What is Embodied Humanities? In a recent essay entitled “Why Making? The Making of a Broadside Ballad” Andrew Griffin explores the process whereby he and fellow colleagues – both faculty members and graduate students – sought to “make” a broadside ballad (from making the paper to performing the ballad) in order to find out more about eighteenth century culture. As Griffin suggests, instead of deriving knowledge from primary or secondary textual sources, participants “turned instead to our senses, and [ ] put our bodies through the labors that other long-dead bodies have previously performed." This process of re-enactment, he argues, results in a new kind of critical engagement and a new kind of knowledge. “We now know, for instance,” suggests Griffin, “how the art we engage is limited by the material affordances of the stuff and technology used in its production.” For Griffin and his fellow “makers,” this new knowledge that results when experience is “treated as an admissible form of evidence” expands “beyond historicism to engage broadside ballads differently.” It also, he suggests, works to broaden students’ understanding of the purpose of humanities studies, showing them how the humanities connect with technology and material culture both historically and in the present day. His research suggests that projects involving embodiment can enhance students learning and engagement in the classroom as well as in their out of classroom understanding of the integrative role of the humanities in society.