“A definite movement with a definite trace form is

always connected with inner happening such as

feelings, reflections, determinations of the will, and
other emotional impulses.” -Rudolf Laban,
Choreutics “A definite movement with a definite trace
form is always connected with inner happening such as
feelings, reflections, determinations of the will, and
other emotional impulses.” -Rudolf Laban,
Choreutics

https://image.shutterstock.com/image-photo/group-children-teacher-enjoying-drama-600w-272254151.jpg

Prepared by:

GERALD O. RAMO
goramobped@gmail.com
MOVEMENT EDUCATION
Overview & History

➢ What is Movement Education?

A strand of teaching or education which aims to educate individuals to develop their motor skills
through physical movement.
It aims to help individuals improve their motor skills.
➢ Creators of a New Idea:
Movement Education in the 1800s to Early 1900s
The early pioneers of movement education were influenced by the idea of the body being an
expression of movement.
➢ Three of the most historically influential individuals:
Francois Delsarte
Liselott Diem
Rudolf von Laban

Francois Delsarte
 Frenchman
 Developed what he termed applied aesthetics & focused his work in
the arts.
 Contributed critical ideas of connections among the mind, body, and
spirit.
 Also saw movement as a union of time, space, and motion.
 Believed that expressive movement should relate to the emotion
that inspired that movement.
 Introduced the idea of parallelism in movement – the simultaneous
motion of two body parts in the same direction and in succession.

9 Laws of Motion:
Altitude
Force
Motion
Sequence
Direction
Form
Velocity
Reaction
Extension

Liselott Diem
 She and her husband founded an internationally known college in
Germany, Deutsche Sporthochschule Köln, to train teachers in sport
and physical education.
 The college taught a “natural approach to teaching children to move
effectively in all kinds of situations”.
 The teacher’s role was to provide an environment that would encourage
children to explore movement freely in their own way.

Teacher’s equipment:
- Balls - Ropes - Benches- Wands – Boxes
Allow children to develop a wide variety of movement responses individually, with partners, or
within small groups.
Teachers were encouraged to challenge children by asking questions such as “Who can do this?”
and “How can this be done differently?”
 Rudolf von Laban
Considered by most as the true pioneer of movement
education.

Critical contribution:
Theory of Movement
- Focusing specifically on the concept of effort.

He believed that the body was an instrument of

expression.
Made a distinction between: Expressive movement
And Functional Movement

Expressive Movement:
Communicates ideas in dance or other forms of
artistic expression.

Functional Movement:
Movements that serve as a purpose in everyday life.
* Such as sports and games.

Identified 4 factors of movement:

 Weight
 Space
 Time
 Flow
* Became the bedrock of movement education.

Development of a Curricular Approach: 1960s, 1970s, and 1980s

➢ The intent of those working at this time was to provide a framework that teachers could use to
apply these movement concepts broadly in the 3 learning domains.
➢ Growth of movement education; brought to the forefront of elementary physical education.
➢ Fitness Overshadows Movement Education
The fitness boom of the 1970s resulted in a base of research that contributed a solid scientific basis
to the study of movement.
As other curriculum models were introduced that were easier to understand and appealed to the
fitness and activity focus of the time, movement education faded from popularity.
➢ The Revival of Movement Education
In the late 1990s and early 2000s, the development of national content standards for physical
education brought back the essence of movement education.
Emphasizing that child should know basic movement concepts and be able to perform basic
movement patterns.

Rationale
Welcome to this module on Movement Education. This module will guide you to materialize the description
of your subject that aims to provide understanding of the movement concept in terms of the body, space, effort and
relationship that will aid a student in making connection between physical movement, personal meaning and
aesthetic expression. We will spend time on understanding eventually enjoying while discovering potentials in our
movements as well as interpreting such movements being shown by the people we are communicating with. We do
not aim to be an agent but we can utilize the product knowledge from this movement education by placing it to the
positivity like when we are diagnosing some complains or problems we do not just listen to the words coming from
the mouth but we can look to their gestures. Sometimes we cannot judge intelligence in writings, speaking, singing,
painting, but also actions. We heard about “ Action Speaks Louder Than Words, but not nearly as often” by Mark
Twain and this is it. Let’s set our mind to what can we do more in action.
Objectives
After using this module, you will be able to:
1. Discuss the movement concepts; the body, fundamentals of movements, space, effort and
relationship.
2. Describe the Nonverbal Communication, differentiate emotions and evaluate applications.
3. identify the contributions of the three of the most historically influential individuals to movement
education:
a. Francois Delsarte b. Liselott Diem c. Rudolf von Laban
4. Integrate dance and sports as medium for physical movement, personal meaning and aesthetic
expression.

