LEARNING THROUGH THE ARTS

 A NEWSLETTER FOR SPECIAL EDUCATION TEACHERS OF THE ARTS

 Spring, 2000

This newsletter was written for several reasons. First, it informs those who use the arts with students who have disabilities about convention presentations on the arts. Second, it helps to build a network of professionals who combine the fields of special education and art education. The newsletter extends the networking of the Special Interest Group for Teachers of the Arts that meets at the national Council for Exceptional Children annual convention. It is gratifying to hear that, due to the newsletter, readers have connected with others who have similar interests. In fact, one reader used the newsletters to build contacts for her Fulbright Scholarship application (and award).

Another purpose of the newsletter is to encourage communication and interaction between special education and art education teachers who often teach the same students. And, for those of you who are into reading messages in tea leaves, perhaps it is an auspicious sign that the annual conventions of our two national organizations, the Council for Exceptional Children (CEC) and the National Art Education Association (NAEA), are both meeting on the west coast with schedules that touch each other. CEC begins in Vancouver the day after NAEA ends in Los Angeles. Remember though, that CEC and NAEA are located next door to each other on Association Drive. Let's hope that by next year, those doors have opened to each other.

This issue will describe special education related presentations at NAEA (many) and visual and performing arts related presentations at CEC (few). Look for information about last year's Special Interest Group meeting at CEC in Charlotte, North Carolina, and a reminder about this year's meeting in Vancouver, British Columbia ( Friday, April 7th, from 5:00 to 6:00 p.m. in the Nootka conference room at the Waterfront Hotel ). The date and time are also listed in the front of the CEC convention program. There is also a description of last year's P. Buckley Moss Foundation conference, information about the next conference in October, and the annual teacher award.

You may have noticed that the format of this newsletter is decided low tech. Today, when slick, desk-top publishing programs are even used for elementary school newsletters, this one may be distinctive, not only because of its topic, but because it still looks like a letter.

"Art - the one achievement of Man which has made the long trip up from all fours seem well advised." James Thurber

CEC's 77th annual convention was held at the Charlotte, NC Convention Center. Downtown Charlotte is filled with the sounds of expansion. New construction is everywhere and cranes can be seen in every direction. In spite of an explosion of development, the city is welcoming. Gardens have been carved out of spaces between buildings and plazas invite people to sit and soak up the sun. Charlotte is a city with many architectural surprises. Picture an office building on a busy street corner. One corner of the building has been designed at a 45 degree angle instead of a right angle. Water gently cascades down that side and transforms an otherwise, ordinary street crossing. Visit another street corner and see several massive blocks of granite placed in a multi-layered plaza. Water flows over the blocks and down into large reflecting pools. There are stepping stones for a meandering stroll and stone benches on each level to extend the walk. Large pieces of sculpture, some contemporary, some historic, add to the rich art life downtown.

Strong preservation efforts demonstrate that new and old areas can co-exist. Restored trolley cars on an old trolley route bring residents and visitors to a nearby area of artists' studios, galleries, shops, and restaurants. Old homes in the middle of the city, located between hotels and office buildings, have been renovated and their architectural details preserved. The lucky home owners live near new art museums, galleries, and the performing arts centers located downtown and within walking distance of the Convention Center.

PRESENTATIONS:

"Young Children Learn Through the Arts" was presented by Donna E. Dugger-Wadsworth , Professor of Special Education at East Central University, Ada, OK and William A. Rieck , Professor of Special Education at University of Southwestern Louisiana, Lafayette, LA, who described a three-year project that used the visual and performing arts to reach young children with disabilities. Dugger-Wadsworth and Rieck emphasized that the arts provide opportunities for creative thinking and decision making, enhance sensorimotor development and communication skills, and teach students to appreciate diversity. Each art area, visual, creative movement, music, and drama, was introduced with guidelines for its use, descriptions of the topics chosen, and a discussion of materials.

"The arts have to become integrated into the rest of the curriculum." In the visual arts, a wide range of materials (from deodorant bottles to feather dusters) were used to encourage children to paint every day. Creative movement was related to feelings, shape and form, and to academic concepts like plant growth. Music connected rhythm and patterns with math skills. Drama activities used field trips as a base for dramatic activities, A variety of puppets and props were used, and the project also created videotapes. All lessons were process-oriented and developmentally appropriate. In closing, Dugger-Wadsworth and Rieck stated that, "Our kids have so few successful experiences. The creative arts are opportunities for success."

