Explore the vast range of titles available.

Inuit kayaks are a hunting technology that requires a high degree of developed skill to operate. The practice involves special types of physical fitness, technical ability, social relationships and extensive environmental knowledge. Hunters must be able to work intuitively as a team, to recognize and react instantly to subtle environmental cues, and depend on instinctive physical capabilities that are committed to muscle memory. These requisite abilities can be developed only experientially. Kayak sports were a critical aspect of learning, and they provided simulative environments to practise and develop sub-sets of hunting skills. Through an examination of a weapon-throwing game, commonly represented at Arctic sites by stone features that are arranged to outline a kayak, this paper explores the didactic nature of sports and theorizes their value in the situated learning of skills for hunter-gatherer technologies.

A central issue in contemporary dance ethnography is that of writing the somatic – the attempt to articulate kinesthetic, bodily sensations that emerge in a particular culture or context, within a research format (Ness, 2008; Sklar, 2000). Emerging methods including performance making and poetic, narrative, experimental, or performative writing create space for recognition of choreographic and sensory knowledges within ethnographic research.This chapter presents a case study that illustrates what I term “movement-initiated writing”: writing that emerges through dance making, wherein the dance ethnographer is a participant observer in studio practice. This emic approach attempts to translate the felt affects of a specific world of movement into performances sited in the terrains of pages. This mode of writing draws on Roland Barthes’ (1977) notion of the “grain of the voice,” Gilles Deleuze's concept of the “minor literature” (Deleuze & Guattari, 1987), Hélène Cixous’s examples of écriture feminine (Cixous, 1991), and the field of performance writing.

This article investigates the corporeal practices by the Catalonian artist Fina Miralles (b.1950) in some of her performances during the 1970s. I specifically focus my analysis on the manner in which the artist verifies the existence of her body under the acute political restrictions on the body during the last years of Francoism (1939–1975). I argue that she does this by a process of sensorial investigations, which include painting, filming and touching natural elements, and moving them and leaving different types of tracks, which lead to generating corporeal scores and body mapping. I elaborate on the way that producing corporeal sensorial knowledge generated from her body mapping and kinaesthetic knowledge is a transgressive and emancipatory feminist intervention. My argument is that kinesthesia generates a process of body-mapping awareness within the body and its movement, which reinforces a sensorial way of knowledge that leads to a reconstitution of the body that function as corporeal agency. Based on feminist theories of embodiment and agency, taking the Carrie Noland concept of kinesthesia (2009) as a central analytical tool, and with a background as a psychologist, I approach this research with embodied methodologies (conversations with the artist, recreation of her actions, etc.) and draw mainly from research-creation methods and kinaesthetic empathy.

This study explored some of the intricate connections between the cognitions (beliefs, knowledge, perceptions, attitudes) and pedagogical practices of five English language teachers, specifically in relation to pronunciation-oriented techniques. Integral to the study was the use of semistructured interviews, classroom observations, and stimulated recall interviews with the teachers and questionnaires with students. Findings reveal that the teachers' knowledge base of pronunciation techniques consisted mainly of controlled techniques— techniques strongly manipulated by the teachers and typically considered less communicative than other techniques. Of all techniques, guided techniques (semistructured) were the least frequently used, suggesting in part that the teachers' knowledge of how to incorporate guided techniques on a consistent basis with oral communication curricula may be limited. This article also includes discussion of three sets of beliefs held by some of the teachers: (1) listening perception is essential for producing comprehensible speech, (2) kinesthetic/tactile practice is integral to phonological improvement, and (3) pronunciation instruction can be boring.

Purpose - This paper aims to examine the preferences of students towards different teaching methods and the perceived effectiveness of experiential teaching methods in different operations management (OM) modules.Design methodology approach - Student perceptions of different teaching methods and various aspects of an experiential teaching method, in the form of a business simulation game, are examined using survey data from 274 respondents in four small post-experience and two large pre-experience OM modules.Findings - The paper's analysis suggests that traditional and experiential teaching methods are both popular with OM students, whilst independent teaching methods are less well liked. Analysis also shows that students on both kinds of OM modules perceive most aspects of the experiential teaching method used in this study (The Operations Game) very positively.Research limitations implications - This research study was confined to a particular type of experiential teaching method - a business simulation game. There is a need for further research to investigate the perceived effectiveness of other experiential teaching methods, such as role-plays and live cases. Furthermore, the paper does not examine the use of experiential teaching methods that do not require the physical presence of students.Practical implications - For OM educators, the paper clarifies how they might incorporate experiential teaching methods in different class settings. Whilst experiential teaching methods are typically used for small post-experience modules, these data indicate that the method can also be used on larger pre-experience modules with great success. The paper also notes a number of challenges involved in using experiential teaching methods on both kinds of module.Originality value - This is the first known study to directly examine the perceived effectiveness of an experiential teaching method in both small post-experience and larger pre-experience OM modules.

