions to preserve the continuity of meaning-systems as an analogy of biological
systems. In the same way, unpleasant emotions arise and are avoided by the body in situations
that threaten body integrity, and unpleasant emotions arise and are avoided by consciousness
in situations that threaten the meaning structures in use. An interpreting person tends to resist
reflection by maintaining their consciousness and emotions in the “comfort zone” (Mälkki,
2011, p. 30), following the pleasant feeling of making meaning within the assumptions in use
without needing to change them. The interpreting person consequently avoids the edge-
emotions, those unpleasant emotions that arise when one is unable to understand a situation
Cappello et al.: Body as Classroom 7
within the meaning structures in use, and thus feels challenged. The person typically reaffirms
older assumptions, adapting them improperly to the new context or attaching edge-emotion to
an external factor other than one’s assumptions. During reflection, defined as the process of
becoming aware of feelings, thoughts, and actions and questioning the assumptions
underlying our consciousness, edge-emotions have a central role. When a person faces a
crisis, she might perceive her assumptions as problematic in reading a new reality, but the
unpleasant emotions arising from the perception of the problem might as well mask the faulty
assumption and prevent her from reflecting. On the other hand, edge-emotions might be the
only entry point to reflection through recognizing unpleasant emotions as partially generated
by problematic assumptions. When the unpleasant emotions are acknowledged in relation to
the meaning system’s insufficiency for making sense of contextual reality, and as a part of the
overall unpleasant feeling in a given situation, the interpreting person might wish to start a
reflection process to review their meaning system towards relieving one’s emotions.
Research Questions, Aim of the Research, and Methodology
The present article aims to analyze the participants’ learning experiences and emotions and
explore the kinds of learning elicited through movement-based performing arts lessons that
focus on bodily imagination. The research questions are the following:
• RQ1: What kinds of experiences and emotions do the students describe in the context
of movement-based performing arts classes that focus on kinaesthetic imagination?
• RQ2: What kinds of learning might movement-based performing arts classes that
focus on kinaesthetic imagination elicit/enhance?
Participants and the Context of the Study
The research participants were 28 adolescents of different genders aged between 14 and 15
years old who were attending the third year of middle school (III de la ESO) in a peripheral
neighborhood of Orcasitas in Madrid. The intervention relied on the optional school subject of
“theatre” that hosted the art educator and researcher and the first author of this article, to
implement a “class project” not tied to improving any curricular content but aimed at
addressing an emerging need––as identified by the teachers responsible for the theatre
classes––of educating pupils to express their emotions. The “theatre” subject was taught for
two hours per week as part of the annual curriculum. When the class project began in
February 2023, the pupils had only completed the first semester of the theatre course and were
at a beginner’s level in the performing arts. Additional hours were allocated for the class
project by borrowing time from physical education and Spanish language classes.
IJEA Vol. 25 No. 20 - http://www.ijea.org/v25n20/ 8
Research Methods
An exploratory approach was used for arts-based action research (Coghlan & Brydon-Miller,
2014) through an art educational workshop based on embodied methods and activities in a
secondary school classroom. Coupled with action research, artistic processes aim to improve a
situation and follow the logic of planning-implementation-reflection cycles for re-orienting
the processes towards the goals while the research is ongoing as opposed to after its
completion.
The research instruments were of two kinds: pupil journal responses based on an open
questionnaire and a final focus group. The questionnaire, completed by the students during the
last five minutes of each class throughout the project, aimed to provoke participation in the
research and gather data about students’ experiences and emotions about the learning process.
It was built by highlighting a technical foundation of movement-based performing arts, i.e.,
the mutual interdependence between three layers:
• movement vocabulary (Ferrari, 2015) that relates to different movement patterns,
techniques, and protocols;
• bodily resonances (Ferrari, 2015)––made out of sensations, emotions, and images
(Laban, 2011)––as kinaesthetic responses to a stimulus; and
• embodied reflection about the learning happening through the connections between the
first two layers. Learning here is intended in a broad sense beyond the technical and
artistic outcomes, including unpredictable outcomes (Fenwick, 2015).