Robert Evans, Professor of Education and Special Education at Marshall University, Chesapeake, OH, described the results of a survey of musical talent in his presentation, "Musical Talent: Innate or Acquired? Perceptions of Students, Parents, and Teachers." Evans described how his study examined the influences of innate ability, hard work, and familial support on the development of musical talent. He discussed the perceptions of these factors by groups of parents, teachers, and students and shared information about Sosmak's (1985) study of 21 concert pianists. That study indicated parents could not predict the musical ability of the pianists. Evans' study showed that although the parents had given their children early exposure to music, like the earlier study, they did not think their child had musical talent. However, the teachers surveyed did think their students had talent and that the school gave students recognition for their music. Students recognized their teachers' support, but felt that they were discouraged by both their parents and peers.

 "Can't Draw A Straight Line? That's Why Rulers Were Invented" was designed for Student CEC members and new teachers to encourage their use of art by Beverly Levett Gerber , Professor of Special Education at Southern Connecticut State University. A hands-on, workshop format allowed participants to differentiate between open-ended and closed-ended art lessons, lessons that are primarily direction-following exercises. Open-ended art activities not only encourage students' creative decision-making skills, but in this session, generated additional ideas. Participants were able to build on skills and concepts learned in one art lesson and, with slight variations, create new lessons. For example, one hands-on activity was a wiggly-line "starter," literally a wiggly line drawn on the paper. Each "artist" used their own creative decision making skills to transform the line into many different objects and designs. Participants saw the creative potential in "starters" (as shapes, magazine pictures, photos, real objects, etc.) and shared ways they could be used to enhance individual lessons and provide more art opportunities in their classrooms.

Other arts related presentations included the following. "Teaching Self-Control Through Art, Humor, Play, and Creativity... A Structured Learning Approach" was led by Ken Wallin, Director of the Coastal Academy Psychoeducational Program, Camden Board of Education, Kingsland, GA. and focused on the dynamics of aggression and stategies that use art, humor, and play to teach self-control skills. "A Song-Writing Curriculum to Foster Self-Esteem in School Programs: A Little Keswick Overview" was presented by the professional singing duo of Mary Bomar and Bob Ritter from Nashville, TN and Aaron Parsons , Academic Coordinator of the Little Keswick Scool, VA. The songwriting curriculum was designed to help the children understand and express feelings about their experiences.

EXHIBIT HALL PRESENTATIONS:

Whatever the reason/s, several arts sessions were held at the back of the cavernous Exhibit Hall. Although an effort was made to separate and visually screen the presentations from the vendors, organization exhibits, teacher recruiters, and more, the surrounding noise was a lot of competition. In spite of these problems, the "rooms" were filled to capacity long before the sessions began and many more stood outside, poking their heads through the curtains to hear what was said.

Mary Adamek , Director of Clinical Activities, Music Therapy at the University of Iowa, Iowa City, IA, overcame Exhibit Hall distractions to enthrall a large audience with "Everyone Can Make Music: Music Activities to Promote Development in Students with Severe Disabilities." She used a wide variety of instruments to involve the group and demonstrate developmentally appropriate instruments. Adamek also showed some instrument adaptations for children with physical disabilities. One modification was a bell cuff for the wrist that was held on with velcro. Wooden shakers could be used with children who had tightly closed fists. Still other music instruments ranged from the visually interesting rain sticks, to paddle drums with wooden mallets that "offer instant success," to plastic vegetable and fruit shakers (fun to see and hold). Large, colorful scarves were examples of props that encourage movement.

Adamek involved the audience in songs and activities that increased in complexity, from simple, attention-getting responses, to those that combine music with directions to teach impulse control. She shared information about songs that she used and distributed an outline of music resources that was eagerly snapped up. Adamek recommended the use of books with tapes (for example, "Everyone Can Move" and "Music Is for Everyone") and music that is short, repetitious, not childish, and gets everybody involved. She acknowledged that it is difficult to find music appropriate for older students that is respectful of their chronological age. But, Adamek said that manufacturers are now making more instruments for with young children and she "likes to get the best instruments for her kids."

