Adaptive Art: Deconstructing Disability in the Art Classroom 9781615289813

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ADAPTIVE ART

Adaptive Deconstructing Disability in the Art Classroom

ART Deconstructing Disability in the Art Classroom Bette Naughton

Bette Naughton

Adaptive Art

Deconstructing Disability in the Art Classroom

Adaptive Art

Deconstructing Disability in the Art Classroom Bette Naughton Heather L. R. Fountain, Editor

Davis Publications, Inc. Worcester, Massachusetts

Copyright © 2020 Davis Publications, Inc. Worcester, Massachusetts U.S.A. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any storage and retrieval system now known or to be invented, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine, newspaper, or broadcast. Every effort has been made to ensure that the information in this book is accurate. However, the author and publisher take no responsibility for any harm which may be caused by the use or misuse of any materials or processes mentioned herein; nor is any condition or warranty implied. Every effort has been made to trace the ownership of copyrighted illustrations appearing in this book. Photo credit: Bette Naughton unless otherwise noted. Publisher: Julian Wade Senior Editor: Missy Hall Nicholson Consulting Editor: Helen Ronan Production: Tom Fiorelli Copyediting: Mary Ellen Wilson Design: Tyler Kemp-Benedict, Douglass Scott Editorial Assistance: Amanda Hebson, Emily Henderson-Sperber Library of Congress Control Number: 2018959946 ISBN: 978-1-61528-981-3 1 2 3 4 5 6 7 8 9 10

Acknowledgments This book is dedicated to all of the students and people who have taught me how to be a better teacher, a kinder person. My colleagues who have provided me with valuable insights, inspirations, and wisdom in my quest for knowledge to improve my practice so that all students work through their abilities to express themselves creatively. To my parents for always encouraging me by telling me I can do anything I put my mind to. And to my own three wonderful children, from whom I have learned much about how children learn, grow, and create as they journey through life. Special thanks to Dr. Heather Fountain for her wisdom and guidance in writing this book. To Davis Publications for its dedication to art education and the vision to create resources that inspire teachers to teach students how to explore and develop their artistic potential as they embrace the visual arts. The artwork in this book was created by students with disabilities. The children’s names have been changed to protect their privacy. Bette Naughton

Contents Introduction  2 Chapter 1

Chapter 4

Low Muscle Tone (Hypotonia)  34

Creating a Philosophical Framework  4

Creating Art  35

Building Your Own Foundation  5

Responding to Art  45

Using Narrative Accounts  6

Presenting Art and Ideas about Art  46

Conducting an Initial Assessment  7

Adaptive Benefits for All Students  48

Chapter 2

Chapter 5

Collaborating with a Learning Community  8 Making Connections  9 Collaboration  11 Starting Conversations  13

Connecting to Art  41

Visual Impairments  50 Types of Visual Impairment  51 Creating Art  52 Connecting to Art  61 Responding to Art  63 Presenting Art and Ideas about Art  64

Chapter 3

Sensory Stimulation  16

Adaptive Benefits for All Students  66

Sensory Processing Disorder  17 Creating Art  21 Connecting to Art  27 Responding to Art  29 Presenting Art and Ideas about Art  31 Turning Failure into Success  32 Adaptive Benefits for All Students  32

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Chapter 6

Gross Motor Impairments  68 Creating Art  69 Connecting to Art  78 Responding to Art  79 Presenting Art and Ideas about Art  81 Adaptive Benefits for All Students  82

Chapter 7

Fine Motor Delays  84 Creating Art  87 Connecting to Art  92 Responding to Art  94 Presenting Art and Ideas about Art  95 Adaptive Benefits for All Students  96

Chapter 8

Intellectual Disabilities  98 Meaningful Adaptations  100 Creating Art  102 Connecting to Art  110 Responding to Art  111 Presenting Art and Ideas about Art  112 Adaptive Benefits for All Students  113

Chapter 10 Chapter 9

Hearing Loss  114 Making Your Classroom Comfortable for All Learners  116

Emotional and Behavioral Disabilities  126 Understanding Your Students  127 Preventive Planning  128

Creating Art  118

Creating Art  129

Connecting to Art  121

Connecting to Art  133

Responding to Art  122

Responding to Art  134

Presenting Art and Ideas about Art  124

Presenting Art and Ideas about Art  135

Adaptive Benefits for All Students  125

Adaptive Benefits for All Students  136

Chapter 11

Final Thoughts  138

Contents   vii

Introduction “Follow your bliss and the universe will open doors for you where there were only walls.” Joseph Campbell

Humans have an innate desire to communicate. For many students living with disabilities, communication is often difficult. Observing this difficulty fueled my desire to develop adaptations in my art lessons that would facilitate communication with my students while also engaging them in

the visual arts. Trying new methods, materials, and tools has allowed me to remove many of the barriers I observed, enabling my students to express themselves and their ideas through art. I envisioned Adaptive Art as a resource to help art educators adapt lessons and objectives for students with disabilities by working through those students’ abilities. I did not intend this book to provide information on specific disabilities or how they manifest in people; a variety of books have been written on that topic, such as The Complete Learning Disabilities Handbook: Ready-to-Use Strategies & Activities for Teaching Students with Learning Disabilities by Joan Harwell and Rebecca Williams Jackson.1 Another great book is Reaching and Teaching Students with Special Needs through Art edited by Beverly Levett Gerber and Doris M. Guay.2 Rather, this book presents strategies and techniques, based on my own research and experience, for teaching the visual arts to students who have been identified as having various categories of challenge, such as behavioral, emotional, vision, or fine motor challenges. The categories in this book are larger than a single specific disability, and the deficits discussed are common in students with and without disabilities. (For instance, Chapter 7, on fine motor skills, will be helpful for teachers working with young children who are developing handeye coordination.) A child need not be

A child need not be identified as having a disability to have a deficit in one or more areas.

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identified as having a disability to have a deficit in one or more areas. Students may have weak fine motor skills and exhibit signs of emotional or behavioral disorders due to frustration and their inability to perform at the same level as their peers. Today, many researchers, such as Dr. Johann Issartel and David Gaul, believe that students entering primary grades commonly lack fine motor-skill stamina because of exposure to touch screens and reduced physical exercise, part and parcel of the sedentary lifestyle that technology promotes.3 Adaptive Art’s instructional methods and ideas for teaching and adapting art activities, media, tools, and techniques will enable you to engage your students in meaningful and creative self-expression— in which the process is often more important than the product. All are designed to The capacity aid your students in to think and engaging successreact quickly fully and to assist is important, you in managing the since not every vast array of learning adaptation styles and student will work for needs in your classroom. The strategies all students all presented here are the time. the result of watching what my students could and could not do, and then modifying lessons, materials, media, and tools, as well as my own thinking about students’ abilities, to allow them to successfully make and engage in art. The capacity to think and react quickly is important, since not every adaptation will work for all students all the time. The best method for adapting a tool or technique for painting may be different from one student to the next. Let your students try out a variety of brushes and techniques to see what works best for them. As your students gain more control of the task, you may need to change your approach

once again or eliminate the adaptation completely as they develop control and confidence in painting. It is my hope that the findings and suggestions in Adaptive Art will keep students engaged in learning and educators engaged in teaching. I wish you much success as you use these adaptations to capitalize on your students’ abilities and foster their artistic self-expression.

Notes 1 Joan Harwell and Rebecca Williams Jackson, Complete Learning Disabilities Handbook: Ready-to-Use Strategies & Activities for Teaching Students with Learning Disabilities, 3rd ed. (West Nyack, NY: Center for Applied Research in Education, 2008). 2 Beverly L. Gerber and Doris M. Guay, eds., Reaching and Teaching Students with Special Needs through Art (Reston, VA: The National Art Education Association, 2006). 3 David Gaul and Johann Issartel, “Fine Motor Skill Proficiency in Typically Developing Children: On or Off the Maturation Track?” Human Movement Science, Vol. 46 (April 2016), 78–85.

Additional Resources D. J. Vera, M. M. Jozwiak, and M. L. Castilleja, “ ‘The Computer is Broke!’ Could Technology Be Affecting Fine Motor Development in Tech Savvy Pre-School Children or Could It Be Something Else?” 1st ed., Vol. 7, Schooling, pp. 1–10, Rep. No. 1 (2016). San Antonio, TX: Texas A&M University–San Antonio. doi:http:// www.nationalforum.com/Electronic Journal Volumes/Vera, Debbie J The Computer is Broke Schooling V7 N1 2016.pdf

  Introduction  3

Chapter 1

Creating a Philosophical Framework “Those who have no compassion have no wisdom. Knowledge, yes; cleverness, maybe; wisdom, no. A clever mind is not a heart. Knowledge doesn’t really care. Wisdom does.” Benjamin Hoff

Foster independence whenever possible; offer the necessary scaffolding to reach that independent state.

4

Set obtainable goals and give rewards and movement breaks when needed or once the goal is achieved.

From the moment I started teaching, I have been more curious about those for whom learning and doing are difficult than those for whom learning comes easily. The desire to find ways to encourage all learners to create and engage in art has led me to investigate best practices and theories for teaching students identified as having disabilities. This research has shaped and altered my philosophy of education.

Photo credit: Kayla McVey

Building Your Own Foundation Part of who you are as a teacher is the result of what you have experienced in your life. Each person develops a unique foundation, on which a philosophical framework is built. Most of us have a philosophy or philosophical framework of education that changes as we grow our knowledge and encounter new theories. Your philosophy of education is constructed from your thoughts and attitudes about pedagogy, gleaned from exposure to various opinions on how to teach, reach, and engage students. Your framework is a structure of diverse ideas, thoughts, and methods, which you form into a system that works for you and your students. From the scraps of wisdom and insights that you have gathered, you create your own pedagogical patchwork, pieced together from what stood out to you as a teacher. In a sense, you have constructed your own educational theory, shaped by all of your observations and encounters. Your philosophical framework consists of the characteristics, theories, and practices that you value. And you alter that framework as you evolve and develop in your profession. Most likely, you became a teacher out of a desire to pass on your knowledge and love of learning to others. The degree to which you change your teaching strategies to reach every learner will be based on your personal situation.

If you do not have a good support system of caring paraprofessionals, combined with the resources of a supportive special education department, you may feel overwhelmed and uncertain about how to meet the needs of a diverse classroom. Art educators with jam-packed schedules and little planning time may feel they can’t adapt every lesson. That is okay. Adapt when you can. Change lessons over time. Adapt tools first. We use those every day in the art room. Knowing your students, as well as understanding their limitations and abilities, is important when formulating adaptations that will be effective in the visual arts. When you make the decision to adapt, you are removing obstacles, such as frustration and doubt, that keep students from appreciating and creating art. This change in approach leads to an evolving and informed awareness about your students’ needs. In “A Disability Aesthetic, Inclusion, and Art Education,” Doug Blandy speaks about the silenced insisting on a voice; he calls for a new aesthetic that allows us to look at those who have not had a voice and to see and

Adapt when you can. Change lessons over time. Adapt tools first. We use those every day in the art room. Chapter 1  Creating a Philosophical Framework   5

A student builds cutting skills. Warm up by cutting Play-Doh prior to paper cutting. Photo credit: Robin Hughes

hear what they have to say.1 As a teacher, you have the power to help students find their voices, many of which will be heard for the first time.

Using Narrative Accounts Another vital component of meeting students’ needs is knowing how they learn. One way to determine their learning style is through narrative accounts. As Steve Thunder-McGuire explains in his contribution to the anthology Issues and Approaches to Art for Students with Special Needs, these exercises allow a child to speak about the processes and learning that take place during artistic expression.2 By creating narrative accounts of his students’ abilities, Thunder-McGuire gained a deeper understanding of each learner, beyond what an individualized education program (IEP) alone could provide. A narrative account can play a dual role, serving as an initial assessment tool and as an ongoing metric of a student’s progress throughout the year. In working with my adaptive art class, I have seen the significance of this method. For instance, I once worked with a student identified as having multiple disabilities who was painting a picture of herself. She completed the self-portrait and then added several small objects, one of which had a brushstroke coming off one end and extending into the air. Sara was very proud of her work and 6

had enjoyed looking in the mirror as she worked to paint herself. We sat and looked at her artwork together. I asked, “Is that you?” Sara eagerly replied, “Yes.” She then pointed to an object in her painting. I asked what it was. “Shadow,” she stated, then pointed to a circular mark and said “ball.” Sara’s paraprofessional, who knows Sara and her home life well, explained that Sara had a cat named Shadow. Had I not engaged her in a narrative account of her art-making experience, I would not have learned about Sara’s life experience and how important her cat and its toy were in her life. Sara’s painting was a meaningful experience. The narrative provides us with a deeper understanding of the artist and tells a story to the viewer. Paula Eubanks discusses the relationship between visual language and verbal development in her contribution to the anthology Issues and Approaches to Art, stating the importance

Offer encouragement if hands fatigue during scissor work, as it builds hand strength. Photo credit: Kayla McVey

of art when other areas of communication are compromised or impaired.3 Conducting an evaluation of your students, as well as of yourself and your teaching methods, is essential to creating a successful learning environment.

Conducting an Initial Assessment The initial assessment involves some basic materials: paper, a variety of brushes, paint, markers, pencils, scissors, and a stencil. I want to see if the student can hold the pencil or marker correctly or at all. I note what type of grasp he has and whether he needs a pencil grip or adaptation of drawing tools. Can he draw basic shapes and follow one-, two-, or three-step directions? Is coloring in a confined area possible? Next we try painting. We try a number of brushes to determine which give the student the most control and success in art-making. Can he paint independently, or is a stencil needed to confine the painted area? Lastly, when assessing cutting skills, I recommend tearing paper first to judge hand strength. I always have the student try the basic class scissors first before offering any adaptive scissors. I have the student cut on a fine pencil line and also a thick marker line to see if there are any visual or eye-hand coordination concerns. Students who cannot use scissors independently or safely will need hand-over-hand assistance from their paraprofessional.4 This initial assessment allows me to plan which adaptations I will need to consider as I develop my units and lessons. Your students’ needs will change as the academic year progresses, but this initial examination ensures that your first encounter with them will not leave you unprepared.

In the chapters that follow, you will learn specific adaptations for materials and tools, and ideas to choose from when adapting lessons for students with disabilities. These resources will allow you to focus on each student’s needs, skills, and interests while creating a learning environment that encourages learning.

Guided independent work builds a child’s self-esteem.

Notes 1 Doug Blandy, “A Disability Aesthetic, Inclusion, and Art Education,” in Issues and Approaches to Art for Students with Special Needs, ed. A. L. Nyman and A. M. Jenkins (Reston, VA: The National Art Education Association, 1999), 34–41. 2 Steve Thunder-McGuire, “Narrative Accounts of Experience, Context, Meaning and Purpose,” in Jenkins and Nyman, Issues and Approaches to Art, 99–108. 3 Paula Eubanks, “Art as a Visual Language that Supports Verbal Development,” in Jenkins and Nyman, Issues and Approaches to Art, 109–17. 4 Susan D. Loesl, “Students with Physical Disabilities,” in Reaching and Teaching Students with Special Needs through Art (Reston, VA: The National Art Education Association, 2006). Chapter 1  Creating a Philosophical Framework   7

Chapter 2

Collaborating with a Learning Community “If a child can’t learn the way we teach, maybe we should teach the way they learn.” Ignacio Estrada

A friend and colleague who teaches special education appreciates that I consult with her about lessons, ideas, and adaptations for the children in her classroom. I was astonished when she told me that I am the only teacher who has ever

Student artwork, mixed-media guitar collage.

8

discussed the abilities and disabilities of her students. No one else asked her how best to adapt lessons, materials, or tools to enable her students with disabilities to express themselves more fully and independently in the visual arts.

Without her guidance and the advice of many other colleagues, I never could have discovered all that I know regarding students with disabilities. Her encouragement propelled my program forward. So, too, did my desire to understand the diagnoses of my students, along with their strengths and abilities, so that I could teach them more effectively.

Making Connections First, I must stress the importance of tapping into the valuable resources in your learning community. I see my students for less than one hour a week in the art classroom. Special education teachers, occupational therapists, physical therapists, paraprofessionals, and families are with them much longer and more frequently. The knowledge they have gained from years of daily observation is your greatest resource. Consulting with your learning community at the beginning of each school year, followed by weekly discussions as your peers bring their students to art, is immensely helpful. Not only are your colleagues a source of information about the disability or multiple disabilities of your students, but they can also inform you about health, emotional, or physical concerns, all of which should be taken into consideration when adapting approaches to art-making. Consult with them about the goals you are setting for your students to determine if your objectives are appropriate and attainable. When adapting an art lesson, I always ask myself: What are the objectives of this lesson for students without documented disabilities, and what are the objectives for students with disabilities? They should be the same, or as similar as possible, but may differ depending on the lesson and students’ IEP goals. With adaptations, the objectives are achievable by all students;

however, the paths they take to get there will be different. That is where my colleagues and their keen sense of observation come into play. After I explain my objectives and how I will adapt them, they may agree with my ideas or they may say something like “This child can’t do that,” or “This child doesn’t think that way.” They then suggest alternatives and offer insights into their learning modalities, which will enable me to finetune my adaptations and help students fulfill the goals I have set.

With adaptations, the objectives are achievable by all students; however, the paths they take to get there will be different.

A paraprofessional assists a student in meeting lesson objectives by chunking and encouraging the task at hand.

Chapter 2  Collaborating with a Learning Community  9

Finding Connections as You Dig Deeper Peers and Parents Connecting with your peers and parents can help you immensely. The first place to look for connections is with the child’s classroom teacher and learning support teachers. They can provide you with a quick synopsis of the student and point out strengths and areas of concern. Use this new knowledge to inform you, but be sure to meet the students and create your own impression of them. School Therapists Another great place to look for information is the IEP; there is always a signature page with essential connections on it. You may see the name of an occupational therapist (OT), a physical therapist (PT), a speech teacher, or a nurse that accompanies the child to your class. Often these professionals are working on the development of gross and fine motor skills and can assist you in supporting that work within your art room. They can also provide great tips and insights into the child’s ability and how to foster growth through the use of various tools or adaptations. I recommend the strategy ask, observe, and try. • Ask: I often ask the therapist questions about tools and which are appropriate for a certain student. For instance, “Would it be better for the student to use a brush with a tennis ball on top as a grip or a shaving cream brush?” Or I might say, “I have these three types of adaptive scissors. Which would you recommend I use for this student?” A great general question to ask might be, “Are there any things you can suggest that would improve the student’s fine motor skills?” • Observe: Observing how these professionals work with the students can teach you many tips and tricks for helping students. Sit in on a session if they are willing to invite you. If you can’t sit in on a working session as an observer, then invite the OT or PT into your classroom. Your classroom is a perfect place for OT and PT professionals to see how the students they service are using their gross and fine motor muscles to perform many of the tasks that art-making entails. • Try: Once you are back in your art room, try some of their recommendations and the techniques you observed them using and implementing.

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Experiment by trying one way and then try a spin-off of your own technique to see what works best. Paraprofessionals Paraprofessionals work closely with students and can provide valuable information about what works, what they have tried, and how their students are progressing. For instance, I had a student who was extremely uncooperative when it came to art class. Abby only came to art occasionally, and when she did, it did not typically go well. She was extremely vocal, liked to tear things up, and her paraprofessional usually would leave with Abby, saying that she needed a break, but then they wouldn’t return. This year, Abby has a new paraprofessional, and while I was working with Abby trying a variety of adaptive paintbrushes and techniques to see if something would connect with her, she threw the materials and ripped all the papers. I looked at the paraprofessional and said, “Something has to make Abby tick.” The paraprofessional told me the only way that she could get her to do anything was to sing. I said, “Well, sing while she paints.” She said, “Seriously?” I could tell she was a bit shy about it, so I asked what she usually sang to her. Her reply was Row, Row, Row Your Boat and other nursery songs. So, I hand-over-hand painted with Abby using the shaving cream brush, since it suited her grasp best, and sang to her. She painted back and forth happily with me. I praised Abby’s effort and signed to her the gesture for “break.” I rewarded her with a break, as I did not want to push it too far this first day of success. The paraprofessional and I now work together closely. She informs me how Abby’s day is going when they come in, asks me if she has the objectives correct, and tells me when things are not working. Sometimes we say, “Let’s paint ’til we count to ten.” This gives Abby an achievable goal. Paraprofessionals are more willing to work with you when they realize you value them and their opinions. Ask them if the child has a behavior plan, how the child’s day is going, what tactics they use for success, and if they are aware of any procedures the child’s classroom teacher implements to ensure progress.

A paraprofessional assists a student making marbled paper using shaving cream for sensory engagement.

Collaboration Collaboration is an essential element in teaching. Accessing the knowledge of your learning community will enable you to engage all learners in the enriched art curriculum you have developed. Having your students fully engrossed in art is a rewarding experience for teacher and student alike. The role of paraprofessionals is especially important because they give one-on-one support to their charges in a busy art room. When you reach out to the paraprofessionals in your school, it acknowledges their worth. Together you can create a plan to engage the student in meaningful art-making. The ideal scenario is when paraprofessionals are assigned to a student for a year or longer. Then they really get to know the child and your teaching style. You can educate them in how to encourage artistic creation in the least restrictive manner. They will learn where you keep your adaptive tools and materials as well. However, ideal scenarios rarely exist. I have had years when one child had a revolving door of paraprofessionals. Even then, it’s important to spend a few minutes at the beginning of the class to communicate the day’s art objectives and adaptations to the paraprofessional and check back as you make your rounds in the art room. When you give paraprofessionals the tools and direction they need to help the student succeed, and demonstrate that you value them, everyone will have a more enjoyable art experience. Paraprofessionals can be valuable assets to the art room. However, for the teacher, student, and paraprofessional to collaborate effectively, they must communicate and function as a team.1 Paraprofessionals guide students through the art lesson, ensuring that they reach the stated objectives and goals. Often they will repeat step-by-step directions and concepts discussed during the teacher’s demonstration. This reinforces the concepts while working within students’ individual level of ability. Keep in mind that

A student uses cotton balls to paint a maskedout area. For some learners, these are more easily grasped than brushes.

the paraprofessional may not know about art, so they will also need your skills as an art educator to help them convey concepts and art-making instruction. Mentor your art-room paraprofessionals, expressing your expectations clearly and supervising their interactions with students. Train them by modeling how to guide and assist students through artistic processes. Explain why particular techniques work best; doing so will provide valuable insights into your thinking and methodology. Research suggests that art-room paraprofessionals often play the role of gatekeepers, opening or closing access to authentic artistic production by students with disabilities. Authentic art is artwork created by the student, as opposed to the student assisting the paraprofessional in its creation. A 2008 study conducted by Julie Causton-Theoharis and Corrie Burdick found that paraprofessionals can close the gate, or create barriers that restrict students’ access to creating and responding to art.2 Chapter 2  Collaborating with a Learning Community  11

Abby’s Story: Opening the Gate Abby came to class with her paraprofessional, and I greeted them and showed her where Abby sits. After explaining and demonstrating the lesson to the class, I went over to Abby’s desk to explain to the paraprofessional how to adapt the lesson. “Oh, she can’t do anything,” the paraprofessional told me. Gate closed! But I had my foot in the way, so she couldn’t close it completely. I knew Abby had full use of her hands and liked to grab and throw things.

After putting a smock on Abby, I told the paraprofessional not to worry about her painting in a confined area and to let her use a big brush or her hands. Abby immediately tore up the paper. “Told ya,” the woman said. I calmly grabbed some masking tape, taped another paper to the table, and squeezed finger paint onto it. Abby was fascinated by the smooth feeling of the paint and became engrossed in swirling it around.

A paraprofessional may close the gate in any number of ways: by repeatedly leaving class early, claiming the child needs a break; by doing the project for the student; by wandering off to help other students; by telling the student what color to use. According to Causton-Theoharis and Burdick, paraprofessionals can also open the gate, providing essential support and a pathway to access the art curriculum. Routinely check the progress of the paraprofessionals in your art room as they get used to your approach and techniques. Praise them when they offer new insights into opening gates that might otherwise be closed. Empower paraprofessionals to realize that what they do makes a difference. If they claim the student needs a break, encourage them to walk with the child around the art room and see what the other students are doing. Students Empower paraprofessionals often need movement breaks to realize that what they do after exercising their fine motor makes a difference. skills. Breaks are a great way to stop a negative behavior. Sometimes I will guide a student to a sensory activity for a few minutes to give both the child and the paraprofessional a break. When paraprofessionals are doing the work for the child, I give them their own paper and materials and suggest they model the activity for the child. A little creativity is relaxing for all. If the paraprofessional says, “Why don’t you paint that red,” show

the paraprofessional how to give choices to students with limited vocabulary. Show the child three color options and ask, “Do you want to use blue, red, or green?” Hold each up in turn. Even nonverbal students will typically indicate the color they desire. I was once told, “He’ll just paint the whole thing blue.” “So did Picasso,” was my reply. I showed the student and the paraprofessional The Old Guitarist by Picasso and said, “If he only wants to use blue, give him a variety.” This helps students because it gives them the power of choice, instills independence, and makes the artwork authentic. You might hear from a paraprofessional, “I have to draw it for him. He can’t draw anything.” Here you will need to assess, and if that is the case, demonstrate how to give choice and use a selection of stencils to adapt the lesson. Say the lesson is drawing pets. Offer the student stencils of various animals and ask which they would like to draw, saying the name of each animal as you show it. If you offer four or five, you may need to use the process of elimination technique. Say, “Would you like to draw a cat or a dog?” Let them choose. “A pig or cow?” Take the two they chose and hold them up one more time. “A cat or a pig?” When you offer only two choices, it is easy for a student to pick; however a greater selection allows for more authentic art-making. The paraprofessionals should know that you do not expect the artwork to

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Starting Conversations look perfectly made; rather, the goal is an authentic artwork created by the student with guidance. With that understanding, they will be more likely to allow the students to express themselves freely when creating art. Discussions with paraprofessionals regarding authentic student art may be necessary so that paraprofessionals allow students to make their own marks, expressing their creativity and ideas about art. As an art educator, you must stress that it is not important for the student art to look like the sample or that of their peers.3

Conversations work best when there is give and take and an exchange of information. Listening is as important as speaking. Approach your peers with respect; let them know you are asking their opinion and advice because you value their knowledge. As with everything, there are right and wrong ways to do this. I would not recommend starting a conversation with a peer by saying, “I was working with Maggie in art today and noticed she can’t cut with scissors.” That will put them on the defensive, as though you are saying they aren’t a

Digging Deeper: Tips for Approaching Colleagues and Parents When you get your class lists at the beginning of the year, make a point to stop by and ask for a quick talk with the special education teacher or others who will be working with students receiving services. Be sure to ask them about any new students, as IEPs and 504s may not be received for weeks or months into the new school year. Discuss the students’ disability, their strengths, and areas of concern. Are there any areas of concern or recommendations from the previous school’s IEP, parents, or teachers? Ask if the students are right- or left-hand dominant, does the child have any known triggers or concerns, what are the recommendations from the previous school or teacher on how best to address situations when they occur? When you meet parents, ask about their child’s needs and always begin with a positive remark such as “I really enjoy working with your child in art class,” then go on to explain how you are helping to meet their child’s needs by creating and implementing adaptions which allow them to engage more fully in the artistic process of art-making. Even if you do not directly meet the parents of your students you will most likely provide input for IEP and reevaluation meetings. Your input should be thoughtful and include the above recommendations. A perfect example of this happened at this year’s Sneak-a-Peek, our school’s event when the students come to check out their new classrooms, teachers, and school prior to the first day. A parent and her

child came in to tour the art room; she told me her son just loves art. As we were talking, he ran over to my shelves and was pointing to artist DVDs I had up high. He became very vocal about holding one and was close to a meltdown if he didn’t. I took one off the shelf and let him hold it, but I told him they were only for special times. I saw his classroom teacher in the hall later and she said, “I heard you met Zack. He won’t stop talking about your DVDs.” She informed me that he had traumatic brain injury (TBI) and often has things that trigger very emotional responses. When he came into art two days later, he went straight for the DVDs and pointed. When I said, “We are going to be painting today,” he started to scream. I told Zack that once he finished his painting, he could hold one. He then went to work, and as he painted told me how he has a “Dora the Explorer” DVD and many others. DVDs have become a tool for me to get Zack to transition to my classroom and to help him complete his class work. Now, when he finishes his work, I give him a paper that I have folded in half so it looks like a DVD case, which he draws on and takes home each art class. His outbreaks have been greatly reduced, and he works for this reward at the end of class. If I had not talked with his parent and teacher prior to school starting, I would have been unprepared to help Zack connect to art, and he might not be as eager to come to class. Colleagues and parents are your connection to your students.

Chapter 2  Collaborating with a Learning Community  13

good educator because they haven’t taught her how to do this seemingly basic task. Remember that to many teachers, their students are their “children”—they may be defensive and protective of them just as a parent would be. It might be better to start with something like, “Hi, I really love teaching your students; we had a great time in art this week. I wonder if you have any suggestions how I can help Maggie with using scissors. She seems to be struggling, and I noticed in her IEP that she is identified as a student with fine motor weakness. I can tell she loves art, so I was hoping we could put our heads together and help her be even more successful.” This method would gain far more cooperation and likely help you reach a favorable outcome. How you approach your peers is sort of like making a good first impression. Students use paper crimpers for a sensory experience while creating a paper sculpture.

A monochromatic paper sculpture created using precut strips and hole punches.

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You will be working with them for a while, so think before you speak. Some situations can be delicate. Such is the case of the paraprofessional working in the art classroom. Over the years, I have had experience with amazing people who have taught me much and worked well, guiding their students as they create. But, occasionally, you may encounter someone who may be in it for the job, not the child. As in all professions, some people are more committed than others. However, their level of involvement affects you as a teacher, so you must learn to navigate these tricky waters. If you encounter a paraprofessional or peer—whether an occupational therapist, physical therapist, or teacher—who does not share your point of view, remember that you are steering this ship. For the benefit of the students, you must intercede. Here is an example from my own experience: When I saw a temporary paraprofessional leaving art class with one of my students who has Down syndrome, I said, “Oh, art’s not over yet.” She told me, “He can’t do it. He needs a break.” I steered them back into the art room and said, “You take five and let me see. It might be that my lesson is too hard or needs a modification.” Putting the blame on myself, I proceeded to model for her how to encourage and excite the student to paint. I praised him for his effort and rallied him to do more. I got a harrumph from her, but during the next art class, I saw her replicating the technique I had modeled. This would be an example of a paraprofessional closing the gate by interfering with physical access to your art program, as Causton-Theoharis and Burdick stated in their research. When students with disabilities come to art as part of an inclusion class, they should arrive with their inclusion class and remain for the entire lesson, not come in late or leave halfway through the lesson. When that occurs, the students get the message that this class is not important, and it sets them apart from

“My Kid Can’t Do That” As art teachers, we develop our lessons for each grade level we teach. I usually shoot a little high, skill-wise, and challenge the students. I mark my inclusion classes with a highlighter so I know to prepare the adaptions needed for students with disabilities in advance. I try to be prepared, but sometimes a teacher or paraprofessional will inform me that their student “can’t do that.” As I get to know the learners, if I am not sure they will be successful with an idea, I take the lesson and a sample of it to their classroom teacher and ask for suggestions to decide if students will be able to do the task at hand. Think E.A.T. as you ask for advice and ponder, is the lesson palatable to all students? When working with colleagues E.A.T. Explain the lesson objectives or task at hand. Ask what the student can do. Think how can I use their strengths and what they can do to achieve my objectives. As you think about how to adapt, consider what your objectives are, how instruction can be scaffolded so that they are achieved, and consider what you will adapt: the lesson, medium, tools and/ or technique.

their peers. Art is extremely important for all students, especially those with disabilities, because it is a form of communication and meaningful self-expression. I always inform new people entering my art room that I prefer to have the students work as independently as possible. I would rather the student be engaged in the process of creating, regardless of the outcome. Gerber and Guay stated that when paraprofessionals are mentored by art educators, they come to understand that look-alike projects are no longer considered ideal or authentic student art. Send the message to your teaching community that we don’t judge the perfectness of art in here; students should be free to discover and explore the materials and tools provided as they create and respond to art. Teachers and people who have chosen to work with students are kind, caring, and supportive across the board, so approach

E.A.T. Example: Drawing a Self-Portrait Explaining to the classroom teacher that her student would be creating a self-portrait in art this week enabled me to think about and create adaptions prior to class. I explained the objectives, facial proportions, creating a likeness, and adding details to illustrate what makes each child unique and special. Asking what the student could and couldn’t do gave me ideas on how to adapt the lesson. I discovered drawing freehand was not possible. The classroom teacher suggested printing out a photo so he could reference it. She was not sure he would be able to watercolor in a defined area. Thinking about what I learned about the student, I created a face shape tracer to get him started. I also had the photo at his seat so he could reference it. He, and all of the students, had mirrors so they could notice things, like eye color and hair, to add to their portraits. I had his paraprofessional hand-over-hand outline areas such as his face, hair, and clothing so that he could add color more easily in specific areas. This helped him to stay in the lines. When a colleague says, “My kid can’t do that” think, hmmm, what can they do? Remember where there’s a will, there’s a way.

them with your ideas and concerns, and listen as they build and collaborate with you. As an art educator, you are not expected to know everything about adapting art; it varies for each learner. It is not a weakness to be unsure. The Internet does not have all the answers, and it does not know the students or the community that cares for them. Collaborate with your colleagues, and they will have greater respect for you.