Ongoing nursing education is vital for keeping nurses’ knowledge and skills current and promoting positive patient outcomes. Providing meaningful, quality nursing education in the perioperative setting requires the development and implementation of innovative and effective teaching strategies. Adult learning theory is complex, and it can be challenging to engage multigenerational perioperative staff members in education—often, a variety of creative teaching modalities are required to bridge the gaps among learning styles. This article reviews the use of experiential learning, various kinesthetic activities, advanced technology, microlearning, and other methods that may be helpful to overcome the challenges of providing education to adult learners in the perioperative setting. Educators should promote critical thinking and student engagement to encourage adult learners to be active participants in their continuing education.

Issue addressed: Despite the growth of Australian men's sheds, the body of evidence regarding the health status of members, their health concerns, interests, help- or health-seeking behaviour and their preferred format for receiving health information is limited. Methods: The study involved a cross-sectional study design with data collected from 11 rural South Australian (SA) men's sheds. The survey collected information across 5 domains: demographics; health history, status, concerns and interests; health knowledge; help-seeking behaviours and health information format preferences. Results: Data from 154 shed members were available for analysis. Rural SA sheds primarily cater for older, retired, lesser educated men from lower socioeconomic strata. The key health issues were age-related chronic conditions yet self-reported health status remained high. The GP was the preferred source of health advice. Key knowledge deficits were in the areas of reproductive and psychological health. The preferred mode for health education was hands-on or kinaesthetic approaches as opposed to seminars or internet based information. Conclusions: Priority topics for health promotion programs should include prostate disorders, reproductive and sexual health issues, psychological health, risk factors for common chronic disease and bowel cancer. Programs should incorporate hands-on education approaches. Shed and shed member diversity should be considered when designing programs.

[...]the Blackness of “Modern Choreomanias” becomes synonymous with disability, disease, unsoundness, madness, and disorder (illustrating Freud’s “return to the repressed”). [...]probing the embodied knowledge of such repertoire contributes to decolonizing the ways in which the mainstream obscures and devalues Afro-diasporic performatic repertoire, intangible traditions, 14 and embodied knowledge pertaining to the global south. [All] become a single flowing movement of people unified in the rhythm … creating relationships that would not otherwise be possible in everyday life, which is dominated by the moral economy of the postindustrial city. 19 In New Orleans, racial disparities indicate that Blacks are more impacted by low income, poverty, including limited access to employment and health care. 20 Racist policing of Black bodies is also prevalent in New Orleans, where the murder rate is one of the highest in the country (200 murders in 2001; 175 in 2016; 196 in 2020). [...]racial disparities in New Orleans indicate that Blacks are more impacted by disabilities (higher than the national average). [...]Santoro gives value to an embodied repertoire that bears physical, psychological, and structural pain.

Background This study investigated the impact of handedness on a common spatial abilities task, the mental rotation task (MRT). The influence of a right-handed world was contrasted with people’s embodied experience with their own hands by testing both left- and right-handed people on an MRT of right- and left-hand stimuli. An additional consideration is the influence of matching the shape of the hand stimuli with the proprioception of one’s own hands. Two orthogonal hypothesis axes were crossed to yield four competing hypotheses. One axis contrasted (i) embodied experience versus (ii) world knowledge; the other axis contrasted (a) the match between the visual image of a hand on the screen and one’s own hand versus (b) the resemblance of the shape outline information from the hand stimuli with the proprioception of one’s own hands. Results Among people with mixed handedness, right-handers performed more accurately for left-hand stimuli, while left-handers had a trend for higher accuracy for right-hand stimuli. For people with extreme handedness, right-handers outperformed left-handers. Regardless of group, there was no significant variation in performance for left-hand stimuli, with only right-hand stimuli producing significant variation. Conclusions No hypothesis fully aligned with all the data. For left-hand stimuli, the consistent performance across groups does not provide support for embodied experience, while world knowledge might influence all groups similarly. Alternatively, the within-group variation for mixed-handed people supports embodied experience in the hand MRT, likely processed through visual-proprioceptive integration.

This article examines Alma Guillermoprieto's use of embodied knowledge in her memoir Dancing with Cuba. Descriptions of embodiment reveal her struggle to reconcile the values of modern dance with Ernesto Guevara's symbolic New Man—the ideal revolutionary used to promote physical labor as the means to a socialist utopia. I argue that Guillermoprieto solves this crisis by turning toward language, in particular language that activates the kinesthetic imagination—an archive of embodied experiences dancers rely on to engage choreography. An emphasis on embodied knowledge in the memoir shows how crucial dancing bodies are to the literary archive of the Revolution.