"Technology Brings the Expressive Arts to All" was presented by Judy Potter , Art Adaptation Specialist, Macomb Projects, Western Illinois University, Macomb, IL. Potter stated that "The arts should be accessible to all and should be developmentally appropriate." She described a field-tested expressive arts curriculum developed for young children with disabilities. Although some of the children took longer, all of the children participated when appropriate tools or strategies were used.

Potter described modifications of time and space and focused on adaptations of the tools and materials. Some were simple, for example, taping the paper to the drawing surface. Others required some work. Racket balls were cut to fit around and securely hold drawing tools for students who had a weak hand grasp. Loops and strap devices were made for other students so they could use hold brushes. Potter described ways that magnets, velcro, and contact paper could be used to secure objects for students with limited fine motor control. It was obvious that a wide range of materials would be used and adapted so that all students could participate.

For music and movement, Potter suggested that teachers use classical music and personal favorites, "not just children's songs." Teachers should provide a wide range of instuments to make different sounds and props, like scarves and streamers, for movement activities. Drama should "expand on the children's interests and experiences." Potter suggested topics like a trip to the grocery store, or reenacting a favorite story. Props, dress-up clothes, scarves, and puppets all enhance this creative experience. She also described computer programs she used and preferred those that provided high contrast, and combine visual images with sound.

Diann Berry , Director of Art Education, Special Needs, represented Binney & Smith, makers of Crayola Crayon art materials, at their first CEC national convention. Her presentation, "Teaching Through the Senses" was so crowded with early arrivals that the overflow into outside aisles made it difficult to hear her. It was obvious that many, many CEC members were eager to see and hear how "color, shape, form and texture enhance learning and make learning more vivid and more concrete." Welcome to CEC, Diann Berry and Binney & Smith! Hopefully you will be in a very large room next time so we can all see and hear you!

Our 7th annual meeting brought together many different sides of art and special education. There were representatives from Very Special Arts, Kids on the Block, Binney & Smith, The P. Buckley Moss Foundation, universities, and schools. The Special Interest Group meeting was a time to renew acquaintances and to meet others who teach and/or advocate the use of the arts for special populations. After introductions, a broad range of topics were discussed. Diann Berry , Director of Art Education for Binney & Smith, shared information about current brain research and the arts. She recommended Robert Silvester's videotape, "The Arts Help the Brain Learn." Brian Carroll , CEO of the Moss Foundation, described a presentation by Cheri Yecke, Deputy Secretary of Education, VA at the Moss Foundation conference. Yecke cited research that students with arts exposure scored significantly higher on their SAT scores. This research backs up what many of us have known, but our information has been anecdotal and consequently, less highly regarded.

Kim Paynter , special education teacher at the Diamond Mines School in Houston, TX, shared information about The River Center for the Performing Arts in Houston, a program that offers training in music, dance, theatre, and the visual arts. And, once again, it was hoped that more people involved in the arts submit proposals for the CEC convention. Many people attended arts related sessions, so the interest among CEC members is there.

Join us in Vancouver for our next Special Interest Group meeting. It will be held on Friday, April 7th, from 5:00 to 6:00 p.m. in the Nootka conference room at the Waterfront Hotel . And, Rey de la Cruz wrote to invite people to his CEC presentation, "Mancala and Sungka: Ancient Games with Multicultural Origins and Contemporary Classroom Applications" on Thursday, April 6th from 2:30 to 3:30 p.m.

"While one should always study the method of a great artist, one should never imitate his manner. The manner of an artist is essentially individual, the method of an artist is absolutely universal. The first is personality, which no one should copy; the second is perfection, which all should aim at." Oscar Wilde

A variety of visual arts presentations addressed problem behavior in the art room and adapting the art curriculum to meet the needs of students with vision and physical limitations. All sessions were well attended and audience members brought a wide range of backgrounds with special education students. Some had little, if any, experience (and did not know what an IEP was) while others brought extensive experience and training.

