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Moving Ideas

Multimodality and Embodied Learning in Communities and Schools

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Edited By Mira-Lisa Katz

What does it look and feel like to communicate, create, compose, comprehend, teach, and learn with our bodies? Reaching beyond existing scholarship on multimodality and literacies, Moving Ideas expands our capacity to understand the embodied dimensions of learning and stretches our repertoires for more artfully describing them. Wresting language away from its historically privileged place at the center of social science research and practice, this collection examines the strategic layering across semiotic modes, challenging educators and researchers to revisit many of our most elemental assumptions about communication, learning, and development. The corporeal pedagogies these authors describe illuminate a powerful kind of learning that we know far too little about; in this age of accountability and high-stakes testing, failing to pay adequate attention to the promise of multimodality means forfeiting significant resources that could be used to innovatively engage people of all ages in education broadly conceived.
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2. Chroma Harmonia: Multimodal Pedagogy Through Universal Design for Learning

INTRODUCTION1

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CHAPTER TWO

Chroma Harmonia

Multimodal Pedagogy Through Universal Design for Learning

CATHERINE KROLL

We think by feeling. What is there to know?I hear my being dance from ear to ear.

—THEODORE ROETHKE

Too often, we have to “check our bodies at the door” when we enter classrooms and embark upon formal learning (see Katz, Introduction to this volume). This idea provokes for me the question of how to teach students in ways that deeply engage who they are. In my general education courses, I have come to know students who are musicians, artists, future nurses, sports therapists, and business people. In my courses for future English teachers, I have students whose very identities are defined by their involvement with drama, poetry, and a whole range of athletic pursuits: in other words, their very sense of self is dependent upon their involvement in activities that are “total body experiences.” I think of the competitive swimmer who visited me in office hours five times near the end of the term to work on her literature review on the role of mental preparation for swim meets. Then there was the ceramic artist who found a way to incorporate chocolate into every essay he wrote and whose trademark gesture was to turn in his papers stuck together with silver duct tape. ← 47 | 48 →

My quest to find memorable, whole-body ways to teach writing and grammar is born out of...

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