Notes 1 Beverly. L. Gerber and Doris M. Guay, eds., Reaching and Teaching Students with Special Needs through Art (Reston, VA: The National Art Education Association, 2006). 2 Julie Causton-Theoharis and Corrie Burdick, “Paraprofessionals: Gatekeeper of Authentic Art Production,” Studies in Art Education, 49, no. 3 (September 2014), 167–82. 3 Gerber and Guay, Reaching and Teaching Students with Special Needs.

Chapter 2  Collaborating with a Learning Community  15

Chapter 3

Sensory Stimulation “All our knowledge begins with the senses, proceeds then to the understanding, and ends with reason. There is nothing higher than reason.” Immanuel Kant

In an inclusionary art classroom, some students may have strong positive or negative reactions to sensory input, like smells, colors, or textures. Sensory

processing refers to how the body’s nervous system receives and responds to these sensory messages; when a disorder is present these signals may be affected.

Tennis ball painting—rolling balls dipped into paint across sheets of colored paper—is a fun sensory experience.

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Questions to Think About As you read this chapter, consider the following: 1.  How do your lessons engage the students’ senses? What senses are being used as the students work through the process of creating and responding to art? 2.  Do you have students with sensory deficits? Are they understimulated or overstimulated when one or more of their senses are engaged? A student proudly holds up artwork that can stand alone or be used in a collage.

3.  How can you change your learning environment to meet the needs of students with sensory processing issues?

Sensory Processing Disorder If you touch something hot or cold, your body receives the message and then responds to it accordingly. Sensory processing disorder (SPD) is a condition in which sensory signals are not organized into appropriate responses; as a result, a child’s daily routines and activities are disrupted writes Lucy Jane Miller in Sensational Kids: Hope and Help for Children with Sensory Processing Disorder (SPD).1 The art room engages the senses of sight, sound, taste, touch, and smell daily. The lesser-known senses, proprioception and vestibular, are also called upon in the art room setting. Proprioception affects our body’s sense of awareness, movement, and position in our surroundings. Vestibular sense involves movement, coordination, balance, and spatial orientation. The vestibular system is located in the inner ear. If you have ever had an innerear condition, you know that you can be thrown off balance or experience vertigo. A student with an SPD affecting this sense may have trouble balancing on an art stool or coordinating the movement needed to put a paintbrush into a paint container. Reactions to stimuli in the art room can have positive and negative results. Once you are aware of SPD and its symptoms, you can create workarounds to make creating art an enjoyable experience for all learners. Some students with SPD may

react negatively to the feel of certain art media, such as clay, glue, or chalk pastels. Also common are either negative or positive reactions to some of the smells associated with the art room, such as certain paints, clay, and fixatives. Students with SPD may not like hand-over-hand drawing assistance or the noise level of a busy art room. Your district’s occupational therapist may offer suggestions on how to adapt for each student’s needs or reactions to stimuli if there are sensory processing concerns. Some students have a negative reaction to glue or lack the hand strength to squeeze regular glue bottles.

A soft bottle is easy to squeeze and handle.

Chapter 3  Sensory Stimulation  17

Creating shaving cream prints provides a sensory experience. Textured tools and surfaces create a sensory experience encouraging hyposensitive students to engage in artistic expression.

Textured rolling pins are great sensory tools that allow students to create patterns when painting a pattern freehand is difficult.

A child’s normal behavior or development may be affected by a sensory processing problem. Students with SPD may have trouble focusing, and they may have a harder time achieving, organizing, or participating fully in an activity. They

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may appear inattentive, distracted, tuned out, cautious, or impulsive. Students may have unnecessary anxiety over situations that engage their senses. Their reactions to stimuli are chronic and disrupt their learning. Sensory reactions can range from mild to severe and can change from one environment or day to the next.2 When a child is over-responsive to stimuli, messages may not be processed as quickly by the brain and may result in difficulty transitioning and negative reactions to sounds, tactile sensations, bright lights, or smells. Often the avoidance habits associated with SPD may be looked at as defiance or behavior problems. The exact opposite may occur with children who experience under-responsivity of the senses: They take longer to react to sensory information. They may not notice when they hurt themselves or may have a high tolerance for pain. Repeating instructions may be necessary.3 They might seek out things that heighten their senses. For example, a child who is under-responsive to touch may start finger painting using their fingers and then move on to painting their entire arm, just loving the feel and sensation of the paint, while a child who is over-responsive to touch may have a negative reaction to the sensation of paint on their fingers. Reactions from SPD manifest in many ways, a few examples of which are: a visual reaction to bright lights, op art, or intense colors; auditory reaction to loud sounds such as fire alarms; eating something that stimulates taste but is harmful; craving tactile sensations or avoiding them due to a negative sensory reaction; lack of awareness of space or getting too close to others; smelling or tasting art supplies to satisfy sensory needs; or having a negative reaction to a smell others do not find offensive.

Hypersensitivity and Hyposensitivity Sensory processing issues vary widely, but all relate to the reaction a person has when responding to information that comes from the senses. Negative reactions to stimuli can cause a child to act or react in ways that range from a mild aversion to a complete meltdown. Positive reactions may increase a student’s engagement and excitement. Many individuals experience and assimilate sensations without thought. However, for a person affected by a sensory processing disorder, an extreme reaction may occur. This reaction can result in hypersensitivity or hyposensitivity to stimulation. Hypersensitivity results in sensory avoidance or an intense response to stimuli. Hyposensitivity manifests in sensory craving or seeking due to an under-response from the senses to stimuli, as stated by the Understood team.4

Sensory processing issues vary widely, but all relate to the reaction a person has when responding to information that comes from the senses.

A child’s reaction to the brain’s neurological activity covers a broad spectrum, from mild to unbearable. Sensory processing issues that negatively affect a child occur because the child has a hypersensitive, or extreme, reaction to stimuli. As noted by Gail Richard and Debra Hoge in The Source for Syndromes, an aversion to a smell, sound, or texture can be a byproduct of various syndromes associated with neurological, developmental, or emotional disorders.5 Students with multiple disabilities often need a bit more sensory stimulation to encourage them to partake in artistic processes. They may not engage in learning with traditional tools, media, and teaching. Adaptations to these areas have proved successful, with the student participating freely in art-making. Many concerns related to hypersensitivity or hyposensitivity, or both, can be addressed by adaptations to your classroom environment, lessons, and teaching style. A child with hypersensitivity may experience a sensory overload if adaptations are not implemented to prevent the overstimulation. Touch, sound, and smell

Hyper vs. Hypo Hyper and hypo are opposites. Get to know your students with sensory processing issues and work with colleagues and occupational therapists to discover best practices for meeting these students’ needs. Hypersensitivity Imagine if one or more of your senses were overstimulated. You might be bothered by a sound that someone else does not even hear. A smell may distract you or make you anxious. For the hypersensitive student, working with CelluClay may be comparable to touching glass or thorns. Speak with your hypersensitive students and get to know their triggers. Create a plan together that is complete with strategies for coping with the unpleasant feelings. For example, years ago, I had a

student who was hypersensitive to sound—if it got too loud, he would flee the room. We came up with a safe place for him to take refuge within my art room: under the desk. If it became too noisy and he wasn’t in his seat, I knew where to look. Hyposensitivity Now imagine if one or more of your senses responded only if things were intense. Music has to be loud, you need to be constantly moving, and so on. While you are painting with a brush, your eyes wander around the colorful art room searching for more stimuli. By contrast, painting with your hands gives you the sensation you crave. You are so engaged that you learn that blue and yellow make green. 

Chapter 3  Sensory Stimulation  19

When creating texture freehand is too difficult, a student can press objects into the clay slab.

Cutting Edge paper crimpers create an engaging sensory experience.

Using alternative clays such as Model Magic, CelluClay, or air-dry clay can be more appealing to students who are hyposensitive to the smell and texture of earthen clay.

Student artwork created by pressing clay into plastic bowl and plate forms.

Use scented media to calm and to encourage working on task at hand. Mr. Sketch markers shown.

may be more intense and even painful to the child. Thoroughly understanding the child’s IEP and working closely with the student’s teacher and paraprofessionals will enable you to design art activities that will prevent sensory overload. The hyposensitive child may be unengaged in art-making activities. For these students, tools such as scented markers, weighted vests and gloves (weighted apparel helps to engage the sense of touch so students can feel the surface they are connecting with), and textured media may encourage them to create. Students affected by Tourette syndrome can have 20

hyper- or hyposensitive skin; therefore, the sense of touch can be greatly affected in the typical art room setting. Students diagnosed with Down syndrome can also exhibit hypo- or hypersensitivity; moreover, they may react differently to the same stimuli in different situations.6 When creating art, many students exhibit under-responsive reactions, thus the art educator needs to develop lessons rich in sensory stimulation to engage learners. Adaptations to media, techniques, and tools can help heighten sensory experience for students needing greater stimulation.

Lilly’s Story: Art as an Experience In art class, Lilly was rarely engaged. Most of her artwork was completed in a hand-over-hand manner. Once, maybe twice, during a lesson, she would glance at her work, eager to be finished and free to wander the art room. She usually gravitated toward my desk, where she would pick up small objects she could roll around in her hands or tear apart, often putting what she discovered in her mouth. One day, I went into her classroom to hand back completed artwork and I spotted Lilly squealing in sheer delight. I went over to investigate. She was moving her hands back and forth,

Creating Art: Tips for Adapting Art Media The vast array of media in the average art room can easily be modified to meet students’ sensory needs. The following adaptations will captivate hyposensitive students and make learning a positive, fun experience. Hypersensitivity is also addressed, for many students can have a negative reaction to clay, papier-mâché, and other tactile media. For those students, I suggest alternatives that, in my experience, have met with less resistance. Soon you will be thinking of your own ways to adapt other common art media as you encounter students with hypo- or hypersensory reactions to stimuli. The following sensory adaptations can be effective:

in a gentle wavelike motion, through a dishpan of beans. I put my hands into the dishpan to feel what she was feeling: It was a soft, therapeutic, rolling sensation. This helped me realize that Lilly would benefit from art lessons that included sensory stimulation. When Lilly came to art class that week, she and her peers painted headto-toe self-portraits. Rather than using a paintbrush, Lilly used her hands to apply a smooth layer of finger paints over her outline. As a result of this sensory adaptation, she was totally immersed in art-making until the end of class.

Paint mixed with cornmeal allows for a sensory experience and can engage a student who otherwise may not want to paint.

A student sprinkles sand on a glue drawing.

• Mix sand, cornmeal, soap, or glitter into a medium such as paint or clay to create a sensory experience through texture. • Blow bubbles into a tub of water with tempera paint floating on top, then lay paper on the surface to make prints. The addition of sound, visual texture, and scent enhances the sensory experience. Chapter 3  Sensory Stimulation  21

• Use Model Magic and Play-Doh as alternatives when conventional clay elicits a negative reaction. When working with earthen clays, provide thin rubber gloves for students to wear. These adaptations will help reduce negative reactions caused by touch or smell. • Add essential oils such as lavender, mint, or citrus to glues and paints. Many scents have a calming effect on children, but be aware of students’ allergies. Nonfloral scents and natural oils garner the best results. • Have students use crayons, pastels, or paint on sandpaper, a material that heightens the sense of touch. • Outline areas with white or black glue to create a sensory guide to the areas students will fill in. Essential oils, such as lavender, added to a medium can create a calming effect.

• Allow students to create on a variety of textured surfaces: burlap, fabric, corrugated cardboard, acetate, tin foil. Any of these will heighten the sensory experience. Many of these suggestions heighten the sensory experience for hyposensitive learners who may otherwise not engage in the creative process unless a paraprofessional works with them hand-over-hand. These adaptations help students experiment with a new technique as they create their own works of art. Modifications for hypersensitive students are helpful in preventing a meltdown. Working collaboratively with colleagues and asking for information about your students will allow you to adapt media prior to class. Adding textures and scents, playing soft music, and offering alternate materials sets the stage for student success and a satisfying creative experience. Even if you do not know your students well before they enter your classroom, you can have many of these alternatives at the ready. These adaptations will heighten the experience and add excitement for all of your students.

Soft alternative clays work well for both hypo- and hypersensitive students.

Soft Crayola Twistables glide on easily, producing a silky feel.

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Adapting the Medium to Lower a Resistance to Clay Many students love getting their hands into clay, but occasionally you will encounter students who have a hypersensitivity to this much-loved medium. If you can convince them to touch it with one finger, they may come to realize that the material is not that icky. Alternatively, you might offer gloves, such as those used by the school nurse. Providing a toothbrush to scratch or score a clay

surface or a small sponge clipped to a clothespin to apply slip will help alleviate the fear of touching something that the child finds unpleasant. Students who have hypersensitivity exhibit varied responses to how things feel. They may cringe, complain, cry, or become physically ill. Never push a hypersensitive child to touch something they are uncomfortable with.

Adapting Processes: Tools and Techniques Why take the time to alter the way we teach? Why not! It bothers me—and hopefully you, too—to see a student looking off into the distance as a paraprofessional holds her hand and dips the paintbrush into a color the student did not select, and proceeds to make the child paint an image that the paraprofessional created. Simple modifications can help that same student feel engaged in the magic of art, which is happening right before her when she actively engages in the process of creating. If you show the paraprofessional how to help the child use a cotton ball or other appropriate utensil, letting the child dip it into the paint color she chooses and place it anywhere on the paper, the child will be able to make her own artwork, and everyone will find success. It will also result in the child being nurtured by you and the paraprofessional, receiving positive encouragement and praise for the effort. Pride is a powerful motivator!

Tools That Increase Sensory Stimulation Tools in the art room can be used to create an additional sensory experience for students with hyposensitivity. However, some tools can cause sensory overload, so offer an alternative to ensure that students are comfortable using them. Creating art on textured surfaces adds stimuli for hyposensitive students. The same stimuli occur

when unusual or unexpected tools—such as textured rolling pins, tennis balls, funky brushes, or sponges—are used to make art. Students who have these sensitivities need support in the art room; you must nurture their creativity so that they enjoy the process of creating. Using the body as a tool can affect hyposensitive learners positively, but may have a negative effect on hypersensitive students. Never force a child who has sensory issues to touch, smell, taste, or listen to something if they resist. A student uses cotton balls as a sensory adaptation instead of a conventional brush to paint with.

Using the hands is a great way to engage in a sensory experience that uses gross motor skills as well.

Chapter 3  Sensory Stimulation  23

A student creates art with a textured rolling pin.

• Some of the best tools are hands, fingers, and feet, but they should be used only with nontoxic washable media. • Make your own tools using kitchen objects, car wash items, and pet toys to encourage your hypo- and hypersensitive learners. A student rolls tennis balls in a box across the paper to create fuzzy patterns.

Techniques That Increase Sensory Stimulation

The following suggestions will increase the amount of stimulation during art-making. • Use Bubble Wrap or textured recycled objects as tools for printing or painting. • Incorporate texture plates, floor tiles, or other rough or smooth surfaces around your art room. • Include wallpaper or varied scrapbook papers that have tactile surfaces. Papers may be embossed, glossy, or metallic to provide a sensory experience. • Offer rollers and varied brushes for painting to create texture and visual variation for the senses. • Use feather dusters to paint with watercolors for a wonderful sensory experience.

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Understanding how your students learn will generate ideas for adaptations that complement the ones I have included here. If you have students with sensory sensitivity, examine your lesson objectives and question what you can alter so learners are engaged, whether they are creating, presenting, responding to, or connecting with art. When a student chooses to connect with the artistic process or a work of art because you adapted a medium, tools, or techniques, then you are encouraging that child to flourish as an artist. As an educator, you are removing the obstacle prohibiting the student from fully participating in the act of creation. Students feel free to play and explore when they are stimulated to discover what they can achieve. If they feel safe, because of an adaptation that calms them instead of overstimulating their senses, then they will participate without anxiety. Continuing to discover and develop new techniques will accomplish the feat of reaching all of your students, all of the time. The following techniques have been shown to be effective with students exhibiting sensory reactions:

• Use string, noodles, tennis balls, and balloons to apply paint, enabling the student to engage the senses while creating visual interest.

• Use alternative clay for students who have a negative sensory reaction to organic clay. You can also place the clay in a large zipper-top clear bag to be manipulated, with the bag acting as a barrier.

• Try cotton balls for painting; they are soft and encourage the pincer grasp for fine motor development.

• Paint or stamp with fruits or vegetables; they stimulate the senses of smell and touch.

A student draws a person using a soft glue bottle.

A student sprinkles colored sand over a glue drawing.

A student creates a print with fruits and vegetables. The smell and texture engage students in a sensory adventure. The finished studentcreated sand painting.

Put a corncob holder in fruits and vegetables for easy gripping.

• Limit students to only a few choices. Too many options can cause confusion; two or three is adequate. • When weaving, offer felt or foam strips to students whose fingers won’t easily manipulate yarn. Include items of varied textures that stimulate the sense of touch. • Have a pan of beads for students to push their hands into for sensory stimulation or for a break. Stringing beads on a shoelace or a piece of thick yarn offers a sensory experience to the fingers. Many students who are hyposensitive love holding yarn, thread, or their hair.

• Create with colored sand, which stimulates touch and sight. • Make monoprints by painting on acetate, then place a sheet of dampened paper on top. Use a brayer to add pressure to make the print. You could place an image underneath the acetate for students to work from.

Chapter 3  Sensory Stimulation  25

Placing a black-andwhite line drawing underneath as a student paints on acetate provides a visual guide for painting on the slick surface and engages the learner.

A student uses brayer to make a monoprint. Different effects can be created by using dry or damp papers.

A student-created monoprint.

Consider This: Adapting Art Ideas Students with sensory deficits benefit from media, tools, and materials that provide sensory awareness during artmaking. When considering how to adapt lessons and materials, think of your own art-making process and how your senses are stimulated while you create. Hyposensitive students often remain unengaged in the creative process unless it gives them the sensation they are craving; for instance, a student who seeks sensory experiences may not engage in an art lesson on creating pattern with markers or paint. Ask yourself how you can make patterns that are visually engaging using the senses of touch, smell, and sound. Permitting the use of hands, textured surfaces, and materials can give the student craving sensory engagement what they need. Patterns created on tinfoil, with glue, carved into clay for monotypes, or stamped can provide the sensory stimulus they crave. Once you think of new ways to engage learners with an interesting surface, move on to media for painting or coloring. Add scent to media (or purchase pre-scented) or add texture to engage the senses of touch and smell. Think of ways to adapt tools to paint with. Try several and see which get the most positive response. Try cotton balls, cotton swabs, funky brushes, sticks, or paintbrushes with bells attached or wrapped in crinkly paper. Painting on a raised glue surface or creating shaving cream marbleized prints creates a sensory experience for students who may not want to engage with the rest of the class in an exploration of making pattern. Open these activities up to the entire class, so that the student with sensory needs does not feel singled out.

Ask yourself how you can make patterns that are visually engaging using the senses of touch, smell, and sound. 26

Connecting to Art Art isn’t much if it’s not meaningful. Most of us create or relate to art better when it has meaning to us. Encouraging students to share why they connect with certain artworks—theirs or someone else’s—compels them to describe their artistic viewpoints. It also helps them better understand other people. There are numerous ways to generate discussions

A student paints with fingertips for a sensory experience.

centered on art, meaning, culture, and the historical aspect of art and art-making, but whatever modality you choose for class participation, consider how it can be modified to stimulate the senses. The choices we make, whether color, shape, objects, or size, all add meaning to our art. In an inclusive setting, explaining why an idea or artwork is meaningful will be easy for some students, but not for all of them. The example below shows one way of considering how to add sensory elements to this type of exploration. It will surely spark other ideas about how connecting to art through the senses will work best in your setting. A student uses a ruler as a squeegee to remove excess shaving cream while creating marbleized paper.

A finished marbleized shaving cream print.

The finished student painting created with colored glue and watercolor applied with brush and fingertips.

Chapter 3  Sensory Stimulation  27

Sensory Example I designed a lesson including sensory elements that would encourage all learners to make connections to art. To begin their exploration of family, traditions, and celebrations focusing on the Mexican tradition of the Day of the Dead, the class looked at artworks. To help them relate to our topic, I decorated the walls of my art room with reproductions of

Student using a template to create a Day of the Dead artwork.

Student artwork Day of the Dead.

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artifacts inspired by the Day of the Dead, as well as a few hands-on sculptures. These artifacts aided students in discussions about the traditions surrounding this day and the people who celebrate it by comparing it to similar traditions in their own lives. Students who came from Mexico explained how they celebrated the holiday. Students also pointed out the similarities and differences between Halloween and the Day of the Dead. They even noticed that Day of the Dead imagery is found in popular American culture, such as clothing, tattoos, jewelry, and accessories adorned with highly decorated skull motifs. While looking at Day of the Dead figurines, we discussed how people in Mexico celebrate life and the souls of the deceased. Figurines are sometimes funny, scary, or silly, depicting various professions or life’s celebrations, such as weddings. To help engage students and to add a sensory element to the lesson, I placed on a table a collection of sensory objects, including Day of the Dead figurines, toy instruments, sugar skulls, feathers, fabrics in assorted colors and textures, spiky balls, a toy bunny, cotton balls, tinfoil balls, a bell, toy mouse, and a Halloween clacker. Students used these items to make connections to the artifacts. I asked such questions as, “Which figurine or artwork has a musical feeling?” They could then find a musical object on the table, place it beside the artwork, and explain their choice. Next I asked, “Which artwork feels soft, spiky, or bumpy?” Students chose feathers, a pointy ball, and a piece of corrugated cardboard from the table and placed them near the figurine. I asked, “Which artwork seems noisy?” Some put a bell beside the artwork. For quiet pieces, students chose a mouse. Then I asked students to make connections to the clothing the skeletons wore. The many colors of the garments can have various meanings. We explored these ideas

through color and touch. Students made connections by putting a colored piece of fabric, lace, or yarn next to items in response to questions about color. Having something sensory to hold helps students focus and connect to the artwork. We ended by discussing how art helps us understand cultures and their customs while preserving those practices for the future. We realized that we learn a lot about a culture from the art that its citizens create.

Helping Students Respond to Art Responding to art can be a sensory experience, for many images or sculptural works evoke our memories of certain experiences through touch, smell, sight, or sound. Looking at a landscape might remind you of a special place. The sky might recall the smell of rain or a dry desert full of dust. By association, you might hear the sound of the ocean in a seascape or taste the salt air. A student might know that the mountain in Paul Cézanne’s 1897 painting Mont Sainte-Victoire feels rough and heavy, but passing around a rock adds a sensory element that helps the class better make and understand that association.

Using a Sensory Collection For our sensory learners, images can and often do elicit associations to past experiences, both negative and positive. For some learners with sensory stimulation issues, as well as multiple disabilities, verbalizing their reactions may be difficult. I suggest using the senses to engage all learners in a fun, multisensory activity in the art classroom. Start by building a collection of objects that can depict how things feel, taste, smell, sound, and look. For example, when responding to Frida Kahlo’s painting Self-Portrait with Thorn Necklace and

Creating meaning in art.

Relating ideas to other cultures. Encourage the use of fingers to create a stimulating experience.

Hummingbird, you could lay items on a table, such as soft flower petals or silk, feathers, fur, or fabric; a spiky object (to represent thorns); and heavy and light objects. Ask students, “How do you think the hummingbirds feel?” Students can pick an item that matches their association. You could also put out items in a variety of colors and ask such questions as, “What colors did the artist use to create the leaves in the background?” Some peers might readily answer yellow and green. By contrast, students who have sensory issues would be more likely to engage in the discussion if they can feel the texture of the leaf, smell a flower reproduced in a painting, or taste and smell a lemon when they see one in a still life. Chapter 3  Sensory Stimulation  29

Offer various weaving materials and alternatives. This allows you to meet students at their level of readiness and to adjust materials to meet the sensory diet each student needs.

Encourage the stringing of beads. This provides a sensory experience while developing fine motor skills.

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Using 3D and Textural Items

Using Music or Sound

Sculptures, fiber arts, assemblages, and other textural artworks are effective ways to engage all students in responding to art. Many of the senses will be used as they investigate the real artifacts, as opposed to images of them; for some students, it is very difficult to translate or understand a sculptural object from a two-dimensional picture of that object. If you have only images available, consider asking sensorydirected questions regarding how students think the object feels or sounds, as well as how large it appears to be in comparison to them. This is a great way to engage knowledge seekers in an investigation of an artwork. Think of how impactful it could be to hold an object that you see in a picture or painting in front of you.

Students can be guided through the process of looking for meaning in a work of art by using their senses. Choose a painting to interpret, and then encourage students to listen to two brief musical selections. Ask, “Which music best matches the work of art and why?” They will be interpreting the painting using Ask, “Which the sense of hearing. music best The discussion that matches the follows will analyze work of art why they feel this way. and why?” Contrasting opinions about which is the correct music to represent the work can be beneficial in helping students realize that we all perceive things differently for various reasons. While teaching a lesson on Charles Demuth’s 1928 painting I Saw the Figure 5 in Gold, I began by reading the poem “The Great Figure” by William Carlos Williams before showing the artwork on an interactive whiteboard. As I recited the verses, I asked the students to close their eyes and imagine what the painting might look like. A student with sensory issues covered his ears just as the other students said “a fire truck.” He loves fire trucks, but the associated noise can cause him to react negatively. Quickly, I informed him that there was no fire truck, to which he replied, “Good, because I would have to hold my ears.” So, paintings do come to life for students, and they can perceive positive and negative reactions when responding to works of art. As always, it is best to capitalize on the positive aspects of sensory stimulation so your students can successfully engage and learn.

Helping Students Present Art and Ideas When you ask students to present their works of art and ideas about art to others, either in a discussion, portfolio, or exhibit, you must consider how this process will engage your students with sensory deficits. For students with hyposensitivity, you will need to use adaptations that stimulate the senses. Students with hypersensitivity often have a negative reaction to the way things smell, feel, or sound; therefore, you must be aware of students’ needs as well as what triggers discomfort or a meltdown.

Presenting Art: Hyposensitivity As a facilitator, you must stimulate the senses to trigger a spark and engage the child with hyposensitivity. You will need to guide these students in choosing which artworks to include in a group critique, show, or portfolio. Depending on the degree of the diagnosis, minor or major adaptations may be necessary. Say, for example, that you are asking students to choose two personal artworks from a selection of five for your school’s exhibit. Students with minor concerns may be able to stimulate the sense of touch by placing a soft felt heart beside the two artworks they love best. For students who are nonverbal and have greater needs, try placing bells in front of the five artworks and then direct them to ring the bell next to the two artworks they like best. Perhaps you are facilitating a lesson about how artworks are categorized for an exhibit, and you desire the students to group artworks by themes, such as nature, people, or abstract design. Objects can be given for the students to hold as they select pieces, stimulating the sense of touch: a student could put a seashell or small branch next to the artworks depicting nature, a small doll or a toy person next to artworks about people, and a patterned object next to artworks for abstract design.

This type of exercise is also applicable to a lesson on why and how artworks are valued and selected for presentation. Toy money could be placed next to artworks considered valuable, followed by a discussion about why. Placing objects next to artworks stimulates the sense of touch; clapping next to the one you like stimulates sound and touch; a flower placed beside artworks that are beautiful stimulates smell and touch.

Presenting Art: Hypersensitivity Loud noises, speaking loudly, or discomfort with the way things smell or feel can trigger overstimulation or an aversion to participating in an activity for hypersensitive students. Having students present their art or ideas about art does not need too many adaptations. The creative process is much more problematic You must for sensory students. be aware of However, discussions students’ needs that occur during as well as activities based on presenting art often what triggers result in lots of talkdiscomfort or a ing, which creates meltdown. noise that may not be well tolerated by students with hypersensitivities. These students may need to wear headphones or listen to soothing, quiet music. Alternatively, the class may need to speak at a lower volume. When I think of ways to engage students with hypersensitivity in choosing artworks for a portfolio presentation, one particular child comes immediately to mind. This boy was bothered by the way things felt as well as by loud noises; he was also diagnosed with selective mutism. He typically would not speak or, if he did, it was only in a yes or no whisper. In this case, instructing the class to keep their voices at or below a quiet indoor level helped reduce the Chapter 3  Sensory Stimulation  31

Turning Failure into Success auditory overstimulation. I directed the boy to touch the slick surface of an iPad, which appealed to his sense of touch and added a calming element to the task. This student also found it useful to use an assistive communication application on his tablet, which was designed for a nonverbal user. There are many assistive apps on the market, such as Speech Magnet or Dragon Dictation, as mentioned in Educational Technology and Mobile Learning, that enable students to communicate their thoughts and opinions about presenting art and their ideas about art.7 As you work with students who have sensory processing disorders, remember to think about how these disabilities can hinder or block a child’s ability to learn and participate. Then consider what you do now and how you can change in the future to make learning and communication more accessible to all learners. Glue dots placed on a surface create a sensory surface.

Devise a convenient system to record and organize your ideas as you work with your students such as in a Word doc, notebook, or spreadsheet. After an art lesson that does not go as well as you thought it would, you will have a place to quickly jot down ways to better adapt the next time. Failure is often the best motivator to discovery. Sometimes I thought I had a good idea, only to find that it was too much work or too frustrating for my students. I wondered: How can I change this adaptation to make it more manageable? If I couldn’t think of something, I would share what I’d tried with peers who are special education teachers and paraprofessionals. Often the conversation started like this: “Here is what I was trying to achieve; it bombed. Any thoughts?” They would usually laugh and then offer their wisdom.

Adaptive Benefits for All Students Most of us use our senses continually and never stop to think about them; we take them for granted. “I love the way art smells,” commented one student. So do I. Using sensory media can be fun because it makes creating and responding to art a holistic experience. Sensory media and

An abstract line drawing a student created with glue.

The student paints areas after the glue is dry. The dried glue makes an engaging sensory surface to paint on, and it keeps the paint in confined areas.

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tools encourage learners to relax, explore, and play. In case you haven’t heard, play generates ideas, and ideas can turn into great art. Many of the ideas I have developed for sensory adaptations are used with the entire class. Who wouldn’t love painting with tennis balls, making prints from shaving cream, and discovering how to pull a monoprint? Engaging the senses while you create deepens learning as students process and participate fully in art.

Consider This: Sensory Stimulation Here are some parting thoughts as you develop your philosophical framework. Recalling the students you teach on a weekly basis, consider the following questions: • How can you adapt a lesson to entice students who need greater sensory stimulation when creating and responding to art? • Where can you add sensory items into your lessons to heighten the experience for all students? Challenge yourself: • Start collecting an assortment of objects that can be used to create with, and assemble a collection to use when responding to art. Collaborate with your learning community regarding suggestions for what to include and what to avoid. • Get to know your students who experience negative sensations from sensory input. • Consider which elements in your lessons might have a negative impact on sensitive students. How would a student who shuts down with loud noises respond to a painting depicting a famous battle or another loud

sound? Analyze the big idea that you were trying to achieve in the lesson and consider replacing the painting with another artwork. By considering these ideas and challenging yourself to add sensory elements to your lessons, you will create an environment that engages all learners through their senses. Your classroom will become a calm and welcoming place where individuals can excitedly and safely create and respond to art.

Notes 1 Lucy Miller, et al., Sensational Kids: Hope and Help for Children with Sensory Processing Disorder (SPD) (New York, NY: Tarcher-Perigee Book, 2014). 2 Lucy Miller, et al., Sensational Kids. 3 Lucy Miller, et al., Sensational Kids. 4 The Understood Team, “Understanding Sensory Processing Issues,” accessed August 10, 2018. Understood. org: www.understood.org/en/learning-attention-issues/ child-learning-disabilities/sensory-processing-issues/ understanding-sensory-processing-issues. 5 Gail J. Richard and Debra Reichert Hoge, The Source for Syndromes (East Moline, IL: LinguiSystems, 1999). 6 “Sensory Differences,” The National Autistic Society, accessed January 7, 2018, http://www.autism.org.uk/about/behaviour/ sensory-world.aspx. 7 “5 Excellent Text to Speech iPad Apps for Teachers and Students,” Educational Technology and Mobile Learning, accessed January 7, 2018, http://www.educatorstechnology. com/2013/11/5-excellent-text-to-speech-ipad-apps.html.

