This article explores how a musical awareness of natural bodily form as an expression of receptive-responsive relationship between stillness and movement can contribute to co-creative dialogue and deep learning that reaches beyond the often superficial knowledge and praxis of intellectually constituted thought and language. It will draw especially on findings from research on the Kokas pedagogy an experiential extension of the Kodaly method of music education combining improvised movement and collective reflection. These findings highlight how the physical dimensions of this pedagogy cultivated new, embodied modes of creative ideation and connectivity, presenting unique challenges and opportunities in the observed educational contexts.Keywords Embodied dialogue . Knowledge as encounter . Creative presence . Flow . Focused attention Prologue I am a researcher of education. My earlier studies focused on children's collaborative learning in the classroom. Trained as a linguist, my specialisation and passion had been the study of talk, which involved recording and analysing paired discourse. As I was transcribing, I was often struck by the synchronicity of children's body movement as they talked their way through paired activities. I marvelled at their collaborative 'dance' as they shared ideas through talk. It appeared that, just by looking at language-based communication, I was missing out on something special. One image has particularly stuck in my memory: two 9-year-old boys engrossed in writing a shared story, and swaying like trees together, from side to side. I Human Arenas (2018) 1:56-78 https://doi