Let’s swing proper…

THE MOVEMENT FRAMEWORK

The movement-framework engine makes a program run. From the movement framework, the
physical educator develops learning experiences designed to help the student to achieve the national
standards. The framework is made up of four aspects: body, space, effort, and relationships.

Rudolf Laban (1879-1958) was a lifelong visionary student of movement. He discovered and
explained four aspects of movement and developed themes of work, both simple and complex, that
enable students to focus on one or more of these four aspects at any time. Many in Great Britain, Canada,
and the United States have interpreted and applied Laban’s movement framework in physical education
texts, including Stanley (1969), North (1973), Preston-Dunlop (1980), Logsdon et al. (1984), Wall and
Murray (1994), Graham, Holt-Hale, and Parker (2001), and Baumgarten and Langton (2006).

The movement framework’s four aspects help students see the totality of human movement. They
can be used consistently and effectively skills development in the three content areas: games, gymnastics,
and dance. These four aspects of movement serve as threads that are woven through the program areas,
allowing the physical educator to revisit key movement skills over the elementary years. This revisiting of
all four movement concepts helps students build and organize their movement skills and understanding.
This also helps teachers to avoid instructional gaps. In the (1) body aspect, which focuses on what the
body is doing, students become skillful in locomotor, non-locomotor, and manipulative skills. The (2) space
aspect focuses on where the body is moving, and the student develops skill in the use of personal and
general space, and competency in moving in various directions, on different pathways, and through varied
levels, planes, and extensions. The (3) effort aspect focuses on how the body is moving. Here, the student
develops the ability to use time (e.g., fast/slow), weight (e.g., strong/light), fl ow (e.g., free/bound), and
space (e.g., straight/flexible) to improve the quality or the “flavor” of movement. Finally, the (4)
relationships aspect focuses on with whom or what the body is relating as it moves. This aspect helps
students develop awareness and skill in how body parts relate to one another when moving and how the
mover relates to individuals, groups, apparatus, objects, and other factors such as a rhythm, music,
boundaries, and rules. ( https://files.eric.ed.gov/fulltext/EJ794510.pdf )

“Knowing yourself is the beginning of all wisdom.” Aristotle said. In connection with this quotation
to our topic basically begin by knowing first the parts of our body before the activities get more
complicated. We should be aware the functions of its part, the range and the limitations so we can prevent
injuries. In other hand, if we are aware of all potentials, capabilities and maximum ranges available,
movement productions are smoothly and intelligently flowing. It is one of the aims of movement
education, to develop motor skills of everybody who is part of the activity. Movement education is focus
on the teaching students to develop motor skills through physical movement. Under modern literature
movement education is praised as movement skills are core to the physical, cognitive and social
development of the child.
Let us talk about Body Awareness which is core for movement concept. It is the ability where our
bodies are in space and how our bodies move. Sometimes if people have difficulties with Body Awareness,
they may appear clumsy, uncoordinated or have delays in motor
 1. BODY ASPECT

https://previews.123rf.com/images/ksuklein/ksuklein1608/ksuklein160800043/61717584-my-body-l
earning-human-body-parts-educational-vector-illustration-for-kids-with-boy-and-girl-childre.jpg

Let’s check your body awareness: Which part of the body is involved to a movement or positions
for a particular situation. Place on the space provided which do you think is the most expected answer.
Rank your answer 1 to 4, as 1 is the most involved parts.
Situations 1 2 3 4
Baseball Catcher
Mountain Bike Rider
Guitar Playing
Shocked /Amazed
Feeling Disappointed
We are expecting different ranks of body parts from you and to your classmates since everybody may have
different level of awareness and practices, and it’s okay.
Here is another illustration for our body awareness, is good to consider having an understanding on the
skeletal framework of our body especially extreme movements. Choreographers, coaches, instructors use
terminologies below to specify sports or dance instructions.

https://www.researchgate.net/publication/326606779/figure/fig1/AS
:652328608731147@1532538668576/Position-and-name-of-Kinect-
joints-L-R-and-C-represent-Right-Left-and-Central-joints.png
 Another here are the types of joints that we must consider for flexibility activities. Which joints are
limited for such directions of movement. To ensure pain during activities are not in joints but on the overloading of
muscle activies, understanding on the ranges available at joints isimportant to prevent dislocations.

https://image.freepik.com/free-vector/types-joints-illustration_1995-488.jpg

https://i.pinimg.com/originals/08/56/87/085687ae20750e6eb7ded22341893cd9.gif https://i.pinimg.com/originals/d2/d7/91/
d2d7913f46a7045601db59fe3f1bb324.png
https://valeriewmsk.weebly.com/uploads/2/3/8/8/23882411/7057151_orig.jpg

