BODILY-KINESTHETIC INTELLIGENCE

What did the Greeks look for in the body?

• To eat well and have a good relation with nature and the food.

• To have a body that was perfectly proportioned and graceful in movement, balance and tone.

• To reach the perfect balance and live eternally thanks to good habits and lifestyle.

There are two types of capacities when it comes to bodily intelligence:

1.-  Control of one´s bodily motions (dancers and swimmers)

2.-  The capacity to handle objects skillfully (artisans, ballplayers, and instrumentalists)

• True

• False

In the process of sending information to the spinal cord, which two are the most relevant?

• Cerebellum and the thalamus

• Nervous system and cerebellum

• Cerebellum and the basal ganglia

• Cerebral cortex and the cerebellum

The individual´ s perception of the world is itself is not affected by the status of his motor activities.

• True

• False

Injuries to zones of left hemisphere that are dominant for motor activities can produce selective impairments

• True

• False

In here an individual who is physically capable of carrying out a set of motor sequences, and cognitively capable of understanding a request to do so, is nonetheless unable to carry them out in the proper order or in a proper manner

• Dressing apraxia

• Limb-kinetic apraxia

• Apraxia in general

• All of the above

In Hopi culture…

• Dancing serves to maintain a tribal unity, to placate the gods, and to preserve cultural values.

• Dancers are personalized, less conservative, more open to improvisation.

In Polyneasian culture…

• Dancers are personalized, less conservative, more open to improvisation.

• Dancing serves to maintain a tribal unity, to placate the gods, and to preserve cultural values.

At what age every normal child is able to observe scenes or performances and re-create on a subsequent occasion at least some of the highlights of the display?

• 3 and a half years old

• 4 years old

• About 2 years old

• None of the above

Intrapersonal intelligence can be used for

• Emotion-centered acting technique

• Non emotion-centered acting technique