Exploration of movements, shapes, and the body generates cross-curricular learning connected to basic maths skills of counting and geometry and communicative literacies, as well as anatomy and elements that affect the body connected to the science curriculum (VCAA, 2015).

 

Dance as a practical and engaging tool for teaching and learning is underutilised within education with only small studies showing that this approach can assist students in fully understanding practical uses for the terms they are learning by completing activities with kinaesthetic engagement (Ewing, 2010, p. 32). It is this kind of engagement that is critical for challenging learning that assists students in acquiring new learning processes and strategies (Ewing, 2010, p. 32). Artist in residence programs were of unique interest to Nesbitt & Hane with their research revealing students’ potential to utilise learned content (2007). Within one residency students examined literary devices and found an exaggerated movement to represent it. As explained by Ewing a demonstration of improved writing skills was shown in accordance with the students’ movements and connection to explorations of why and how (Ewing, 2010, p. 39). For example: this same concept could be used to generate understanding of verbs and how they are used then expanding to adverbs to challenge students’ understandings. This proves that students further synthesise information after kinaesthetic action combined with auditory and visual learning. Deeper and practical uses for action verbs and hyperbole were understood through enacting them, the same way children make sense of their world through demonstrative play by being larger than themselves(Eun, 2019; Ewing, 2010, pp. 32-39).

 

 “Movement as the embodiment of thought” is a critical concept that directs thinking and actions leads to decisions around learner engagement and experience (Sandra & Rima, 2016, p. 14). Neuroscience research connected to dance education suggests that this embodied approach with kinaesthetic learning and physical movement is developed into a language that can communicate ideas, connection and responses and reactions (McCutchen, 2006). Many parts of the brain are involved when dancing and it is this combination that contribute to long term memory and the nerve signals that develop spatial relationships and reasoning (Rank, 2011, p. 2). The frontal lobe, the parental lobe, the cerebellum, and the hippocampus are engaged and work together at the same time (Rank, 2011, p. 2). As this occurs future movements are being organised and decided upon utilising the critical feedback of current movements (Rank, 2011, p. 2). As discussed by K Rank this whole process is known as meta cognition, demonstrates that learners have control of their thinking processes within embodied learning (2011).

 

Wyn’s proposition (2009) regards the inequalities and embedded privileges in academic education stating that this approach cannot equip learners for “the flexibility and creativity needed for 21st century living” (Ewing, 2010, p. 30). The importance of generating critical and creative learning and strategies for students through exposure to arts education and experiences is critical to fulfill the goals within the Mparntwe Education Declaration (Education, 2019). This highlights the importance of exposing learners to arts education to develop their opinions and expression as they make sense of the world around them to enable learners to contribute to society (Education, 2019).