QUIZ #1
Directions: Answer correctly the following questions and rewrite it on separate answer sheet.
1. Which from the following is not uniaxial.
a. Elbow b. Knee c. Thumb d. Ankle
2. Which from the following joints allowed for more than two directions of movement?
a. Saddle Joint b. Ellipsoid Joint c. Ball and Socket Joint d. Pivot Joint
3. Which from the following joints allowed one (1) direction of movement only.
a. Saddle Joint b. Ellipsoid Joint c. Ball and Socket Joint d. Pivot Joint
4. Which from the following is fixed joint.
a. Radioulner b. Skull c. Spine d.Shoulder
5. This is also called as gliding joints.
a. Saddle joint b. Hinge Joint c. Ellipsoid Joint d. Plane Joint
6-10 Synthesize the importance of movement framework at least in five (5) sentences
11-15 Why is it that body awareness is significant for movement education?
======================================================================
Defining Fundamental Movement
To facilitate subsequent discussion, several Fundamental Movements related terms are defined as follows:
• Movement: The act of maintaining or changing the position(s) of body part(s). Some movements
are simple (e.g., walking). Some movements are complex (e.g., turning a somersault).
• Fundamental Movement: A movement that is simple and basic for participating in or performing
different types of physical activities (e.g. walking, running, jumping, catching). Children
develop fundamental movements as they grow.
• Fundamental Movement skills: Refined fundamental movements for efficiency or expressive purposes.
They need to be learned.
• Locomotor skills: Fundamental Movement skills for travelling from one place to another.
• Stability skills: Fundamental Movement skills for maintaining balance on spot or when moving.
• Manipulative skills – Fundamental Movement skills for controlling small objects.
• Fundamental Movement activities: Activities which are conducive to the development of FM skills.
 ( https://cd1.edb.hkedcity.net/cd/pe/TC/rr/FM_e.pdf

Fundamental Movement Skills for Expression

In some activities, Fundamental Movement (FM) skills are used to express oneself. In these
occasions, imagination, aesthetics and difficulty are the main concerns; learning the “mature” forms of FM
skills is not sufficient. Opportunities to explore should be provided. Personalized and creative forms of FM
skills should be encouraged.

.
 Combining Different Fundamental Movement Skills for Learning
It is common that students need to use two or
more FM skills at the same time. It is perfectly fine
provided that students are clear of what they are
going to learn (i.e., they know which is the thematic
skill). Picture shows a student moving to catch
a bean bag. The movement comprises all the three
types of FM (Fundamental) skills:
• manipulative – to catch the bean bag
• stability – to maintain balance when moving to
catch the bean bag
• locomotor – to adjust position to approach the bean
bag.

2. SPACE ASPECT

BASIC CONCEPT OF MOVEMENTS AND MOVEMENT SPACE

Movement is a change of position in space. This is governed by mechanical principles that limit the ability of an
individual to move effectively and efficiently.

FACTORS THAT GOVERN OR AFFECT MOVEMENT:

l. Psychological Factors. Fear, anxiety, and other mental phenomena affect movement either positively or
negatively. All these may affect the performance of an individual.
2. Physiological F actors. Physical fitness and body built are two main concerns that affect human movement. Poor
muscle development and low fitness level will surely affect movement.
3. Sociological Factors. These refer to the relationships of the performer with a particular group and his regard to
social conformity and norms.
MOVEMENT SPACE

All movements take place in space. The two kinds of space occupancy are personal space and general space.
1. Personal space is the maximum space available to a person in a stationary position. This includes the space that
the person can reach by bending, stretching, and twisting.
2. General space is the area, which include one or more persons moving space like gymnasia, the swimming pool,
classrooms, ballroom, plaza, and others.

Elements of Space
1. Direction. This refers to the movements: forward, backward, upward, downward, sideways, right and left,
diagonals and combinations of all of these.
2. Level. As the body moves in a horizontal plane, it creates a movement identified as high, medium, middle and
low. It may be represented in a relative height while standing, sitting, lying and kneeling.
3. Range. The maximum reach of an individual or sometimes referred to as personal space or the size of
movement.
4. Pathways or Space Designs. The line or design created in space as one moves, example of which is an arm
circling (circle design is created) or a line drawn from running to the first base in softball.
5. Focus. This is referred to as movement in space in relation to an object or a person’s attention of direction.

To get closer to our main objective, another terminology in movement concept that would complete the
whole part to connect body awareness, fundamental movements, basic concept of movement and space to dance
and sports as essential part of student’s movement repertoire. Here are the two elements and its themes.
 3. EFFORT ASPECT
As how the body moves that would be characterized by the time, weight, space and flow.

