Embodied learning is a holistic approach to education that takes into consideration the inclusion of the body in learning, students’ awareness of self, and their connection with place and those around them. The current study sought to uncover ways in which elementary school teachers in British Columbia were adapting classroom spaces to engage student bodies in learning process. Two teachers from different regions of the province were interviewed about their experiences with embodied learning. Physical hurdles such as the restrictive nature of the space within which they worked, and systemic hurdles such as student / teacher expectations about teaching and learning experiences and relationships, assessment and pedagogy practices, and a lack of clarity about the purpose of education were identified as challenges that teachers hoping to embrace embodied learning would have to overcome. / Graduate

This thesis interweaves the Reggio Emilia preschool model of atelier (art studio) and atelierista (artist educator), autobiography, timeless and embodied learning. I am interested in exploring approaches in which visual arts education in elementary schools disrupts traditional ways of knowing and learning about art. When an atelierista is embraced in the school environment, a rupture emerges in the landscape of education; one that recognizes the interconnectivity of things, and values difference and unknown. For this reason, I align my research with a form of inquiry – a/r/tography, which acknowledges intertwining roles of artist/researcher/teacher as integral parts of the research process. As such, my own art making is used as a form of inquiry and language in the text of this thesis.

This thesis interweaves the Reggio Emilia preschool model of atelier (art studio) and atelierista (artist educator), autobiography, timeless and embodied learning. I am interested in exploring approaches in which visual arts education in elementary schools disrupts traditional ways of knowing and learning about art. When an atelierista is embraced in the school environment, a rupture emerges in the landscape of education; one that recognizes the interconnectivity of things, and values difference and unknown. For this reason, I align my research with a form of inquiry – a/r/tography, which acknowledges intertwining roles of artist/researcher/teacher as integral parts of the research process. As such, my own art making is used as a form of inquiry and language in the text of this thesis.

Children are born with an intrinsic motivation to play games. Over the past decade, educational video games have invaded mainstream classroom instruction and researchers are “considering how games might be used in pursuit of engaging, effective learning experiences� (Squire and Jenkins, 2003). This research encompasses designing math games using a constructivist and embodied cognition pedagogy in an effort to answer the question: “Will overlapping wearable technology and mathematical objectives with traditional children’s games show improved efficacy in students’ math skills and increase students’ motivation to learn math in 4th thru 6th grade students?� Methods of research include a usability study and four subsequent iterative studies to improve the game and the technology, measuring students’ math self-efficacy and motivation to learn math. The final goal of this thesis is to design, test and document an engaging children’s math learning game using wearable technology that requires active physical experiences while involved in deep thinking and complex problem solving (Gee, 2003) within real world environments, beyond classrooms, pencil and paper, and even beyond traditional computer games in front of a computer screen.

This thesis explores the effects of art-making in group art therapy sessions for people affected by Parkinson's Disease. It examines their experience of self through active engagement with art materials. It also draws on the experience of family caregivers and of professionals providing other therapeutic support for these patients. The research methodology is based on feminist, post-structuralist epistemological thought, situating the research as a political, reality-altering endeavour shaped by, and interpreted through, the researcher's particular ideological lens. The thesis emphasises the importance of developing a critical overview of the research context and considering how dominant discourses have shaped both the individual patient's experience of Parkinson's and the service approach to ways of improving their quality of life. A medical model is viewed as determining a narrow understanding and experience of the condition. Broadening the focus of the work to attend to how Parkinson's is culturally and socially embedded provides new understandings of its effects on patients and their wider needs. The research design has a strong participatory component drawing on the support of a consultancy group of six people affected by Parkinson's and three family caregivers, all seen as experts through their personal experience of the condition. The researcher defines her position as researcher-near using her background as artist, art therapist and her experience of working with people affected by Parkinson's at the research site. The research design is inspired by group art therapy practice, and takes research as praxis for theory building. Social science qualitative interviewing was used with four focus groups, and in ten semi-structured individual interviews which involved participant selected examples of their group therapy artwork. Nine audio-recordings of group art therapy sessions were collected. The researcher used art-making throughout the research process to create visual researcher diaries, and 'response' art as a way of exploring the material gathered for analysis. Besides providing an opportunity to consider the role of visual expression to complement verbal, this English language thesis uses data collected in Spanish and Catalan. Translation across languages (spoken, written and visual) and cultures became a method through which to consider interpretation, explore nuances and question assumptions. The dilemmas faced in translation enhanced researcher reflexivity and facilitated exploration of the space between art and language. This thesis offers an understanding of the potential contribution of group art therapy within six themes: 'Self-construction and discovery'; 'Material action'; 'Aesthetic group movement'; 'New perspectives'; 'Artwork as legacy'; and 'Physical transformation of issues'. These themes support the view that group art therapy acted as a catalyst for well-being and better functioning for participants, and that it can be modelled as a continuous process of embodied enquiry for those affected by Parkinson's. The triangular therapeutic relationship is explored and the terms 'creator' - 'artwork' - 'audience' are proposed to recognise the flexibility in the art-maker's position between creator and audience of their artwork. That artwork is conceptualised as an active meaning generator in the group art therapeutic encounter and the artistic intersubjective matrix is explored in relation to therapeutic factors specific to group art therapy. Implications for working with other related chronic, life changing conditions are elaborated.

