In his review “Berlin moves” of a concert by the Berliner, Greg Sandow writes: “So here comes the punch line, a truly brutal one. Classical musicians are taught not to move. This rigidity has got to go” (https://bit.ly/Sandow_berliner). This workshop, targeted at instrumental music teachers, addresses the role of movement in instrumental music education. Attendees engage in a hands-on experience with “kinemusical improvisation,” a novel approach to instrumental music education (all ages and all levels) that educates the performing body beyond a mere instrumentalist approach to the body and musical instruments through the incorporation of movement-based learning activities. This approach introduces extraneous movements, i.e., movements that are not performance task related (e.g., walking, stepping, and moving the upper body) in the instrumental learning process to foster musical understanding, expressiveness, and creativity. In contrast to, for example, the Dalcroze approach, learners move while playing their instrument. Next to being inspired by movement-based pedagogical approaches such as Dalcroze education or the Laban-Bartenieff Movement System, the kinemusical approach has a strong theoretical foundation, building on theories such as embodied music cognition (Leman, 2016) and Nijs’ related theory on the musician-instrument relationship (Nijs et al., 2013; Nijs, 2017), and embodied music pedagogy (Bremmer & Nijs, 2020, 2022, 2024), including non-linear pedagogy (Chow et al., 2011) and the constraints-led approach (Renshaw & Show, 2019). In this workshop, attendees engage in a series of kinemusical activities (e.g., Meet ‘n Greet, Stick & Rope, Melody on the Move) to experience different ways of integrating movement in instrumental learning activities and, as such, to discover the approach’s possibilities and the underlying pedagogical and design principles. Activities are built around a set of individual, task, and environmental constraints, such as spatial and social choreography, the relationship between movement and music, and the degree of social interaction. During the activities, attendees are introduced to the theoretical concepts underlying the approach. Activities are followed by brief reflections on the attendees’ experience and the implications of the approach for instrumental music teaching.