Additional Resources National Core Arts Standards website, accessed January 7, 2018, http://www.nationalartsstandards.org. “Sensory Processing FAQ.” Child Mind Institute, accessed August, 16, 2018. Child Mind Institute, 26 Mar. 2018, childmind.org/article/ sensory-processing-faq/.

Chapter 3  Sensory Stimulation  33

Chapter 4

Low Muscle Tone (Hypotonia) “The greatest challenge to any thinker is stating the problem in a way that will allow a solution.” Bertrand Russell

Low muscle tone, or hypotonia, is often described as a person’s muscles being “floppy”; the muscles are weak and lack stamina, causing them to fatigue easily. Hypotonia also affects the speed of the muscles’ response and their ability to stay contracted. Low muscle tone affects all of the muscles, causing sitting difficulties, a lack of trunk control, speech delays, and diminished neck strength, which may result in the head tilting to one side and trouble with eye tracking. Hypotonic children may also have weak reflexes.1 It

therefore takes these students much more effort to hold a pencil or a brush or even to sit for extended periods. You may notice that they have difficulty getting a tool to do what they want it to do, which may lead to frustration and fatigue. Dipping a brush into the color of choice or applying the paint where they want it can also be a challenge. Adapting the tools and media, and your preparation and instruction will help these students create and respond to art by working through what they can do, instead of what they cannot.

Using soft squeeze bottles for glue and paint will help all students be successful.

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Creating Art After discovering the metamorphosis that occurred with my students by adapting my ideas, methods, tools, and techniques, I searched for ideas in catalogues, stores, and the carts of my school’s occupational and physical therapists. I also collaborated with my colleagues to learn any tricks they had up their sleeves to add to my collection of ways to adapt art to meet the needs of all learners. I would see things at the hardware, grocery, and toy stores and imagine which students could use the item to enable them to make art. I watched my students and looked for the roadblocks that impeded their progress in art, and I sought ways to knock those barriers down. I guess you could say it became my mission.

Tips for Adapting Art Media Imagine threading a needle while standing on a rocking boat. That is what I think of when I see a hypotonic student trying to dip a paintbrush into a single color on a narrow strip of watercolors. It is a hard target to hit when your muscles are not doing what you want them to do. Modifying media for students with low muscle tone is relatively easy and best kept simple. In the above example, it is much less difficult for students to use larger tempera cakes. Isolating each color makes the process even easier.

Questions to Think About As you read this chapter, consider the following questions: 1.  What barriers can you remove in your classroom so that students with low muscle tone can participate fully and successfully in creating art? 2.  How will you gain a deeper understanding of your students diagnosed with hypotonia and their needs when creating and connecting with art? 3.  How will pre-assessment of students’ skills help you create appropriate adaptations?

A lesson requiring students to use traditional crayons to color a large expanse would fatigue and frustrate a student with weakened muscle control. Adapt the medium by using Crayola Twistables or markers, which fill an area more quickly and glide across paper more easily, thus reducing the possibility of fatigue while still meeting the lesson objectives. FingerMax fingertip brushes.

Do-A-Dot marker paints.

Use a foam paint applicator and secure the stencil with Blu-Tack or tape if needed.

Chapter 4  Low Muscle Tone (Hypotonia)  35

Tim’s Story: Making Art Enjoyable When I first encountered Tim, he was standing in the doorway to my art room looking toward the floor saying, “No, I say no, no,” as a paraprofessional tried to persuade him to enter. Tim was used to getting his way by being defiant, and it usually worked. As I spent more time with Tim, I saw his frustration with making art; his fingers didn’t always do what he wanted. He struggled to paint, cut, and hold tools that most students could manipulate easily. He fatigued easily and had difficulty completing his work. I understood that he needed to feel successful in art-making if I wanted him to stay in class for the full period and not say, “I’m done,” every few minutes as a way out. I noticed that when I told Tim to paint a wavy line from the bottom of the paper toward the top, he struggled. But when he started at the top and painted toward to the bottom, he was successful. Experimenting can often lead to success, and such was the case for Tim. His doorknob grasp of the paintbrush made it hard for him to see what he was doing and to paint within an

outlined area. My solution was to purchase some Styrofoam balls at a craft store and push a big, short paintbrush through one. This adaptation allowed Tim to hold the brush in a manner that was more suited to his grasp. Tim still had his defiant bouts in the art room. Once I realized that his desire to leave before class was over was usually associated with the frustration he was experiencing, I was able to step in, give him a movement break, and then adapt the lesson, tool, or medium to help him feel successful. Everyone has the desire to please and achieve; our job as art teachers is to discover the path our students need to get there. Three years quickly passed and an unsure child grew in confidence. Tim would even volunteer to help other students with disabilities when they became frustrated. He eventually developed a cheeky sense of humor and would imitate the sing-song voice I use when calling for someone. It was important to Tim’s success that he felt comfortable with me; his teasing told me that he did. It was through this comfort level that I was able to convince him to try various tools and media to create art. He trusted that I would give him the adaptations he needed and find the solution to the problems he encountered. These modifications removed the barriers that obstructed the creative process and helped cultivate his confidence. It can help your students’ creativity bloom, too.

Thicker objects are easier to grasp, so keep size in mind when you select pencils, crayons, brushes, and other drawing tools. Use alternative objects for painting, such as sponge pieces clipped onto clothespins or fillable handled sponges for dishes. Remember to schedule movement breaks

and be cognizant of the amount of work you expect students diagnosed with low muscle tone to accomplish. Get together with your colleagues for advice and support, and instruct paraprofessionals to guide the students as they work, interceding only when necessary.

Paintbrushes can be adapted for students who have a doorknob grasp.

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Use adaptive brushes and paints with large color wells or single containers of paint.

Be cognizant of fatigue in students with low muscle tone. Focus on the skill being taught; have the student cut half and you or a paraprofessional can do the rest.

Glue empty film canisters or corks to shapes for printing to adapt for learners’ grasp. Pre-made shapes can be used to create patterns when a student cannot. Sitting “W” style is a natural position students use to compensate for lack of muscle tone. If working in a chair is difficult, allow them to sit on the floor. Invite a few students without disabilities to join in on drawing or painting on the floor—they will love it.

Isolate colors by using paper with holes cut into it to help students avoid the frustration of dipping into another color due to lack of hand-eye coordination.

Many of the adaptations I suggest involve clearing a pathway by removing obstacles to art-making. For your own lessons, you may need to break down the artistic process into smaller steps, which may be beneficial to the entire class as well. Students will “climb” those steps at varying speeds, just as they do stairs in a building, but with the adaptations, all the students will be able to succeed. The following tips can help reduce student frustration and lead to greater success: • Separate paint colors or use individual containers to avoid accidental color mixing. • Tape down unstable containers so they do not accidentally get knocked over. • Use tracers and stencils attached to paper with blue poster tack or tape to keep paint in the desired area or mask areas that should not be painted.

• Use a hand-over-hand technique to add strength when rolling out clay. • Use soft bottles when gluing, or spread glue beforehand and allow students to press shapes into it. • Add liquid dish soap to tempera paint so that it spreads more easily. • Tape or secure artwork to the work surface so it does not move, allowing the helper hand to assist with balance. Sculpture media can also be adapted for students who have hypotonia. Allow learners to manipulate and cut clay more easily by using stencils or cookie cutters; using slats when rolling out clay will keep the slab a uniform size. Encourage paraprofessionals to make the clay project as well, modeling the step-by-step process instead of doing the work for the student or relying solely on hand-over-hand instruction. Chapter 4  Low Muscle Tone (Hypotonia)  37

Tips for Adapting Process: Tools and Techniques A wide variety of adapted tools for artmaking are available through the specialty catalogues. You can purchase these modified tools or see how a particular tool works and create your own. Each child is different, as is each child’s grasping style or strength and degree of hypotonia, so one type of tool may not work for every student. It helps to offer several options, and these new tools can be fun for all students to try. Offering a variety of brushes can turn a traditional painting lesson into an unexpected exploration of texture and technique. Be sure to confer with your school’s occupational therapist, who may have therapeutic items such as a weighted handwriting glove, which can also be used for painting. Tracers can help students guide a pencil or crayon around an edge of a shape that they might not be able to draw freehand. It is important to remember that the level of adaptation varies from one learner to the next. One student may need assistance to draw the shape of a heart independently, while another may need to use a tracer. Scissors are available with different Try a variety of scissors until you have success. What works for one child may not be best for another. Consult with their teacher or paraprofessional for suggestions.

modifications; having an assortment will allow you, the students, and the paraprofessional to decide which type works best for each project. To assist in working large muscles, encourage students to take breaks, lift heavy objects (“Carry this paint to the closet, please”), and press objects into or onto surfaces, standing up to press objects down when gluing, kneading clay, or using a paper punch to develop hand and arm strength, and the like.

Tools The following tools can be helpful in assisting students with low muscle tone: • Egg-handled brushes and shaving cream brushes with larger handles, available in catalogues. Create your own by placing foam or a tennis ball around a traditional handle. • Foam brushes or a dish sponge with a tube handle that can be filled with paint. • Tools weighted with metal nuts and washers to help those with featherweight pressure when drawing. You can also purchase a weighted wristband from a catalogue of occupational therapy products. • Spring-loaded scissors for those with weak hand strength. • Homemade printmaking shapes cut from Miracle Sponges. • Use tracers secured with Blu-Tack to aid in drawing. Looking at common art-making tools in a new light and adapting them will empower your students to express themselves more freely. However, adjusting the tools is not enough—you must also instruct the students on how to use them, finding the path that is most advantageous for each child. If students have more control standing than sitting, good; if they have even better results painting when sitting cross-legged on the

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Use soft squeeze bottles for glue and paint when grip strength is weak.

floor, great. Byron and McEntee recommend taping the drawing or painting paper to the wall or table to see what elicits the best results.2 Spending a few classes at the beginning of the school year experimenting like this is not wasting precious art time; it is setting up your students to be creative, independent artists who make art by themselves while being guided by caring adults.

Techniques Enlisting a few of the above adaptations for students with low muscle tone will get you started, but I am sure it will also help you generate your own ideas, solutions, and adaptations for the lessons you design for your classes. Your motive for considering adaptions should be how you can remove barriers that might prohibit or alter the flow of creativity. As students are striving to do their best and create art, we can help them reach this goal by removing impediments that might result in frustration or abandoning the work.

Use large hole punchers to cut out shapes and build body strength.

Clay Adaptations • Use a slab roller or pre-roll a piece of clay for students with low muscle tone. • Have students stand to roll out the clay, which will give them more leverage than sitting at a table. • Have students trace the outline they are cutting with a pencil or stylus to leave a guide mark in the clay before they cut with a fettling knife. If they cannot cut, have the paraprofessional use the hand-over-hand technique. • Instruct students to use a toothbrush to score the clay when scoring and slipping two pieces together. Demonstrate a back-and-forth rubbing motion, then dip the toothbrush into the slip. Have them apply the slip to the two surfaces.

• When applying glaze to a finished piece, use small pieces of a sponge clipped on a clothespin instead of a brush if holding and manipulating a paintbrush does not produce the desired result.

Keep it simple. Use cookie cutters, lids, and containers for pre-made shapes.

Chapter 4  Low Muscle Tone (Hypotonia)  39

Movement Breaks: Why, When, and How Why? Movement breaks allow time to decompress and switch the use of muscle groups, enabling students to sit for longer periods. Such breaks result in greater productivity and enjoyment in art-making. When? If you see a student starting to tire, getting anxious, fidgeting, or wanting to leave the room, it is time for a movement break. How? Ask the student to take a quick trip around the art room to pass out materials. Longer breaks need planning; for example, arrange with another teacher for the student to deliver something to her classroom. In turn, that teacher can send the student back with something for the art room.

This is not an easy task, and it will not occur overnight. It has taken me years to develop and compile my arsenal of modifications, and I continue to alter and refine them as I meet each new student entering my art room. Some lessons will need more adaptations than others, so add things when you can. Remember that you are not alone—the students’ teachers, parents, and paraprofessionals are there to support your endeavors. Here are a few techniques that can lead to success: • Keep the cutting of shapes simple; or have students cut out half, and you or an aide cut the other half, to prevent fatigue. • Allow students to work at the size that suits them best. A child who has limited ability to move hands or wrists might need a smaller paper, whereas students who have difficulty controlling their muscles might need a larger surface on which to work. • All student projects need not look the same, as long as they meet the lesson objectives. • Experiment with where students create: table, floor, wall, blackboard.

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Allow the use of a light box tracer for students who have difficulty drawing independently. Give them a few choices of subjects to pick from so they can still express their creativity.

Use an interactive whiteboard to illustrate concepts, engage muscles, and encourage those with limited speech to participate in art criticism.

• Allow students to use a light board or window to trace an outline or transfer a design. • Tape or clamp artwork to a table or easel so that it does not move when being worked on. • Have students paint on glossy surfaces, such as acetate, the shiny side of poster board, or Bristol board, which allow liquids to glide more easily.

Consider This: Adapting Art Ideas Students who have low muscle tone often feel frustrated because their muscles fatigue easily. As a result, sitting for long periods may be challenging for them. Try one or several of the following adaptations to help them better engage: • Encourage movement breaks. • Build into your lessons a variety of activities that avoid repetitive actions and switch active muscle groups, such as a mixed-media project that combines painting with pressing stamps or printing. • For students with weak trunk control, adjust how or where they work to provide more stability: Secure students’ papers to a slant board, or use a two-inch binder to prop up their work surface. Have students work while sitting cross-legged or W style on the floor, which not only provides trunk stability but also decreases involuntary movements. Allow students to use the floor or wall as a surface on which to create.

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Connecting to Art Meaningful connections to art have great power; relating your own experiences to a work of art enables you to connect to the work at a deeper level. Creating opportunities for your students to make art that has personal meaning to them and to the world in which they live helps to validate who they are as people. Discussing how artists draw on their own knowledge and life experiences gives your students an appetite for sharing their own personal meaning in works of art they create or view. Connections are made to time, place, culture, and community as students analyze works of art. Allowing students to walk around instead of having a seated discussion will give all learners a movement break. For students with low muscle tone, this is a necessary break that helps to engage the gross motor muscles and keep them interested in the discussion. Something as simple as this can create a spark and allow a student to relate to the topic of the discussion. Block out areas when painting to assist in creating images.

Interactive Response: Comparing and Contrasting Venn diagrams are a great way to help students compare and contrast ideas. Draw a large Venn diagram on the board and invite students to walk up and add their ideas. If students have not yet developed a sight vocabulary or have difficulty communicating, allow them to use images.

Use printed rollers or stamps to create patterns if a disability prevents a student from drawing patterns freehand.

Chapter 4  Low Muscle Tone (Hypotonia)  41

Art Exploration: Grade Two As the second-grade students excitedly enter the art classroom, they rush to their tables to find stacks of images from various periods and places around the world. As they sift through the pictures, they begin to chatter about them, making automatic connections across time, country, and culture while discovering the theme: family portraits. After a bit of independent exploration, I gather them for an introduction to the lesson. I ask students to be investigators and to look for clues that will help them determine if the artworks in the pictures are from today or were made long ago. To assist with their analysis of the details, I illustrate how to make decisions about the age or era of an artwork. I show them five different phones: an 1800s wooden wall phone with a handheld bell to speak into, a black rotary desk phone from the 1930s, the first “brick” cellphone from 1983, a football phone from the early Use soft plastic squeeze bottles for glue or paint for students with weak muscles.

Adapt a weaving project by using color-coded thick yarns or fabric strips, and instruct students to lift the blues and yellows. Allow students who cannot weave to glue various textures to a cardboard surface to create a textured fiber arts piece.

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1990s, and my current smartphone. (This can be done with any object that has changed in the past hundred years.) I ask, “Which phone do you think is the oldest and why? How do you know which is the newest? What clues help you come to this conclusion?” After sharing and discussing various ideas about how we know if things are older or newer, I ask them to use those same methods to arrange the art images in chronological order. Students work as a group to place the artwork they feel is the oldest at one end and the most recent at the other, and then they fill in the middle. As they worked, students began to question and talk about one particular image, Walker Evans’s portrait of a family from the Dustbowl during the Depression. They were curious and wanted to know why the people were dirty. We brainstormed about why people are often soiled; their answers ranged from being poor to not having a washing machine, until we ultimately arrived at the conclusion that working makes you dirty. The conversation led to more pictures being quickly displayed on the whiteboard, along with brief information about the Dustbowl and Great Depression. The students’ questions and natural curiosity helped them empathize with this family and develop a deeper understanding of life during this difficult era in American history. The lesson continued with a discussion about family. Given the variety of family compositions, I felt that it was important to explore the concept of who makes up each student’s family so they could draw the people they consider their family members, whether that is parents and siblings, grandparents, or other relatives, foster parents, friends, and so on. This was an easy concept for the children and required only brief consideration by asking such questions as, “What makes

Take a Risk: Choosing Photos Wonderful connections to the world are made by viewing unfamiliar images that make students question and step out of their own experience. Depending on your class, you might find one or more of the following artists interesting to explore: John Biggers John Brewster, Jr. Margaret Bourke-White Walker Evans Lee Soo-Auck Alice Neel Nicholas Nixon Kehinde Wiley

someone important enough to consider them family? Who can people live with? What people do you consider to be in your family?” Next, students illustrated their family while meeting the following objectives: the portrait must show the time of year (season), the place you are located, the people in your family, and details such as clothing and other items that help the viewer understand where and when your family is living. By guiding the students to make connections and develop ideas about past and present, I helped them gain a deeper perspective of their peers and others in their world. In addition, it seemed as if they were better able to synthesize the meaning in the art images they viewed, and could make meaningful choices about how to tell a story of time and place in their own work.

How the Lesson Was Adapted Many lessons that you already teach can be modified for students with low muscle tone. For example, prior to adapting the lesson described above, I had the students work in small groups to organize the images while sitting at their tables. The modification of standing and moving around assists hypotonic students by letting them engage different muscles. I also gave them the option to sit on the floor or at a table and scheduled movement breaks to help reduce muscle fatigue. Because many students with low muscle tone need extra support or stability or may lack adequate strength to move their hands as they wish, I use Blu-Tack to hold their artwork in place while they work. I also have foam noodles on hand, which can be placed behind students’ backs to increase support while seated in a chair. Many art rooms only have stools for students to sit on; due to the lack of back support, this can be challenging for many types of students, not just those with low muscle tone. Consider having chairs available. Modifying the work surface from horizontal tables to the verticality of walls, doors, and windows changes any lesson into one that increases trunk strength and therefore gross motor functioning. It also helps keep students more engaged. Place a foam noodle or support behind the back to help posture.

By guiding the students to make connections and develop ideas about past and present, I helped them gain a deeper perspective of their peers and others in their world. Chapter 4  Low Muscle Tone (Hypotonia)  43

The last group of adaptations in this lesson relates to drawing the portraits. For some of the students who had hypotonia or intellectual disabilities, I enlarged their family photo on a copy machine and allowed them to trace it using a light table or window. I also offered shape tracers to help them outline heads and other body parts. With this adaptation, some students were able to complete the portrait without much additional assistance. Although many adaptations are available for all students to use, tracing should be reserved for those who would not be successful without it. As Heather Fountain notes in Differentiated Instruction in Art, it is not important that all students do the same thing the same way, but rather that they have the tools they need to succeed.3 Most students easily understand when they are told that, Attach sponges or wood blocks to shapes when using them to print with; this helps students who have difficulty grasping small knobs and objects.

in a differentiated classroom, the teacher will give them what they need to do well. Some students require only minor adaptations, such as working standing up or using a modified tool, whereas others will need greater support.

Benefits for All Students Many of the adaptations for students with low muscle tone create a classroom atmosphere in which all students achieve a greater measure of success. Students should have the option to create in a way that makes sense for their bodies, whether it is standing, sitting, or working at an angle, against a wall, or on the floor. Movement breaks provide a built-in stress release, which also helps students reengage their minds on the task. Movement in a classroom further benefits students who are kinesthetic learners or who have ADD or ADHD by offering opportunities to be active without getting in trouble, which is critical for building effective engagement and a sense of positive self-esteem.

The short, thick handle of shaving brushes combined with the soft bristles makes painting easier for students with low muscle tone. Wrap Crayola Model Magic or plumber’s foam around pencils and paint brushes for grips.

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Responding to Art When considering how students interact with and respond to art, keep in mind that their responses need not be limited to verbal communication. Although talking about art is beneficial, children with low muscle tone, as well as the entire class, may also use their bodies in ways that will better assist them in communicating their thoughts and opinions. Since students with low muscle strength may not be able to sit for prolonged periods, getting them on their feet for some hands-on investigating will enhance their ability to engage successfully in discussions. A great way to do this is to have students imagine that they are detectives. Offer magnifying glasses, either real ones or paper cutouts, and ask students to get up and look for an artwork that has meaning to them. Alternatively, you could ask them to find specific items from a scavenger-hunt list that is waiting on their table when they arrive to class. Or direct them to pull a card out of a hat and then read a description on the card of an item or idea they need to discover in the artworks on display. Including touch as part of a response is a powerful way to adapt art interaction. Whenever students stand up and move toward an artwork to reach or touch it, they are using large muscles. By pointing to an area, especially if they cross the midline of the body, students increase their trunk stability. To foster art response using touch and interaction, give students word flashcards, color cards, items with various textures, or physical objects to place with the artworks. Making decisions and showing their ideas about art through the use of symbolic items can also help students more fully participate in responding to artworks. The art criticism game Token Response, by Eldon Katter and Mary Erickson, serves this purpose well. In this type of activity, students place shapes next to or on

Fostering Success: Responding to Art It is essential to establish a comfortable, safe art room where students do not feel judged and are free to make and explore art. “Put-ups” instead of put-downs, along with constructive criticism, are preferred and should be a topic of discussion. Doing so allows all students to engage in authentic ways that help them learn from one another’s perspectives, while having their own ideas and voices valued, too.

Use stamps or stickers to create patterns if students cannot make patterns independently.

Foam printmaking stamps are great for creating patterns or designs when drawing freehand is a challenge. All students will enjoy creating patterns with stamps.

artworks in response to them. If sharing individually, students can simply hold up their symbolic token as they explain why they chose it. You can use simple paper shapes for tokens, depending on what you hope students will respond to in the artwork. For instance, a heart can represent love, a red circle with a line through could indicate something disliked, a smiley face for happiness, a dinosaur for something old, a dollar bill for something expensive, and so on.

Chapter 4  Low Muscle Tone (Hypotonia)  45

Responding to Art: Prompts For some students, it can be difficult to answer abstract questions, such as why they like something or why they chose a certain work to talk about. Try using a prompt to encourage participation. Questions often elicit a response and many can be answered by nonverbal students through actions. You might say:

An artwork might elicit meaning because of its color. An alternative, then, is to have a stack of felt pieces in different hues; students choose the color they associate with the feeling, theme, or tone of the art. Again, you may need to provide the words if a student has a limited vocabulary. Ask, “Did you pick this color because it makes you smile or frown? Is it the color or the dog in the painting that makes you frown?”

Presenting Art and Ideas about Art The ability for all students to show and share their opinions and assignments is critical in helping them gain confidence and the knowledge that their art and ideas about art are important. There Easy-grip round finger crayons are great for students with a doorknob grasp, or they can be placed on fingertips when students are creating art.

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• Point to a thing or part of the artwork that you like the most. Why is it your favorite? • What does this artwork remind you of? • How does the artwork make you feel? • Does this artwork make you smile or frown? Show me.

are several ways to meet the needs of students with low muscle tone. Here are some suggestions: As you and your students consider venues for your exhibit, engage in a “clothesline critique.” Having students hang works of art on a clothesline for discussion seems simple, but it requires the use of large muscles. Crossing the midline to attach clothespins builds stability and trunk control. Fine motor skills are also developed by pinching the clothespins to attach the art. Remember that the muscles of hypotonic children fatigue easily; therefore, activities such as written responses regarding artistic decisions should be minimized. Verbal responses are less difficult, as is the use of speech-to-text apps such as Talk for Me, which was created for people with spoken communication difficulties. These types of assistive technologies will allow students to connect and converse more easily.

Selecting Artworks for Presentation The selection process, whether for a solo exhibit or a group show, compels us to consider what we value in art and why. For students with low muscle tone, making those decisions and explaining their reasons can be difficult. Let’s say, for example, that students have been instructed to choose four works from their portfolio. There are several ways to adapt

the selection process that take into consideration muscle fatigue and the speech delays that often accompany hypotonia.

Process of Elimination Technique Telling students to lay out all of their work on a table and then to pick four can be overwhelming for them. Instead, try the process of elimination method. Hold up two pieces and ask, “Do you want to put this one or this one in the show?” Then do the same for two more, repeating the process until half the works are eliminated. Lay the remaining artworks on a table and begin the process of elimination again, repeating until only four works remain. The remaining four objects are the selections for the show.

Stars of the Portfolio Discuss the students’ portfolios with them, recalling which techniques were favorites or worked well and what subjects, media, and types of art allowed them to create the most meaningful art. Ask them why and how along the way. Students who have speech delays may need to be posed a series of yes-or-no questions. At the end, direct the students to place four yellow stars next to the artworks they decided to place in the exhibit.

decisions. For example, a picture of a color wheel with the word “colors” under it would be selected by students if they chose the work because they like its colors; a labeled photo of paint, clay, or markers would be chosen if they selected the artwork because they like the medium. Journal entries can be more easily completed if they are transcribed by a paraprofessional or recorded using an iPad or talk-to-text application. Categorizing artworks for an exhibit may require a similar adaptation. When choosing works for a themed show, use picture-word cards illustrated with a still life, portrait, landscape, abstraction, and so on. These can help students recall the various types of art, or they can be placed beside an artwork to assist in communicating a student’s selection. Getting children up and moving during the selection process also works large muscles and gets the blood flowing to the limbs and brain. Use tools such as egg-handled brushes or fingertip brushes that adapt for grip, and consider the student’s hand strength when making modifications.

Talking and Writing about Choices Discussions about why students chose particular works often require an adaptation for writing, and speech is often affected in children with low muscle tone. Asking “Why did you choose this work of art?” can be replaced by a yes-or-no question, such as, “Did you choose this artwork because of its subject? Its color? The technique? The medium?” Pictureword cards with images that correlate with the text can be helpful in verbalizing

Chapter 4  Low Muscle Tone (Hypotonia)  47

Virtual Presentations and Portfolios Interactive whiteboards, tablets, and computers are a great way for students to create electronic portfolios and exhibits. For learners with low muscle tone, touch screens are best since they require less fine motor skills to achieve the desired results. Younger students may There are myriad use apps that allow them to create written or audio recordings to ways and methods to accompany their artworks. Artfacilitate presentations ist statements or conversations of student artwork. documenting why works of art were selected give insights into what the student considered when arranging a collection for presentation. There are myriad ways and methods to facilitate presentations of student artwork. As you guide your class through the selection and presentation process, consider how students with low muscle tone will participate and share in presenting artwork of themselves and others to a larger audience.

Do-A-Dot marker paints roll on color, helping students with low stamina.

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Adaptive Benefits for All Students Adapting tools, media, processes, and instruction can be a lively change for all learners. Many modifications, such as Do-A-Dot markers, textured paint applicators, stamps for patterns, and adapted brushes, may be offered to all students, opening up new avenues for creating. I often hear students say, “Why don’t I get to use a brush like that?” I tell them they can, and they often try it. Some stay with it, while others gravitate back to traditional tools. The benefit comes from students gaining an understanding of their classmates who have deficits and how those children create and engage in art, thus building acceptance and tolerance. Activities that encourage all students, not just those with low muscle tone, to get out of their seats and work on vertical surfaces benefit everyone by increasing blood flow to the brain. Professional presenters use this same strategy to make their presentations interactive and keep audiences alert and engaged. When students are not actively participating in making art, they need to be engaged in other handson activities to learn. Learning occurs when students are actively participating in accumulating the knowledge they seek. By helping children who have a low muscle disability, you are implementing strategies that will benefit the class as a whole.

Consider This: Low Muscle Tone As you design a new lesson or redesign an old favorite, create a mental image of a student who has low muscle tone (I think of a former student named Tim) and envision that student performing each step. This technique helps me think beyond students’ typical actions and responses. It often leads me to have those eureka moments, when I discover how to help all my students be successful in the lesson. I ask myself questions like: • How will Tim be able to take part in the conversation about family portraits? • Will he be able to draw a portrait independently? • What adaptations and modifications do I need to make for him to be successful? • How can I teach and engage him in this lesson and meet both the national standard and my own lesson objectives? I challenge you to take a lesson that you feel is successful and engage in the process described above. See what aha moments occur and what adaptations come to mind. While thinking through this process of developing and testing a new lesson or idea, maybe you, like me, will recollect a student who would benefit from this new approach. As you come up with the answers to your own classroom challenges, be sure to try them out, make adjustments, and, as always, consult and collaborate with your colleagues.

Notes 1 “Hypotonia Information Page,” National Institute of Neurological Disorders and Stroke, accessed January 17, 2018, https://www.ninds.nih.gov/Disorders/All-Disorders/ Hypotonia-Information-Page. 2 T. Byron and P. McEntee, “Art-making: An Impact on Fine Motor Development,” Resource packet distributed at a Chester County Intermediate Unit In-Service, 2006. 3 Heather Fountain, Differentiated Instruction in Art. (Worcester, MA: Davis Publications, 2015).

Additional Resources Paula Eubanks, “Art as a Visual Language that Supports Verbal Development,” in Issues and Approaches to Art for Students with Special Needs. Andra L. Nyman and Anne M. Jenkins, eds. (Reston, VA: National Art Education Association, 1999), 109–117. D. Blandy, “A Disability Aesthetic, Inclusion, and Art Education,” in Nyman and Jenkins, Issues and Approaches to Art, 34–41. Beverly Levett Gerber and Doris M. Guay, eds., Reaching and Teaching Students with Special Needs through Art (Reston, VA: National Art Education Association, 2006). “Hypotonia Is Also Known as Low Muscle Tone,” Our Journey (blog), accessed January 7, 2018, http://www.cdadc.com/ds/ hypotonia.htm. “Low Muscle Tone and Hypotonia—Diagnosis and Treatment,” Our Journey (blog), accessed January 17, 2018, http://www.cdadc. com/hypotonia-low-muscle-tone/hypotonia-low-muscle-tonediagnosis-early-treatment.html.

Chapter 4  Low Muscle Tone (Hypotonia)  49

Chapter 5

Visual Impairments “Close both eyes to see with the other eye.” Rumi

Art is a visual subject and adaptations must be made to assist learners who have visual impairments by considering how the disability affects their perception and participation when creating and responding to art. Acquiring a clear

understanding of what impact a visual impairment has on a student’s learning will help you adapt your lessons, as well as your way of thinking about art, so that all students can fully engage in the artistic process.

Using pre-made shapes for ease in cutting and tracing assists students with low vision by helping them to feel the shape of an object.

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Types of Visual Impairment Visual impairments range from low vision to color vision impairments to total vision loss. Such impairments can include reduced visual acuity, an obstructed or narrowed field of vision, or failure of visual stimuli to be sent to or processed by the brain.1

Low Vision Low vision is a loss of eyesight that can make everyday activities such as reading, writing, comprehending images, or perceiving depth difficult or impossible. Like many impairments, vision loss can range greatly. It might present itself in one or more of the following ways: • Being able to clearly see only the periphery of the view in front of you. • Having tunnel vision and being able to see only the center of the view in front of you. • Having contrast sensitivity that makes it difficult to distinguish items of similar color or tone. • Experiencing loss of depth perception, which happens when vision is lost in one eye.

Questions to Think About As you read this chapter, consider the following questions: 1.  How would having a vision impairment affect a student’s ability to create and respond to art? 2.  What type of obstacles might occur as students explore the creative process of art-making? How will this affect their inquiry into art and the choices artists make?

• Being confused because of visual processing issues that make it hard to understand what is being viewed. • Seeing everything as blurry. • Having a blind spot. • Seeing only light and shadow. • Seeing everything as if through a haze or glare. • Being unable to see in dim light. • Being extremely sensitive to light, which causes the eye to see a washedout image or glare.

