Exploring the role of body movement in music education and choral practise through autoethnography

Body movement is deeply rooted in musical expression in all cultures and has an important place in music education and choral practise. This article explores how movement — whether conscious or instinctive — shapes the training and performance of choirs, focussing on the dynamic relationship between conductors and singers. Using auto-ethnographic narratives, the article traces the developmental paths of two individuals involved in music education, focusing on how movement has influenced their development as educators and performers. Based on a comprehensive theoretical framework that includes the methods of Zoltán Kodály, Émile Jaques-Dalcroze and Carl Orff (Orff-Schulwerk), the article emphasises the deep connection between music and movement. It explores how this synergy promotes cognitive, physical and emotional growth by introducing movement-based practises such as body percussion, rhythmic gymnastics, expressive dance and conducting gestures. These exercises have been shown to improve musical understanding, concentration and emotional expression. By comparing personal narratives, the article highlights both similarities and differences in the way movement is integrated into choral training. The findings emphasise the inextricable link between music and movement and demonstrate its transformative power in fostering deeper musical engagement and building a sense of community among teachers and learners. Ultimately, the article argues for the continued inclusion of natural movement in artistic and pedagogical practise, emphasising its role as an essential component of music education and the choral arts.