The questionnaire included three open questions that built upon one another and put the three
layers in a relationship:
1. “What did I do with my body today?” aimed at provoking reflection on movement
experience and cultivating kinaesthetic awareness.
2. “What did I feel and imagine while moving?” is aimed at reflecting on the
experience of both the imaginative and affective dimensions of self-movement and
connecting pre-reflective to the reflective level.
3. “What did I learn with my body today?” aimed at eliciting pupils’ perspectives on
the experiences of embodied activities and learning.
Although these three layers (movement vocabulary, bodily resonances, and embodied
reflection) and questions occur simultaneously during performing practice, inside the
instrument, the questions are presented in a progressive order to encourage students to engage
in meta-reflection, considering how each layer contributes to the overall learning experience
in movement-based performing arts.
Cappello et al.: Body as Classroom 9
Procedures
The workshop consisted of approximately 20 hours of lessons over seven weeks between
February and March 2023, with two weekly encounters: one lasting two hours and the other
lasting one hour, totaling three hours per week. The workshop content included selected
movement-based performing arts techniques applied to devising a performance on the topic of
“emotions,” which was performed by the participants for an audience of approximately 30
schoolmates. The creative material of the performance was generated by the bodily responses
of the performer to the topic of “emotions,” valuing their embodied knowledge––“what they
know”––based on their experience, as opposed to “what is known” (Barba, 1995) about
emotions. The body’s point of view is typically silenced as a source of knowledge in culture
and education: addressing the body’s point of view means building knowledge upon personal
experiences and giving voice to a highly personal perspective about a given topic that might
add deeper insights beyond, behind and aside what one has learned about the same topic
through verbal language, which often reflects culturally hegemonic views (Cappello 2018).
The devising process relied upon non-representational embodied activities based on
“movement tasks” adopting verbal cues rather than on “practising a set teacher- initiated
movement” (Tinning, 2010, p. 54) in order to encourage personal exploration of the topic
through kinaesthetic imagination.
Each class consisted of three parts: warm-up, creative movement exploration and
composition, and reflection, as outlined in the table below.
Table 1
Body as Classroom: Table of Activities
Phase
Name
Content
Aim
Part 1: Warm Up
“Walking/Stopping”
The class was split into two
groups: audience and performers.
Performers walked while three
stood still. An individual and
group balance had to be reached
between staying still and walking.
Introduce the kinesthetic
aspects of attention,
interaction, and attitude of
bodily responsiveness to
each other’s actions.
“The ball”
Pupils made a circle and had to
launch a tennis ball at each other
to find a sensation of flow by
searching for a common rhythm.
“Finger contact”
In couples, pupils maintain bodily
contact through their fingers and
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Phase
Name
Content
Aim
move together through the room.
First, one partner leads explicitly.
Then, the other partner leads.
Finally, both move together,
leading simultaneously without
making it obvious who is
directing the movement.
Part 2: Creative
Movement
Exploration and
Composition
“Imaginary ball”
In a circle, participants launched
and caught an imaginary ball.
With each new launch,
participants had the possibility to
transform the ball’s physical
features
Introduce the
interconnection between
physical features and
movement patterns in
objects.
“Gestures for
colors”
Pupils responded with abstract
gestures to the name of colors.
Introduce the kinesthetic
aspect of perception in
different sensorial fields
(such as vision) and
explore personal
kinesthetic imagery related
to colors.
“Happiness statue”
Each pupil made a statue with
their body to represent their
happiest moment.
Introduce the impact of
physical movement on
memory and emotion.
“You don’t get up”
In couples, one person (A) lay on
the floor while their partner (B)
stood nearby in any position they
chose. A’s aim was to stand up.
Each time A tried to stand up, B
could touch any part of A’s body,
causing A to return to the floor.
Once A successfully stood, the
couple switched roles.
Introduce how the feelings
of power and
disempowerment in
relationships intersect with
movement.
“Photocall”
Embodying different postures, the
class built a photo of different
places, such as the beach, the
classroom, a basketball match,
etc. They added a sound and a
Introduce the experience of
kinesthetic reaction to
spaces and places.
