Learning can be categorized into three basic categories.

First, the aural learning

activities which involves, Attending lectures and tutorials, discussing topics with your

instructor and joining a study group. The next category is the reading or writing learning

style and the other category is the kinesthetic style.

Kinesthetic learning is a form of education where a student is actively involved. In this

learning a student is involved in a physical activity as opposed to attending a lecture.

These activities involve dancing, a singing game, experiments and other mind involving

activities. Students are accustomed to different methods of learning. Teachers should

familiarize themselves with the methods their students are accustomed to, so that they

evaluate the best methods to use on their students. Teachers should also encourage their

students to learn and accommodate different ways of learning. Students who use all the

approaches to learning learn more effectively, students who are able to learn through a

variety of ways are more effective learners. (Dunn. R and Dunn. K 1978)

Kinesthetic learning is associated with various advantages. It makes learning tangible,

accessible and memorable. When a student memorizes notes study notes using a song, its more

memorable than just reading the notes. It cultivates critical thinking and high level thinking

skills. This is because when one creates an activity to make him or her more effective in his

study skills he has to involve his thinking skills effectively. It also demands both individual

decision skills and group interaction. This is mostly applied through group work activities.

Kinesthetic learning also encourages students to make use of their own experiences and
observations as a foundation for knowledge. Last and not least, it stimulates creative and

dynamic energy in the classroom.

In her book Minds in Motion, Susan Griss shows teachers how they can use this natural

kinesthetic language as “Children naturally move. They react to and explore the world in

physical ways. No one has to teach them to jump for joy, to roll down a grassy hill, or to pound

their bodies on the floor during a tantrum. When they arrive in elementary school they are fluent

in this nonverbal, physical language. However, rather than using this natural resource by

channeling it into constructive learning experiences, teachers often expend energy subduing

children’s physicality.” (Susan Griss 1998)

Susan Griss emphasizes the need for physical activity. She appreciates the fact children learn and

explore the world through physical activity. She notes that children learn through various

activities without being taught by their parent or even by elder siblings. It is however unfortunate

that when they go to schools this energy is not utilized.Griss suggests that its more effective

using kinesthetic learning technique than applying the learning technique which involves:

Reading notes, summarizing and rewriting notes, reading silently, rewriting ideas and principles,

and organizing diagrams into statements.

She compares the learning technique with the kinesthetic technique which involves: Sitting

near the instructor in classroom situations. Reading out loud from your textbook and notes.

Copying key points onto large writing surfaces (i.e. chalkboard or easel board). Copying key

points using word processing software, listening to audiotapes of your notes while exercising,

taking in information through field trips, laboratories, trial and error, exhibits, collections, and
hands-on examples. Putting real life examples into your notes summary, recalling experiments

and role-play, using pictures and photographs that illustrate an idea. (Kathy Traylor et al. 2005)

Mary Joyce in her book First Steps in Teaching Creative Dance to Children

she elaborates and puts emphasis on the importance of one of the physical activity, dancing. She

states,‘ I have found that one of the most effective ways to encourage creativity is through dance

improvisation and composition, or what is typically referred to as creative dance. I’ve experimented with

a creative-based curriculum and honed my teaching skills with hundreds of students, and I still get excited

by challenging students to be clear about their choices and expecting them to make those creative

decisions evident through physical activity”. (Mary Joyce 1993)

In the above quote elaborates the effectiveness of dance in enhancing creativity. This is achieved

through creative dance. Creative dancing may involve skipping, jumping, hopping and jumping

around. She believes that when the body is physically active so is the brain. Her vivid evaluation

is that for the brain to be active in learning activities the body must also be vigorous through

thorough physical activity. She continues to say that ‘In the span of even one dance class, my

students have many opportunities to make choices that expand their knowledge of dance while

developing critical-thinking skills and the ability to make in-the-moment decisions. Without the

experience of making spontaneous decisions, students can’t make effective choices when asked

to come up with their own movement.”

