Physicality in Learning A Theory Review ( Alek White)

 Major Theoretical Points of Physical Learning

As discussed in the class text, there is not an abundance of material on physical movement in the context of adult learning. Our current educational model tends to emphasize mental rigor over physical activity, often occurring in stationary environments. For example, we don’t expect to see a game of pickleball taking place in a local library. Moreover, we tailor our environments to suit the outcomes we wish to achieve. It would be quite difficult to study Pilates movements effectively from a book without guidance. These examples underscore the important ways in which adults process and engage with information, particularly when physical movement is involved.

Physical learning, like other aspects of adult learning, intersects with sensory and bodily experiences, contributing to the learning process in significant ways. This engagement can be just as profound as processing information from a book alone.

The motivations behind why adults engage in physical learning can vary, but the more pertinent question may be: how can we support the methods by which physical learning occurs? Physical learning involves both cognitive processes and environmental interactions. As MacKeracher notes, “All skills learning does not necessarily involve physical learning, since the term ‘skill’ is also used to describe cognitive and interpersonal behaviors” (MacKeracher, p. 196). MacKeracher’s argument emphasizes that, regardless of the reason, learning and improving skills are central to the discussion. This is further elaborated upon with the idea that sensory information, physical movement, and body image are deeply intertwined: “Our body-image is a cognitive construct and is as likely to be based on distortions as any other set of concepts” (MacKeracher, p. 197). For instance, how we perceive our own voices when hearing a recording demonstrates how our sensory experiences can shift our self-perception.

MacKeracher also outlines several factors that facilitators must understand to incorporate physical elements successfully. Kinesthetic learning is one of these factors, and it is a key component in my current teaching practices. In particular, my learners, who are not medical professionals in training, must develop an accurate understanding of stethoscope placement. It is crucial that their sensory experience aligns with the necessary precision. To achieve this, under the guidance of a medical professional, we employ a variety of hands-on activities that help them internalize this skill. Through practical, tactile learning experiences, my learners develop the confidence needed to assess a student’s competence and allow them to continue honing their skills.

Reflecting further on my educational training, I’m reminded of Konstantin Stanislavsky, the influential Russian theatre practitioner, and his insights on physical movement and character work—two concepts I integrate into my teaching materials. It's essential that, when necessary, my adult learners understand the physical movements associated with a character. These movements play a crucial role in helping student learners observe and engage with various actions, aiding their understanding of the situation at hand. As Stanislavsky said, “In every physical action, unless it is purely mechanical, there is concealed some inner action, some feelings.”

This principle is particularly important when students face a testing scenario where physical movement is a key factor. In these cases, the standardized patient must accurately portray the necessary physical skills. While we stress that a standardized patient should not actually experience the ailments they are portraying, it’s important to convey the mind-body connection that MacKeracher discusses in her work. From a practical perspective, MacKeracher suggests that these connections can enhance the learner's mental processes while also engaging their physical state. When this portrayal is achieved, we can be assured the students will make the correct decision on treatment after performing the necessary exams. 

Lastly, reflecting on my theatrical background, I have witnessed the positive impact that physical movement can have in learning environments. John Stevens of Southern Cross University explored the potential benefits of improvisational comedy as a health intervention for individuals with mild dementia. His aim was “to actively engage people with mild dementia in the creation of humor and laughter for themselves and others.” Drawing on my own experience in improvisational comedy training, I have participated in similar workshops. In these settings, we prioritize creating a comfortable environment where any suggestions or physical gestures are celebrated and supported. These simple practices lead to increased group participation and a sense of shared positivity among participants.

Practical Application of Physical Learning

I understand MacKeracher's concern about the limited focus on adult learning in the physical sense, but I disagree with the assumption that this lack of attention is due to physical learning being seen as unimportant. I view physical learning as an underutilized tool that facilitators can effectively incorporate, especially in my own professional field.

Howard Gardner, a developmental psychologist, highlights the value of physical learning by stating, "People with bodily-kinesthetic intelligence process knowledge through bodily sensations and movement. This intelligence is used when we express ourselves through dance, athletics, or using our hands to create something." Allowing learners to use their bodies skillfully is essential, particularly in performance-based environments. Gardner identified bodily-kinesthetic intelligence as one of his seven intelligences, each representing different ways learners engage with information.

One basic principle I emphasize with my learners is the freedom to move. I design my classroom with visual aids that are accessible from all angles, ensuring that learners feel free to move around and engage their bodies, which can help break up the static nature of training. I also incorporate movement breaks into my sessions, especially when learners have been sitting for 45 minutes to an hour. These breaks make everyone more aware of their physicality and help prevent the discomfort that comes from being stationary for too long.

In a more abstract yet practical application of movement, I integrated the improv game "Telephone" into a training session. In this particular case, the scenario involved taking a patient’s vitals, which typically doesn’t require much physical learning. However, by using the game, which involves a call-and-response type of storytelling, I introduced physical elements to the learning process. The game requires one person to tell a story, another to interpret the story using only movements, and a third person to act based on these movements. This helped my learners explore how their character might have felt physically before arriving at the fictional doctor’s office. While it may seem playful, these exercises underscore the importance of physical sensations and how they inform the reasons someone might seek medical attention.

Returning to my earlier point, I believe another reason so little is written about physical learning is because it is often proactive and reactionary in nature. As a performer, I know that active participation often leaves little room for documentation. Fortunately, with digital technology and recordings, we now have tools to capture these moments for future analysis and reflection.

Reflection

With this assignment, I initially felt like I was venturing into unfamiliar territory. However, through further reading and research, I realized that I have been incorporating elements of physical movement in an informal way within formal settings. As I mentioned earlier, I rely heavily on my artistic background to connect physical movement with the portrayal of my standardized patients. This connection is essential to ensuring high fidelity, which is of utmost importance in my work.

To complete this assignment, I utilized the required text Making Sense of Adult Learning and researched other theorists in physical learning. I also drew upon my previous education from my undergraduate studies. A key strategy I found helpful was dedicating time specifically to gathering citations and preparing an outline for the paper. Of course, I also allocated additional time for the actual writing process.

Personally, I found it beneficial to use Apple Music during the writing process, searching for "Writing Music" and "Focus Music." Having this background music helped me stay focused and maintain a conducive environment for creativity and productivity.

Table 1. Summary of the theoretical ideas

Main Theoretical Points
Physical Learning Qualities	Emphasis of the under-explored but crucial role that physical learning plays in adult education.
Physical Learning Intersections	Despite the limited focus on physical movement in traditional educational models, physical learning—when integrated with cognitive processes and sensory experiences—enhances the overall learning process.
Utilization of Resources	Drawing from MacKeracher and Howard Gardner’s theory of bodily-kinesthetic intelligence, engaging learners physically allows for deeper understanding, particularly in performance-based environments like medical training.
Applications and Reflection	Through activities such as role-playing, movement breaks, and improvisational exercises, we see physical actions help learners internalize skills and concepts more effectively.

References

MacKeracher, D. (2004). Making sense of adult learning (2nd ed.). University of Toronto Press.

Stanislavski, K. (1936). An actor prepares (E. R. Hapgood, Trans.). Theatre Arts Books.

Stevens, J. (2012). Stand up for dementia: Performance, improvisation and stand up comedy as therapy for people with dementia; a qualitative study. Dementia: The International Journal of Social Research and Practice, 11(1), 61-73.

Gardner, H. (2006). Multiple Intelligences: New Horizons in Theory and Practice. Basic Books.