"Teaching Art with ADD Students in the Classroom" was a panel discussion with Barbara P. Suplee, Marsha Lehman, and Yang Y. Poppen . Suplee described some characteristics of students with ADD and referred to a recent " Time" magazine article that identified ADD as "the most researched, analyzed problem ever" and that it is also "dealing with a lot of disbelievers." She described ADD as a "physical, chemical, and neurotransmitter problem" that affects behavior, emotions, memory, and attention.

Lehman, an art teacher, stressed that students with ADD "can't work anywhere else, but they will be able to work in the art room." Lehman shared strategies for teachers who work with students identified with ADD. She recommended that the room be "ultra-organized." Materials should be in the same place, all the time. Preparation for lessons should be done ahead, and printed materials should be clearly written, preferably on the computer. Directions should be written down and she said that "the students will benefit if they are read aloud by the teacher (without skipping any steps)." Lehman stressed that distractions be minimized and that "music, even classical, doesn't work." Poppen focused on the appropriate uses of praise with the students.

Frank D. Susi , Kent State University, Kent, OH, presented a session "Developing a Systematic Approach to Classroom Discipline" that focused on a multi-step approach for classroom discipline that stressed the prevention of problems and the maintainence of things that are going well. He said that teachers should "expect discipline problems" and be prepared with alternative strategies, "a toolbox with different tools" that can be adjusted to the level of the problem. Susi stressed the need to respect the students, sometimes speaking to them outside of class to avoid the student losing face. The more the teacher knows about the student, the better the teacher can treat them. Susi is a strong believer in talking to other teachers and keeping careful records. He shared his observation that the students respect an art teacher's expertise, and are "captivated by art teachers doing demonstrations."

 "Approaching the Socially Emotionally Disturbed Student in the Art Room" presented by Mary F. Burkett , Kutztown University, Kutztown, PA, focused on "a system with the potential to work with serious socially emotionally disturbed students."

Burkett stated that students with physical handicaps or learning disabilities were not problems in the art room, but that there was a need to learn to deal with students who were "unpredictable" and "possibly violent". She stressed the need to provide "firm expectations" for the students with room rules that are posted on the wall and act as reminders. The class rules should be both "reasonable and fair", with consequences. Burkett shared that she learned about the students by observing them and providing opportunities to talk with them. Although the students said their "favorite subject was art", Burkett reminded everyone that, "Unless you get room management under control, you won't get to the 'goodies' we can offer!"

Effective classroom practices for students with special needs was the focus of "Art Classroom (an incomplete title listing) " presented by Doris Guay , Professor of Art Education, Kent State, OH. Guay discussed a number of factors that affect the art classroom. She described the need for teachers to reflect on their own system of beliefs, values, and goals, and to develop strategies for dealing with classroom diversity.

Guay suggested that collaboration should involve the student. It is important to "find out what they like and want to do and help them communicate those things in art....Children have to be stimulated to think. At the middle school, students should be involved in planning. Their ideas have to be involved, interlocked with the curriculum.... including special needs students." She stressed that textbook descriptions and labels don't help because "no two kids are alike." Teachers should work with student behavior rather than "ramming against it." For example, a student who might act out rather than lose face, might be helped by the teacher's supportive questions. "How have you tried this before? Let's try a new way." This strategy can avoid problems and is more productive than sending the student out of the room. Guay also gave the audience suggestions for effectively involving paraprofessionals in the art room.

William Norton shared information about his "Olivia Project" in his presentation, "Opening the Visual Door to Those Who Have Never Entered." Norton described his work with Olivia, a high school student with cerebral palsy who is in a wheelchair. "Up until my class, she never made a controlled mark in her life."

Norton taught Olivia to use the computer through a series of materials and switches that he modified or developed over a period of several years. Since Olivia was unable to control her hands and was unable to use traditional art materials, a keyboard or mouse to activate a cursor, Norton tried many different approaches. First, he attached a marker or chalk to head gear and had Olivia draw on paper held up to her. The crayon or chalk broke and were then attached to a tongue depressor that also broke. The use of computers held out much promise.

Norton then taped a digitizing pen to a bite stick held in Olivia's mouth. This worked! Olivia made a drawing on the monitor, using every color, and called it "Stormy Night." Norton shared their experiences with different software and input devices. Through grants and persistent fundraising, Norton was able to purchase two new input systems, a light-based system and a sonar-based system with headgear. Olivia described the results, "I feel much more confident... don't know what the word is...feel much more freedom."

