​AH-EPS

TPR (Total Physical Response) World is the quintessential source for kinesthetic learning (with incidental use of touch). Here is video of an initial lesson.

 

The Alexander Technique "embodies" the fundamentals of haptic instruction, as does the Feldenkrais Method.

Much of the pedagogical process of EHIEP is derived from the work of Arthur Lessac

 

The underlying neurophysiological and psychological model of EHIEP owes much to Observed Experiential Integration.

 

The Egoscue method also provided some important insights into how to align and train the body, from a more biomechanical standpoint. (If you have back problems, start there!)

 

Perhaps the closest discipline to the HICP work is Dance Therapy (or sometimes termed: Dance Movement Therapy.) This book from 1988, available in pdf fromat from ERIC, is a classic.

 

Marsha Chan borders on "extreme-kinesthetic" in some of her work. Although not explicitly haptic, many of her techniques involve haptic anchoring.

 

 Judy Gilbert is a strong advocate for kinesthetic engagement in pronunciation instruction, as is Planaria Price.

Gary Carkin's Drama and ESL website is a great source of methodology and models in use of drama in the field.

Cognitive Phonologists have proposed interesting/promising theoretical models that would require systematic engagement of the body in pronunciation instruction. This article, by Helen Fraser, although distinctly "disembodied," presents an excellent perspective on the place of rhythm in instruction.

American Sign Language involves a great deal of haptic anchoring. This website has a good video dictionary which shows the haptic "tags" clearly. In general, signs that have high emotional loading, such as "accuse" or "attitude" tend to involve haptic anchoring, with either both hand touching or one more hands touching the body.

In my early work in this area, I found the general approach in Neurolinguistic Programming (NLP) to the idea of the classroom instructor as clinician, of sorts, very helpful in focusing on the psycho-dynamics of pronunciation change. In addition, NLP makes explicit use of the visual field and multiple-modality procedures.

Another source of ideas for HICP was my association with David Bell. His 1997 article (Journal of Imagination in Language Teaching, Vol. III) is one of the first to make the connection between dance and more explicit instruction connected to linguistic structures. Conceptually, it is closer to (full body) dance or aerobics than much of what passes as pronunciation instruction today. 

The one book now available that at least deals with earlier research on gesture in language learning, edited by McCaffery & Stam

Eventually what we do is going to link up to Neurotherapy. One of the best: Dr Paul Swingle & Associates.

Early inspiration for some of the HICP/EHIEP model came from colleagues trained in Orton-Gillingham methods.

Therapeutic use of touch is well established. Two of several sites that link to research in that area is Thereapeutictouchontario.org and Prompt.

There are a number of organizations and sites dedicated to kinesthetic learning, among them: Kinesthetic Learning and BrainGym.

Here is a good general inventory/description of the tactile learner, along with learning style questionnaires. Conversely, it suggests strategies and conditions for haptic engagement as well
 

The "hip" in HICP could, of course, also relate to one type of dancing (which I am a great fan of by the way!) that does lower body expressiveness like no other as a matter of fact . . . Developing an effective metalanguage in working with "felt sense" is important. One of the first steps in approaching a model conversation is to assist learners in capturing the overall discourse mood or affective loading of each of the conversants.

NIA (Neuro- Muscular Action) is a well-established system for body or somatic well-being: "NIA trainings are designed for people of all shapes and sizes, and may be taken for both personal enrichment and professional development. They teach you about sensory-based living as a pleasurable way to achieve lasting health, wellness and fitness."

See this excellent review of the philosophical underpinnings of touch, linked to a contemporary view of a "haptic pallet". And, of course, "haptic apparel!"

For a concise, high level view of differences between British and North American pronunciation that nicely foregrounds prosodics see this one by Jack Windsor Lewis. His inventory of segmentals and suprasegmentals is not consistent pedagogically with EHIEP but it represents the prevailing model well.

 

Speech pathologists are licensed to make extensive use of tactile techniques with clients. ESL/EFL professionals generally don't do that. Here is a "self-tactile" procedure that I have used occasionally with vowels or consonant articulation.
 

And there is this (mostly) kinesthetic warm-up that I recorded at TESOL 2009 for the Educational Testing Service Teaching techniques collection. (Caveat emptor, eh!)

Technically, this teaching video,using food for pronunciation teaching, is primarily "gustatory," but there is plenty of "hapticity" as well!

Here is a video of Carolyn (Jazz Chants) Graham doing a workshop on how to create a jazz chant. Beginning at about minute 8 she indirectly, without comment, illustrates a good haptic anchor and then talks about the importance of physical engagement.

The "classic" childrens' haptic teaching song for selected body parts and another about "spiders."