This simply means that vigorous activity of dance students have to make critical decisions during dance

lessons. For example, in a salsa dance one has to think critically and carefully so as to take the right

steps and with the right rhythm. When the same critical and careful thinking is applied as a studying

technique then the it makes it easy and effective to study.

 Susan Griss observed that,’ Dance provides a wonderful way to explore both the universality

and particularity of human cultures. By learning ethnic dances and physically interpreting the

poetry, literature and folklores of diverse cultures, children develop deeper insights into the

aesthetics and value systems of those cultures. Including multicultural dance in the curriculum

also offers an excellent opportunity to invite professional artists to share their expertise with

children. ’(Susan Griss 1998)

Griss observed that kinesthetic learning provides an avenue for multicultural instincts. This is

where cultural activities such as dance exchanged between different groups of people creating

the multicultural aspect or dimension. Here people exchange cultural activities and in the

process invite professional and scholars to share their knowledge and expertise with the children

and the students. This way, new knowledge is achieved and the society grows richer in terms of

new cultures .The increased cultural diversity, promotes tourism activities in which students

mutually benefit due to increased employment opportunities in the tourism sector.

She also notes that,’ In his 1983 book Frames of Mind, Howard Gardner documented seven kinds of

intelligences common to human beings. In my work I seek not only to expand on one of those

modes of intelligence — bodily-kinesthetic — but to use it to reach interpersonal other

intelligences as well.’ These intelligences are as multiple intelligences. They include: Verbal

linguistics, mathematical logical, visual or spatial, bodily kinesthetic, musical, interpersonal,

intrapersonal and naturalistic personal activity. (Gardner, H. 1983).

These intelligences mainly involve what we are capable of doing in physical activity. Activities

such as reading, playing, writing notes and etc.

 Various technique and strategies will be required for movement integrated curriculum. For this

curriculum to be effective, the kinesthetic style theory should be more emphasized while the

learning or the oral theory should be minimized. However students should learn to be more

receptive and accommodative to the both theories of studying. Students should be keen to

identify the multipurpose intelligences each one posses and how to make to them beneficial for

study and general knowledge

. Proponents to kinesthetic theory say that the evidence related to kinesthetic learners benefiting

from specialized instruction or targeted materials appears mixed at best, because the diagnosis of

kinesthetic and tactile learning is coupled together, rather than in isolation, and because teachers

are likely to misdiagnose students' learning styles.

Some studies also show that mixed modality presentations, for instance using both auditory and

visual techniques, improve results for subjects across the board. Instruction that stimulates more

than the auditory learning style, namely the kinesthetic learning style is more likely to enhance

the learning of a heterogeneous student population. (Coffield. F et al 2004)

Teachers should strive to teach using the kinesthetic learning technique. They should not feel

intimidated or overwhelmed of applying movement and creative improvisation as a teaching tool;

remember that you do not have to do the movement yourselves. The children will supply all the

physicality needed for a successful lesson. Your task is to supply the direction, the guided imagery, the

permission to be physical, and an encouraging gleam in your eye. The idea is not to have the children

imitate your movements, but to discover their own physical language. Music, fabrics, a shadow screen,

or beautifully illustrated children's books, can also add to the stimulation and motivation ofyourchildren.
References

1 .Gardner, Howard (2006): Multiple Intelligences New Horizons. New York: Basic Books, 8-19

2. Mary Joyce McGraw (1993) First Steps in Teaching Creative Dance to Chiildren-Hill

Humanities/Social Sciences/Languages; 3rd edition

3. Susan Griss (1998) Minds in Motion. Heinemann Press.

4. Dunn, R., and Dunn, K. (1978). Teaching students through their individual learning styles.
Reston, VA: Reston Publishing Company, Inc.

5. Coffield.F et al (2004). Learning styles and pedagogy in post-16 learning. A systematic and
critical review. London: Learning and Skills Research Centre.