Cappello et al.: Body as Classroom 11
Phase
Name
Content
Aim
movement to bring the photo to
life.
“The bottle”
With eyes closed, a person
searched for a bottle in the room
while the rest of the group made a
circle around the person, looking
after them and supporting them by
sending them an energy of
focused attention.
Introduce the experience of
the influence of intuition
and imagination on
movement and the other
way around, the influence
of movement on intuition
and imagination
“The knot”
A performer had to sit in a chair
in front of the audience and
attempt to untie an impossible
knot without breaking eye contact
with them throughout the
performance.
Introduce the impact of
emotion on doing a task
and explore frustration as a
part of the devising process
and as a legitimate
response to the treated
topic.
“Scale of feelings”
Four participants stood on one
side of the room, facing the
audience, each assigned a specific
emotion (such as “jealousy,”
“love,” “disgust,” etc.). As they
walked toward the audience, they
gradually intensified their
expression of emotion with each
step, progressing from level 1 to
level 10 in both emotional
intensity and physical
involvement.
Introduce the experience of
the interplays between
emotions and imagination,
as well as intra-corporeal
and extra-corporeal
movement.
“Gestures for
actions”
Pupils responded freely with a
gesture to each of the following
actions and words: “hitting,”
“being hit,” “staggering,” and
“falling.” They played with
different levels of intensity,
abstraction, and orientation to
corporeal space while improvising
a short speech about what they
had for breakfast.
Introduce an experience of
the interplays between
action, emotions, and
imagination, as well as
intra-corporeal and extra-
corporeal movement. Offer
tools for intuitive
embodied analysis of
movement.
IJEA Vol. 25 No. 20 - http://www.ijea.org/v25n20/ 12
Phase
Name
Content
Aim
“The object”
Participants brought an object that
symbolized “friendship,” and they
embodied it, performing a chosen
change of state (e.g., from solid to
liquid, from liquid to air, etc.).
Introduce the experience of
the influence of physical
movement on imagination
through empathy.
Part 3:
Reflection
Verbal reflection at
the end of each
activity.
At the end of each activity, pupils
shared their experiences verbally.
Providing tools for
reflecting on embodiment
and creating dramaturgical
links between the
approached topic
(emotions) and the
performers’ experience,
both on a pre-reflective and
reflective level,
highlighting a concrete
perspective underlying the
devising process.
Ethical Considerations
The research process was carried out with the previous authorization of the teachers and
students involved, who were informed about the study’s objectives and the conditions of
participation, ensuring anonymity (students wrote through pseudonyms).
Analysis and Results
The data were treated through an open––not theory-driven––thematic analysis and the lens of
interpretive inquiry (Díaz-Barriga & Domínguez Castillo, 2017). Student diaries and focus
group responses were transcribed into a total of 17 pages. Recurring topics were sought and
grouped into three themes according to the research questions. We looked first at emotions
and experiences in RQ1, and then, through that analysis, we proceeded toward RQ2, focusing
on what forms of learning took place. Thus, what the pupils reported as “results” or contents
of their learning was not relevant here. Initially, we identified three topics in the students’
responses:
• strange, weird, and new movements (from now on, the strange) referred to the
movement experiences students had;
• emotions, feelings, and sensations (from now on, the emotive), focused on what
students felt in reaction to moving in certain ways; and
Cappello et al.: Body as Classroom 13
• creativity, imagination, and expression (from now on, the imaginative) included
responses by students related to both learning and experiencing such topics through
movement.
Next, we started looking for themes to find deeper meanings that the pupils’ responses might
generate. The themes were found by combining or clustering topics in different ways and
considering possible mutual interactions between them. Through this process, three themes
emerged.
