Download a few tips on how to work best with students with disabilities

BEST PRACTICES WHEN WORKING WITH STUDENTS WITH DISABILITIES
IN THE ARTS AND LEARNING SETTINGS
1. Assume capable because when looking for abilities, rather than looking at
disabilities, you set aside your expectations and do not settle for other people's
estimation of limitations. Always talk with and work with the whole person
rather than with their disability. Keep in mind that there is no such thing as a
disability that affects creativity. Expect to be amazed.
2. Get to know your students so that you learn their needs and strengths. Use
your resources -- physical, occupational, speech, and other therapists, family
members, peers, teachers -- for practical advice which will help make adaptive
strategies work well for the child in your setting. You will get the most useful
information if you ask about the child in a positive way. Inquiring about the
strengths and most effective learning strategies for a child will elicit the best
information and get everybody off to a good start. Most of all -- include the
children themselves in the process of creating adaptations that work well for
them. They are often their own best problem solvers.
3. Share information in a positive way, being sure to highlight what’s working
well. A student may well be revealing her best potential in arts activities, and
this is invaluable to others who work with that student. If you need to let others
know of difficulties, ask in terms of “What could be improved?” “What would be
a better approach?”
4. Communicate and talk things over, especially with the learner. Never talk
about somebody in his presence without asking permission or at least explaining
to them that you are going to be discussing with another person good ways to do
the activity. Find out what communication systems are in place for those who
are non-verbal or who have limited communication. If a communication system
is not serving well in the project you are doing, problem solve and try new ideas.
I have seen artists develop new communication techniques which were then
adopted by parents, teachers, and the child's speech pathologist!
5. Adaptive techniques can include special equipment but often technology is
either unaffordable, unavailable, or does not suit a student’s particular needs. In
these cases imaginative solutions can often be found using whatever is available.
6. Adaptive approaches – An open environment is beneficial for all students. By
this we mean experiences where students are offered a variety of materials and
encouraged to explore different ways to participate in the activity or accomplish
the end product. When students with disabilities are included in the group,
thought will naturally be given to accommodating their needs. It is highly
important that whatever materials or approaches are included with particular
students in mind are also available to everyone in the group. There is sometimes
anxiety about the most able students choosing simpler ways of doing a project –
but rest assured, this is never a problem! Quite the opposite will happen. All
students will benefit from unique ways of approaching creative work. For
instance, if a visual arts class includes a student with low vision and more tactile
materials are included as an option, this may add a wonderful new dimension
for all students.
7. Always choose the lowest level of intervention when assisting. We are
looking for the least restrictive ways for a student to participate. The goal is for
the child to work as independently as possible. Be alert to improper hand-overhand where the one assisting is actually doing the work, to over-direction, to
taking away a student’s choice, or to doing a student's work for him. Take the
time to work out strategies that meet individual needs and allow as much
independence as possible. There is always the temptation to do the work for a
student, either to improve outcome or to complete the project more quickly. But
if we invest time up front to work out these strategies, in the end it will be more
expedient and more satisfying for both teacher and student.
Remember that learning is a circular and not a linear process. There are always
core goals for any activity we do with learners - whether classroom, recreational,
or arts activities. In dance, theater, music, and visual arts the teacher will have
a core aesthetic goal. But there are 360 degrees of ways to accomplish that goal.
When we, as educators, allow the choices and process of exploration so that
each student finds a unique way to experience the creative process which will
take them on a journey towards that core, we provide the most meaningful,
satisfying, and potentially successful opportunities for all students.
Deborah Stuart
Consultant, Arts in Learning
VSA arts of New Hampshire
[email protected]
[email protected]