Visual Color Deficiency Visual color disabilities can affect a student when making art, navigating the art room, and participating in discussions about art. Students with limited color vision or color blindness can usually see most colors but often have difficulty distinguishing certain colors.2 This loss can vary from mild to severe. Red-green color blindness is most common; blue-yellow color blindness is less common, and monochromacy rare. People with red and green deficiency often experience problems with reds, greens, and shades between colors such as red-orange; some colors may appear muddy. Blue and yellow can be seen but may be confusing. Blue can be mistaken for green, yellow for violet or gray.3 Having a student use a coffee can to cut out clay circles is a great way to adapt when hand-eye coordination is a challenge.

3.  What types of scaffolding and modifications should you make to your lessons to meet the needs of learners with limited vision? Chapter 5  Visual Impairments  51

Creating Art

Textured rubbing plates allow students with low vision to feel the surface as they create.

Typically, your school nurse will be able to supply a list of students who have reduced color sensitivity, but it is common for this type of vision loss to be discovered only when students begin to interact in art classrooms. Although females carry the gene for limited color vision, it is typically males who are affected.

Blindness Although we might think of blindness as the state of seeing nothing at all, that may not be the case. Most people who are legally blind have some vision, ranging from seeing things only when they are very close to the eyes to seeing fields of color or light/dark shapes. If you have blind students, talk to them and those who know them best to determine the severity of the impairment, which can range from limited vision to complete vision loss.

Just because students see poorly or not at all does not mean they don’t want their artwork to look good or maybe look like the work of their sighted peers. Whenever possible, consult or brainstorm with your visually impaired students to come up with adaptations while also preserving their dignity. Imagining and developing adaptations is a creative process that involves a bit of risk-taking and trial and error. When adapting lessons for students who have color loss, ask them for ideas and show them your ideas as well. I found that as I shared and talked with students, they provided great feedback about what did and did not make a difference for them in the art room. Keep in mind that children with visual impairments who have multiple disabilities may not be able to give such detailed comments. For these students, you may need to present two adaptations and ask them to point to the one they feel helps the best. You can also consult with teachers and paraprofessionals who work with those students daily. Sometimes it is helpful to construct learning situations in which students with limited vision work in groups with sighted peers, collaborating and exploring artistic techniques through play, experimentation, and investigation. Learning from those around them and having a sense of belonging can deepen their artistic process.

Visual Color Disorders vs. Color Blindness The term color blindness is not accurate because people who have this impairment are not actually blind; rather, they see things differently. A more accurate term is visual color impairment. The cones in our eyes have light-sensitive pigments that help us perceive color. It is the lack of one or more of these

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pigments that creates the impairment. Each person sees color differently, depending on how much of this pigment we have. This helps explain why some people who are highly sensitive to color can see a wider range of tints and shades of a color, whereas others see just a monochromatic hue.

Joe’s Story: Recognizing What a Student Needs Joe was a student of mine who was diagnosed with intellectual disabilities, hearing loss, and low vision, none of which thwarted his desire to learn. Working with Joe incited my interest in creating adaptations that would help him participate fully in creating and engaging in art, despite his challenges. I observed that his head was always close to his work, for example when he was cutting along a line or trying to fill in small areas. This got me thinking and led me to talk with his special education teacher. I discovered that dark lines and bright colors were easier for him

to see, which prompted me to develop an adaptation that would allow him to successfully participate in an upcoming watercolor project. After coordinating with Joe on his selection of colors, I used a marker to outline the areas he wanted to fill in; the dark bold lines made it much easier for him to paint his watercolor. This same technique helped him cut out shapes in a more natural, comfortable position. Joe was able to complete projects independently thanks to this small adaptation, which eliminated much of his frustration and reduced eyestrain.

A reproduction of a painting by Arthur Dove is made by outlining with a thin bead of glue to create a tactile representation.

General guidelines for adapting lessons for students with limited vision are simple, but they can make a huge difference. While reading the following sections about adaptations to media, tools, and techniques, consider which might work best for students with visual impairments and which might enhance learning for all students.

Low Vision Adaptations Many obstacles can be easily removed or lessened to make art a more natural and pleasant experience for students who have low vision. Many of the tools you need might already exist in your classroom. Let’s take a look.

Tips for Adapting Art Media Adapting media in ways that engage the other senses can help students with visual impairments find multiple ways to enjoy and experience art. Studies show that play and experimentation greatly aid inventive thinking, and many of these adaptations naturally create an environment for play and experimentation. Also,

providing students the opportunity to create with new or unusual materials adds another layer of fun and excitement. Try one or more of the following suggestions: • Have students use a dark 6B pencil instead of a lighter one, which will make work easier to see. The same goes for most art media—contrast is beneficial.

Many obstacles can be easily removed or lessened to make art a more natural and pleasant experience for students who have low vision.

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Adding Scents to Art Adding fragrance to your art room can create a wonderful sensory experience, but be careful of sensitivities or allergies that students or others in the room may have. It is a good rule of thumb to use only pure essential oils or culinary items such as fruits or spices. Food scents—including vanilla, lemon, lime, orange, mint, cinnamon, rosemary, or clove—will be less reactive to students with allergies. Avoid floral and scented oils that are not 100 percent natural; these often have added chemicals and synthetic fragrances that can cause allergic reactions or asthma attacks in students with respiratory issues. Remember, a little goes a long way. The odor doesn’t need to reach across the room, just the location where it is being used.

• Mix cornmeal, sand, or other textured items into paint so that students can feel where they are painting and associate an alternative sensory experience with art-making. • Create on sandpaper. It engages not only touch but also hearing. • When working with textiles, use thick pieces of yarn or strips of fabric and work on a larger scale. • Use puff paint so students can feel the artwork when it is dry.

• Scent paints with essential oils that relate to each color: for example, lemon for yellow, grape for purple, mint for green. This works well for students with extremely low vision or those who have no sight by encouraging them to use their sense of smell when choosing colors. Scented markers also help students make a sensory connection to color. The same goes for glue, which can be scented with essential oils like orange, thyme, or mint. This student artwork illustrates using neon paints on a black surface for visual adaptation. Neon paints are easier to see.

A student uses textured paint rolling pins that stimulate the sense of touch, which is heightened in students who have low vision.

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• Use Do-A-Dot paint applicators if the student’s hand-eye coordination makes dipping a brush into paint too difficult.

Essential oils produce a calming effect and can assist students who have low vision in identifying colors when added to media.

Student creating a mandala on sandpaper, which stimulates the sense of touch.

Student drawing with Do-A-Dot applicators. Remind students to use their helper hand to stabilize the paper while drawing.

Do-A-Dot applicators.

Exploring a variety of media and adapting your lessons will assist visually impaired students in creating and evolving concepts for making art. As students develop their ideas and seek solutions to the problems and investigations presented in the lessons, they will be collecting knowledge as well as ideas for future art-making.

Tips for Adapting Process: Tools and Techniques When we walk in the dark, we often put out our hand to feel where we are and to guide us to our destination. That is what I think of when I am considering how to adapt tools and processes for students with low vision. While contemplating the knowledge I want them to acquire, I ask myself how I can help them navigate through this lesson. If it is an art-making process, I wonder what can be adapted to ease their journey. Should it be the surface, the tools, the process, or all three? How I adapt a lesson depends on my objectives and the product or goals I desire my students to accomplish. Which tools and techniques might help your students? Here are some ideas for tools: • Enlarge worksheets or brainstorm sheets for students with limited vision.

• Drawing thick lines made with a bold marker increases students’ ability to cut on a line. Have on hand a variety of Bubble Wrap, burlap, corrugated cardboard, keys, corks, sponges, and other 3D items with shape and texture for printmaking lessons. These items add a haptic element and can be used to create patterns more efficiently for those with limited sight. • Use shape stencils as guides when cutting out clay; cookie cutters and cans can also be used. • Place large-print, laminated visual diagrams and instructions on students’ work surface. Since most people are visual learners, placing one at each table will help all students. • Put a drop of hot glue on scissors to indicate where the index finger should rest when cutting. This will help students feel the proper way to hold the tool.

Detail of a keyboard with large print keyboard stickers attached.

• Place large-print stickers or a largeprint keyboard skin over existing computer keys to help students better navigate the keyboard.

Chapter 5  Visual Impairments  55

• Encourage drawing on textured surfaces or textured drawing plates. Students can feel the surface, thus stimulating multiple senses. • Print out copies of artworks being discussed and place them at each table. This will help all students better engage with the work by being able to look at it closely and discover new things not seen from afar.

Wikki Stix.

• Outline art images with a thin line of glue to create a tactile reproduction. A raised edge or surface, much like the raised dots used in the Braille system, gives a guideline to the overall shapes of the image. • Create a handout of step-by-step directions for the art-making process being taught in the lesson, such as building a coil pot or creating a relief print. Enlarge the text’s font and add images. Place one at each table. These help children with low vision as well as struggling learners, students who were not paying attention during demonstrations, or those who were absent for part of the lesson. Depending on your students and their comfort level, one or more of the following ideas may help you teach more effectively: • Have students with low vision sit closest to the source of instruction; check for understanding as you instruct. • Outline areas with a thick bead of colored or black glue and allow it to dry so that the raised lines can be felt. This barrier will contain watercolors or other painting media. Glue drawings are fun and create an interesting effect on black paper when filled in with colorful pastels.

Shapes cut from poster board and outlined with a thin bead of glue create great tactile tracers for students with low vision.

• Enlarge photos or line drawings to assist students in drawing their choice of object. This technique is also helpful to children who cannot draw or paint independently, because it provides them with a line drawing as a starting point. • Monoprint plates can be made using this technique: place string dipped in glue along the pattern lines and allow to dry. Once the plate is dry, you can ink it with a brayer and press paper on top of the plate, burnish the surface, and pull your print. • Place photos or drawings under white paper on a light table for easier copying or transferring of an image or sketch. • When demonstrating a technique, have students touch, hold, and closely examine each step of the process.

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Adaptations for Visual Color Deficiency (Color Blindness)

Creating sculptures outdoors is a great activity that engages alternate senses for students with low vision.

Most artists interpret the world with great variance. Even two artists standing side by side will select different shades of colors or choose diverse aspects to depict in greater detail. When creating an artwork, a student who does not have full color vision may choose a different shade of red for an apple than a student without color vision loss, but in most cases, this isn’t a problem. Remember, a Cézanne tree is a different shade of green than a Matisse tree. The issue arises when students wish to use specific colors, the ones they know are typically used, such as blue for the sky, yellow for the sun, or green for the grass. It is also a concern when working with color theory, for students may not be able to see the same colors as their classmates or may confuse colors.

• Use the hand-over-hand method when working with clay so that students learn how hard to press into the material. • Describe what is being taught step-bystep. Oral narration can illuminate the process for those who cannot see it. • Allow students to use Wikki Stix to create a line or shape on paper, which can then be followed or traced with a drawing implement. • Provide tracers to guide students in drawing shapes or objects they are unable to draw independently. Tracers may be made from oak tag, foamcore, cardboard, or mat board. Outlining the tracer’s edge with a black marker will help ensure success.

How a still life appears to a student without color vision disabilities.

How a still life looks to a student with tritanopia, blue blindness.

• Use stencils or paper to isolate or mask areas not being worked on; this will help keep the rest of the work clean. • Take your lesson outside to create 3D earthworks that stimulate the sense of touch.

How a still life looks to a student with protanopia, red blindness.

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Adaptations to Techniques For students experiencing color loss, art media and tools do not typically need to be adapted, but several techniques can assist them to understand color and navigate its use more effectively. The following adaptations will help guide their color choices as well as make the selection process less frustrating. • Choose artwork that will help students with certain color needs better understand the work, such as a work with fewer reds and greens if you have a student in your class who has redgreen color blindness. • Keep your art room well lit and position students who have trouble distinguishing colors near a light source. Good lighting can help a person with a color disability distinguish between challenging colors.

• Label paints so that the names of colors are visible. This will help students independently choose colors, even if they don’t see that color as others do. • When pouring paints into a palette, keep the colors in a consistent order so that students know where each color is, even if they cannot distinguish it by sight. Rainbow order is a great organization method. • Choose crayons, pastels, and colored pencils that have the color names written on the side. This will assist with discerning the subtle differences in colors that can be hard to distinguish.

• Create or choose signs, artworks, and posters that have high contrast between the foreground and background. Low contrast makes it harder to distinguish colors.

• Display a color wheel poster in a prominent place in your classroom; choose one that has the colors labeled for quick reference.

• Consider the colors you use to write on the board. If you write on a green chalkboard with pink chalk, it will be

• Have students create a color chart in their journal or notebook. Instruct them to include the color names and items that are often associated with each color.

Certain color combinations make colors hard to read or nearly impossible for a student with a color vision disorder.

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harder for a student to read than if you use white chalk. Writing in white on a black background or black on a white background, such as a whiteboard, will help students see information clearly.

Label colors that are known to be difficult for your students with color impairments.

Consider This: Adapting Art Ideas Revising a lesson isn’t such a big deal, but for the student who will benefit from the changes, it is huge. Every year brings new students and new challenges; pulling out a lesson that has worked great previously may need a new twist if a new student has a visual impairment. Personally, I love the challenge and quickly start thinking of solutions and adaptations to enable the student to have a successful creative experience. Whether it is a color vision deficiency, low vision, or total vision loss that affects your students, it is your job to help them navigate along the path towards success. Praise is a great motivator; be there for them and they will create.

Elementary: Jamie Wyeth Lesson Inspired by the combination of my students’ interest in animals and my love of Jamie Wyeth, I created a lesson that incorporates both. First, the class gathered to consider Wyeth’s Portrait of a Pig (1970). We talked about pigs, listing their body parts and touching our own noses and ears to make connections. I passed around a toy pig for the children to hold and feel, prompting them to consider facts about these animals. Students use a combing technique to mix blue sky into yellow to get green grass. Textured combs help the students to feel what they are doing and make contrasting lines easier to see.

Students mix red and white to create pink. Two visually contrasting colors become a new one. A template of shapes students used to create their pigs. Note the thick black line, which functions as a cutting guide for students with low vision.

Feeling and creating texture allows the students to grasp the concept of how an image or subject feels.

Students paint the shapes that make up the pig on the template prior to cutting them out and assembling the pig. This adaptation gave students a visual guideline to follow and involved the fine motor skill of cutting.

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Choosing Artwork for Students with Low Vision When choosing artwork for students with low vision, consider artwork that has high contrast, clean clear lines, and larger areas of color. One example is the artwork of the Tlingit peoples. Much of Tlingit art is bold and easy

We imagined what pigs would feel like, and students decided that pigs would feel coarse. I passed around rough fabrics such as burlap so they could experience the texture. (Note: although this lesson was limited to pigs, you could explore any animal. I chose to limit the subject because I thought it would be more attainable for this class.) Next, the students drew their own pig. For those needing extra assistance with painting, I outlined the animal’s parts with bold marker or glue. The class created textures by dragging cardboard combs cut with various edges, such as zigzag, wavy and ridged, through the paint. Everyone was successful in this lesson and enjoyed exploring varied textures. Moreover, no one was aware that the lesson was designed with adaptations specifically for visually impaired students.

How the Lesson Was Adapted for Students with Visual Impairments I adapted the lesson so that all art conversation included an element of touch and sensory engagement that Learning that is interactive involved more than just vision. calls students to be actively In the introduction, students imagined a pig and thought involved in their own about its body parts, touched knowledge acquisition. a stuffed pig to help trigger responses, and rubbed their hands on various rough textures to form an idea of how a real pig might feel. To create their own artwork, students could add paint to the paper and then run various texture combs through it to mimic a pig’s texture. To assist students who have low vision or complete vision loss, I 60

to see, even from a distance and by students who have low vision. This artwork can open a rich dialogue about customs and ­traditions of cultures that differ from those to which students are accustomed.

outlined the shapes of a pig’s body using either a bold marker or a line of black glue that was allowed to dry. Not only could the bold glue line be seen better, but it created a textural surface that could be felt as well. In addition, the raised line assisted students with filling in the shapes of their pigs by creating a barrier that prohibited the paint from running outside the shapes. When they finished their pieces, I invited students on a gallery walk, where they were able to see and/or feel the artworks made by their peers. This exercise engaged several senses and created a more interactive exhibit, adding further context and meaning to the “viewing” of the artworks.

How the Adaptations Benefited All Students Learning that is interactive calls students to be actively involved in their own knowledge acquisition. Articles such as “Active Learning: Creating Excitement in the Classroom”4 and “Does Active Learning Work? A Review of the Research”5 show that when students are thus engaged, they are less likely to exhibit behavioral problems and are more likely to remember and recall what they have learned. This lesson helped all my students actively engage by incorporating multiple senses. Moreover, students who are less able to move their bodies or hands in the ways that they want, or who are less confident in general, can still be successful in creating artwork through the three adaptations to the animal drawing lesson described above.

Create low-relief sculptures with texture for students who have low vision. Building up a surface with puzzle pieces, cardboard, or foam allows students to feel the textured surface they are creating.

Connecting to Art We often consider our sight as the only way to connect to art, but it is important to broaden our thinking and consider the myriad paths through which we interact with and respond to the world around us. Think of the pleasure you gain by listening to the sound of a sculpture, like those by Harry Bertoia or George Rhoads, or by touching fiber arts that have been knitted, woven, or felted. Who has not put their hands on a cast metal sculpture to feel the cool smooth surface? An understanding of why one creates art and how time, place, traditions, and cultures can be reflected in it can be attained with or without sight. As teachers, we need to help students connect to art in multiple ways, and sometimes we must move out of our own comfort zones to do so.

High Contrast: Artists to Consider Students with low vision and visual color impairments see images, reproductions, and art more easily when there is a high degree of contrast. This list includes artists whose work has high contrast. If an image is small, consider enlarging it and printing it out for your students with visual impairments. If you are projecting images, have the students with low vision sit in the front row. Laylah Ali Piet Mondrian Bridget Riley Romero Britto Banksy Andy Warhol Jessica Fortner

KAWS Poul Webb Roy Lichtenstein Robert Indiana Edward Gorey Charley Harper

One way to adapt our teaching of art is to be more verbal. If the image you select includes a snake colored red, instead of asking, “Why did the artist choose this color?” ask a more specific question, such as, “Why do you think the artist chose red to represent the snake?” Students who cannot see the image or those who have difficulty distinguishing colors can still understand that the snake is red and participate in the discussion. A common tool used by people who are blind is auditory description. In our attempts to be more verbal, we and our sighted students should use this tool. It can be done on the spot by explaining the location and objects shown in an artwork, including its size and placement compared to other items. It can also be done through recordings that students listen to while holding or examining an artwork. This technique is basically a translation of the visual elements into another language: words. Never underestimate the emotional connection that students can have to a work of art. An image, whether seen or described, may contain items that elicit stories, memories, or feelings. Capitalize on these personal associations and use them to help students relate to art in real ways. For instance, if an artwork shows a dog, then, by association, students might think of their own dog or a story about a dog. This, in turn, could lead them to tell their own stories about dogs through their artwork in two or three dimensions.

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How an artwork looks to a student without color vision impairment.

• Adapt your image selection if the class includes students who have the inability to see all colors. • Create copies of the artifacts that have raised edges or areas so that touching will assist in comprehension.

How an artwork looks to a student with protanopia (red-green color blindness).

• Use three-dimensional artworks or objects that stimulate the sense of touch as often as possible. • Check for comprehension and attend to the needs of your learners who have diagnoses related to their vision. • Bring in 3D artworks so that students can experience firsthand how they feel, smell, and appear to them. Allow them to take their time and examine the art being discussed.

How an artwork looks to a student with tritanopia (blue-yellow color blindness).

Choosing artworks that are high in contrast makes it easier for students with low vision to see and recognize the imagery. In addition, it is helpful to place the artworks in a location where all students, not just those who have vision issues, can examine them more closely. Other students will most likely want a closer look, too, which helps the adaptation pass unnoticed. Students diagnosed with low vision may not see all of the small fine lines and shapes, so having them work with and make artworks that have larger defined areas will be met with more success. When connecting with art in the classroom, keep in mind the following:

Consider alternative ways to illustrate a point. In art criticism, for instance, when you are discussing repetition in a painting, specifically how a color such as red is repeated to create rhythm and unity, remember that a student with color blindness may be unable to see that color. It would be better to illustrate the concept with an artwork that uses shape or line to create rhythm and unity. Conceiving of adaptations for students with low vision or color vision problems can be mystifying if you do not understand how they see the world. Try stepping into their shoes for a moment. There are many free color-blind simulator programs

• Use reproductions that can be easily viewed by all; bold is better. • Pass around a copy of the image so students with low vision can examine it closely. 62

Student artwork inspired by the artist Elizabeth Murray. Bright contrasting colors are easier to see for students with visual color disorders.

Use florescent paint, paper, and crayons for students who have low vision.

online that can help you see images as they look to students experiencing various color vision disorders.6 I often look at the artworks I have chosen for my lessons through that filter to determine if they will work for all students. This has helped me spot issues or challenges that students and I might encounter. For example, I wanted to show students one of Elizabeth Murray’s unusually shaped canvases to discuss how she created unity by repeating the color red. When I looked at the artwork through the color-blind simulator, the red appeared green! I adapted the lesson by choosing a different artwork by the same artist. You will come up with various solutions to ensure that every learner understands and connects with art. Some of your ideas will work, others will not, but all will be a success because they will help you get to know and teach your students better. These simple changes will benefit the entire class by providing everyone with an equal opportunity to connect with art and meet the lesson objectives.

Responding to Art Examining artists’ use of various media to express themselves and communicate ideas may be challenging for visually impaired students. Some may be unable to see the details needed to tell if a reproduction is an oil painting as opposed to a watercolor painting, or if it is an outdoor installation in a photograph. It may be challenging to determine the artist’s intention or the mood without auditory description. Consider adding elements that involve other senses. For example: • Pair a piece of music with an artwork that shares a similar mood or theme. • Add sounds that help students feel the meaning of an artwork. • Read a story or poem that helps illustrate the image.

Student-created Gyotaku art using florescent paint on bright colored paper.

• Integrate 3D items into the discussion. • Include textures that can be passed around and felt. • Prepare a copy of the artwork that can be touched by using glue to outline the image ahead of time. If your analysis of the artwork includes a discussion of the mood portrayed or a consideration of colors, students with visual color deficiencies may not easily participate or understand. To them, an outdoor scene could look as if it portrays a dismal blue-gray day, when in fact the mood is supposed to be joyful and sunny. Adapting your thinking and strategies for students who have color loss will enable them to interpret and analyze works of art. Many of the adaptions described above will be helpful, but also consider the tips discussed in the “Adaptations to Techniques” section of this chapter (see page 58). Responding to art allows students to find meaning in imagery and to understand the decisions artists make to convey those meanings. Having a visual impairment can make this activity more challenging for both you and your students, but looking at the task through their eyes and not yours will make it a lot less difficult. Chapter 5  Visual Impairments  63

Presenting Art and Ideas about Art Creating and interpreting art is a very personal thing. When you ask your students to present, share, and interpret works of art, you are asking them to reveal part of themselves, which can be hard for some. You need to create a caring environment where students feel safe to partake in discussions about art. For your learners with visual impairments you must make the process of presenting art and artistic ideas accessible for them; having a caring classroom will support them as they share and exhibit, whether it is through a discussion, an online portfolio, a school exhibit, or an artist statement. Adaptions will be needed to ensure success for all your students.

Low Vision Facilitating activities and discussions that lead up to the presentation of student artwork is a special role. All of their creativity, artistic choices, and hard work have brought them to this stage of the artistic process. Much like a dancer’s opening night, an exhibition exposes all of the artist’s hopes and dreams to the eyes of the world. As an artist myself, I enter this final stage with both excitement and trepidation. We are all protective of the thoughts, emotions, and love we put into our art.

Creating an Artist Statement Gaining an understanding of why and how artworks are chosen and presented allows students to better interpret works of art and understand how art reflects life and life reflects art. An artist statement explains why and how students create and inform viewers about the meaning behind their creations. You can easily create templates to be used by all students; the text’s font can then be enlarged for students with low vision. Students with total vision loss can create oral and auditory artist statements.

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As you guide students through the selection process, be mindful of their ownership of the work. We often begin by placing the artworks on a wall so that everyone can stand back and assess. Although it is important to view art from this perspective, students with low vision should be permitted to look at the works close up first, before they are shown to others. Encourage them to walk back and forth to the display area as necessary. Educators often use written journal entries and worksheets to aid student reflection. By analyzing why artworks were chosen and where they will be displayed, students will better underSharing artwork stand the decisions helps shape that galleries and our views, museums make experiences, and when they present beliefs about art to the public. society, people, These journal and the world. entries or worksheets should be enlarged or typed in a large font for students who have low vision. If this assignment is still too difficult, I suggest a conversation or dialogue between you or a paraprofessional and the student. When documentation is necessary for assessment, the conversation can be recorded, or a talk-to-text application may be used. Sharing artwork helps shape our views, experiences, and beliefs about society, people, and the world. Verbal sharing activities, rather than written ones, make learning and participation more accessible to students with low vision. Pass around artworks for close examination or have students line up and go on a “gallery walk,” strolling past images for inspection. Once everyone has had a careful look, then the class can be seated or gathered together for an in-depth discussion. This simple modification is beneficial to all learners because many details and

Printing If you have access to a 3D printer or a 3D printing lab, transform a selection of 2D works into 3D pieces. This will enable visually impaired students to use other senses as they explore and understand the artists’ work.

nuances are often missed when artworks are viewed from a distance. When displaying student work, be sure that all signs and identifiers of individual pieces are typed in bold, large print using sans-serif fonts that are easy to read. These minor adaptations will make the presentation an exciting time for all.

This is a great opportunity to compare and contrast how one would present 2D versus 3D art. Students can work collaboratively to organize the exhibition and to record detailed audio descriptions of the works presented. Touchable artworks, such as sculptures, assemblages, weavings, and low reliefs, could be the focus of the show. As we share student artworks with people who are blind, we must consider how they will navigate and understand the works presented. Playing recorded audio descriptions, having students act as docents to explain pieces and answer questions, or even offering Braille descriptions when appropriate, will help create a holistic experience.

Blindness Flexibility is vital as you guide students with extensive vision loss in selecting artworks for exhibition. Remain openminded to new and different ways of presenting art, and help your students consider alternatives. Children with vision loss might use touch to select their art, or they might like the help of a paraprofessional, peers, or even you to orally describe and discuss the pieces. But what about storytelling? A student who has total vision loss may better understand where and how the artworks will be displayed if a clever storyteller can describe the presentation venue. As the facilitator, you should pair a visually impaired student with someone who can give rich descriptions to help the child form a clearer picture of the overall site and the story that the collection of works will tell. Categorizing artworks based on a theme is one of the performance standards of the National Visual Arts Standards (NVAS). For students who are blind or legally blind, why not choose a 3D theme or designate a section of a student exhibit “Three-Dimensional in Nature.”

Wikki Stix adhere to most surfaces, creating raised lines for students to feel and trace.

This student assemblage illustrates a tactile surface, which allows a student with low vision to feel what they are creating.

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Visual Color Deficiency Before you decide how and where your students will present their art or the art of others, make accommodations so that students with color vision deficiency can fully participate. Many sighted people may join in the discussion or exhibit, and they should be aware that describing works of art using colors others cannot see may leave some confused. An alternative is to ask students to describe the art using objects, subjects, scale, or artistic style rather than color. The adaptations described above work well as students analyze and prepare works for presentation, but an additional consideration is how art is displayed. As artists, we often like to choose font styles and color combinations that are

Student creating a heart shape using a large stencil which blocks out areas not to be painted while allowing for freedom of creativity while achieving the lessons objectives. Use florescent PlayDoh and bright media for students who are visually impaired.

fun, unusual or creative, but which don’t always match students’ needs. When creating displays or showcases, we don’t consider what color combinations are best for overall visual perception. Certain color combinations and font styles can help images and texts be seen more clearly. For instance, some colors are easier to read than others. Avoid red text, as well as red and green combinations in designs; instead, consider white on a dark background or black on a white background. Also, to make text more accessible to everyone, consider increasing contrast so that the words are more legible. Use a sans-serif font such as Arial, Helvetica, or Verdana, which have a consistent line quality (without thick and thin variations) that helps the words to be read more easily.6 When students are working with color, such as creating a display or choosing mats, be sure to label colors clearly and provide assistance to children with color deficiencies, if needed. As students share their art with others, instruct them to be cognizant of both their oral and written descriptions by adding rich details. These subtle modifications are just different ways to give information to viewers as we present, interpret, and share the work of artists. Think of adaptations to assist your students with vision impairments. Brainstorm with your colleagues, if needed, and make the necessary modifications to grant all learners an equitable learning experience and pathway to success.

Adaptive Benefits for All Students Art is visual—there is no debating that. Many of the adaptations presented in this chapter will enhance learning for all students. Bright colors and artworks with high contrast are visually stimulating for everyone. Describing step-by-step processes, either verbally or by placing

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laminated handouts on each table, reinforces what is needed for success. Scented media and tactile surfaces can engage the senses of all the children by making art an exciting multisensory experience. Having students describe artworks using statements that do not rely on color encourages deeper thinking into how artists use other elements and principles of design. Students who develop compassion toward the differences among their peers develop tolerance while accepting diversity in the world.

Consider This: Visual Impairments Take a few of your favorite art reproductions and run them through an online color-blindness simulator to see how students who have color deficiencies would view them. This step will assist you in implementing adaptations into your lessons and discussions about art. It can also help you decide if an artwork should be replaced with one that is easier for all students to see. Next, choose one of your lessons that requires the use of images and ask yourself the following questions: How would students with low vision see this? Could they see all the details? If not, how would it affect their participation in a discussion about the artwork? How might I help them understand how the artist used the media or techniques to illustrate their ideas? Should I enlarge the image, bring in an object to touch, or display the image on a whiteboard and zoom in on particular areas? These questions will help guide you each time you create a lesson for visually impaired students. Stopping to consider potential problems and solutions ahead of time often helps a lesson run smoothly, avoiding meltdowns, frustrations, apathy, or other behavioral problems.

A thick line drawn with a marker to outline the area to cut or paint is much easier to see than a pencil line.

Notes 1 P. R. Cox and M. K. Dykes, “Effective Classroom Adaptations for Students with Visual Impairments.” TEACHING Exceptional Children, 33(6) (2001), 68–74. doi:10.1177/004005990103300609 2 “What Is Colorblindness?” accessed January 7, 2018, http:// colorvisiontesting.com/color2.htmeqwwsa 3 K. Albany-Ward, “What Do You Really Know About Colour Blindness?” British Journal of School Nursing, 10(4) (2015), 197–199. doi:10.12968/bjsn.2015.10.4.197 4 Charles C. Bonwell and James A. Eison. “Active Learning: Creating Excitement in the Classroom.” ASHE-ERIC Higher Education Report No. 1. (Washington, DC: The George Washington University, School of Education and Human Development, 1991). 5 M. Prince. “Does Active Learning Work? A Review of the Research,” Journal of Engineering Education, 93(3) (2004), 223–231. doi:10.1002/j.2168-9830.2004.tb00809.x 6 C. Willings (n.d.), “Font Legibility for Students Who Are Blind or Visually Impaired.” Retrieved August 25, 2018, https://www. teachingvisuallyimpaired.com/font-legibility.html

Additional Resources “TestingColorVision.com,” Waggoner Color Vision Testing website, accessed January 17, 2018, http://www.testingcolorvision.com. “Colour Blindness Simulator,” Etre website, accessed January 17, 2018, http://www.etre.com/tools/colourblindsimulator; “Colour Blindness: Experience It,” Color Blind Awareness website, accessed January 7, 2018, http://www.colourblindawareness. org/colour-blindness/colour-blindness-experience-it. “Color Vision Testing Made Easy,” Waggoner Color Vision Testing website, accessed January 17, 2018, http://colorvisiontesting. com/online%20test.htm. National Eye Institute. (n.d.). Retrieved August 24, 2018, from https://nei.nih.gov/ http://www.colorvisiontesting.com/online-test Chapter 5  Visual Impairments  67

Chapter 6

Gross Motor Impairments “A teacher affects eternity; he can never tell where his influence stops.” Hans Hofmann

Gross motor muscles are the large muscles of the body that enable us to walk, sit upright, reach, balance, throw, and lift objects. If a child has a gross motor disability, he or she may experience delays or difficulties engaging in these activities. This condition is often due to weak or underdeveloped muscle strength or central nervous system damage, which may cause the child to struggle to complete common, everyday

tasks in the art room. Adaptations can help these students better engage in creative activities while also developing the large muscles that assist in the development of fine motor muscles. Gross motor delays are also connected with the way other muscles function.1 Building tone and strength in the large muscles through these adaptations will be advantageous in developing better fine motor skills as well.