The first theme, Stepping Towards the Unknown, emerged by combining the topic of the
strange with the emotive, and it showed how pupils, who, at first, resisted because of
unpleasant feelings, little by little gained the courage to try new and strange movements
leading to a change in their habits of mind. By combining the emotive with the imaginative,
another theme emerged: Towards Holistic Engagement. This theme illuminated how
encountering emotions through creative movement leads pupils to become actively and more
fully engaged in embodied activities. The third theme, Towards Embodied Agency, combined
the strange with the imaginative and pointed at how expanding pupils’ movement repertoire
could support breaking both habits of movement and mind and encourage the pupils to further
explore their expressive potential. This, again, may lead to increased spontaneity, creativity,
and embodied agency. We will closely examine each theme, providing short examples of data
collected under the included topics.
Transformative learning was not initially part of the theoretical framework; we integrated it
because the data analysis suggested that it might be essential in analyzing and interpreting the
results.
Theme One: Stepping Towards the Unknown
As discussed above, we arrived at this theme by looking at the topics of the strange and the
emotive. We interpreted these topics as an entry point to an explorative dimension of
movement. Instructions encouraged a personal movement response from students to a creative
task (Tinning, 2010), and they implied a vision of movement that was inquiry-based and
challenged the dominant representative and naturalistic idea of movement. Students labeled
the creative movement as weird, as expressed by the following student: “When we did
something while standing [bodily statues and photos of activities done in places], it was
weird, as it was new for me.” This sentiment potentially emerged because it was a new
experience with an approach that remains marginal to physical education as taught in schools.
Creative movement explorations generated different emotions and feelings among students.
As resistance towards the reviewing of one’s assumptions against the dilemma of considering
IJEA Vol. 25 No. 20 - http://www.ijea.org/v25n20/ 14
movement as an epistemic field in its own right (Spatz, 2015), in the beginning, “edge-
emotions” (Mälkki, 2011, p. 31) were prevalent, as evidenced in the following two pupil
responses: “We played the fool. [I felt] boredom and I know that it [the activity] is not useful
for me. [I felt] despair for losing classes that I like” and “I felt a lot of embarrassment and a
lot of boredom.”
Gradually, curiosity about movement exploration aroused, promising a relief from unpleasant
emotions: “When a peer had to guide me with his finger, I felt curiosity but also
embarrassment, at the same time, because it was new for me.” Edge-emotions such as
embarrassment decreased, and pupils looked at movement exploration more as an attractive
dimension that gave rise to more positive feelings, as evidenced in the following two
participant quotations: “I felt calmness, [emotional] wellbeing, and I didn’t feel
embarrassment when doing those things. [I felt] very happy and feeling [emotional]
wellbeing,” and “[while performing], I felt good and with a little shame.”
This theme shows how, through the classes, students passed from masking crisis beyond edge-
emotions and from reaffirming their set of meanings to stepping outside their comfort zone.
Through curiosity instilled by the kind of movement practice based on open and inquiry-based
instructions and encouraging them to step towards the unknown, pupils accepted all of their
feelings as a phenomenon tied to learning and moving. Students embraced the exploration of
both movement and its emotional aspects in learning, and this led to a gradual dissolution of
uncomfortable feelings towards the enjoyment of the embodied dimension of both learning
and moving, bringing emotions of fulfillment (Anttila et al., 2019; Cañabate et al., 2020).
Theme Two: Towards Holistic Engagement
In turn, combining the topic of the emotive with the imaginative points to how the classes
challenged a disembodied conception of both movement and feelings. When the body is
commonly conceived as a machine, emotions are not considered an element of movement
(Sheets-Johnstone, 2019). As a pupil said, “performing an emotion” and moving while feeling
is something pupils “do not normally do.” Further, the pupil described:
I felt strange, for example, because it [creative movement] is something that is out of
the normality to do that. We have done many things; we gesticulated in a different
way, when we had to perform an emotion, we have done it. This is something that we
do not normally do.
The very fact of feeling emotions stemming from movement and bodily activity––as explicitly
framed by the embodied activities––felt strange to students as it was not usual for them to pay
attention to the bodily dimension of their emotions and movement in connection with
Cappello et al.: Body as Classroom 15
emotions implied moving “in a different way” because it pointed to the affective dimension of
movement (Sheets-Johnstone, 2018). Paying attention to the bodily dimension of emotions is
not part of both practice and set-of-meanings of students, which are torn apart from feeling––
and their bodily experience––as something that is not useful for learning (see Anttila, 2015).
