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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]