Sitting cross-legged improves stability; encourage your students to sit in this manner when the opportunity presents itself.

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Creating Art I am sure that, at some point, we have all hit the gym or exercised and come to the realization that building and toning muscles leads to the development and better control of those muscles. Whether swinging a bat or standing in first position in a ballet class, you get better the more you do something—your muscles respond. This is true also with art for students who have gross motor problems. The more those students use their large muscles, the more control they will have of them. The result is better outcomes of artistic expression, less frustration, and a feeling of well-being.

Alternatives Equal Success As you present artistic problems for your students to solve, be mindful of the needs of all learners. Those with gross motor conditions will benefit from alternative methods, such as working on the floor or a vertical surface to increase their trunk strength. Offering students different tools for cutting shapes, like large hole punches or surfaces they can press objects into or on, encourages them to invent new ideas and solutions to creating art while developing and toning large muscles.

The Importance of Warm-Up Activities I often use my demonstration time to warm up students identified as having large muscle disabilities. I pass around various objects, asking students to reach for them and using the whiteboard or chalkboard as a group demonstration surface to build trunk stability. Warming up large muscles enables students to sit and attend to the task at hand as you proceed with your chosen art activity. This exercise will also help you to get to know your students and see how limitations affect their learning and ability to participate in your lessons as they create, demonstrate, evaluate, explore, and interpret art.

Using an interactive whiteboard is fun and aids in the development of gross motor skills by building trunk strength.

Have students paint on a vertical surface and encourage crossing the midline of the body.

Questions to Think About As you read this chapter, consider the following questions: 1.  What lessons do you teach that require the use of gross motor muscles? 2.  Are you aware of the students in your school who have gross motor disabilities?

Go big! Painting on a large surface on the floor or wall encourages gross motor development.

3.  How can you incorporate gross motor development, which benefits all learners, into your classroom routines?

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Theresa’s Story: An Artist Blooms Theresa had multiple disabilities, including intellectual disabilities and poor trunk stability; she was very stubborn yet extremely loving. Discovering a way to help Theresa shine in art allowed her to bloom into a willing artist, one who was no longer a distraction but rather a star attraction in the classroom. I knew that painting on a vertical surface would build gross motor skills, so I designed a lesson on head-to-toe selfportraits that included this element. I also wanted the lesson to be hands-on and visual, and I wanted to teach it step-bystep to best engage all students, including Theresa, in learning. I had recently participated in an inservice workshop on gross and fine motor skills, where I was introduced to Mat Man, a set of wood pieces that helps students identify the shapes that make up parts of the body: two half circles that look like a head, two wood strips that look like arms, etc. Students took turns building Mat Man. Theresa kept saying, “Me, me,” showing her eagerness to participate in the activity. It held her attention and fully engaged her in the lesson, which kept negative behaviors to a minimum. Theresa’s excitement continued as students took turns creating a head-to-toe “friend” on a large piece of white butcher paper clamped to the chalkboard. After asking students what we needed to make our friend, they came up one at a time, encouraging one another to paint the body parts. If students needed prompting, I would draw a shape on the board and ask them what body part it could be. When it was Theresa’s turn, she painted a body part, then proceeded immediately to the chalkboard and imitated me by drawing another shape.

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She liked playing teacher! This was an aha moment, because now I knew how I could best engage Theresa in the class. After that day, I often let her warm up her muscles by drawing on the board. This helped her feel important—like a teacher—while she built her core muscles by crossing the midline of her body. Sometimes I would draw rainbows or arches and ask her to erase them for me. We also took to painting rainbows on large paper clamped to the chalkboard.2 For Theresa and her peers, I saw their confidence soar. The preproduction activities with Mat Man and creating a class “friend” together gave them all an “I can do it” feeling and set them up to successfully participate in the rest of the lesson. At first I wasn’t sure why this lesson was so effective until I looked around the room at the students painting; for the most part, they were working independently while teachers and support staff watched in amazement. I talked with my peers as we cleaned up to glean some insights, since they know the students best. They noted that the step-by-step involvement was essential—you could see the students’ self-assurance build as they all participated. They reinforced the importance of working as a group during the learning process and then going off independently, adding, “That’s the way our kids learn best.” Theresa and her peers taught me a lesson in building confidence while I was teaching art.

The Challenge of Craftsmanship

The Power of Talking with Colleagues Sharing a lesson with peers can help you effectively reflect on what happened during the class by providing varied perspectives. In the example with Theresa, I was not fully aware of the lesson’s success until I reflected upon it later with colleagues. Sometimes we get so busy teaching that we don’t take time to recognize or celebrate the little victories we accomplish each day. Through reflective practice, take time to share a story with a colleague; you might be surprised by what you uncover.

Good craftsmanship is a common topic of conversation in any art room. Craftsmanship is usually one of the objectives I list on the board at the beginning of class. As I review the objectives for creating a work of art, I always check for comprehension by questioning what students think good craftsmanship should look like in the lesson. Of course, the answers vary depending on the medium and lesson, but for students with gross motor conditions, craftsmanship can be a true hurdle. Often children at this stage are still developing and have weakness in the muscles needed to demonstrate good craftsmanship when painting, gluing, cutting, or forming clay. For this reason, it is important to evaluate students individually and to choose adaptations that will remove barriers that prohibit them from expressing themselves fully. The following discussion on tips, techniques, and tools will provide some insight.

Cutting Edge paper crimpers create fun textures while strengthening muscles in the wrist and arms.

Craftsmanship Success: Three Tips There are several simple and free adaptations that can help students gain a better understanding of craftsmanship. If students are assisted in art by a paraprofessional, instruct that person how to adapt a segment of the process and to gently remind students when they begin to veer away from good craftsmanship. Keep in mind that the paraprofessional may not know about art and what constitutes craftsmanship, so providing a craftsmanship tips sheet can be beneficial. Another idea is to instruct a volunteer helper-student to assist those in need with cleaning up and properly maintaining the tools they have used. The last tip benefits all students and can serve as part of their assessment, too. Create a completion and craftsmanship checklist that includes all the steps and items needed to successfully meet the objectives.

Did you:

□ Erase the pencil smudges on the edges of your work?

□ Remove glue strings hanging from your work?

□ Wipe up your spot at the table? □ Pick up items from the floor and return them where they belong?

□ Write your name and class code on □

the back of your work? Do your best job? If not, is there something you need to fix before turning in your project?

Ask students to write their names on the checklist and use this as part of the assessment. You can even add a question or two to the checklist if you wish to further assess comprehension or provide a place for students to comment.

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Tips for Adapting Art Media Changing the medium or how it is used will help students with gross motor weakness find success in the art room. In general, children with low muscle tone or strength will also have fine motor skill delays, making it difficult for them to hold a paintbrush, cut, fold, and work with clay. To reduce frustration, consider these adaptations to common art room media and activities.

Painting Proper painting techniques and brush grasp should be taught and reinforced by both you and a paraprofessional. Sometimes the solution is as easy as changing the paint choice from watercolor to tempera cakes. Other times it may be necessary to modify the painting medium. When students are working on a vertical surface, for example, add a thickener such as acrylic gel medium or cornstarch so that the paint does not run. Most important, don’t be confined by what you have always done. Think outside the box! Use alternative containers or painting tools instead of a traditional paintbrush. Invite students to paint with a spray bottle, pastry bag, handled dishwashing sponge, tennis ball, or even their fingers, all of which build hand strength. Allow them to use washable paints on windows or acetate sheets secured to a vertical surface at their height, which builds trunk stability.

Sneaky Teacher: Warming Up for Success At the beginning of class, call on students with gross motor development concerns to pass out supplies. The simple act of carrying the scissor bin and handing a pair to each student warms up large muscles prior to art-making. Erasing whiteboards or chalkboards, clipping  artwork to the board, or using an interactive whiteboard all work and tone those same muscles. Think about a kinesthetic activity that will engage your students and you’ll be on the road to meeting their needs in the art room even before the lesson begins.

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Step by Step Don’t underestimate the importance of demonstrating a step-by-step process. Many teachers have moved away from this method so that students do not create artworks that look like their example, but many students with challenges need to see the steps in order to avoid frustration. The step-bystep process gives students a concrete understanding of things they may not be able to figure out on their own, thus helping those who can handle only one step at a time. It is important to remember the needs of all types of learners, from those who can figure out solutions along the way to those who need to see each step to find success.

These adaptations will offer students the independence to paint with tools and materials that work better in their hands, thus eliminating the need for hand-overhand guidance from a paraprofessional.

Folding, Cutting, Tearing, Gluing Students with gross motor weakness may require assistance with folding, cutting, and tearing papers. You can work with them one-on-one or roughly cut out shapes beforehand so they are able to get closer to the cutting line. Drawing a thick line to cut on will further help them hit their target. See what works best—some students work best in a seated position, some do better standing, and still others benefit by a bit of both. Tearing is often easier than using scissors, so provide that as an option when possible. If a fold or crease line is needed, a tool such as a bone folder can help students apply the appropriate pressure. Simply putting glue in soft squeeze bottles, such as perm solution bottles found at beauty supply shops, can adapt for muscle weakness because less strength is required to squeeze them; these containers can also be used for painting. Figuring out what works best for each student is all about experimentation.

Clay

Students create a tall sculpture, helping to build arm and upper body strength.

Using clay may present challenges, especially with scoring and slipping to assemble a wobbly sculpture. Adapt the lesson into an achievable goal, for example, a clay project created Adapt the by pressing clay into a mold or form lesson into an instead of by buildachievable goal ing a slab structure. Another option is to use a clay alternative like Model Magic, which sticks together more easily. Although clay can be tough to work with, simple modifications such as using a rolling pin and two 1/4-inch wood slats secured to a surface can help to prevent the slab from getting too thin. Clay can be beneficial in building muscle strength through the action of rolling and pressing objects into it; the latter will also help students achieve the detail they want in their work, which may not be achievable otherwise.

Drawing Drawing is one of the greatest challenges for students with gross motor impairments because they often can’t move their bodies or hands the ways they want to. Many lack the ability or strength to hold a traditional pencil. What frustration and hurt this can cause! This does not mean you should avoid drawing lessons; rather, consider providing larger drawing implements that could help students achieve success. For example, try using thick markers, drawing media with added hand grips, or large sidewalk-type chalk. Drawing on boards, walls, the floor, pavement, and other alternative surfaces develops overall trunk strength, which is needed to increase stability and motor skills.

A student creates pavement art while sitting cross-legged.

Interactive Whiteboard This is a great tool for students to build core body strength and participate in demonstrations or activities that encourage them to cross the midline, or center, of their body. One idea is to have them drag objects, such as matching words, from one side of the whiteboard to another. The swiping movement has the double advantage of building their strength while they have fun. A student uses an interactive whiteboard while building trunk stability.

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Building Body and Arm Strength: Class Project

Tips for Adapting Process: Tools and Techniques

Have students work in groups or as a class, depending on the size of the class, to create a sculpture made of wood or recycled materials that measures at least four feet tall. By working together, they will all be able to contribute, while also building body and arm strength as they move, bend, attach, and create their sculpture.

As artists who use tools, our skills and techniques are part of how we create, and a specific tool or technique will often allow us to express our thoughts better than another. This is also true of adaptations to the tools and techniques that students with gross motor impairments use to express themselves and engage in the process of art-making. For me, nothing is more frustrating than not being able to bring my ideas to fruition on the canvas or paper. Now imagine how frustrating it must be when you can’t get your body to do what you want it to as well. Many of the following suggestions for tool and technique adaptations are designed to help eliminate some of the frustrations that students may feel and provide a way for them to better express themselves without barriers. Most are alternatives to traditional art tool and technique use, simply and cost-effectively modified.

Weaving Holding on to small bits of thread, yarn, or other textiles can be tiring for students with motor skill deficits. Consider enlarging the loom to make the weaving process easier. Modify the medium by using thicker yarn or stiff items such as burlap strips, rope, or torn strips of fabric, which are easier for students to hold and manipulate. It might be easiest for students who have severe challenges to weave large felt strips or foam sheeting on a stiff cardboard loom or a large, more stable loom that is secured to a vertical surface. Another simple adaptation is to attach a large plastic needle or apply masking tape to the end of the yarn. When considering adaptations to media, think first about how the student will use the medium to achieve the desired results. Then imagine doing that process yourself and think about what muscles you use to complete it. If you are using fine and gross motor skills, then a modification is necessary to facilitate success for your students.

Differentiation Sometimes differentiating instruction is as simple as breaking down your lesson into smaller, more manageable segments that can be easily followed; alternatively, you could use the stepby-step method of instruction. Always keep in mind that artistic problems can have multiple solutions for various levels of readiness while still meeting the lesson objectives.

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Tools Although there are several tools on the market that have been designed specifically for people who have disabilities, most art tools can be easily and inexpensively adapted right in your own classroom. Some adaptations modify the existing tool, and others replace the traditional tool with another one to assist students with painting and drawing. Try one of the following adaptations: • Paint with sponges in various sizes. Larger ones will be less taxing for students’ hands, and they are often easier to hold than brushes. • Apply paint with rollers, which is an easy and quick way to cover large areas with less muscle fatigue. Also, patterned paint rollers help students create pattern and designs if they are unable to make them independently.

One Step at a Time: Reflective Practice • Use wide paintbrushes and experiment with the textures of foam brushes. • Use the whole body and body parts as tracers or to paint with. This adds a kinesthetic element as the students trace one another’s outlines; using their hands and arms to stabilize the rest of their bodies builds large muscle strength. • To help students make straight lines, have them dip the edge of a ruler or strip of mat board into paint and then press it on the paper. • Use long-handled brushes or attach a paintbrush to a ruler and paint on a vertical surface. A longer handle requires the use of the whole arm, not just the fine motor muscles of the hand. • Allow students with diminished arm strength to draw on a slant board; propping up artwork will help decrease fatigue. • Purchase or make a variety of pencil and paintbrush grips for different grasps. Ask for specific recommendations from your school’s occupational therapist. Model Magic or foam can be wrapped around a handle to increase its circumference and create a better grip, decreasing hand fatigue.

As a reflective practitioner, I find that the process of experimentation, reflection, and adaptation of ideas and methods is on-going. The many possible adaptations that might assist students can be overwhelming, so as you read through the suggestions, keep in mind the following: 1 When you meet with your students who have gross motor deficits, observe them for awhile. See what their challenges are, what they are unable to do on their own, and what they can accomplish without assistance. 2 Think about your lesson objectives and the obstacles that a gross motor deficit creates for achieving them. 3 Try out one or two adaptations to assist your students in realizing their artistic potential. Note how well the adaptation works or how it must be modified to meet students’ specific needs. 4 Don’t be frustrated if an idea doesn’t work. Next time, try another approach or modify your last adaptation.

Rulers dipped in paint create lines for students who cannot draw independently.

Using a paintbrush attached to a ruler while painting on a vertical surface builds trunk stability and upper body strength.

Natural sea sponges are easy to grasp and create texture. 

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A student paints over a traced body outline for a Keith Haring– based lesson.

A student fills in an outlined figure. Working on the floor helps build trunk stability.

A student can use the entire body to balance and paint—a great strengthener.

Techniques Small additions or adaptations to students’ working methods can make a tremendous difference in their success working independently. To help them build trunk stability and achieve greater success, have them try the following: • Paint rainbows, arches, or anything that requires students to move their arms and hands from one side of the body to the other, across the midline.3 • Paint on an easel or vertical surface, such as a wall. • Paint while sitting cross-legged or lying on their bellies on the floor. • Provide a clothesline for students to clip artwork to, building muscles in their bodies, arms, and hands. A student created this large mandala using body parts, hands, fists, and feet dipped in paint. Have washbasins ready on the floor for an easier cleanup.

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A completed student artwork inspired by the Keith Haring art history lesson.

• Give directions during a lesson that call on students to use various sides of the body, which will build laterality.4 • Use full-length mirrors when creating self-portraits, or tape a piece of paper to a wall and have students work standing up. • Use feet and hands to make art; involving more of the body benefits gross motor development and increases muscle tone. • Build 3D artworks, the taller the better. This involves the use of large muscles. • Create large—get the whole body involved and think kinesthetic. In every classroom, there are students who need more help and those who need less help. Offering alternatives to tools and techniques creates an atmosphere more conducive to supporting independent learning, which will encourage everyone to be involved, inventive, and capable of making their own decisions as artists.

A student uses a softsqueeze glue bottle during the adapted Mondrian lesson.

Consider This: Adapting Art Ideas Gross motor weakness often impacts fine motor development. The large gross motor muscles of the body support the fine motor muscles; therefore when students lack strength in their gross motor muscles, they may also have fine motor weaknesses that affect their skill level. Consider that scribbling (which uses generally gross motor skills) is a precursor to writing and drawing distinct and recognizable objects and letters (which uses fine motor skills);5 they go hand-in-hand. If you have students with gross motor concerns, you may want to warm up those muscles before you have them participate in fine motor activities. Developing the gross motor skills will benefit the fine motor skills that are needed to create and partake in the visual arts.

Mondrian Lesson with Extension Activities When adapting a lesson on Piet Mondrian, I thought about my objective: I wanted students to experiment with grids and fields of color. I was aware that students with more severe disabilities would need extra support to paint an intricate grid, but by arranging and gluing already cut primary shapes onto black paper, they were able to meet the same objective as the rest of the class. All students were successful and the end results looked similar. Students who participated in the adaptive lesson finished before their classmates, so I had them work on extension activities that were developmentally appropriate. For these, I relied on the use of learning centers to provide opportunities for independent learning while ensuring that precious instructional time was not wasted. Learning Centers can reinforce concepts of the lesson or unit being taught and develop and reinforce specific skills. A lesson on Mondrian using line, shape, and a limited color palette could have a center on the floor where students can place

squares and rectangles of colored felt on a large black felt rectangle to reinforce the lesson objectives of using primary colors and line in a Mondrian-style composition. To encourage gross motor skill development, students could move to a group center where a large paper is taped to a wall or easel. Here they can paint in rectangles using a small paint roller dipped in primary colors, with a smaller width roller in black paint to create lines. I stock my permanent centers at the beginning of the year in a plastic shoebox or bin and when students finish early, I offer them a choice of activities that reinforce gross and fine motor skill development. It can be as easy as a shoelace and a bin of beads that they work on while sitting on the floor to build trunk stability as they practice hand-eye coordination by stringing beads. By keeping all your students engaged at all times, you will more effectively prevent behavior problems or anxiety, which may arise out of boredom.

A student artwork from the adapted Mondrian lesson.

A Mondrian lesson artwork created by nondisabled peer.

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Connecting to Art At the learning center, I directed students to draw a similar grid artwork using a computer or tablet; exploring and experimenting with another medium can lead to amazing results. If your classroom is unable to accommodate computers or learning Exploring and experimenting centers, I suggest making with another medium can lead a larger artwork in the to amazing results. adaptive lesson, or choosing two adaptations and allowing the students who have disabilities to try both to see which results in greater individual creativity. Additionally, the second version of the lesson should be easier so that muscles do not fatigue. One option is to allow children to create on a slick surface like acetate or an interactive whiteboard.

Engaging All Learners Sitting still during a lecture gets students squirming and wondering when they’ll be able to start making stuff, so adapt your teaching style and have them connect to art through hands-on activities. For example, give them viewfinders made of mat board frames and send them off on an exploration of the artwork. Ask questions that enable them to arrive at understandings about the work, as well as the time and place it was created. Modifications for connecting with artworks benefit the entire classroom. All students will be more involved in their learning, which leads to a greater understanding of art—both its meaning and its historical context.

Viewing art causes us to pause, interact, and make connections with the artist, subject, historical period, or culture in which the work was created. Whether it transports us back in time or to a faraway place, art helps us comprehend a special moment or idea that the artist portrayed. Often a story is told or meaning is derived by analyzing art. Through works of art, we learn about the customs and traditions of cultures past and present, and we come to understand that people around the world make aesthetic objects for a variety of reasons. This knowledge opens the window to our own thinking when we engage in the act of making art. As we guide students through investigations of artworks, we are aware that there are many different answers to the questions that arise. We are also mindful that our instruction needs to be differentiated to meet the needs of all students. Learners who have gross motor impairments will require modifications and alternatives to fully engage in the experience. If the students with limited gross motor skills have multiple disabilities, further adaptations may be necessary. Sitting still during conversations about artworks can be a challenge and may quickly result in students being inattentive, so let’s consider ways to get them out of their seats and using those large muscles to respond to art.

Student artwork; creating arches and rainbows incorporates crossing the midline to develop upper body strength.

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Interactive Art Response

Responding to Art

Interactive whiteboards are great tools for presenting and connecting to art. The projected image may be drawn over with dry-erase markers or an interactive stylus, allowing students to point out or investigate details up close and personal. Simple directives such as asking students to find main characters, shapes, colors, or items in the artwork will get them out of their seats and actively looking at what their peers have found and where. If you do not have this type of touchscreen device, you can use the same ideas to make learning interactive by displaying reproductions on an easel or board and directing students to approach and point to particular areas to be examined. Another way to help students actively engage and respond to art is by letting them work in small groups to explore an artwork or a set of guiding questions, and then share their findings with the class. This method provides learners with a small group in which to express their ideas and opinions first while also allowing them to share answers with the entire class from the safety of their group.

Finding meaning in art is intimately connected with our past experiences. Each of us analyzes and perceives art in different ways, finding similar or divergent meanings based on the life we have lived. Therefore, one person may look at a painting of a seascape and find meaning in the crashing waves, recalling swimming on vacation, while another may associate the crashing waves with anxiety if they have had a negative experience at the seaside. As you guide As you design students through activities that lessons, consider involve respondhow you will gain ing to works of the participation art, remember of all learners that everyone can and lead them react to art, but to successfully not always in the respond to art. same way. Some students will have a hard time writing about art, for instance, whereas others might be able to share responses through drawing, acting, pointing, speaking, recording a response, nodding in response to questions, and so forth. As you design lessons, consider how you will gain the participation of all learners and lead them to successfully respond to art. As noted earlier in the chapter, students with gross motor impairments often have multiple disabilities. If you are guiding an activity in which a small group analyzes a painting, and you expect each student to write down or fill in a worksheet explaining how it is meaningful to them, keep in mind that a child with gross motor and/or multiple disabilities may not be able to do so independently. Rather than modify the lesson, many teachers have the student reply verbally to a paraprofessional, who writes down their responses. Let’s consider a few ways to adapt this type of activity so that students can more actively engage.

Creating on a vertical surface is an adaptation that all learners love to do. Make it fun for everyone.

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Drawing

Verbal Response

Sometimes images can help us express more than words can. Drawing in response to an artwork may allow some students to explore their connections to the image, story, or ideas presented. You could direct them to respond to a specific element, such as how they would feel if they were in the image or how they think the artist felt when making the image, or ask them to imagine what happened before or after the moment shown. Colors and marks have their own meanings and can be used by students to respond to art. Even a simple activity such as drawing a line that describes how they feel when looking at a work can be quite telling.

Many students who encounter difficulties getting their hands or bodies to do what they want, such as to write or draw, favor giving verbal responses. To encourage their full engagement, have them discuss art in a small group and then share their ideas with the class. You can assign specific jobs within the groups to ensure that each member actively participates. Digital technology opens another way for students to describe, interpret, and express themselves. If you want each student to respond individually, such as in a journal, allow children with gross motor delays to use the audio record or video function on a phone, tablet, or computer. A slideshow program can help students create a book or show related to what they see. Lastly, don’t limit the possibilities. Some learners might prefer to sing, rap, or even act out a response to art. You may be surprised by the deep and powerful reactions that students will share.

Choosing

A student clips artwork to a clothesline to build gross motor muscles. This is another adaptation that all students enjoy without knowing that you are making a modification. Pressing out shapes from clay or hole punchers develops gross motor skills.

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Consider making a fun game-like activity in which students can choose a response from prepared cards that they hold up for the class to see. Allow them to gather in an area of the room they choose to get them physically active. You could also create a page where there are answers to choose from and students can circle the ones they feel best fit their response to the artwork. This will allow everyone to participate, and you can have students raise their hands to show what answers they chose. The objective is to get the whole class involved in responding to art, not just a few eager students. Games, groups, gallery walks, turn and talks, and scavenger hunts are all activities that get all students out of their seats and moving, which is so beneficial to students with gross motor deficiencies. As you guide your students to investigate,

Presenting Art and Ideas about Art react, and inquire about art, look at your students who need adaptations and think of how you can use their strengths and your ideas to help them participate as they respond to art. Children with gross motor disabilities have varying skills with which they can respond to art, so the challenge for educators is to work with individuals and discover the path that will help them best take part in this vital learning process. Considering the multiple ways that we can react to art will facilitate greater participation for all learners, leading us to devise activities that allow students to use their eyes, hands, bodies, movements, noises, and actions to forge deep and meaningful connections to human artistic creations.

Painting arcs and rainbows encourages crossing the midline, thus developing gross motor muscles.

Selecting works of art for a portfolio or exhibit requires learners to consider various criteria and standards for presentation. As they determine which pieces they should include and exclude, students begin to understand how curators and artists make decisions about presenting artwork to the public. Engaging students who have gross motor conditions in this process is not that different from working with their peers. As you consider adaptations, think of getting your students out of their seats and using those large muscles as they make their choices. Here are several activities that engage these muscles and, in turn, support the development of fine motor skills as well. Interactive hands-on learning works best because it keeps students moving and their large muscles engaged. One example is to string a clothesline for displaying art instead of pinning it to bulletin boards; when students open and close clothespins, they use their trunk for stability and develop gross motor muscles. This is a quick and easy way to put up and take down artworks as you and your students discuss their choices. Clothesline exhibits are also convenient when display space is at a premium. Interactive whiteboards work in much the same way. Using a finger or an interactive pen, students can drag photos of their artwork in and out of a virtual gallery, analyzing which ones make for the strongest portfolio or presentation. Electronic portfolios are great formats for sharing artwork, and they can even be sent to parents, colleges, peers, artists, and galleries. Do not overlook the floor as a surface on which to sort through art. Sitting crosslegged on the floor improves stability for students who have difficulty with balance.

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Adaptive Benefits for All Students Discussions with your students that center on the meaning conveyed by the selections in their portfolios or in group and solo exhibits should examine why specific works were selected, which criteria students used, and what message and meaning are being conveyed to the viewer. For students with gross motor conditions, these types of questions are best answered orally, either scribed by a paraprofessional or translated using a talk-to-text application. Written responses will be difficult, for fine motor skill development is directly affected by developmental delays in gross motor development. Sharing artwork with the public— whether one person or the school community—is a thrilling event. Many factors come into play prior to the end product. Active involvement will ensure that students understand the process and decisions that galleries and other art venues make to best display and present art. If you have a large art room or display space, assign each student a 6-by-8-foot area for his or her personal art show. This gives students more ownership and involvement in the decision-making process. As they tape, pin, hang, and staple their works to walls and surfaces, they are engaging their large muscles. When working with children who have gross motor impairments, use cueing to encourage them to cross the midline. For example, as students hang art, instruct them to hold the work in place with the left hand and use the right hand to place a pushpin in the far-left corner and then repeat with the other hand to the opposite side. This simple task causes them to cross the midline, which builds core stability. Leading your students in activities that involve presenting art to a larger audience is the cumulative activity of many hours spent creating, responding to art, and analyzing artistic decisions. As artists, we all look for affirmations of what we create. The presentation is the culmination of all that came before and now is, at last revealed for the world to see. 82

Accommodating students with gross motor impairments requires activities and adaptations that get students out of their chairs to create and respond to art in alternate ways and alternative places, such as walls, whiteboards, and floors. This active learning helps develop the large muscles needed for trunk strength, balance, and fine motor skills development in all students, not only those with gross motor conditions. Children are seated for most of their school day, so getting them out of their seats is good for their bodies as well as their minds. A Purdue University study showed that students who are involved in hands-on learning gained a deeper understanding of the ideas and concepts being taught.6 Clearly, adaptations designed for students with gross motor disabilities allow all learners to have a richer, more meaningful art experience.

Clamp large paper to a chalkboard or easel so students can work on a vertical surface, building trunk stability.

Consider This: Gross Motor Take a look at the National Visual Arts Standards and choose one anchor standard, such as “Interpret intent and meaning in artistic work.” For instance, the second-grade performance standard is “Interpret art by identifying the mood suggested by a work of art and describing relevant subject matter and characteristics of form.” Once you have chosen a standard and found the specific performance standard for your grade, think about how you would have your class participate in a lesson that meets this standard. Then ask yourself the following questions: • What challenges might my students with gross motor disabilities encounter?

Notes 1 Ann Logsdon, “Learn about Gross Motor Skills Development” (updated August 30, 2017), Verywell Family website, accessed January 7, 2018, https://www.verywell.com/ what-are-gross-motor-skills-2162137. 2 T. Byron and P. McEntee, “Art Making an Impact on Fine Motor Development,” resource packet distributed at a Chester County Intermediate Unit In-service, 2006. 3 Byron and McEntee, “Art Making an Impact on Fine Motor Development.” 4 Byron and McEntee, “Art Making an Impact on Fine Motor Development.” 5 M. Menzer, PhD, The Arts in Early Childhood: Social and Emotional Benefits of Arts Participation: A Literature Review and Gap Analysis (2000–2015) (Washington, DC: National Endowment for the Arts, 2015), 6.

• What adaptation(s) will help me engage these students in the same process as their peers?

6 K. Medaris, (n.d.). Study: Hands-on projects may be best way to teach engineering and technology concepts. Retrieved August 28, 2018, https://news.uns.purdue.edu/ x/2009a/090128DarkStudy.html

• How can I design the lesson so that all students are doing the same thing and no one child is singled out?

Additional Resources

• Is it possible to provide three options for how students respond? If so, what would they be?

Hand in Hand: Gross and Fine Motor Skills When thinking of adaptations for students with gross motor disabilities, you will most likely include those designed for fine motor impairments. Developing larger muscles helps develop smaller muscles as well, enabling students to move in a more controlled and balanced manner. Focusing only on fine motor development and ignoring those larger muscles is akin to putting the features on a sculpture of a face before you make the head. Both are required for a positive outcome.

Resource for interactive whiteboard games Keith Haring Kids. (n.d.). Retrieved January 17, 2018, http://www.haringkids.com/ master_k_bio.htm E. Marincola, “Hands-on Learning Boosts Success in the Classroom and Beyond” (September 7, 2012). Retrieved January 7, 2018, https://www.huffingtonpost.com/elizabeth-marincola/stemteaching-hands-on-_b_1865146.html NVAS Responding. (n.d.). Retrieved January 17, 2018, http://nationalartsstandards.org

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Chapter 7

Fine Motor Delays “Great things are done by a series of small things brought together.” Vincent van Gogh

Fine motor skills involve the use of hands, fingers, and arms, as well as feet and toes. They are essential to the development of fine motor activities such as writing, reaching, grasping, and moving objects. Students with fine motor skill deficits may have decreased dexterity and weakened hand, finger, or grasp strength. Making

A student artwork with a laced frame.

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art naturally uses fine motor muscles; painting, using scissors, even doodling and scribbling develop the fine motor muscles of hands and arms. Adaptations that strengthen these smaller muscles will help students build up their fine motor skills, allowing them to communicate ideas while creating art more effectively.

Questions to Think About As you read this chapter, consider the following questions: 1.  What indicators alert you that students may be having fine motor difficulties, even if they are not identified? Do they tire easily, avoid fine motor activities, or have poor artistic calligraphy?

You can adapt your daily art activities so that students won’t even be aware of the exercises. An ever-increasing number of children are entering kindergarten and first grade with fine motor skill delays because of increased screen time on tablets, phones, and computers and a lack of activities involving drawing, playing on the floor, or picking up small items. Collaborating with your school’s occupational therapist about specific needs of students, as well as discussing ideas for modifications, will help you better understand how to develop your students’ fine motor skills. Modifications and activities that increase stamina of the muscles that support those skills will allow students to participate in artistic processes more confidently. The quote by Vincent van Gogh at the start of this chapter is a great reminder of what to think about when teaching students diagnosed with fine motor deficiencies. By incorporating a series of small changes into their art-making, your students will bring together the skills they need to create great things. Indeed, all students can benefit from art instruction that implements strategies for fine motor development.

2.  Who in your school can collaborate with you to help you gain insights into how to develop fine motor skills in your students? 3.  What modifications and materials can you make available for students with fine motor developmental delays?

Threading shoelaces through holes is a great fine motor exercise. Add this component to a lesson you create.

This artwork was created by tearing shapes using the thumb and index finger. This develops the pincer grasp used in many fine motor activities.