While carrying edge-emotions, such as feeling strange, movements carried other kinds of
emotional resonances as creative material generated through the embodied activities. Pupils
recognized the corresponding emotional responses to different kinds of movement patterns
(Laban, 2011; Zarrilli, 2002) and emotions as an inherent dimension of movement,
interdependent from it, exploring the correspondences between movement polarities and
emotional polarities.
2
For example, one student wrote: “I felt inferiority, despair (when I was
down), while I felt power and superiority (when I was up). This reminded me of an experience
in which I felt like that,” and “When I was untying the knot, I felt despair and stress. And I
imagined uncomfortable situations.”
Resonances opened up different memories, imagination, and associations and facilitated a
creative analysis of students’ lived reality (Anttila, 2018; Lecoq, 2022). These affirmations
seem to support considering movement as a constraint that heightens imagination’s epistemic
relevance (Rucińska & Gallagher, 2021). These statements seem to highlight the function that
movement has in reflection using image schemata (Johnson, 1987) that serve on an abstract
level as a metaphorical understanding of reality concerning movement experience. Engaging
with emotions opened up a holistic learning dimension, connecting non-symbolic contents
with symbolic meanings (Anttila, 2015) and shedding light on cultural issues. While pupils
accepted emotions and images as a possible dimension of movement, a creative dimension of
movement was revealed to them. Beyond embarrassment, feeling in movement became a
means for self-expression (and learning about oneself): “I have improved in expressing myself
better and not being ashamed.”
The instructions that were given in the classes aimed at facilitating experiences of connection
between feeling and images by emphasizing their embodied dimension to elicit the
development of individual creativity through movement. Imagination, as a kinaesthetic
response to a stimulus, depends on the affective dimension of movement, which is personal:
creative self-movement awakened with emotions, memories, and images stored in the
sensory-motor circuits. When recalled by movement, images arouse with ease from their
affective-kinaesthetic footprint, outlining the diverse landscapes of the pupil’s imagination as
a part of their unique understanding of reality: “In the project, when we performed the action
2
Helena Ferrari “Expresión Corporal: Course” Physical Theatre, (Madrid, RESAD, 2012), Studio Training.
IJEA Vol. 25 No. 20 - http://www.ijea.org/v25n20/ 16
of staggering, and we had to fall, I noticed that there were people who performed it in one
way and other people who did it in another.” Another pupil wrote,
I saw that even when receiving the same input and task for performing, I was doing
something completely different from what A [the pupil’s peer] was doing. It was
funny to me because you saw what other people had done, and you said, “Wow, that
hadn’t crossed my mind.”
Here, we see a transformation from the view of the body as a machine and movement as non-
affective and non-imaginative towards welcoming emotions and images as partners in
moving. This may lead to new kinds of learning, where movement, emotions, and imagination
are partners in learning (Jusslin et al., 2022). Pupils started to consider creative movement as a
way to express themselves and to read others’ emotions and imaginaries. By noticing the
difference between each one’s imagination and emotions as reflected in different movements,
pupils started to consider embodied resonances as a phenomenon related to movement and
learning. Students engaged with the raw material of the creative process––bodily resonances–
–as a holistic dimension of learning, where one could learn from an entire world vision
beyond others’ expressions. At the same time, holistic engagement opened movement as a
space for performing difference, understanding, and empathizing with it (Anttila et al., 2019).
Theme Three: Towards Embodied Agency
This theme emerged by combining the topics of the strange with the imaginative. Here, we
see how the development of creativity may happen by breaking habitual movement, that is,
when the human body operates like a machine (Sheets-Johnstone, 2011), and movement is an
automatic function based on mindless and unaware repetition. The instructions aimed at
generating new movements to open students’ movement registers to wider expressive
possibilities (Ferrari, 2015). As one pupil noted, “We did inhuman movements and strange
statues.”