If not ignored completely, the body has been under theorized in literacy research. However, recent research in cultural studies, linguistics, philosophy, psychology, neuroscience, education, and the arts suggests that the body is implicated in thinking and knowing as well as doing. In this dissertation I examine high school technical theater. In this robustly embodied activity students build sets, rig lights, and paint backdrops in preparation for a theatrical production, as well as run sound and lighting and perform scene changes during the production. I use data from high school technical theater to explore the body in literacy, embodied learning, collaboration, composition processes, and experiential learning. I gathered data primarily during out of school work sessions over the multi-week production cycles of six plays produced at one high school over two school years. As an experienced theater technician, I used participant observation as the primary method of data collection, supplemented with semi-structured interviews with the technical director, artistic director, and four students. I collected data and analyzed data through iterative processes in which analysis began during data collection, emerging analyses influenced data collection, and constant comparisons to new data influenced emerging analyses. Observations of student work revealed that student theater technicians employed literacy skills including speaking, reading, writing, drawing, calculating, and interpreting the written text of plays as necessary elements of the normal course of technical theater work. Observations of teaching and learning showed that little explicit instruction was used but that mini-lessons, individual and collective problem solving, and multiple configurations of collaboration among more and less experienced technicians led to the development of critical thinking and physical skills, as well as proficiency in the creation of props through the evaluation and application of building techniques and materials. I used theories from art making and multimodal literacy to examine technical theater building projects as examples of composition. My findings show that the design of technical theater texts - e.g. props, scenery, lighting - emerges through a recursive process of creation and interpretation and is mediated by the technicians' knowledge of building techniques and materials. Situated learning and activity theory were used to analyze learning in the technical theater community. Results demonstrate that the structure of the community allows for learning through experience, apprenticeship, and collaboration as well as through the creation of texts that balance personal expression with collaborative enterprise.

As AI has begun to reach out beyond its symbolic, objectivist roots into the embodied, experientialist realm, many projects are exploring different aspects of creating machines which interact with and respond to the world as humans do. Techniques for visual processing, object recognition, emotional response, gesture production and recognition, etc., are necessary components of a complete humanoid robot. However, most projects invariably concentrate on developing a few of these individual components, neglecting the issue of how all of these pieces would eventually fit together. The focus of the work in this dissertation is on creating a framework into which such specific competencies can be embedded, in a way that they can interact with each other and build layers of new functionality. To be of any practical value, such a framework must satisfy the real-world constraints of functioning in real-time with noisy sensors and actuators. The humanoid robot Cog provides an unapologetically adequate platform from which to take on such a challenge. This work makes three contributions to embodied AI. First, it offers a general-purpose architecture for developing behavior-based systems distributed over networks of PC's. Second, it provides a motor-control system that simulates several biological features which impact the development of motor behavior. Third, it develops a framework for a system which enables a robot to learn new behaviors via interacting with itself and the outside world. A few basic functional modules are built into this framework, enough to demonstrate the robot learning some very simple behaviors taught by a human trainer. A primary motivation for this project is the notion that it is practically impossible to build an "intelligent" machine unless it is designed partly to build itself. This work is a proof-of-concept of such an approach to integrating multiple perceptual and motor systems into a complete learning agent.