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Nell’s Story: Removing Barriers for Success Nell was a petite girl with a strong determination to achieve, create, and please those she cared about. Her fine motor skills were impaired, and her hand strength was weak, so working on improving Nell’s fine motor skills was essential in helping her create art with more ease. Nell patiently tried my methods, never taking the easy way out. Instead, she did as I asked, listened well, and somehow, I feel, knew that what I was doing was helping her advance, even though her verbal communication was limited. Because of her positive attitude and eagerness, Nell progressed quickly. When I gave her a tiny cup full of mosaic pieces to be picked up and glued onto a surface one at a time, Nell held the cup as I demonstrated and proceeded to work with zeal. Often, students try to outsmart me by dumping the cup’s contents onto the table or into the glue as a shortcut—but not Nell. By holding the cup in her palm, she was building strength in the arch of her hand. Meanwhile, picking out individual mosaic pieces strengthened the muscles of her index finger and thumb, which are needed for handwriting, fastening clothing, painting, drawing, and more. A student uses the pincer grip to pick mosaic pieces out of a small cup.

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Later, during a lesson when we were gluing sequins and tissue squares, Nell looked up at me and said, “One at a time.” When Nell and her peers finished their projects and I was helping to clean up, I allowed the students to go to a learning center that I set up as a tearing station. They loved sitting in a circle and tearing colored construction paper into small pieces, which can be used for papermaking, mosaics, collages, and more. This type of small motor focused station provides a calming exercise to end the art activity; especially with music playing, it can become a ritual that makes for a nice transition by signaling that class will soon be over. You will find that, like Nell, some students are eager to please, and others will try to rush. It is important to encourage them to take their time in order to develop the muscles in the wrist and hand. Not everyone will understand the gift you are giving them by incorporating these strategies into your lesson; however, you will note the strides they make in their development.

Holding a small cup of paint or mosaic pieces builds strength in the hand’s arch.

Adapting for Success If cutting with regular scissors is too difficult for your students, look for spring-loaded scissors, which aid in opening and closing the blades. A prescissor activity that I often do with my first-grade classes, whose fine motor skills are underdeveloped, is to create collages by tearing shapes from papers of various weights. The tear makes a soft edge, suitable especially for landscape forms and clouds. Make sure to demonstrate the pinch, pinch, pull method of tearing, which engages the pincer grasp and develops hand muscle strength.

Creating Art Developing and refining artistic works uses fine motor skills as well as the gross motor muscles that support them, and your adaptations and exercises should encourage the development and strengthening of those muscles, thus building a foundation for success. Alternatively, you can lower the objectives of your lesson to accommodate the deficiency. I feel that the former offers the greater benefit, but sometimes you may need to create adaptations and lower learning outcomes to meet learners at their level of readiness. Let’s say you are studying the artist Reggie Laurent and how he uses color, line, shape, and pattern when creating his art. After being inspired by the artist and his work, students are instructed to cut out twenty small shapes and glue them onto a black paper background. For students with a fine motor deficiency this amount may prove exhausting for their hands. I suggest you adjust your expectations and have them cut ten larger shapes or as many as they can before their hand fatigues. They will still meet the objectives of the lesson and use color, line, shape, and pattern while encouraging success for all students in your classroom. You may have picked

twenty as a number because it filled up the background paper nicely; however students with fine motor weakness may also need to cut out larger shapes as they hone their skills. The students will still fill up the area, just by a slightly different means. Creating adaptations is not enough— you must continuously monitor the class to see if students are correctly using the modifications, grips, and strategies to improve significantly. Developing and sharpening fine motor skills will allow your students to have the freedom and confidence to approach a variety of artistic processes as they engage in creating art. Demonstrate proper tearing technique using the thumb and index finger and have students practice it prior to beginning a lesson using this technique.

Check students periodically to make sure their scissor grip is correct, with the index finger leading the way, the thumb in the top loop, and two fingers in the bottom loop. If necessary, put a dot or snowflake where the index finger should be placed.

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Tips for Adapting Art Media Incorporating exercises and activities that develop fine motor skills into art-making lessons, learning centers, or warm-ups are great ways to support the artistic processes of drawing, painting, sculpting, and weaving. Try the adaptations in this section to observe firsthand how the muscles are being used. This will be your gateway to developing and customizing fine motor activities that blend into your lessons. Many of these activities strengthen muscles, develop hand-eye coordination, and build self-esteem as students master them and become more self-assured in the art-making process.

Art Media When using and adapting media, consider one or more of the following ideas: • Use small pieces such as mosaics, sequins, beads, torn paper, buttons, small tissue squares, or yarn to create artworks. Working with these materials requires the use of the thumb and index finger, which builds the strength of fine motor muscles.

• Keep patterns simple and the difficulty level and length of the exercise appropriate. Activities that are too long cause fatigue and discouragement. • Peel-off stickers can be used to create patterns if students with limited ability are unable to make them independently. Peeling stickers off a sheet uses fine motor skills. • Use short pencils and crayons to improve pincer grip. • Use short, chubby, or fingertip crayons, pastels, and charcoal to build hand strength. • Roll balls of clay between the palms to build cupping muscles in the hands. • Press objects into clay using the pincer grip. • Provide lightweight cups filled with mosaic pieces, beads, or any small item; holding the container uses the cupping muscles and develops the pincer grip as children select from it. • Make torn-paper collages or lessons using torn-paper techniques. This is a great fine motor activity; just make sure that you instruct students how to properly tear paper, in a pinch, pinch, pull fashion.

Foam shape peel-off stickers make it easy to create patterns. Students also use fine motor skills to peel them apart.

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Creatively approaching adaptations to incorporate fine motor exercises will benefit all of your students. Think of the medium for each lesson and ask yourself, “How can I sneak in a few fine motor exercises?” Maybe it is through the use of cotton swabs to paint with or a lesson on how to hold a paintbrush. Adapt a unit on clay to incorporate texture created by using the pincer grasp to press small objects or using the hand to press textured surfaces into the clay. Such small adjustments will result in big rewards for your students.

Tips for Adapting Process: Tools and Techniques The tools and methods we use to create art and how we use them is part of the discovery and exploration of what it is to be an artist. Artists who broke free from tradition and modified media, tools, and techniques in ways other than their intended use have blazed a new path for us to follow. Think outside the box by considering what you can adapt to build Think outside hand strength and the box by achieve the objecconsidering tives of your lessons. what you can Perhaps it is not the adapt to build artwork but the mat hand strength the students put and achieve the around it. Provide objectives of frames punched with your lessons. holes that students can lace with yarn, building fine motor skills. Or direct students to decorate their frames with sequins or dots of paint dabbed on with a stick or cotton swab. It is not necessary to completely change the way you have been teaching. You just need to change your thinking and incorporate ideas that, in the end, build fine motor skills. When you are working with students who have difficulty with fine motor skills, you must assess how they are delayed in order to best help them. Consult with the school occupational therapist or paraprofessionals assigned to the students to determine the adaptations that will achieve individual goals. Many such students experience fatigue of the hands, so make the adaptations appropriate and be mindful of the activity’s length. Holding traditional art tools, such as a number 2 pencil, can be tiring for students’ hands and may even cause pain. Consider trying a few of the following adaptations to see which work best for your students.

A student uses a cotton swab to dot paint onto paper.

Lacing is an engaging way to encourage learners to practice fine motor skills. This activity can be woven into a lesson or set up as a center in the art room.

Give Up a Planning Period to Learn Not sure how to begin? I suggest asking your school’s occupational therapist or handwriting specialist if you can observe a session or two. You will learn much about warm-up exercises, such as hand bridges and the correct way to hold a pencil, as well as the variety of available pencil grips to improve students’ grip. Seeing the games that students play to build skills and knowing the reason behind the instructor’s methods will enable you to adapt these ideas for your own art classroom. You don’t need to reinvent the wheel—just tweak it a bit. In her book Differentiated Instruction in Art, Heather Fountain discusses the need for proactively planning your curriculum as you address your students’ different learning styles, as opposed to reactive planning, which has you interceding as your students experience difficulties.1

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Tools Use junk (e.g., keys, corks, nuts and bolts, rings, etc.) to create an imprint or pattern. As students grab these small objects they use the pincer grasp, which develops fine motor skills while allowing the students to make patterns that otherwise could fatigue the hand. A student can use a marker cap or a cork to make a polka dot background that they might not be able to draw independently due to fine motor or intellectual disabilities.

Here are some other ideas for adaptive tools: • Paint with sponges attached to clothespins to build strength. • Paint with cotton balls, which uses the thumb and index finger pincer grasp. • Use scissors that match a student’s grasp and fine motor developmental needs. • Use egg-handled paintbrushes, which develop palm strength. • Use pencil and paintbrush grips. Consult with your school’s occupational therapist for individual needs. • Glue film canisters or wood shapes to foam stamps, to create a handle for grasping. • Make pinch pots, coils, and clay beads to develop fine motor skills.

Egg-handled paintbrushes are easy to grip for students with a doorknob grasp.

• Demonstrate and reinforce proper finger position when holding pencils, scissors, and paint tools. Put a marker or sticker dot on the scissors handle to show where the index finger should rest.  • Create projects that use lacing cards or hole punches, and have students practice sewing. Paper, burlap, and felt are great foundations for lacing projects, which build fine motor skills. 

Techniques

Sponge shapes with a film canister or cork attached makes them easy to grasp while printing.

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If you are uncertain what to modify or how to create adaptations, work with your school’s occupational therapist (OT) and ask for fine motor warmup exercises and activities. Then adapt those strategies for art. Here are some techniques used in the art room to build fine motor strength: • Use stamps to create patterns when independent patternmaking is too difficult. As students’ fine motor development improves, encourage them to make patterns independently.

This student artwork was created using potato stamps to create birds and small cardboard strips to make branches. Holding the small pieces is a great fine motor strengthener.

• Cut and paste patterns that can’t be drawn freehand. • Demonstrate and reinforce proper tearing technique: the thumb and index finger of both hands should grasp close to where tearing is desired. • Allow frequent breaks; tiny muscles fatigue easily. • Cut shapes beforehand to focus on the skill or concept being taught. • String beads as a fine motor exercise before a weaving activity. • Provide thicker yarn or fabric for weaving, which is easier for little fingers to manipulate.

Use hole punches to improve palm strength and fancy press punches for forearm strength.

Adapt weaving materials and the width of the loom and weaving strips in accordance with student’s ability.

Fine Motor Learning Center Nothing is worse than seeing frustration on the face of a student when he or she can’t do what other children accomplish easily. Suggesting an alternative to struggling learners is meeting them at their level of readiness. People like to play, and many fine motor adaptations and exercises incorporate play and discovery. Set up a learning center in your room that offers this experience. Students with and without fine motor difficulties will gravitate to it

and develop their fine motor skills as they explore. The center could include clay or Play-Doh, beads, pasta to string, a sand tray to draw in, or even little objects to sort or create with, such as buttons, pipe cleaners, yarn, and straws. A center is also useful when a student needs a break from the work at hand. Allow them to explore the center for five minutes and then return to the lesson.

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Consider This: Adapting Art Ideas When working on developing fine motor skills, it is important to develop gross motor skills as well. Gross motor muscles are the larger muscles that support the fine motor muscles of the hand and wrist; you can’t develop the latter without making sure the former have been strengthened first. An occupational therapist who works in your area or school is a great resource for ideas and adaptations regarding fine motor development. When I have a student who is struggling with fine motor skills, my first action is to speak with the classroom teacher and inquire if they have an IEP or 504. If they do, I ask if they are seeing the occupational therapist. If so, I take the time to visit the therapist and discuss my student’s needs . If the student does not receive services, ask the OT for advice anyway. We are all in this to help children learn, and I have never met an OT that does not want to help. I often ask if An occupational therapist who they can come in during works in your area or school the art period to see where is a great resource for ideas the student struggles. The and adaptations regarding fine majority of what we do in motor development. art is fine motor, so it can be valuable to introduce the OT to the cutting, gluing, painting, and more, to show them how conducting a therapy session during art class makes sense. The development of fine motor skills was once the purview of the classroom teacher; today, it has becoming the responsibility of art educators because of the lack of time for creative activities in regular education classes. As you take on this duty, think of how adaptations will enable students of all abilities to freely express themselves in art-making. As students enjoy the creative activities you have designed to build fine motor skills, you can feel proud that you made a difference by removing obstacles to creating artworks that convey meaning and demonstrate skill and knowledge acquisition.

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Connecting to Art Examining works of art often leads to a connection of personal meaning to the viewer. This meaning may alter depending on the context in which the work is displayed and viewed. Viewing a painting in a museum or gallery produces a different reaction than finding and looking at the same artwork at a yard sale or in the culture in which it was created. The meaning a viewer attaches to art may vary as it is viewed in different times and places. Nevertheless, a connection is made, whether the artwork was created this year or many, many years ago. For discussions and activities that encourage students to make connections to works of art from various eras, places, and cultures, consider how to accommodate and engage learners with fine motor difficulties. If your inquiry is a verbal discussion, they should be able to participate freely because fine motor muscles are not being used. However, you could view this as an opportunity to sneak in a few exercises that do work those fine motor muscles. Instead of remaining seated and pointing to an artwork, students could stand up and attach a spring-loaded clothespin decorated with a symbol to the artwork they are discussing. Or they could use the pincer grasp to place a small symbolic item next to or on the artwork they are responding to.

Adaptive scissors with an extra finger loop to promote correct scissor grip.

Easy-Grip round finger crayons.

Written Responses During a written response such as a journal entry, you will need to assess the level of the delay and create an accommodation for it, if needed. Perhaps students with fine motor difficulties can verbalize their thoughts to a paraprofessional, write a short written response, or fill out a worksheet adapted with multiple choice or matching answers. For students with greater developmental delays, a computergenerated response sheet with drop-down choice boxes or a talk-to-text app or journaling app with a recording feature on a tablet can eliminate much of the writing requirement. When creating a lesson, ask yourself if any of your students will be unable to complete the task because of a fine motor deficit. If you see a speed bump in their path, you will need to insert an adaptation so that they may more successfully maneuver over it.

Example Lesson: Connections to Community Making connections to community attunes students to their surroundings. Beginning a first-grade lesson with a discussion about who and what make up your community will get ideas flowing while deepening understandings about

this concept. In this example, the objective was to create a mixed-media painting about events in the community. Students were directed to choose a time of day and a season for their community event. As they brainstormed events they have attended, such as a soccer game, a chili cook-off, a Halloween parade, and a local marathon, a sense of pride and belonging to the community was evident. Students eagerly sat down to work on their paintings after completing practice sketches. I adapted this lesson for students with fine motor delays by providing short pencils, 2 to 3 inches long, which forced them to use the pincer grasp to grip the pencil correctly. After the drawings were complete, I offered a choice of various paintbrushes, including those with soft grips for finger placement and fingertip brushes. Students decided which brush worked best for them. Large areas of sky and grass could be painted with a brush or a small

Hidden Fine Motor Exercises Discussions about art often do not involve use of the fine motor muscles, unless drawing or a written response is required. Sneak a few exercises into the conversation. Invite students to parade past the artworks you will be discussing so they can take a closer look. They may have a question, idea, or comment about one or more of the works to which they made a connection. Cut out paper or felt hearts (love it), light bulbs (good idea), question marks (I have a question about this one), paintbrushes (good

craftsmanship), speech bubbles (comment), and the like. Attach them to spring-loaded clothespins with glue or hook-and-loop dots. Squeezing the clothespins open and placing them on the edge of the artworks help children develop fine motor skills. The objects that they clipped to the artworks will not only help students remember their comment or question, but they also provide a great way to begin a discussion about how we relate artworks to society, ourselves, and other cultures.

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Responding to Art piece of sponge held with a clothespin or directly with the pincer grasp. Finished artworks were hung to dry on a clothesline with clothespins, which works both fine and gross motor skills. Many children enter first grade with fine motor skill deficits, so this lesson benefited all my students. The small pencils forced them to use the grasp preferred by our occupational therapist, and the students loved working with the small implements. Experimenting with various paintbrushes allowed students to see which worked best and fostered the greatest success. I also discovered that painting an entire 12-by-18-inch paper can fatigue little hands. Switching to a larger tool to apply paint, such as sponges or cotton balls, made the process more manageable.

A student draws with fingertip crayons.

Interpreting and analyzing works of art can be turned into a fine motor activity for all learners. Getting students out of their seats and actively engaged is much more exciting than a lecture or presentation. Think about creating activities that strengthen fine motor muscles. Let’s say, for example, you are facilitating a discussion about analyzing mood in artworks. Imagine all of your students sitting in front of you and ask yourself how you could get them to develop their fine motor skills in this lesson. What activities would work the muscles in their arms and hands? One idea is to have them choose ice-pop sticks on which various words that describe mood (e.g., quiet, angry, sad, etc.) are written, or toothpicks that have a flag image, and stick them in a lump of clay or Model Magic in front of each artwork. Picking up and grasping objects works the index finger and thumb, and pushing works the small muscles of the hand. It is easy to make small word or image cards to illustrate possible messages in works of art, such as caring, community, happiness, beauty, nature, and so on. These can be adhered to sticks or skewers, which students “plant” in little flowerpots in front of each artwork. Or students could use clothespins or pushpins to attach the cards near the artwork. Anything that gets the body moving and hands grasping will help students develop their motor skills. Similar activities can be incorporated into discussions about how people evaluate and determine the value of an artwork based on society’s standards. An easy adaptation is to have the class place marbles in clear jars to show which artwork they think is most valuable. Picking up and releasing marbles uses fine motor muscles. A conversation about why, how, and with what criteria they determined value prompts them to respond to art in fun and interesting ways.

Anything that gets the body moving and hands grasping will help students develop their motor skills. 94

Presenting Art and Ideas about Art Presenting art—yours and others—as well as unpacking and revealing your thoughts about art is a very personal and intimate experience. As a teaching artist myself, I know firsthand the pride, trepidation, and thought that the process involves. As a teacher, I know the love and emotion that go into the students’ artwork I display and discuss during classroom critiques and discussions, therefore I always praise the work before discussing how it could be refined. Often if you say, “I think it’s missing something,” and ask them if they think so too, they I always praise see what they need to add to make it the work before better. My students discussing how it never seem to mind could be refined. when I say, “Wow, it is really, really good. One more little thing can make it great!” They usually ask me what that one little thing is. For students with fine motor weakness, the process of creating art takes more time, stamina, and grit. When they refine and present their art, they are putting themselves out there even more than their peers. Integrating fine motor adaptations into your classroom will narrow the gap between them and their peers, enabling their artistic visions to come to fruition. The best thing is that these adaptations allow student artists to convey the ideas

they hold in their heads and hearts onto the canvas, allowing them to create meaning as they present and discuss their work. Imagine the frustration of having a great idea in your head and not being able to express it due to a lack of fine motor skills. As your students select, refine, and analyze their work and that of others, it is of great value to address fine motor skill weakness and how it might impact students as they participate in presenting their art. Before you teach a lesson or unit, consider how you can ensure that they can fully interact with the lessons and activities you create for this standard.

Laying the Groundwork The average art class will most likely have more students who have never been to an art museum than those who have. Therefore, exploring why and how works of art are selected for exhibition in museums, galleries, and other venues is a hit-or-miss topic for some students. Luckily there is a large selection of virtual museums and gallery tours online. Google Art Project, the National Gallery, London, and the Metropolitan Museum of Art, as well as many other institutions, offer virtual tours of their collections. (Web resources are listed at the end of the chapter.) The exploration of this topic can be accomplished in large or small groups, either guided by the teacher or explored independently on computers. Using computers does engage fine motor skills and can be easier than writing tools for students with fine motor deficits.

Creating Active Learning

FingerMax fingertip brushes are a lively way to engage learners with fine motor weaknesses to paint.

Once students understand the basics of museums, galleries, and online exhibits, it is time for a discussion focused on what guiding criteria, methods, and procedures curators use to select artworks for display. This exercise will help students assume that role in curating their own exhibition. Chapter 7  Fine Motor Delays  95

Next, get those fine motor skills working. Using pencils, either short ones or some equipped with grips, students should write on an index card their criteria for determining what is chosen for their show or museum. It might help if you narrow the categories, perhaps limiting it to landscapes, portraits, an exhibit of artwork with a theme, women artists, contemporary art, sculptures, or art from a particular culture or time period. When finished writing, students should attach their cards to a board with a clip or pushpin and then discuss the ideas as a class.

Conclusion of the Activity By discussing and analyzing the criteria used during the curatorial process, students gain insight into how artworks are selected for display. Conclude the investigation by picking five or six criteria and applying them to a group of reproductions of contemporary art, which need to be narrowed down to five for exhibition. This could be done as a class or by table teams; at each table, place five prints that students need to narrow down to the one that will be added to the class exhibition. The final artworks chosen can be displayed on a clothesline with spring-loaded clothespins or attached to a whiteboard with magnetic clips that need to be squeezed to open. Call on students with fine motor delays to help. The adaptations discussed here benefit all learners by getting everyone up and out of their seats and engaging them in active learning. At the same time, students are strengthening their fine motor skills, making them more successful in academics as well as the arts.

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Sewing shapes with laces to a background for an adapted fiber arts lesson.

Adaptive Benefits for All Students As classroom teachers are required to focus more and more on testing, reserving blocks of time for reading and writing and incorporating science into their schedule, activities that use fine motor skills are becoming nearly nonexistent in students’ daily routines. The writing that students complete in the classroom is often done on computers to squeeze in the technology standards that many teachers strive to meet. After-school hours are often filled with sports activities or time spent on tablets or gaming devices. Therefore, practicing adaptations with the entire class is a great way to develop and exercise all students’ fine motor skills. Not only will these modifications help them with their art-making, but they also benefit handwriting, dexterity, hand-eye coordination, as well as simple self-care tasks such as dressing and hygiene.

Consider This: Fine Motor Of the possible fine motor challenges students may face in the classroom, Susan Loesl points to grasping pencils, markers, and crayons, using scissor and glue bottles, and two-handed activities such as weaving, folding or tearing, and twisting.2 During the first month of the new academic year, meet one-on-one with your school’s occupational therapist, special education teachers, or classroom teachers. Collaborate on how you can add fine motor exercises into your art room. The colleagues you teach with are a valuable resource. You may even want to ask the occupational therapist to set up a few learning centers or activities for you, or perhaps she could come in during art class to offer expertise and wisdom. Creating adaptations, whether through lessons, warmups or centers, is a wonderful way to improve the fine motor skills your students rely on so heavily when producing art. I ask you to add yet another block to your philosophical foundation. We all have students who finish art lessons early, or two-thirds of the class is done and you let the rest work independently until everyone has finished. This would be a good time to have a few fun activities ready that use fine motor skills. You could create a learning center where students can make mini mosaics using trays of colorful paper pieces and simple backgrounds for gluing them onto. Another learning center could have a tray with lacing cards and yarn or beads to string. Even making friendship bracelets uses fine motor muscles.

These are just a few of the many activities that develop and support fine motor deficits, and are beneficial to all learners as well. And so I ask, how are you going to reach your students with fine motor delays and incorporate fine motor exercises into your art room and curriculum? The possibilities are limited only by your imagination.

Origami is a great fine motor activity.

Notes 1 Heather Fountain, Differentiated Instruction in Art (Worcester, MA: Davis Publications, 2014), 76–77. 2 Susan D. Loesl, “Students with Physical Disabilities,” in Reaching and Teaching Students with Special Needs through Art. Beverly Levett Gerber and Doris M. Guay, eds. (Reston, VA: National Art Education Association, 2006), 107–108.

Additional Resources Virtual Museum Tours www.google.com/culturalinstitute/beta www.nationalgallery.org.uk/visiting/virtual-tours www.youvisit.com/themet

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Chapter 8

Intellectual Disabilities “All that we are is a result of what we have thought. The mind is everything. What we think we become.” The Buddha (Gautama Siddhartha)

Intellectual disabilities are characterized by a decreased level of both cognitive and adaptive abilities. Intellectual disabilities interfere with a person’s capacity to perceive or understand information, which affects how they learn and engage in daily activities. Angelman syndrome, Down syndrome, fetal alcohol syndrome, Prader-Willi syndrome, Rett syndrome, congenital rubella syndrome, Williams

syndrome, and Fragile X syndrome, along with autism, can cause a child to exhibit varying degrees of cognitive and developmental impairments. The degree of the deficit varies greatly and can range from mild to severe, depending on the individual.1 Cognitive disabilities may include communication and speech delays, as well as delays in processing information.

Stencil the mask’s outer portion of image to make it easier for students to create shape.

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Questions to Think About As you read this chapter, consider the following questions: Teaching in a concrete step-by-step progression with repetition and reinforcement of concepts is essential for helping students grasp complex ideas. Simplification of the art-making process will enable them to perceive what is being taught and how to achieve the desired educational goal. For many children with intellectual disabilities, art is the perfect way to express themselves and find joy while developing skills. Engaging in the process is often more important than the product, so don’t be afraid to experiment with tools and materials to encourage students to participate in art-making. As artists and art educators, we must treasure uniqueness in all works of art. Don’t worry if students’ outcomes do not all look the same; treasure their differences.

1.  How can you eliminate obstacles in students’ creative path and enable them to be more successful in creating art? 2.  How can you simplify and “chunk” your lessons to make them easier to comprehend and accomplish for students with intellectual disabilities? 3.  How can you work through your students’ abilities and get them creating more independently? Can you think of what your cognitively impaired students can do, instead of what they cannot do?

Stencil the mask’s inner portion to allow students to paint the background without the heart image being painted over.w

Understanding Intellectual Disabilities Intellectual disability is a broad term that does not define one specific diagnosis, but is rather an overarching umbrella under which many varied disabilities are categorized. Although intellectual disabilities vary, they do have one commonality; affected individuals may have deficits in: 1 Intellectual functioning. Often known as IQ (intelligence quotient), intellectual functioning affects a person’s ability to learn, reason, problem solve, and make decisions. The average IQ is 100; a range from 85 to 115 is considered typical. A person would be considered as having an intellectual disability if the IQ is 70 to 75 or lower. 2 Adaptive abilities. Skills needed in day-to-day life to take care of one’s self, interact with others, and communicate effectively.

A student’s heart artwork inspired by artist Jim Dine.

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Meaningful Adaptations Adaptations to how and why you teach will be necessary to reach and engage students with intellectual disabilities in the process of making and responding to art. As you read through this chapter, reflect on how your

instruction must change, and how you can modify your lessons and methodology so that art becomes an expressive, meaningful experience for students with intellectual impairments. Some adaptations will be

Mae’s Story: Building Confidence with Communication I recall with fondness watching a quiet, nervous young girl named Mae come alive through her art. Cautious at first, Mae, who had intellectual and multiple other disabilities, looked to her classroom teacher for assurance with each movement she made. One day I saw her come into the art room wearing riding breeches, and I discovered that she loved horses and rode weekly. I sat down and took the time to get to know her a little better, asking about her horseback riding, her horse, and its name. At the end of art class, as others cleaned up, I saw Mae drawing on paper. I sat down with her and we drew a horse hand-over-hand. In this moment, she came to life. “Ears,” Mae said excitedly. She tried desperately to get me to draw the horse’s halter on its face. At first I couldn’t understand what she was saying, but she used her hands and gestured with her fingers to communicate her intentions to me. “Halter?” I questioned. “Yes, yes,” she said. “Reins, too?” I asked, and I got a big hug. Through pantomime, Mae communicated that she wanted to draw the saddle and then her sitting astride the horse. From that day on, Mae no longer looked to her teacher for help or assurance to create art. Mae and I had

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made a great connection—she eagerly followed my step-by-step instructions, often jumping ahead in her eagerness to create art. Mae was timid and rarely left her classroom without an adult. One day, I heard a knock at my art room door. Mae had ridden her bike (an incentive program) to my room to deliver a paper; this was a huge step. Her bike trips down the long hallway to my classroom became more frequent as the year progressed. In art class, her confidence soared, and at the end of each lesson we would draw horses together. A big breakthrough came toward the end of our second year together. One day Mae came into my art room and showed me pages filled with bold lines—drawings she had made. She was finding sheets of paper and creating art on her own. I could see her happiness as she displayed each page, grasping them all eagerly. “Mae, you need a sketchbook,” I said, and so bookmaking became our next art lesson. When the class finished making their books, I passed out crayons. As students opened their sketchbooks, a silence fell over the room; they were all drawing with great intent. Everyone, including Mae, realized that this was a successful lesson that gave them a great way to communicate.

physical or procedural, whereas others will be more philosophical, prompting you to consider why and how you teach. It may be important for you to consider, if you have not already, how objectives can be achieved through differentiated instruction or tiered learning.2 Creating adaptations can be extra work, but when you see students with intellectual disabilities excited about art, making it independently, and feeling successful, all the effort will be worth it. During my first year teaching, a parade of paraprofessionals entered my art room. Typically, I saw them making the majority of the students’ art projects because that’s the way it had always been done. People mistakenly assumed that cognitively impaired children could not do anything, and art teachers didn’t offer alternatives to help the students participate on their own terms and according to their own abilities.

Seeing this made me stop and analyze my role as a teacher of art. Wasn’t it my job to educate all students about art, no matter how they learn? I realized that I believed students needed to be actively involved in the art-making process for the experience to be meaningful, and that learning is not a one-size-fits-all approach. This conclusion led me to observe individual students and note how each one learns. Next, I created adaptations to lessons, tools, and materials so that every learner could be reached successfully. That is when great things started to happen. Finished student sketchbook.

Tissue squares are pasted on with a gluewater mixture held in a small container.

Choices Allow for Expression Choices for students with intellectual disabilities help with self-expression. For students who cannot draw a still life independently, being offered a choice of several bottles to trace, for example, makes them feel part of the creative process. Offering a full palette of paints to choose from may be overwhelming. Students should be allowed to decide which colors they want to paint with. Offer them five or so colors to choose from, but allow them to use only one at a time. This approach gives them ownership of their art and allows for individuality and self-expression while supporting the practice of decision-making as part of the artistic process. Sketchbook cover made from a tissuesquares collage and glitter.

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Creating Art Communication is often extremely difficult for students with multiple or severe disabilities. Some may be able to only make gestures or sounds or pronounce the first syllables of words. However, the desire to communicate is great, so when traditional paths are blocked, these children may have to take an alternative route to express themselves. Coleman and Cramer discuss the significance of art as a visual language that provides another means of communication for students with disabilities; they stress the importance of art having many solutions rather than just one answer, which naturally allows the expressions or voices of multiple learners.3 For many students, art is that pathway—the alternative route to communication. Their excitement at being able to communicate is evident when you observe the creative process in which they are engaged. The desire to create is just as important for students with disabilities as it is for their peers. Color coded warp and thick, multicolored weaving materials make weaving easier.

Allow students to choose from several tracers when creating an artwork, involving them in the creative process.

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The majority of students diagnosed with intellectual disabilities are aware that their artworks do not look like the work of their classmates. Although art can be used to communicate in myriad creative ways, sometimes students want their art to be similar to that of their peers, even if they lack the motor or intellectual ability to create a specific project. You can just let them express themselves as they wish, but the subject depicted often loses its shape because students are overly involved in the process or lack hand-eye coordination. With the help of simple proven adaptations for painting, drawing, clay sculpture, and other art media, learners will be able to create a product that is more concrete and recognizable. Having tried it both ways, I quickly realized the importance of the satisfaction that students gain by creating identifiable images. Whether they are depicting a vase with a flower, mountains, or a portrait, their excitement peaks when they make the connection between what they are creating and its relationship to the world or community in which they live.

Glue wood shapes to cardboard to make printmaking plates.

Tips for Adapting Art Media Sharing all the directions of an assignment at once can be overwhelming for students with cognitive impairments. Chunking information is a much more manageable approach. Asking students to paint one area at a time (e.g., the grass or the mountains), limiting the number of colors, or outlining areas to be filled in are much more manageable steps that will allow students the satisfaction of knowing they can achieve each immediate goal. Isolating media and materials also helps students focus on the task at hand. If they are painting a sky, a palette of sixteen watercolors may lead to confusion and hesitation. To promote easier decision-making, offer a smaller paint selection, while still allowing for free choice. If a lesson calls for the use of only certain hues, lay paper or apply masking tape over part of the paint tray so that only the colors students should work with are exposed. Another option is to use big tempera cakes or watercolor cakes. The larger surface allows for greater success at reaching the desired color than the small ovals found in most watercolor trays. Handeye coordination is often affected in students with multiple disabilities, so larger paints or individual paint cups ensure success. If you usually lay out all of the lesson’s supplies on a table or place them in a bin at the table for easy access, you might consider limiting the items to help students know what is acceptable to use at which phase. For instance, if the first task is cutting out a shape, then place only scissors on the table; if painting is next, then put out the paint and put the scissors away. Leaving out an array of materials and tools can be a distraction or may lead to confusion, and students may end up using the wrong item for one or more steps. To ensure success in using all the media and tools in the average art room, you will need to discuss your techniques and lesson objectives with the paraprofessionals assigned to your students who have intellectual disabilities. Doing so will help them

Assortment of plastic combs designed to create texture on surfaces.

understand your expectations and ideas, such as the need for simplification of steps, isolation of materials, and the adaptations you have designed specifically for the media, tools, and techniques the lessons will call on.

