I have chosen to look at the use of Kinesthetic Empathy in forming new groups of post graduate students for performance. Feedback from the student survey highlighted two points that students found difficult when working together: overcoming language barriers between them, as well as the varying levels of experience in the field. This has led to students preferring to work on solo pieces rather than work in an ensemble. However, the course content requires, at times, that students work collaboratively.
I have used Kinaesthetic Empathy within my practice for over 15 years, in the UK and South America. I am interested in the nonverbal aspect of this relationship building approach to working in a collaborative and way, and I have witnessed time and time again that working with the body, movement and play can bring dysfunctional groups together when there is an emphasis on the tools that develop kinesthetic empathy. By which I mean groups who find it difficult to work together.
I believe it is important for the post graduate community as within the college I work in, the community is small and has expressed a feeling of isolation and not part of the wider academic community at Wimbledon. For this course in particular, low numbers of home students, and high numbers of overseas students ( a ratio of 1:10)* mean that students have a varying level of English as a second language which can cause a lack of cohesion in cohorts particularly when working within the verbal realm.
Working with nonverbal communication is important to the subject, as not all theatre making needs to be on a verbal level. Infact, before we relate through words, we relate through movement, and movement and play, in and of itself can create powerful metaphors as well as symbolic work (LeFeber, M.M., 2013 ). It is through symbolism that we can connect diverging identities in a non-direct way (Levy, F., 2005). Symbolism is inherent in storytelling and thus within theatre making.
Parekh-Gaihede’ (2012) explores how theatre has the potential to explore empathy across differences in culture and experience, and although there is the possibility to reinforce differences through stereotypes (for example in representation within theatre), working with kinesthetic empathy also has the possibility to activate embodied connections with others which, “breakdown monolithic identities by raising awareness of differences within the self” (pg 320).
Reynolds D (2012) says, “movement, physicality and the non-verbal have the potential to articulate levels of difference and intersubjective connection in ways that intersect with but are not always reducible to language, thereby bringing new complexities into play” (Pg 325)
It is precisely this that drives me through this mini project. The need to connect through movement and play, something that within a very adult and academic world gets easily lost, but for theatre making is essential.
*Taken from the dashboards
Bibliography
Kolb, D.A. (1984) Experiential Learning: Experience as the Source of Learning and Development. Englewood Cliffs, NJ: Prentice Hall.
LeFeber, M.M., 2013. Working With Children Using Dance/Movement Therapy. In: E. Green & A. Drewes, eds., Integrating Expressive Arts and Play Therapy With Children and Adolescents. John Wiley & Sons.
Levy, F., 2005. Dance Movement Therapy: A Healing Art. National Dance Association.
Parekh-Gaihede, R. (2012) ‘Breaking the Distance: Empathy and Ethical Awareness in Performance’. In: Reynolds, D. and Reason, M. (eds.) Kinesthetic Empathy in Creative and Cultural Practices. Bristol, UK: Intellect Ltd, pp. 177–192.
Reynolds, D., & Reason, M. (Eds.). (2012). Kinesthetic empathy in creative and cultural practices. London: Intellect Books.
University of the Arts London (n.d.) Inclusive Teaching and Learning Framework. Available at:
https://www.arts.ac.uk/about-ual/learning-and-teaching/teaching-and-learning-exchange/inclusive-teaching-and-learning
(Accessed: 12 December 2025).