 "How Can I Paint a Picture When I Can't Even Hold A Brush? presented by Melissa L. Enderle , Adaptive Art Specialist, and Susan D. Loesl , Art Teacher and Adaptive Art Specialist, Milwaukee, WI, was filled with information about materials used to make art possible for students who have physical limitations. Enderle and Loesl showed a wide range of products, from those they labeled "El Cheapo" (masking tape, crayon balls, stick deordorant bottles, chunky crayons made in muffin tins, etc.) to those used with computers. Their comprehensive demonstration and discussion included catalog recommendations (Lake Shore, Fred Salmon's, etc.), stamp pads and big foam stamps, adapted rulers and scissors (Lake Shore ans Fiskar's loop scissors), and switches (alternatives to the mouse) and software for computer use. This dynamic duo squeezed more adaptation suggestions into a short period of time than might be thought possible. Limitations obviously challenge them.

Bonnie Bernau , former VSA/DC Coordinator of "Start With the Arts" Early Childhood Program and visiting Assistant Professor of Art Education, University of Florida, Gainesville, FL shared information about the Arts Education Partnership and art goals for young children in her presentation, "Children's Learning and the Arts." Bernau gave a broad overview of the work of the Task Force on Children's Learning and the Arts: Birth to 8. One goal is "that a common language can be created between the arts and early childhood teachers." Bernau also discussed ways to involve parents in their child's art experiences and help make the home art "user friendly." For example, setting up a place at home where the child could get messy. She also stated the need for teacher training.

Bernau decribed the "Start With the Arts" Early Childhood Program that promotes art for people with disabilities. It utilizes all the arts, visual and performing, and is organized thematically to make it easy to use. The program is "not intimidating" and contains both written objectives and an assessment component.

"Assessing Today's Youth Through Art" gave Adrienne Hunter an opportunity to share her approaches to art with "at-risk, in-crisis, and/or incarcerated students." As in the past, Hunter's presentation filled the room and people squeezed in the doorways to hear her. Although many would choose other students to teach, Hunter shared that "There is nothing else I would rather be doing." She described her strategies for involving her students in art at a level appropriate for them. For example, Hunter had her students, incarcerated gang members, use clay (gray, not a gang color) for their first activity, some for the first time, to make faces. Some made memorials for dead friends or relatives. "If I used pinch pots, my clay would wind up on the wall."

Hunter stressed that "the teacher's attitude sets the tone for the class"...."Make the class a safe haven so they can come into the art room and just be themselves." She showed many, many slides of the students' art work including art projects that involved them with the community. For example, the students designed, made and donated baby quilts, and they created and painted a mural to decorate a public courtyard. "My kids are very product oriented."...."Give them opportunities to create, but give them guidance to succeed."...."Art should be fun. You should be having fun teaching. Make it fun!"

"Expanding Inner Vision for Art" was presented by Ermyn F. King, drama and puppetry trainer, and Rana McMurray Arnold who were also accompanied by McMurray's seeing eye dog. McMurray, who is legally blind, is Co-founder of The Sight Loss Center at State College, PA. The presentation began with a videotape that showed a docent teaching McMurray how to see and feel a sculpture by talking and describing the experience. King and McMurray recommended the book, What Museum Guides need to Know: Access for the Blind and Visually Impaired."

Then King and McMurray brought out many different goggles for the group to try on. Each set of goggles was specially adapted to simulate a particular vision problem. For example, one had only a pin-dot size hole to look through in order to demonstrate a lack of peripheral vision (as might occur with glaucoma). Another had glue covering the center portion to blur the vision, as might occur with macular degeneration.

After the audience tried the goggles, King and McMurray focused on sensory training. First, they introduced a variety of percussive musical instruments, and then they produced fragrances from Dameter Sensory Fashion (NYC). The scents were ordinary, but unusual to find as fragrances as they included grass, dirt, wood smoke, and a tomato scent. Two more recommendations were a booklet, "Descriptive Video Service" (WGBH) and "A picture Is Worth a Thousand Words" (American Foundation for the Blind).