Media Consider trying out one or more of the following adaptations: • When teaching a weaving lesson, use fabric, felt, or foam instead of paper so the material does not tear and cause frustration. • Color code the warp when weaving. • Use purple glue sticks that turn invisible when dry. The color allows students to see where they have applied glue. • Work with one color at a time; isolating colors allows for greater success. • Provide everyday concrete items to create with. Fruits and vegetables are great to print with, especially when low cognition prevents a student from creating a foam or linoleum plate to print independently. • Use alternative clays, such as Model Magic, for fewer steps when sculpting— no scoring or slip required. Chapter 8  Intellectual Disabilities   103

Tips for Adapting Process: Tools and Techniques • Work on surfaces that engage students (e.g., burlap, tin foil, or cardboard), using sidewalk chalk or nonpermanent paints. • Provide individual watercolor and tempera pans to avoid color mixing. Keeping projects simple should be your goal when designing and implementing adaptations for students with intellectual challenges. These modifications are vital because they remove the stumbling blocks that may impair the artistic process. Accessibility and ease of use equals better control and results. The final artworks may look a bit different, but the same objectives can be met by all. Short-handled shaving cream brushes are easy to grasp to apply paint.

Watercolor-filled paintbrushes, for ease in painting.

Watercolor-filled paint pen applicators.

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Trying to grasp a concept that you do not comprehend might have you looking out the window, staring at the floor, asking to get a drink of water or take a bathroom break, or all of the above. These are avoidance tactics that students often exhibit when they are unsure what to do or feel they cannot accomplish a task. Some learners may require a quick verbal reiteration of the steps they need to take; others may benefit from a visual step-by-step handout. Students who have greater cognitive impairments may need you to simplify the concept. In addition, adaptations to tools and techniques may make it manageable for all students to accomplish tasks independently or with as little assistance as possible. Adaptations to tools and techniques should be designed to simplify some of the thought process or work for students. One example is to use tape or temporary adhesive to secure students’ art to the work surface so that it doesn’t move around, and their hands are free to create. If students with an intellectual disability cannot draw independently, use tracers, light tables, or the hand-over-hand technique to assist them in completing the task. Tracers made from thin sheets of printmaking foam are easier to use than oak tag because the thicker material is easier for students to trace. Adding a sensory component helps engage students and maintain their attention. Adaptations that incorporate the senses of touch, smell, sight, and sound will heighten interest and enjoyment, allowing students to focus on tasks for a longer time.

Analyzing the Situation Every time your students with disabilities enter the art room, their needs will be different. Some days, they may require more assistance and guidance from you or paraprofessionals, other days they might need less. It may simply be a challenging day for them, or the materials or lesson objectives might be out of their reach. Communicating with the student and paraprofessional will give you insights to improve the situation. If you are wondering how paraprofessionals help their students with an art assignment, investigate before assuming that they are doing too much or too

little regarding the independence of the students. Keep the dialogue open and have many conversations about your students’ progress as well as your expectations. You are the teacher, but paraprofessionals, special education teachers, and classroom teachers work with your students daily and have much to offer. Collaboration between you and them will build relationships that benefit all learners. Also keep in mind that many of your colleagues will not have an art background or may even be uncomfortable with art, so it will be up to you to teach them what to do.

Lesson Example: “Chunking” the Lesson If you hand a piece of white paper, crayons, and watercolors to students with a severe cognitive impairment and instruct them to make a painting of an ocean, they may not grasp the concept. By chunking, or breaking down the project into steps, they will have greater success. Here is what that lesson might look like: 1 Show images of an ocean and ask what colors students see in the seaweed, fish, and water. To facilitate discussion, hold up cards marked with various colors and ask students to clap, cheer, or give a thumbs-up to the colors that they see. 2 Provide stencils of a fish shape for students to trace with the crayon or paint within, and use textured plates and crayons to color the ocean floor. Students enjoy placing a textured plate underneath the paper and creating a sand-like texture to add depth and texture to their artwork. This will engage students in a sensory activity that involves touch. 3 Follow with a demonstration showing how to paint seaweed, moving the brush from the bottom of the paper toward the top. Place a sticky note at the bottom of the demonstration paper and draw an arrow pointing up to remind students to paint in an upward direction.

4 Model drawing wavy white crayon lines across the paper to simulate movement in water. If students need more assistance, place stickers or dots on each side of the paper for them to connect. 5 Instruct students how to add watercolors to their paper or provide a hand-over-hand demonstration. Start by dipping the brush in water and then in the paint; drag the brush from side to side. Students love seeing the white lines appear as they paint. 6 Demonstrate how to apply the blue water thinly over the background to create the ocean. The above process demonstrates how a concept can be broken down and scaffolded to make a lesson attainable for all. As educators, we chose this profession to teach—not to have our students fail, but to help them find success. They may not always achieve mastery in the ways we expect, but they will grow, and perhaps our vision of mastery might eventually change, along with the means we use to help students achieve it.

As educators, we chose this profession to teach— not to have our students fail, but to help them find success. Chapter 8  Intellectual Disabilities   105

Tools Differentiation doesn’t just apply to instruction. It can also include how tools are presented and used. This section shares a few tips to help you better accommodate all students in the art-making process. • Clamp or tape artwork to the work surface to prevent movement.

Artwork clamped to a binder to prevent movement.

• Encourage the use of a helper hand (a peer or adult with a free hand) when working. • Use blue poster tack to secure tracers if students are using them, eliminating the frustration of the paper or tracer moving. • Different disabilities need different tools; experiment to see what works for each student. • Use Do-A-Dot markers or similar tools to create patterns. These relieve some of the work while still allowing for self-expression. • Use tracers and stencils to help students create shapes or objects. Tracers help make some tasks more manageable, especially when cognition or motor skills prevent a child from creating specific objects.

Encourage the use of a light table to assist in drawing skills.

Always offer a few choices so that students retain ownership of artistic decisions. Use the hand-over-hand technique only when necessary. Explain to paraprofessionals that students are to work as independently as possible; they are to keep students on task and assist in recalling the steps and techniques used to create art, not make the art for them. • Draw on textured surfaces; this experience helps create an awareness of the activity and engages multiple senses. • Use fun scissors that cut wavy lines to add interest and details. • Use paper crimpers and other objects that engage the sense of touch and add texture to artwork. 

Drawing on textured surfaces and plates.

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When working with students diagnosed with cognitive impairments, keep the lessons simple but engaging. Creative media, tools, and lessons will keep the students’ attention on the task at hand. Simple step-by step directions, combined with strategies that assist with successful achievement, will garner positive results.

Techniques When adapting techniques to meet students’ needs, it is important to remember that process is often more important than product. Consider the following to lead students toward success: • For tedious activities, allow frequent breaks to avoid frustration and fatigue. • “Chunk” information—explain only one or two steps at a time. • Share visual samples of the various steps of the task to be completed. • Use Wikki Stix or a bold marker outline to aid in visually organizing areas to be painted or colored in. • Computers and interactive whiteboards help engage students in a lesson. The more hands-on involvement, the better the results will be. • Use laminated templates when working with clay so that students can more easily cut out desired shapes. • Draw a light pencil line as a path to trace with glue. • Use stencils to show which areas should be painted and to cover those that should not.

• Offer two or three colors to choose from; having too many choices is confusing. • Communicate with paraprofessionals about how much assistance you want them to provide to students. The creative process will actively involve students who have intellectual disabilities if you pitch the ball where they can hit it. As you adapt your ideas, tools, and techniques, remember that the process of making art is more important than the end product. If students cannot grasp a concept or method, break it down into smaller chunks that can be understood and achieved. In the end, those small pieces will fit together just like a puzzle into a finished work of art.

Remember that the process of making art is more important than the end product.

A student uses tracers adhered with Blu-Tack to keep the paper from moving.

Students without intellectual disabilities draw castles freehand; adapt by making tracers available.

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Consider This: Adapting Art Ideas Adapting a lesson on drawing or painting a still life requires breaking the task into step-by step segments. If students with intellectual disabilities cannot draw the shapes and objects independently, offer them a selection of tracers made from thin printmaking foam to choose from. Set up a simple arrangement of inanimate objects and display prints of artworks so that students can see what a still life is. If peers without intellectual disabilities are including five objects in their still life, students with cognitive impairments can A paraprofessional offers a limited choice of colors.

paint three to five items, depending on individual skill and stamina. A variety of brushes were available to meet the needs of all students: traditional brushes, shaving cream brushes, sponges clipped onto clothespins, and egg-handled brushes. I worked with the students’ paraprofessionals or special education teachers to determine what options would work best. Pattern was added in a variety of ways, according to student choice. Learning centers and supplies were readily available. Objects for creating patterns included textured rollers, corks, sponges, fingers, tempera paint markers, Do-A-Dot

Adapting a lesson on drawing or painting a still life requires breaking the task into step-by-step segments.

A student uses tracers to arrange and paint a still life.

Pattern is created in a sensory fashion with hands.

Pattern is added using a textured roller.

A student uses a variety of adaptations to explore pattern.

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markers, and strips of mat board to dip into paint to create stripes. Black glue (glue tinted with black tempera) was used in a hand-over-hand technique to create Cézanne-like outlines. Paper mat frames were printed with a pattern to complete the lesson. Beautiful, colorful still lifes were created by all students. The class also benefited from the play-like atmosphere created by the various adaptations and learning centers available for creating patterns. Teaching the lesson step-by-step ensured that all students, whatever their abilities, could accomplish each progressive stage in creating an artwork.

This lesson and its adaptations sent the message that there are many avenues and directions that artists take to make works of art; there is no one right way to create. A variety of student outcomes for finished still lifes using adaptations.

There are many avenues and directions that artists take to make works of art; there is no one right way to create.

Get Hands-On Active hands-on activities result in fewer behavioral issues and greater student involvement; they also allow students to absorb information more easily and at a deeper level than via a discussion or written activity. Responding to art can be as exciting and involved as creating art. Choose activities that get students out of their seats so they’re moving around and in charge of their own inquiry into understanding the wonders of the world of art.

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Connecting to Art Connections to art, whether created by our students or by people in societies throughout the world, enhance children’s understanding of themselves and others. We often connect to art that we relate to in personal ways or through common interests. It can be challenging for students with intellectual disabilities to comprehend abstract ideas, so consider choosing images that show relatable topics, exciting colors, interesting textures, or universal themes that can be explored on many levels, from simple to complex. Through the use of tiered learning, you can develop various entry points through which students can connect to lesson content.4 On one tier, or level, students can explore the designs and colors that various cultures around the world use to paint faces, finding one they would like to create. Meanwhile, other students might consider deeper concepts, such as why face painting is used in various cultures, and then create art that jumps off from those ideas. Breaking down a topic into a range of complexity Narrow color choices to two.

helps all students engage with the same artworks and ideas, but from different levels of intellectual challenge. As an educator, I often find myself in the role of facilitator during art-centered discussions, helping guide students through questions that lead to discovery. For students with intellectual disabilities, this process can be complicated. Incorporating visuals, game-like strategies such as holding up response cards, and movement can ensure greater student participation and comprehension. Using flash cards or flags decorated with images will give students with cognitive issues a more fun yet concrete way to respond. For example, you could create cards that depict things that are the same and things that are different. (Cards containing words and images would further heighten understanding.) One card would read “same” and depict two identical red circles. The other card would read “different” and depict a red circle and a blue triangle. When you discuss a topic related to same and different, students could hold up the cards to communicate their answer. Comprehending what things are the same and different as you analyze works from various cultures and your own encourages students to make personal connections to art.

Artist Statements Painting on acetate with a drawing underneath allows students to follow lines and make a design while having the choice of color and experiencing the process of painting on a slick surface.

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An artist statement gives the viewer a clearer vision of the creator’s ideas, process, and intention. For students with intellectual disabilities, writing a statement about their art may be difficult. Think of ways to modify the traditional presentation of an artist statement. Perhaps a peer could interview student artists on video to record their thoughts. Many options and applications are available to accommodate this process.

Mold alternative clay into preformed containers, such as paint cups or bowls, making it easier to manipulate.

Responding to Art Typical activities that involve responding to art can be challenging for many students with intellectual disabilities because they involve complex reasoning through questions and answers. Remember that, although these learners are a certain chronological age, they may think, respond, and reason in ways that resemble those of a younger child. Be sure to include varied learning goals and learning levels that ensure that art-response activities appropriately challenge students where they are and help them move toward greater learning success without feeling overwhelmed. When choosing anchor standards, select those that are appropriate for your students; doing so may sometimes warrant “back-mapping,” or matching a standard to one at a lower grade level that is more suitable to your students’ intellectual abilities. If you are unsure what level students are performing at, consult Students may their IEP, classroom feel overwhelmed teachers, or special if they are given education teachers. too many choices As you refer to the or goals at once. anchor standard by grade level, decide where students are currently, then look at the next level they should climb to, and challenge them to achieve that goal. Be sure to match the appropriate challenge so as not to devalue students’ abilities or overwhelm them with challenges that are too advanced. Students may also feel overwhelmed when responding to artworks if they are given too many choices or goals at once. We all love options, but to promote success, offer only two or three possibilities so that students can reach a decision more easily. If students are nonverbal or have limited language skills, this a great place to implement alternative ways to respond.

Students can paint by dipping tennis balls in paint, then rolling them on paper. They are fun and easy to grasp and create a unique pattern.

Analyzing artworks for meaning via such questions as, “What mood do you think the artist is trying to portray?” or “What was the artist thinking?” might be too challenging. Students may have better success if you ask the questions more concretely and provide visual (nonverbal) ways for them to respond. For instance, if you are considering mood in an artwork, you might provide cards that portray faces that look happy, sad, scared, or sleepy, which students can hold up when answering. You might ask them to stand up or sit down to answer a yes-or-no question, such as, “Does this work look happy?” Students could even use their own faces to show you the emotion evoked by the mood of an artwork. No matter how, or on what level, students respond, providing inclusive options will help everyone have fun while gaining the necessary skills to better digest and analyze the growing number of visual images that children consume every day of their lives. Chapter 8  Intellectual Disabilities   111

Presenting Art and Ideas about Art Art shows are a terrific venue for presenting art. Having students select works they have created based on a theme informs the viewers about the various ways that artists interpret ideas. Whether the exhibit focuses on more traditional subjects, such as landscapes, still lifes, and portraits, or is based on an abstract theme or concept, these displays provide learners with an opportunity to select, analyze, and share their work with the community. For students with intellectual disabilities, guidance and modifications to show

Use wood slats when rolling out slabs of clay, so clay does not get too thin.

concrete examples will be necessary so that they may take part in this process. For instance, say your class is organizing an art show based on different media that artists use: charcoal, watercolor, collage, pencil, and so on. Students without intellectual disabilities will be able to easily look through their portfolio and select the artworks that fit into these categories. To adapt this activity, you or a paraprofessional could work with students to put together a sampler showing the media to be included in the exhibit, creating a fresh visual connection. Students can then take the sampler to their portfolio to assist them in finding artworks made from the same media. Another way for students to be involved in sharing artwork is by becoming a guest or featured artist at the exhibition, demonstrating the use of a medium they love working with. This type of interaction allows children with intellectual disabilities to be part of the process while building self-esteem. With appropriate support, a short time frame, and practice beforehand, the chosen student can become the star of the show.

Rewards Incentives often make tasks more manageable for students with intellectual disabilities. If a student easily loses attention or concentration, offer movement or activity breaks as a reward for accomplishing chunks of a task. For example, if students paint the background of an artwork, allow them to use an iPad for a short time. This type of motivational device is often used by occupational therapists,

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paraprofessionals, and learning support and classroom teachers in school to modify behaviors and promote good work habits. For students with cognitive deficits, reaching several short-term goals may be necessary to achieve the end product. These adaptations can be arranged prior to or during an activity, in collaboration with classroom teachers or paraprofessionals.

Adaptive Benefits for All Students

Consider This: Intellectual Disabilities

Remember that students with intellectual disabilities absorb information better when learning is broken into manageable chunks. Teaching step-by-step, which is concrete and sequential, will benefit all students and help them more fully understand the lessons and concepts. Teaching Keep in mind that step-by-step concrete means that will benefit learners use their all students five senses to register and help them information, and more fully sequential refers to understand the mind’s ability to the lessons order information in and concepts. a linear way.5 Even if students’ minds work in other combinations of learning styles, comprehending in abstract or concrete ways, processing the information step-bystep will give them a foundation of knowledge from which they are free to express themselves creatively in art. Not one day goes by that I do not have to repeat steps or directions, whether for the entire class or for individual students. It may seem like extra work, but I have found that breaking down information lessens the frequency of confusion and the time I spend re-explaining concepts and processes, thus benefiting everyone in the end.

We talked briefly about back-mapping a standard to an anchor standard at a lower grade level. Consider a student you teach who has intellectual impairments. Next, looking at the current grade level that reflects the child’s chronological age, examine the anchor standard that she is supposed to learn. Then find the level you feel the student is truly at and think of how you can adapt your lesson so that she can find success where she is and climb the scaffold to the next level. What barriers can you remove and which adaptations can you implement to get her there?

Notes 1 Gail J. Richard and Debra R. Hoge, The Source for Syndromes (East Moline, IL: LinguiSystems, 1999). 2 Heather Fountain, Differentiated Instruction in Art (Worcester, MA: Davis Publications, 2014). 3 M. Coleman, PhD and E. S. Cramer, PhD. (September 24, 2018), Making Art Accessible for Students with Physical, Visual, Severe and Multiple Disabilities. Presentation, Making Art Accessible for Students. PowerPoint Presentation Handout, 2013. 4 Coleman and Cramer, Making Art Accessible. 5 Anthony Gregorc, “Mind Styles,” SUNY Cortland Faculty Webpages, accessed January 7, 2018, http://web.cortland.edu/andersmd/learning/Gregorc.htm.

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Chapter 9

Hearing Loss “Though born with a fiery, active temperament, even susceptible to the diversions of society, I was soon compelled to isolate myself, to live life alone. If at times I tried to forget all this, oh how harshly was I flung back by the doubly sad experience of my bad hearing.” Ludwig van Beethoven

Hearing loss is defined as a decrease in hearing or the total loss of the ability to hear (deafness). Your adaptations will depend on the degree of the disability. First, be aware that much of what we say and do is based on the assumption that everyone can hear. Most of the adaptations in this

Student work, printmaking.

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chapter may seem like common sense, but when they are not in place, students with hearing loss are at a great disadvantage. Beethoven’s anguish over his deafness, expressed in a letter to his brothers, reflects the embarrassment that some people feel when they have a disability.

Student work, tennis ball painting.

Questions to Think About As you read this chapter, consider the following questions: 1.  How will you ensure that students with hearing loss understand you and the concepts you are teaching? 2.  What avenues can you use to communicate with students who have hearing loss? 3.  How can you foster a sense of belonging and acceptance by peers of students with hearing loss? How will students communicate with their peers who have a hearing impairment?

Despite his distress, the next ten years were the most productive of Beethoven’s life, for it was during this time that he created his most famous compositions.1 A person may have partial or total hearing loss and the degree of the deficit can vary. Assistive technologies such as hearing aids, amplification devices, and cochlear implants might help a student hear better, but they do not always result in complete recovery of hearing. Sign language, closed captioning, real-time reporting, and voice recognition software (to translate what a teacher says) can help students understand what they cannot hear. Adaptations to your lessons, art media, and processes will help ensure that hearing-impaired students comprehend and succeed when responding to and making art. Instruction is vitally important, for steps in a process or information may be missed as students with hearing loss process the instructions as an interpreter signs or they lip read. Geisser and Geisser note that there is a distinction between “dumbing-down” and clarifying or simplifying instructions and concepts. Step-by-step instruction with a visual demonstration and pause between steps is valuable for all students in class.2

Demonstrate stepby-step directions and allow students to participate in the demonstration. Photo credit: Padgett Smith

Student work, low-relief paper sculpture.

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Making Your Classroom Comfortable for All Learners Many of the hearing-deficient students I have encountered often slide their amplification system across the table to me or, when another child asks about their hearing device, act as though they don’t know what it is for. As an educator, it is your responsibility to encourage both the student and the Fostering an attitude that class to feel comfortable with embraces differences will these assistive devices. Classencourage the entire class room research has noted that, to work together to promote when teachers allowed curiosa nurturing, supportive ity of the other students about environment for all. hearing aids (and other unique traits) to be met by addressing it early, both through classroom discussions and through presentations by outside experts, the strategy helped to “get the curiosity out and be done with it.”3 Fostering an attitude that embraces differences will encourage the entire class to work together to promote a nurturing, supportive environment for all. By fielding questions about what assistive technologies are and how they help people, you will establish a compassionate and

Group Work: Making It Work Group projects and activities benefit all students and teach many lessons, such as getting along with others, communication skills, cooperation, idea sharing, and more. A leader usually takes charge of the group and the rest become the workers; many times, the quietest student does not get involved or just goes along with the flow. Keeping all group members actively involved is not always possible. Circulate among the groups and assess involvement. Make a quiet student the assistant to the leader. Students with hearing loss may take on any role. If needed, remind students to make sure they are facing the child with hearing loss when speaking. Suggest they go to a quiet area or in the hall or doorway to work so background noise is lessened. Work with paraprofessionals and ask them to keep the group dynamics in check. This small group setting can often help a student with hearing loss more actively engage in the activity, as opposed to participating in a whole class discussion.

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comfortable environment for students who have hearing loss. Classmates who understand how amazing a cochlear implant is and how it works will be more accepting of the device when it is worn by a classmate. Modeling how to face hearing-impaired children when speaking to them will foster communication as well. We all fear what we don’t understand, so help demystify this potentially unfamiliar situation by teaching your students techniques to communicate effectively with one another. With input from hearing-impaired students, when appropriate, hearing students can learn that simple procedures—such as looking directly at the person who is trying to understand them, keeping their hands away from their mouth when talking, or raising their hand and waiting until the teacher points to them before sharing a response can help everyone see, know, and comprehend that something is being said and shared. Educators must ensure that their communication to hearing-impaired students is being received and understood. Communication is likely the most salient area in which individualized education applies to deaf students. Cawthon states that in response to these needs, we can speculate that teachers may try to add finger spelling to their speech, place deaf students near the front of the room, give them language level–appropriate assignments, or discuss deafness as a culture. Other changes may be subtler, such as using simplified or exaggerated speech. It is also important to teach advocacy to your hearing-deficient students. Even though they are young, the students are responsible for managing their own amplification systems and should check the device daily to see it is charged or if it needs new batteries.4 If students do not go up to a new teacher and tell them they have a learning challenge and may need extra assistance or adaptions, they may miss valuable learning; advocating for the self is empowering, so encourage it.

Jason’s Story: To Know Someone Well, Know Their Story On a fall day in my first-grade art class, I had the pleasure of meeting a charming, funny young boy named Jason who often liked stealing the show as I discussed and demonstrated the day’s art lesson. If I got off my teacher stool to get something I forgot, he would quickly take my spot and pretend to be me in a silly voice, getting the whole class laughing. He liked the attention he received from being funny. He was always eager to learn, but was often off task or didn’t seem to know what to do. It wasn’t until the middle of third grade that he was identified as having a hearing impairment. Jason liked attention, but he was uncomfortable with the attention he was receiving from wearing an amplification device. After I seated Jason closest to the source of instruction and asked him how he was, he pushed his amplification device I was to wear across the table and said, “Here,” raising his eyebrows. The child across the table said, “What’s that thing for?” Jason looked to me for help, and I said, “I don’t always talk clearly and loudly enough for Jason to hear, so I wear this. It makes my voice louder.” “Oh, cool,” the child said, and that was that. Jason would leave the device on the table where he worked, and I would pick it up as I walked by. Being nonchalant is often best. Even when I was using the assistive device, it was important for me to remember to speak face to face with Jason. To further aid his comprehension, I put a laminated step-by-step handout of the lesson at his table. I did not want to single him out and cause embarrassment, however, so I placed one on each table, explaining that it was a reinforcement of the

lesson. I soon realized that this simple adaptation for Jason was beneficial to the entire class; by placing a printout at each table, I was able to help all learners, especially those with attention difficulties, successfully acquire the lesson’s key information. It also served as a great reference when students began looking at art, talking about art, and creating their own art. In the beginning, I also had to be cognizant that students with hearing loss, like Jason, might repeatedly say “Okay” when they can’t hear you. After I picked up on this habit, I made a point to check in with Jason one-on-one throughout class to make sure he was interpreting the directions and information correctly. Over time, he became comfortable with me, recognizing that I was on his side and wanted to help him fit in. Building a relationship takes trust and time. Once Jason and I developed a mutually respectful relationship, he was much more relaxed and able to enjoy being creative.

Making Clay Coasters 1. Roll out clay on your mat with a rolling pin, keeping the clay between 2 wood sticks to keep thickness even.

4. When you have made all 4 coasters peel them off the mat and put your name and class on the back. Now place them on the drying boards.

A laminated visual handout of a stepby-step process.

2. Use a coffee can to cut out 4 coasters.

5. Clean up: put your mat, rolling pin, coffee can, and any items from the junk box back into the proper boxes at the back of the room. Wash your table with a sponge.

3. Add texture to each coaster by pressing objects into the clay from the junk box.

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Creating Art Whether you are presenting a new lesson or facilitating a discussion about art history or criticism, consider including a visual presentation that retells the topic through images and captions, like “closed captioning” on television. Visual reinforcement helps all learners, especially if students’ attention wanders while you introduce a lesson or concept. As a teacher, you must be in Visual tune with all of your students, reinforcement paying particular attention to those with hearing loss by helps all reading their body language, learners. checking their progress intermittently, and verifying their comprehension. Do not assume that they just didn’t listen to instructions. If a student has total hearing loss, an interpreter who signs or provides oral interpretation (using the mouth to exaggerate words while facing the student), might accompany the child, providing a valuable resource. Here, too, a printout will give much-needed information to refer to, since these professionals may not be familiar or comfortable with art. If you have students who use sign language, learn the basics like stop, wait, OK, more, and good, so that even from across the room you can communicate with them. Most important, be caring and supportive; their best work is yet to come.

Tips for Adapting Art Media Many adaptations to art media are more about how you demonstrate and instruct the use of the medium than adapting the medium itself. That said, a loss in one of the five senses can heighten other senses, but not always, so making adaptations to media so that they engage the other senses can be beneficial to students. Art is a visual and sensory carnival; keep that in mind as you create adaptations. If you are demonstrating an artistic process, such as slab building a mug, the student will be watching the interpreter sign what you are saying and may miss what you are doing with your hands as you score and slip surfaces together. In this situation, you have two options. The first is to allow the interpreter to sign as you demonstrate techniques, then follow up with a laminated handout of photos and explanations of each step. The second option is to have the child watch you demonstrate, then give the interpreter a handout to review and ask any questions about prior to beginning the process. I feel the latter works best—sometimes you do things naturally when demonstrating that are essential to the lesson, but you don’t even realize or explain what you are doing. Nonverbal communication is not just an add-on to what we are teaching; it may be the only way a student will understand.5

A demonstration of how to mix colors.

Demonstration of steps of the production process.

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Show rather than tell how to create. Photo credit: Padgett Smith

Gather students around you when giving a demonstration. Photo credit: Padgett Smith

As always, circulate around the room and check for students’ comprehension and progress. There may be gaps in comprehension because the student may not have acquired as much background knowledge as his or her peers, but this is true whether a child has hearing loss or not. Many students who have cochlear implants have regained some of their hearing ability; the level of hearing regained can vary greatly from hearing only some sounds to most sounds. If children received implants at a young age, there may be no difference in comprehension compared to their hearing peers, but for many, some factors may affect speech or processing or both. Keep in mind that sometimes a student simply does not comprehend and creates what they interpret the assignment to be by watching their peers. Many of the following adaptations to art media and techniques will help students with hearing loss; in most cases, all students will better understand the lesson goals.

Media • Show, rather than tell, how colors are mixed. • Demonstrate watercolor techniques, such as wet-on-wet and drybrush. Encourage students to try the technique while you are present. • When working with clay, encourage students to feel the desired thickness of the project. • Demonstrate all steps in the art-making process.

• Make sure the student is close to you when you demonstrate weaving techniques. • Distribute a visual handout of the techniques being taught to reinforce instruction. • Don’t show too many steps at once; it is better to chunk information. You can even give three directions for students to complete, then provide the next step when students are ready. We learn so much from observation. Perhaps that is why many of the adaptations for students with hearing loss incorporate slowing down as you demonstrate a medium and how it is used during an artistic process. Visuals, from demonstrations to laminated directions, help explain how and what the student is to do and accomplish. It is not so much about modifying the media as it is how you demonstrate and assist your students with hearing deficits to use them. Taking the extra moment to stop by and check for understanding can alleviate any doubts or misconceptions that the student may have about the proper use and method for the medium. Modifications are advantageous because they fill in communication gaps that can occur because of hearing loss. Having the student demonstrate a small part of the process or technique is also a handy method for checking comprehension. Implementing modifications can thwart mistakes and help all students feel more successful. Chapter 9  Hearing Loss  119

Tips for Adapting Process: Tools and Techniques My normal teaching practice is to circulate the art room after I give my lesson introduction and demonstration. I like to see if the concept and process are being understood, offer praise, and make sure that students are using tools correctly. This practice should be adopted for students with hearing loss, too. You will use the same tools and techniques as you do for their peers; however, you will need to adapt the way you instruct, using tools and techniques that provide visual demonstration and reinforcement. Some learners may also require a one-on-one session. Try to reinforce verbal directions with visual ones. You can ask the interpreter to assist, communicate by writing notes, and demonstrate by drawing pictures or creating your own artwork next to the student. Think, “Okay, if they can’t hear me, how can I get the concept across and chunk the information so they can process it and begin creating art?” Be sure to talk with students ahead of time and find out what works for them, letting them know that you are there for them and want to help. Many of the tools that we already have on hand help students see directions. Use document cameras, handouts, interactive whiteboards, and anything you can think of to display visuals of what you are teaching them. So many of us learn by seeing and doing, so make sure you have students’ attention before you begin talking or sharing information.

Tools • Most tools for students with hearing loss will be the same as those of their peers; the main difference will be in how you teach students to use the tool. • Check for comprehension of the correct grasp by demonstrating how to hold tools.

A PowerPoint, Prezi, or Flipchart presentation provides a visual of the knowledge being taught.

Praise and check frequently for comprehension.

Interactive whiteboards allow learners to proceed at their own pace, while providing hands-on learning and movement breaks.

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Consider This: Adapting Art Ideas

The final product shows students’ comprehension of the activity. Assess your demonstration for comprehension, then tweak it so that all learners become successful. 

• Place yourself in your hearing-impaired students’ shoes. If students are not using the correct pencil or process, perhaps they missed part of your introduction. If they are lip reading your conversation, they might not get every word. Or you may have tipped your head down while demonstrating, and they were unable to see your mouth. Praise students for their effort and then make small corrections if needed.

Techniques Students with hearing losses may also have communication or speech concerns. If you cannot understand what the child is saying, a paraprofessional may be able to assist. Alternatively, you can have the child show you or write it down for you, without calling too much attention to the situation. Interactive whiteboards are another great tool for effective communication. The whole class can be involved in using the whiteboard, and for those with hearing loss, it is a great visual display on which to explain the objectives and steps of the lesson. I’ve suggested these tools and techniques to keep the channels of learning open with as few interruptions as possible. Lack of communication often results in a misunderstanding and a failure to meet the objectives of the lesson. Making everything more visual, with presentations, handouts, and written information and images, ensures success not just for students with hearing loss, but for all students in the classroom.

Hearing loss can range from frequency losses to total hearing loss. Hearingimpaired students are capable of undertaking the same projects as their hearing peers unless they have multiple or severe disabilities. If students do not seem to grasp a concept, such as a sculpture garden, show them images of it on a computer. Adjust your lesson, reteach, and ask your paraprofessional or sign language interpreter to sign to the student, checking for understanding as needed.