Time Weight Space Flow

Sudden/ Fast / Acceleration Strong/Firm Straight/ Direct Free/ Ongoing
Sustained/ Light/Fine Flexible/ Indirect Bound/ Stoppable
Slow/Deceleration
( Baumgarten & Langton, 2006 )

Effort can be described as the dynamics, qualitative use of energy, texture, color, emotions,
inner attitude, etc. There is an ongoing (Flow) sense of self (Weight) in relation to the
environment (Space) over time (Time).
Effort is both functional and expressive. Effort is not quantitative—it is qualitative. There is sometimes an
underlying functional Effort (for example: Strength in a weight shift underneath a Light upper body). Usually,
however, we are more concerned with the expressive aspects of Effort.
Motion Factors: Flow, Weight, Time, Space. Each Motion Factor is a continuum between the polarities
which are Effort Elements/Qualities.

4. RELATIONSHIPS ASPECT
With whom or what the body is relating as it moves characterized by the body parts to each other, individuals
and groups in dance, gymnastics, or games and other types like apparatus, music and even rules.
 The Matrix Relationships Terminologies
Body Parts Individuals and Individuals and Other Types Other Types Other Types Apparatus
to each Groups (Dance Groups (Games) (Games) ( Dance) ( Gymnastics) Gymnastics
other and Gymnastics)
In front of/ In front of/ In front of/ Rules/ Music/sound/ Rhythm In front of/
alongside/ alongside/behind alongside/behind boundaries/ rhythm/props alongside/behind
behind goals
Far from/ Far from/ near to Far from/ near to Stories/poems On/off/above/be
near to /art low
Above/ Above/below Offense/ defense Science/social Over/under
below studies
Meet/part Meet/ Attack/defend Mount/Dismount
mingle/part spaces
Under/ Lead/ follow Pass to spaces
below ( lead passes )
Around/ Create
between/through space/cover
spaces (Guard)
Toward/away Player placement
when receiving,
sending,
intercepting, or
possessing an
object
Over/ under Cooperation/com
petition
Match/ mirror/
copy/contrast
Unison/canon
Simultaneous/
successive
Supporting/being
supported
*Above tables shows a descriptive terminologies that would be our guide to create movement framework
* Below is the movement analysis framework, which has been termed “the wheel” is intended to show how the
skill themes and movement concepts interact with each other.
Let’s spin the wheel to show how the skill themes and movement concepts interact with each other!!!

Activity 1.A and 1.B Directions: Above Matrix and The Wheel will guide you more to fulfill the activity 1.A
and 1.B. See to it that these Fundamental Movements from the wheel will be observed, if not but at
least four (4) each from Locomotor, Stability and Manipulative. Activity 1A and 1B will be submitted in
Video to our Facebook group page.

Activity 1.A: INDIVIDUAL DANCE PERFORMANCE

1. Select your preferred music at least 2 minutes length.
2. Select your dance genre. Own choice.
3. Choreograph at least basic steps that you are observing at least four (4) fundamental
movements from the wheel.
Example: ( Locomotor) Hopping, Dodging, Galloping, Sliding
( Manipulative) Kicking, Collecting, Striking, Catching
( Nonmanipulative) Turning , Twisting, Balancing, Stretching.
Note: There are many Fundamental movements not included from the wheel and name it if you
think its fundamental movement and you want to include to your performance.
4. Use any light apparatus like pompoms, wands, hoops and the like, it could help you to justify
the relationship aspect since it is individual.

Activity 1.B: INDIVIDUAL SPORT EXERCISE ROUTINE

1. Select your preferred sports and equipments like ball, racket, etc.
2. Select just one (1) sport. And Perform it at least 5 minutes.
3. Create your most appropriate exercise routine observing at least four (4) fundamental movements
from the wheel.
Example: ( Locomotor) Hopping, Dodging, Galloping, Sliding
( Manipulative) Kicking, Collecting, Striking, Catching
( Nonmanipulative) Turning , Twisting, Balancing, Stretching.
Note: There are someFundamental movements not included from the wheel and name it if you
think its fundamental movement and you want to include to your performance.
4. Use sports equipment like mention above, it could help you to justify the relationship aspect since it
is individual.

Movement Aspects Percentage

Body & Space 30%
(Choreography, Synchronization, Pattern,
Accuracy, Timing)

Effort 35%
(Dynamics, Qualitative use of energy, Texture,
Color, Emotions,
Inner attitude)

Relationship 35%
( Story, Connections, Projections, Creativity,
Arrangement, Appeal )

Total 100%

GOODLUCK!!!!