In this case, the movement felt inhuman because it surpassed normativity and the naturalistic
idea of human performativity and what a human body can do. Movements felt strange,
probably also because, by intentionally calling for emotions, they changed one’s relationship
to self-movement by adding new information––experiencing and performing feeling as a kind
of motor know-how––that might have provoked changes in perception (Noë, 2004). Strange
movement was a tool to give rise to new movements by encouraging non-habitual bodily
responses toward developing a personal movement language. A pupil describes this process in
the following way:
Cappello et al.: Body as Classroom 17
[I discovered] creativity. For example, when we were making the statues [of happy
moments], many people, as always, imagined the first things that they remembered.
For example, football, and at the end, they did other kinds of performances, poses and
gestures, you know, not always the same ones. And I think that this is like creativity.
Strange movement worked to expand one’s imagination by actualizing new movement
possibilities, leading to the imaginative. Creative movement does not build upon rationality,
but it draws, as Garre frequently said, on “awareness of intuition” as the keystone of
imagination, and it requires going beyond automatized responses, following intuition beyond
the rationalization of movement and its censorship.
[I was asking myself] do I make this gesture or another? But someone else has already
done it! So now, what do I do? It was more like improvising. It was more complicated.
You had to think more about yourself. I already did this gesture...
Developing creativity implies rejecting the first responses in order to go deeper into more
authentic images (Chekhov, 2015), following the inherent logic of imagination and its sense
of truth (which, on a physical level, feels like satisfaction) points at non-habitual movement as
a door to agency and spontaneity. Beyond their experience and idea of automatic movement,
students seemed to discover their agency, spontaneity, and essence as animate beings (Sheets-
Johnstone, 2011). New and strange movements were both a way to expand students’
movement repertoire beyond habits and a way to think more about themselves (Anttila, 2015).
It was also a way to embody their agency, rehearsing diverse performativities (Anttila et al.,
2019) to choose movements more resonant with expressing themselves, choosing creativity
beyond repetition.
Conclusions
As stated at the beginning of this article, our research is motivated by the need to imagine
sustainable futures (La Casa Encendida, 2022) and to be co-creators of it (Haraway, 2016).
This greater purpose has been the backdrop of this study on secondary school pupils’ learning
experiences in movement-based performing arts, focusing on kinaesthetic imagination. In our
initial reading of pupils’ accounts of their learning experiences and emotional responses to
physical, creative activities, we saw a change from resistance to curiosity, a kind of opening.
This process started from experiencing uncomfortable emotions (edge-emotions) and, through
stepping outside the comfort-zone, proceeded towards shifts in their “habits-of-mind.” By
interpreting the data from pupils, we interpret that the course may have enhanced
transformative learning. This process of change and transformation happened through
embodied activity, encouraging pupils to go beyond their prejudices and judgments about
learning, movement, and the body. Thus, transformative learning, in this case, can also be
IJEA Vol. 25 No. 20 - http://www.ijea.org/v25n20/ 18
seen as a form of embodied learning. As shown in the theme Stepping Towards the Unknown,
students passed from a representational idea (Fenwick, 2015) of movement to an explorative
one by accepting movement as an epistemic field in which they can step towards the unknown
in both moving and learning, with enjoyment. As shown in the theme, Towards a Holistic
Engagement, students left behind their rejection of emotions in both moving and learning
processes, and they integrated the affective-kinaesthetic dimension of movement to nourish
their learning by connecting non-symbolic to symbolic aspects of movement and by
establishing a dialogue between one’s and others’ embodied analysis of reality as self-
expression. The theme Towards Embodied Agency suggests that during the classes, pupils left
behind their idea of movement as automatic and repetitive, and they rediscovered spontaneity
and creativity in movement as entry points to embody their creative potential toward
searching for and actualizing diverse forms of self-expression.