Capoeira is a Brazilian fighting art with roots in slavery that blends live music, dance, play and ritual. It is also an embodied form of knowledge that is holistic and sometimes profoundly transformative - a way of seeing and being that embraces an Afro-Brazilian vision of the world. Using personal lived experience and collected oral testimony related in a story-telling form, the study explores the knowledge embedded within capoeira through the lives of practitioners and through practitioners' explanations of their teachings. The question of whether capoeira has a common essence, or more specifically, whether the capoeira of twentieth century Bahia from which all modern schools ultimately trace their origins has an essence, is explored. In the thesis, capoeira is discovered to be an expression of resistance and transformation. Capoeira, the author discovers, is a form of resistance in that its traditional teachings reflect a communal, non-materialistic and sensuous stance, in opposition to the dominant individualistic, capitalistic, techno-scientific approach that has dominated the industrialized West. Capoeira is also a source of transformation in that it allows individuals to develop to their fullest expression - a self that encompasses the physical, spiritual, emotional and intellectual dimensions - and helps people integrate within a web of relations, human, animal, or other. Using a Transformative Learning approach informed by an Indigenous framework, this dissertation attempts to bring the reader on a journey of the mind, body and spirit. In three books, each one describing a separate fieldwork trip to Brazil, the author weaves a tale that is both personal and profound in its planetary implications.

Capoeira is a Brazilian fighting art with roots in slavery that blends live music, dance, play and ritual. It is also an embodied form of knowledge that is holistic and sometimes profoundly transformative - a way of seeing and being that embraces an Afro-Brazilian vision of the world. Using personal lived experience and collected oral testimony related in a story-telling form, the study explores the knowledge embedded within capoeira through the lives of practitioners and through practitioners' explanations of their teachings. The question of whether capoeira has a common essence, or more specifically, whether the capoeira of twentieth century Bahia from which all modern schools ultimately trace their origins has an essence, is explored. In the thesis, capoeira is discovered to be an expression of resistance and transformation. Capoeira, the author discovers, is a form of resistance in that its traditional teachings reflect a communal, non-materialistic and sensuous stance, in opposition to the dominant individualistic, capitalistic, techno-scientific approach that has dominated the industrialized West. Capoeira is also a source of transformation in that it allows individuals to develop to their fullest expression - a self that encompasses the physical, spiritual, emotional and intellectual dimensions - and helps people integrate within a web of relations, human, animal, or other. Using a Transformative Learning approach informed by an Indigenous framework, this dissertation attempts to bring the reader on a journey of the mind, body and spirit. In three books, each one describing a separate fieldwork trip to Brazil, the author weaves a tale that is both personal and profound in its planetary implications.

A positive relationship between physical motion and learning is widely acknowledged. However, few studies have investigated the potential effects of combining physical movement with second language learning. This review examines ten studies that combine physical activity with learning English as a second language (ESL), specifically focusing on vocabulary acquisition and learner motivation. Aspects of combining English with Physical education (PE) in a cross-curricular manner are also explored to investigate its applicability to the Swedish middle school context. Results indicate that classroom-based physical activity positively affects vocabulary learning and motivation among learners across a wide age span, both in Europe and across the world. Moreover, combining ESL with PE seems to improve learners´ motivation and language proficiency, without hindering the attainment of PE-related goals. Nonetheless, some findings provide varying results, indicating that supportive actions - such as pre-teaching vocabulary - may be needed. In conclusion, a physically oriented learning approach seems to work well in the context of curricular requirements in Sweden since cross-curricular tasks, daily physical activity, and efforts to encourage foreign language learning are described as necessary. Despite promising claims, further investigation in the area of physical language learning is still required.