"Art Therapy and Art Education: Definitions, Distinctions, and Parallels" was presented by Lucy Andrus , Professor of Art Education and an Art Therapist, Buffalo State University, Buffalo, NY. Andrus welcomed the audience to "the soup, the stew, the mish-mosh" that confuses the two professions. She hoped her presentation would help art teachers "become educated consumers....to gain knowledge of the art therapy profession so they would know when to make a referral to the art therapist."

Andrus used a slide of art work, made at home by a child who brought it to school, to elicit responses and reactions to the art work. After discussion, Andrus reminded the group that the "image should not be taken in isolation." Many other factors need to be considered, including "the client's reaction, their behavior when creating the image, and their own description."

Andrus described the extensive training involved in order to become an art therapist and suggested that teachers contact the American Art Therapist Association (847-949-6064) to obtain a membership directory for their state. She recommended that art teachers "listen to what is bothering them" about a particular student and "make a referral."..."Many times it is a sensitive art teacher who is the first to notice a problem."

Other sessions included Start with the Arts Using Technology" a presentation by Bonnie Bernau, Very Special Arts/DC, who described an arts education program for young children, aged four to six ; "Overcoming Isolation by Creating Inclusionary Art Experiences" was presented by Janet Fedorenko , Art Education State Consultant, Columbus. OH; "The effect of Art Criticism on Self-concept in Students Labeled Emotionally Handicapped" presented by Tina Murray; and "Using Family Drawings to Assess Emotional Problems in Children" presented by Alice M. Karamanol , an art therapist; "Working with Autistic Children" presented by Nicole E. Lang ; "Involving Pre-service Art Teachers in Youth Rehabilitation Programs" presented by Shirley H. Yokley encouraged the placement of pre-service art education majors in detention and rehabilitation centers for youthful offenders as a way to build bridges between the university and the community.

 "Art is the only way to run away without leaving home." Twyla Tharp

The second P. Buckley Moss Foundation for Children's Education conference was held at the Bridgewater College campus in Bridgewater, VA this past June. The conference was special because it focused only on art education for special education students! Presentations drew on the skills and extensive experience of professionals who have been teaching and/or advocating art for special education students for many years. Representing both professions, the keynote speakers shared their own perspectives and experiences with the audience. Sara Tambucci , past president of NAEA and Principal of Chartiers Valley Intermediate School in Pittsburgh, PA, spoke about the "Arts in Education: A Bridge Between Theory and Practice" and Larry Silber , Clinical Professor of Psychiatry at Georgetown University Medical Center, Washington, DC, spoke about "Teaching the Total Child: Positive Self-Image and the Arts."

Presenters included: Janet Fedorenko , Ohio State Art Education Consultant: Adrienne Hunter , Allegheny County, PA, Alternative High School Art Teacher, Beverly Levett Gerber , Professor of Special Education, Southern Connecticut State University; Ron McAdow , Multimedia Project Manager for the Center for Applied Special Technology, Peabody, MA; Doris Guay , Professor of Art Education, Kent State University, Kent, OH; and Peter and Maura Geisser , Rhode Island School for the Deaf Art Teachers.

Presentations were interspersed with Poster Sessions, a reception at the P. Buckley Moss Museum with a Shenandoah Mountain backdrop, and lots of good food. The weekend culminated with a clay activity designed and organized by Peter and Maura Geisser that combined music, poetry, and philosophy. It was a fitting way to end a thoroughly exciting conference.

The third conference, "The Creative Mind: Advancing Special Education Through the Arts," will be held in Virginia, from October 20th to 22nd, 2000. Information about the conference and/or the Annual Teacher's Award ($5,000 to the teacher and $5,000 to the school) can be obtained from The P. Buckley Moss Foundation for Children's Education, 601 Shenandoah Drive: Suite 1B, Waynesboro, VA 22980; (540) 932-1728; FAX (540) 949-8408; Web: www.mossfoundation.org

"Why do two colors, put one next to the other, sing? Can one really explain this? No. Just as one can never learn how to paint." Pablo Picasso

SED/Arts Organization   |   SED/Arts References   |   NAEA Special Needs Issues Group   |  CEC Special Interest Group for Teachers of the Arts