We conclude that the kind of learning that seems to have happened could be labeled as
embodied transformative learning and that movement-based performing arts classes that focus
on kinaesthetic imagination seem to enhance this kind of learning. The classes accompanied
pupils in experiencing movement as a step towards the unknown, holistic engagement, and
embodied agency. Throughout the classes, movement became progressively relevant for
students as an ally in emancipation, empowerment, self-directedness, autonomous thinking,
and taking control of one’s own life (Mälkki, 2011), as they are rooted in the bodily blueprint
of knowing and learning. Our research also suggests that transformative learning, usually
associated with adult learning, can also be relevant to young, school-aged students through
embodiment and kinaesthetic imagination. As we could see through our analysis, kinaesthetic
imagination promotes reflection through three strategies (Mälkki, 2011):
• welcoming challenging points of view through embodied practice;
• emphasizing the necessary incompleteness appearing when one is questioning one’s
assumptions through the devising process; and
• providing ideas and experiences about how edge-emotions might serve as gatekeepers
towards reflection.
Movement-based performing arts techniques and the concept of kinaesthetic imagination
seem to offer key support when it comes to grounding the education of creativity into an
embodied pedagogy, facilitating the connection between embodied learning and classroom
practice in transformative ways.
We conclude that in order to develop school cultures that work towards sustainable futures,
pedagogical approaches based on embodied transformative learning are needed and that
movement-based performing arts are one potential approach in this endeavor.
Cappello et al.: Body as Classroom 19
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About the Authors
Nicoletta Cappello (she/her) is a performer, dramaturg, director, and art-pedagogue, and
currently a Doctoral Researcher in cotutelle between the University of Catania and the
University of Girona now visiting the Artistic Doctorate in Performing Arts at the University
of the Arts Helsinki. She has taught Acting in Physical Theatre at the Royal School of
Dramatic Arts in Madrid. She has designed and led art education in collaboration with
PLANEA-Art and School Network, lectured at the European Cultural Centre for Performance
Art, and gave masterclasses at Universidad Francisco de Vitoria, University of Bologna, and
Universidad Complutense of Madrid, among others. She is the artistic director of “El
público,” a performance and education company focusing on participatory, interactive, and
IJEA Vol. 25 No. 20 - http://www.ijea.org/v25n20/ 22
immersive practices. Her shows have been awarded different prizes for contemporary
creation, such as a Carlota Soldevila Award from Teatre Lliure Barcelona and Premi Born
Menorca, among others. She has presented her pieces in venues like Teatro de La Abadía,
Matadero Madrid, and Fabra i Coats Barcelona.
Eeva Anttila (Doctor of Arts, EdLic) works as a professor in dance pedagogy at the Theatre
Academy of the University of the Arts Helsinki, Finland, and leads the MA program for dance
pedagogy. Her research interests include dialogical and critical dance pedagogy, embodied
learning, embodied knowledge, and practice-based/artistic research methods. Anttila is
actively involved in national and international dance and arts education organizations and
journals. She served as the chair of Dance and the Child International (2009–2012) and has
published several articles and book chapters nationally and internationally. She was involved
in the ARTSEQUAL -research project (2015-2021) as an Arts@School team leader and
Visions group member. Currently, she leads the ELLA, a research project funded by KONE.
She is a member of the steering group of Uniarts Research Institute, a founding member of
CERADA (Center for Educational Research and Academic Development) of Uniarts, and a
founding member of the Observatory of Arts and Cultural Education, Finland.
Dolors Cañabate is an associate professor at the University of Girona in the area of didactics
of body expression. She holds a doctorate in Education and Psychology from the UdG. She
graduated in physical education (UB) and has a postgraduate degree in values education. She
is affiliated with the Department of Specific Didactics in the Faculty of Education and
Psychology and director of the movement and languages chair at the University of Girona.
She is the principal investigator of the research group (GREPAI) in education, heritage, and
intermedia arts and a member of the Educational Research Institute. Its lines of research are
didactics of physical education, teacher training, teaching and learning processes in physical
education, psychomotor skills, and dance, teacher training, teaching and sustainable
methodologies, cooperative and reflective learning. Cañabate is the coordinator of physical
education mentioned in the primary, infant, and double-degree teacher degrees and is
responsible for the area and coordinator of the Teaching Innovation Network on Cooperative
Learning of the University of Girona and the National Network on Cooperative Learning.
International Journal of Education & the Arts
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