Connecting to Art Understanding how art—and ideas about art—relate to society, history, places, and cultures usually involves visual images and discussions. Even if a lesson has an art creation component, discussions and activities that investigate these connections occur prior to, during, and after the art-making process. Involving students with hearing loss in discussions requires several adaptations. Printed handouts, projected presentations, amplification devices, interpreters, and facing students when you speak all help facilitate communication. If you are discussing cultural traditions and how they are represented in works of art, you will need to use assistive technology to amplify or translate spoken word, or ask an interpreter to sign as the discussion evolves. Having prepared question cards (and, if you desire, answer cards) can help students follow and understand the discussion. Make sure to allow ample time for students to answer, and give them the chance to digest the information they are given. Be open to a variety of ways for students to respond—there are so many! Say you are discussing how the artist Carmen Lomas Garza depicts cultural traditions in the 1990 lithograph Tamalada. It would be helpful to have a few guiding questions, either projected Chapter 9  Hearing Loss  121

Responding to Art onto a whiteboard or written on word cards that are visible to all students, including those with hearing impairments. Use questions such as, “What is the tradition the artist is showing us in this artwork?” or “How is it similar to and different from other traditions we have learned about?” If an interpreter is needed but not available, students can write answers to the questions on index cards and then discuss. Using visual communication Encourage students to will ensure that everymake connections to one takes part in the events, people, time, and dialogue. place. This can be done in When examining many ways that promote works of art, creative and communication. higher-order thinking skills are used. For hearing impaired students, you may need more than just an image or reproduction. To get there, teachers can tell more stories to the students.6 Having students participate by telling stories about the work of art is also a process rich in information for the entire class. Encourage students to make connections to events, people, time, and place. This can be done in many ways that promote communication: through visual mapping, in small groups or teams of two, drawn responses, written responses, or even kinesthetic responses by acting out a scene or idea.

Consider this: You have all your students gathered near as you begin to share a lesson on responding to art. Various artworks are displayed that convey a meaning you want students to explore. Your guiding questions are typed and ready for you to read; they are questions about how color, subject matter, placement, brushstrokes, and medium can convey and affect meaning in works of art. This lesson was planned mainly as a discussion—children listen and participate as they analyze art, pulling ideas from previous knowledge acquisition. Perhaps you have a student who was born profoundly deaf and now has a cochlear implant. How are you going to engage that student in this activity? What adaptations can you use or create to make sure the child meets the performance targets for the lesson? How do you know if students comprehend the information if their speech is limited? Was this a strong lesson that was successful for all students to begin with? These are all things you need to consider as you design and plan your lessons and curriculum. In the above example, your lesson was designed to have students think about and question how meaning can be conveyed in works of art, which is a great goal. Perhaps you have displayed three artworks that all use the color red to convey meaning. If you have a child who uses a sign language interpreter, that person could stand beside

Gotta Love Lists Checking off completed items I have written on lists always makes me feel like I have accomplished something. Lists also work great for students. Place a visual checklist, complete with boxes to tick off, beside your student with hearing loss. The list can explain the steps needed to complete a project, the lesson’s objectives, or points that students should check for prior to handing in their artworks. I often use lists for students with learning difficulties or

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attention deficit disorder. Lists help chunk information and keep the student progressing in the right direction. No need to plan ahead; just keep a small tablet or pile of paper scraps clipped together and jot down three to five things, along with a few boxes to check off. Seeing this type of visual reminder will assist in students’ success. Lists can be beneficial to everyone and may even be displayed on a board or highly visible location for easy reference.

A student rolls out a clay slab using wood slats to keep the clay from becoming too thin.

you and sign the discussion. The child will spend more time watching hands than looking at the art, so you might consider a different approach than a group lecture, one that will help students engage in responding through many modes of communication instead of just one—voice. If parts of a lesson involve whole-group instruction, design visual ways to share what you are asking or demonstrating. If a student is using a sign language interpreter, be mindful to ask only one question at a time. Have the group wait until students with hearing loss can process not only the signed conversation (since they will always be one step behind), but also the interpretation of what you shared. Another alternative is to have students work in pairs or small groups prior to wholegroup activities. This way, they can explore questions about art and consider their answers before coming together as a class. Printed items like word cards or a word bank sheet will help students express ideas. Question cards encourage them to consider ideas and stay on task. The cards can also have space for writing answers, allowing you to assess the performance target or learning objective. Using word cards, word banks, or lists with questions or other interactive strategies will benefit all learners. When students respond to artworks, we often want them to use the specialized vocabulary they have been learning. We often think only in terms of spoken words; children with hearing impairments typically have a stronger vocabulary with written words. For this reason, when asking students to use vocabulary and demonstrate

A student cuts out a clay coaster with a coffee can.

Students make coaster sets, adding texture with a roller.

Students press objects into clay to create pattern.

Placing a visual diagram of the step-by-step process on the table helps students with hearing loss and all students who are visual learners.

their understanding, offer both visual and verbal ways to respond. Flash cards with art vocabulary are a great tool; they can be spread out on a table to assist students in communicating their ideas, or even help those who are stuck for an idea or word. You can hold up a question card about an artwork and, in response, a student can choose a vocabulary word to hold up. All students could have these flash cards at their table and play with them like a game. The vocabulary words could also be in a word bank or a list on a sheet of paper. This way, a question card could be given to students, including those with hearing loss, and they could circle possible answers, such as color, subject matter, contrast, and the like. The most beneficial aspect of these adaptations is that students with hearing loss blend in seamlessly with the class discussion and analysis of art. You will find that most modifications made for children with hearing loss greatly benefit all students and help you create a stronger overall learning experience for everyone. Chapter 9  Hearing Loss  123

Presenting Art and Ideas about Art Why do some artworks get into museums and not others? Who cares for and presents art, and why is it important to have art museums, galleries, and displays? As you begin a discussion, distribute a handout with a list of vocabulary words and definitions so students with hearing loss can understand the meaning of the words being signed or discussed. Images of museums, galleries, and other venues—both exterior and interior views—will further help them follow the discussion. An activity in which students create their own exhibition, complete with artist statements, will allow them to Creating an artist statement understand the process that clarifies the choices the curators go through as they organize displays and shows. student makes as an artist. Choosing an artwork from a portfolio simulates the curatorial process. Creating an artist statement clarifies the choices the student makes as an artist. The information included in the artist statement will vary depending on the age of the student. In the primary years, statements about art can be in the form of a worksheet with prompts. For example, perhaps there is a place for the name, followed by a prompt on how the art makes the student feel, with pictures or emojis. Another option is to make an audio artist statement. Children

Criteria Cards Responding to and evaluating works of art usually requires establishing criteria. Create cards by writing various criteria for evaluating art on them. Use objective terms such as idea, skill, creativity, imagination, memory, message, and technique, and place the cards next to each artwork to prompt discussion. This creates a visual conversation topic for all to see. To use this adaptation for the benefit of the entire class, assign one student to write a list of words on the board as the class discusses the topic. For instance, if skill is the topic, the class brainstorms words that describe how the artist used skill in the artwork. By viewing this visual record, all students, including those with hearing loss, will better understand the conversation.

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Online Learning Many activities that engage students in responding to and analyzing art can be explored in a Web-based venue such as a blog, Wiki, or Moodle activity, where the learning is more selfdirected. Students with hearing loss may appreciate learning on the computer because it gives them a break from trying to understand everyone around them in addition to struggling with the content of the lesson.

can take photos of their art and record an artist statement. There are even apps that make this type of artist statement seamless and quick to create. Elementary students can use a “How to Write an Artist Statement” worksheet; I provide one for my older students that breaks down what should be included and offers prompts to get the creative juices flowing. High school students may write a statement about a particular piece or series of artworks they have produced, or about themselves as artists. Ensuring that students with hearing loss participate fully in this activity may require several adaptations beyond providing written information about the artistic direction and goals. Provide a statement guide with writing prompts for students with hearing difficulties (or the entire class) to fill in or work from. Once the show is mounted, invite students to place their artist statements near their own artworks. A scavenger hunt can get children and their audiences engaged in looking closely at the works of art. As hearing-impaired students look at their classmates’ art in conjunction with an informative artist statement, they will gain a deeper understanding of the art and artist. Divide the class into small teams and have them create the activities or scavenger hunt prompts for their peers. That way, all students will feel involved and important in the process while increasing their investment and ownership.

Adaptive Benefits for All Students Hearing loss, whether mild or severe, affects students’ ability to comprehend discussions and instructions related to creating, responding to, and connecting with art. Many adaptions are based on the use of images, directions, and handouts that offer a visual way to grasp the lesson being taught. This type of adaptation benefits all learners, because it offers reinforcement of the spoken word. Seeing written keywords that relate to the discussion topic helps students stay on task better, especially if their attention tends to wander. Teaching students with hearing impairments also helps you be a better teacher. You slow down, chunk information, and allow a longer time for students to respond to questions—all of which benefits every student in the art room.

Notes 1 Ludwig van Beethoven—Heiligenstädter Testament. (n.d.). Retrieved August 28, 2018, https://www.nyu.edu/classes/gilbert/ classic/heiligenstadt.html 2 Maura Geisser and Peter Geisser, “Students Who Are Deaf and Hard of Hearing,” in Reaching and Teaching Students with Special Needs through Art (Reston, VA: National Art Education Association, 2006), 147–152. 3 S. W. Cawthon, “Teaching Strategies in Inclusive Classrooms with Deaf Students,” Journal of Deaf Studies and Deaf Education, 6(3) (2001), 212–225. doi:10.1093/deafed/6.3.212 4 Cawthon, “Teaching Strategies.” 5 Geisser and Geisser, “Students Who Are Deaf and Hard of Hearing.” 6 Geisser and Geisser, “Students Who Are Deaf and Hard of Hearing.”

Additional Resources

Consider This: Hearing Impairments First, find a camera or iPad. Next, think through a lesson or artistic process that has many steps, such as making a structure out of clay slabs. Work through each phase of the process in the same way that you expect students to complete the task. This process will make you extremely aware of what challenges your students might encounter along the way. Photograph the important steps and then insert them into a Word document or create a flipbook with step-by-step process instructions and written descriptions under each picture. This will be a great visual learning aid, not only for students with hearing loss, but also for children with attention deficits and any learners who need extra help revisiting a process that was already demonstrated. It will also be of great value to students who arrive late to art because they were attending instrumental lessons, enrichment classes, or learning support.

“10 Celebrities with Hearing Loss,” Audiology & Hearing Center website, accessed January 7, 2018, https://www.farmingtonhearing.com/10-celebrities-with-hearing-loss Michael Thompson, “What Causes Hearing Impairment and Why?” updated December 18, 2017, http://hearingcenteronline.com/ audiology/what-causes-hearing-impairment-and-why “Famous Well Known People with Hearing Impairments and Deafness,” Disabled World Disability News, updated May 17, 2018, https://www.disabled-world.com/disability/awareness/famous/ deafness.php National Institute on Deafness and Other Communication Disorders (NIDCD). (August 3, 2018). Retrieved August 31, 2018, https://www.nih.gov/about-nih/what-we-do/nih-almanac/ national-institute-deafness-other-communication-disordersnidcd

This process will make you extremely aware of what challenges your students might encounter along the way. Chapter 9  Hearing Loss  125

Chapter 10

Emotional and Behavioral Disabilities “A work of art is a world in itself reflecting senses and emotions of the artist’s world.” Hans Hofmann

Outbursts and meltdowns are unpredictable and can come on suddenly. Adaptations for students who have emotional and behavioral disabilities are best planned in

Student artwork: painting clouds with cotton balls.

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advance; being prepared prevents escalation. Design your adaptations to defuse outbreaks and prevent future ones while working on modifying behaviors. For best

Questions to Think About As you read this chapter, consider the following questions: 1.  How would you handle a situation that could result in harm to a student or in the child having an emotional or behavioral meltdown? 2.  What do you know about your students who have behavioral or emotional challenges? Do you know their background, concerns, triggers, and behavior plan, if they have one? 3.  Do you know how the students’ classroom teachers defuse situations, and are you familiar with the strategies they use when a crisis erupts?

results, these adaptations should be part of a structured environment in which students feel safe and secure, knowing that the adult in charge will help them work through and gain control over the situation and their emotions. Review each student’s IEP, which often contains behavioral plans for students with emotional or behavioral needs. Hunter and Johns remind us that “knowledge is power”; learning about your students before they enter your classroom will have you better prepared.1 If IEP plans are in place, incorporate them into your art room routine. Collaborate with classroom teachers and school psychologists to learn students’ triggers and how to defuse them. Give your students with behavioral and emotional disabilities a positive greeting as they enter the art room. If a student exhibited negative behavior during the last class, do not say, “I don’t want to see a repeat of last week’s behavior. You lost recess for that, remember?” Tell the student instead what he or she did right; continue to praise good behavior and positive attitudes during the entire class, and address all students. Kids aren’t bad. They sometimes exhibit negative behaviors, but these can be changed.

Understanding Your Students Emotional disorder and behavioral disability are terms that cover a broad spectrum of more specific conditions, and the reasons for such disorders are equally broad and varied. Factors that may affect behavior can be abuse (physical, emotional, and sexual); homelessness; drug use; or the death of a friend, relative, or pet.2 I have worked with students who have minor, infrequent outbursts and those who have several meltdowns in a single class. The one commonality I have observed is that, given time and guidance, most of these students improve through art. Disruptions often occur because students are bored or do not understand what is being taught. Fear of the unknown and of failure can result in a meltdown before the lesson even begins. Begin by asking learners with emotional or behavioral disabilities what you can do to help. Create lessons that are relevant to their world— get to know who they are, understand what is going on in their lives, and use artworks and lessons that connect strongly to those experiences. Doing so will raise their interest in art, and a child who is interested in what they are creating and responding to is less disruptive and more emotionally secure. Always stay calm in a crisis, state your expectations clearly and concisely, and remain firmly in charge. Student artwork: guitar with collaged background.

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Preventive Planning Having a bag of tricks handy when a student is about to have or is experiencing emotional or behavioral distress is extremely important to avoid or defuse the situation. One of my students, Dave, always had a hard time when the classroom was too noisy or when he was frustrated with what he was trying to accomplish. If I sensed he was becoming frustrated, I would ask him to do me a favor and deliver something to the office. Sensory and

kinesthetic movement can be calming for children with emotional disabilities. So I set up an arrangement with the office staff that if Dave showed up, they should give him something to bring back to me. I usually gave him a box of heavy things to carry. I’d say, “Is this too heavy for you, Dave?” which often prompted several students to offer to run the errand. But Dave would confirm that he could do it. This loadbearing exercise calmed him down, and a

Ryan’s Story: To Understand Is to Help One of my students, an eight-yearold boy named Ryan, experienced an abusive childhood. He had been in and out of foster homes for most of his life and had developed emotional and behavioral disabilities. Ryan was angry, attention-seeking, and defiant. Who wouldn’t be? During class one day, Ryan said that the lesson we were doing was “stupid.” When a child makes this type of statement, what they are really saying is, “I don’t know how to do this.” Ryan then questioned why another student was permitted to use the computer to draw. I replied, “Because he finished his lesson already.” I explained that trying to finish his work quickly so that he could make art on the computer was not acceptable. I told Ryan that he had to do good work and meet all the lesson objectives before he could be finished. Ryan was unable to excel at many subjects in school, but he soon discovered that, in the art room, he wasn’t being told what he couldn’t do; he was being praised for what he could do. Once he began working hard at his art-making, I commended his efforts when he deserved it, and the behavior issues subsided.

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Like other students with emotional disabilities, Ryan could be manipulative. I have had many paraprofessionals tell me that a child cannot handle a difficult situation and has to leave the classroom. It is my opinion that by giving in to this behavior, we are exacerbating it. I believe that working with students one-on-one and showing them how to manage the episode allows them to develop much-needed coping skills. One day, at the end of art class, Ryan had an emotional breakdown; I was not sure what caused it. When the paraprofessional tried to line him up with the other students, he wrapped himself around the legs of the art table and began shouting “Go away!” Because he was seen as a danger to himself and other students, we called the school’s crisis team for help. After letting the team have a go at calming Ryan, I asked if I could try. I had a hunch his outburst was about having to leave art. In a calm voice, I told Ryan that if he let go and settled down, I would give him some paper so he could draw a picture that I would tape to the front of my desk. (I have a gallery of student art there.) Ryan looked up and said, “Okay,” and that was that.

Creating Art

Relaxing art activities help to calm students with emotional disabilities.

Movement breaks get students out of their seats and involved in learning.

Creating art can be both relaxing and frustrating. When students come to the art room, we want them to have an enjoyable experience, one that makes them grow and ignites their creativity. But sometimes a concept may not be understood, a morning meal may have been missed (I have had kids eat breakfast in a corner of my art room as they worked), or maybe the student does not have the skills to succeed. You will need to quickly assess the situation to discover the source of the frustration. Only then can you offer suggestions to let students know you care. If the source of the problem is a lack of skill, adapt the lesson so that it is less challenging for that child. Demonstrate how you would solve the problem, offering a few alternatives to choose from. If you think a guidance counselor could help, ask the child to write a note to take to the counselor after art class. Sometimes just writing about a problem offers some relief. As you get to know your students with emotional and behavioral needs, you will be able to work with them and paraprofessionals to minimize outbreaks while helping all learners feel secure in your art room and the school.

An assortment of self-stick foam shapes is an easy way to add color. Plus, feeling them and pulling them apart provides a sensory component—a great modification for anxious learners.

change of scenery provided a much-needed movement break. It is good to communicate with your school’s paraprofessionals and specialists about their strategies for helping students cope with emotional or behavior disabilities. They may have a behavior plan or keep a behavior modification chart, which helps reinforce strategies already in place in the student’s IEP.

Student-created textured print plate.

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Tips for Adapting Art Media Emotional and behavioral needs vary from one child to the next, as do their reactions to media. Students may have no aversion to certain media, they may have a sensory aversion to some, and they may be adamant about using a particular Things can change day to medium for no discernable reason day, and even during the other than that they like it. Media course of a single class. that stimulate the senses can cause positive and negative reactions. You will need to get to know your students with emotional and behavioral needs and adjust and adapt on an individual basis. If frustration occurs with weaving, for example, adapt by using a thicker yarn, or try color coding yarns to make the lesson go more smoothly. Be willing to make last-minute changes and remain flexible; it is impossible to know in advance if something will trigger an emotional or behavioral eruption. Things can change day to day, and even during the course of a single class.

Media • Use scented media if it appeals to the students. Place calming essential oils, such as lavender and chamomile, into a medium such as glue, paint, or papier-mâché. If students exhibit sensory issues when handling clay, use

Prevent frustration by putting Blu-Tack on tracers so they don’t move when tracing.

an alternative, such as Model Magic, CelluClay, or air-dry clay. • Use soft bottles (e.g., hair dye or perm containers) for gluing if frustration occurs with harder bottles. • Mix soap into tempera paint so that it spreads easily and creates a more sensory experience. • Allow students to have their own paint rather than sharing from the table paints if they get upset about other people using a color they want or if the blue mixes in the yellow, and so on. • Encourage movement breaks if the medium causes annoyance or fatigue.

Obsession vs. Passion Creating art can be both rewarding and baffling. For students with emotional or behavioral issues, outbursts or defiant bouts may occur as a result of not being allowed to create what they desire. If you are teaching certain skills and techniques, this can be problematic. Children with Asperger syndrome can become engrossed with drawing the same thing again and again. I had a young girl who was a phenomenal artist, but she only wanted to draw the same subject every time. I always thought of this type of behavior as obsessive until I spoke with an adult who has Asperger’s, and she told me, “It’s not

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that we’re obsessed. Think of it as my passion; I am passionate about certain things, and I just can’t do them enough.” So when students show a passion for a particular subject, adapt your lesson to encourage them to explore it further. For example, if the goal is to create a clay slab structure and your student is passionate about cats, let the student inscribe cats onto the surface or make the structure in the shape of a cat. If the art project is to paint a landscape, allow the student to incorporate a cat into the scene. Students can meet the required objectives while also letting their passions shine through.

Tips for Adapting Process: Tools and Techniques Modifications that defuse disruptive situations before they explode benefit the student, the class, and the entire school. It is well worth spending time during lesson preparation to adapt media so that students with emotional and behavioral concerns remain calm and relaxed, able to create without obstacles. Creating an art room that is a welcoming, stress-free environment is also a kind thing to do. It is a safe haven, where students are not measured by test scores or how fast they can calculate math problems. Art is about the multisensory experience of creating. Thinking ahead to the needs of your students will help alleviate emotional or behavioral meltdowns. You will learn from your students, too. Take notes about what works and what does not. Store them away until you need them—you might have a student with these needs every other year or two. Being aware and prepared with these modifications will make the task easier.

Circumventing outbreaks due to frustration with tools and techniques in the art room puts you in the role of problem solver and peacemaker. Emotional and behavior outbursts can result from many situations, such as having to share markers, too much cutting with scissors, not being able to draw as well as a peer, or noise in the art room. There are many ways to avoid a crisis; once you have witnessed a few, you will be better prepared with strategies. Even the smallest changes have an impact on reducing stress. Giving clear and concise directions, breaking tasks into chunks, assigning students with behavior issues to be your helpers, offering alternatives to tools and techniques, and other modifications help minimize these occurrences. If the normal classroom routine is not working, mix it up. Be flexible with seat changes, lesson requirements, and the use of calming devices such as headphones, music, bumpy seat cushions (provided by a physical therapist), and quiet spaces where students can decompress.

Tools

Offer Alternatives Artists often experiment with media to see which one allows them to successfully convey their idea. While artists often use a variety of media, they are generally known for the one that they love best. If students show increasing frustration or discomfort with an art medium, let them try something else. Perhaps they can’t paint as well as their peers and are feeling pressured, but they love using pencils; give them colored pencils as an alternative. As long as students are meeting the objectives of the lesson, how they get to the end point doesn’t really matter. Remove the obstacle, which will help decrease their stress and increase their success.

• Provide textured surfaces for students to create on. • Encourage students to work on a slanted, lighted box placed on a counter in a quiet area. • Equip pencils with soft grips. Student pressing objects into clay; pressing into and wedging clay can be a great de-stressor.

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• Offer patterned stamps, stickers, or rollers if students become frustrated creating their own repeating motifs. • Secure the surface on which the students are creating to the table using clamps, Blu-Tack, or tape to prevent movement while they work. • Allow students to press objects into clay or wear thin gloves if they have an aversion to the way clay feels.

Techniques • Allow students to hold and manipulate a kneaded eraser as a calming device. • If children get frustrated trying to draw or create something, let them practice on the chalkboard until they get it the way they want. This also gets them out of their seat, and it is fun. You can even draw together. • Allow breaks at a computer center that has headphones and calming music. Too much noise stimulation can lead to negative emotional reactions.

Understanding your students and their triggers can offset and prevent emotional and behavioral outbursts. Offering adaptations allows you to help students decompress and handle situations better, so they can participate fully in making art. It is best to implement adaptations before the outburst, however; having a bag of tricks can quickly end a crisis. Students with behavioral concerns will benefit from many of the same sensory modifications that calm all children down. Behavioral flare-ups are often the result of frustration—remove the frustration and you get fewer flare-ups. Create a caring, structured atmosphere for your students with emotional and behavioral disabilities by reinforcing good behavior repeatedly; this often deters negative behavior. Most important, follow through with what you say you will do, whether that is helping the student who is apprehensive to begin a lesson or meting out consequences for undesirable behavior.

• Narrow choices so that students are not overwhelmed with decisions. • Allow the use of templates or tracers if working freehand causes frustration.

Stickers are a great way to make prints if the student is not able to make them independently.

A student uses a light box to trace designs.

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Consider This: Adapting Art Ideas Create an artist center in a corner of your art room where students can go for a creative moment or a stretching exercise. Set up an easel and have paint in closable containers along with paper and brushes; these can be stored in a crate under the easel. At the beginning of the school year, show students one at a time how to use and clean up the center. Explain that it is a place to go to when they feel overwhelmed or just need a short break to release a burst of energy before returning to their project. Establish ground rules so that this area is not used as an excuse to avoid completing an assignment. Restrict use of the center to only one student at a time.

Connecting to Art Relating artworks to cultures, history, time, and place helps us understand the artist, the society, and the era in which a work was created as well as ourselves in relation to it. Lessons that teach and encompass this standard should be engaging and as hands-on as possible. Keeping students who have emotional and behavioral disabilities engaged and on task will leave little time for negative issues to crop up. By contrast, an uninspiring art-in-the-dark lecture will leave windows of opportunity

open for bored learners to misbehave or worry about concerns that may cause distress. Games, whether at the art table or on an interactive whiteboard, get students up and moving. Throw in a few movement breaks as you examine art and students learn about the context in which works of art were created and make connections to art. When discussing ties to past and place, as well as to community and family, keep in mind what may be a trigger for students. Triggers might include a recent separation from or between parents, trouble on the bus, bullying, loss of a family member, or negative associations with any given object or event. Taking emotional risks can be hard, causing reluctance; allow students to make connections to people or other artworks instead of to themselves, as exposing their own soul can be risky.3 Small things can become big things to students with emotional and behavioral concerns. An argument with a peer about cutting in line at lunch can escalate into an episode in the art room hours later. Connecting to an artwork about family traditions can be positive or negative, depending on a child’s state of mind. That is why having students actively engaged in their learning is so important: It keeps their minds off the things that can cause distress. Art can be a way for students to communicate concerns and fears. If you come across a student who is asking for help through his or her art, whether drawing questionable scenarios or expressing anger, alert the school psychologist or guidance counselor of the student’s possible distress.

Small things can become big things to students with emotional and behavioral concerns. Encourage using headphones if classroom noise becomes upsetting; music can be calming.

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Responding to Art We all interpret art in our own unique way. Evaluating and reacting to artworks can lead to agreements and arguments among adults and children alike. For some students with emotional and behavioral concerns, understanding another person’s opinion can be difficult. It is wise to begin discussions and activities that are intended to evoke responses to artworks with a conversation that communicates how we all see and interpret things differently because of our own past experiences and Thoughtfully choose the current lives. The idea that artwork as well as which it is all right to see things students will be grouped differently can be reinforced together to minimize outbursts by showing an example of or other potential problems. well-known optical illusions such as Rubin’s Vase. Explain that we do not always agree with another person’s interpretation, but we should acknowledge that it can be valid to that person. Comparing and contrasting classmates’ interpretations can be fun when you see what you have in common and what things are different. Thoughtfully choose the artwork as well as which students will be grouped together to minimize outbursts or other potential problems. Once you are familiar with your students who have

emotional and behavioral concerns, you can select group members who will most likely work well together and lead to a successful investigation of the artworks. When guiding students through an exercise in which they are applying criteria to evaluate art, keep the activities relaxed and fun. Avoid anything too competitive, which can escalate emotions if one group or student is winning and others are not. Modeling positive behavior and how to use “I feel” words will help students see that people can and do have varying ideas about analyzing works of art. Give them an out if a disagreement arises by allowing them to say, “I agree to disagree.”

Using tracers can prevent frustration if drawing skills are limited and perfection is sought.

Safe Spot Everyone has different ways of handling stress. As adults, we have the freedom to walk away from situations or take a break when it gets too tough; we don’t always want to ask for help even when we need it. When students get stressed out at school, they usually have to sit in their seats and keep working, even when the urge may be to curl up somewhere or jump on a

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trampoline. Creating a safe corner of your art room—with a soft seat, a few art books, and headphones connected to a laptop—offers a haven for students who are having a difficult time handling their emotions, environment, or life. Place a sand timer in the safe spot that students can flip over when they need a break. Explain that when the sand runs out, they are to return to their lesson.

Presenting Art and Ideas about Art Sharing and presenting our own art allows others to look into our hearts and minds. For students with emotional and behavioral deficits, revealing that side may be difficult. I have encountered students who would not part with their artwork, becoming emotionally upset because they could not take it when they leave the art room (even if the paint is still wet). Never force a student to share or give up their work if they are opposed to doing so.

Promoting Calm in the Classroom Students with Asperger syndrome are anxious and tend to worry obsessively when they do not know what to expect; stress, fatigue and sensory overload easily throw them off balance. Their inflexibility and inability to cope with change causes these individuals to be easily stressed and emotionally vulnerable.4 It is important for these students to be aware of changes in routine. I often alert students who have Asperger syndrome that I will need to mat and display their work for a school show. If they expect to take an artwork home and do not know they cannot, this change in expectations may cause an outburst. It may help to allow them to make a smaller version of the work or another artwork to take home. Students diagnosed with Asperger’s may also become fixated on a certain subject or theme. This can be cause for concern when students are collaborating on a display or planning for an art exhibit. Students’ rigidness may make them appear uncooperative in a group setting.

As the facilitator, you will need to defuse the situation, possibly by designating jobs for each student. A stress break involving some heavy work, perhaps lifting or pushing, may help calm agitated students. Refining techniques and works of art can also be a delicate area for students with emotional and behavioral needs. Their thinking can be very rigid, and asking them to refine an artwork may meet with resistance. Establishing guidelines in advance, such as a checklist, will help students understand the artistic process of developing an idea or work of art completely. Many students come up and say, “I’m done,” and I say, “I think you could give a little more here and there.” You may get an answer such as “No, I’m good” or “I don’t want to.” It helps if you list your lesson objectives on the board with boxes next to them and tell students they have to be able to put a check in each box. I also use the “ask three before you see me,” meaning to ask three peers if your work looks done. It then becomes a fun social activity, and usually the work gets refined. Limit color choices for students who find making decisions difficult.

A stress break involving some heavy work, perhaps lifting or pushing, may help calm agitated students.

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Allow students to manipulate a kneaded eraser for a calming effect.

Adaptive Benefits for All Students

Presenting artworks for school and community displays builds students’ selfesteem, which is highly beneficial for all children, especially those with emotional and behavioral concerns. Comparing works of your own, those by classmates, and creations of artists from the past and present fosters an understanding of the differences and commonalities among all of us, which will ultimately make us more accepting of one another.

Creating a calm and safe environment for students as they create, respond to, and present art benefits the entire class. If one student is continuously causing disturbances, you will spend all your time and attention on that student and neglect the rest of the class. You will also be reinforcing the negative behavior by paying so much attention to it. When you use strategies to prevent and abate emotional and behavioral disturbances, you help not only the children with special needs, but the entire student body as well. Sensory adaptations produce a calming effect, which is a pleasant experience for all children. There are days when even the most even-tempered person can have an emotional or behavioral episode. Knowing how to neutralize the situation will keep students engaged in art-making and learning instead of focused on what is often an embarrassing eruption. Alleviating frustration is the objective of many adaptations, and this, too, is beneficial to the entire class. These modifications can be used when needed to assist all students in achieving success in art-related activities.

Wave a White Flag for Help Emotional breakdowns can be triggered by the helplessness students feel when they just don’t know what to do. This experience is traumatic for the student and, if repeated, can foster a dislike of the subject or class. By the time you realize students need help, they might already be in a state of emotional turmoil and can’t get themselves settled down to even communicate what is upsetting them. Here is a tip: Provide an object to wave, hand to you, place on the board, or whatever method makes sense for your

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students to communicate an SOS. Your objective should be to prevent the episode from occurring. During a good day, free of emotional distress, approach the student and say, “I know you sometimes get upset when things are difficult or you don’t know where to begin. How about I give you this flag to raise when you need help.” If the student is agreeable, go from there. If not, ask what they would feel comfortable with, as a way to prevent them from getting upset and letting you know when they need help.

Consider This: Emotional and Behavioral Needs Given the increase in autism, you will most likely have students with emotional and behavioral needs in your art room. How can you create a space, center, or quiet zone where children can take an intermission from the task at hand and regroup? Keep in mind that using large muscles helps students decompress. Use calming scents like lavender for relaxation. Music is soothing, and headphones block out the high volume of noise that often accompanies art room activities. Creating a niche in your art room that serves as a safe spot will benefit the entire class. It can be used as a free-time activity when students finish before their classmates, so that it is not seen as a place for students who are behaving differently.

Notes 1 Adrienne Hunter and Beverly Johns, “Students with Emotional and/or Behavior Disorders,” in Reaching and Teaching Students with Special Needs through Art (Reston, VA: National Art Education Association, 2006), 43–60. 2 Hunter and Johns, “Students with Emotional and/or Behavior Disorders.” 3 Hunter and Johns, “Students with Emotional and/or Behavior Disorders.” 4 K. Williams, “Understanding the Student with Asperger Syndrome,” in Focus on Autistic Behavior, 10(2) (1995), 9–16. doi:10.1177/108835769501000202

Additional Resources Doug Blandy, “A Disability Aesthetic, Inclusion, and Art Education,” in Issues and Approaches to Art for Students with Special Needs, Andra L. Nyman and Anne M. Jenkins, eds. (Reston, VA: National Art Education Association, 1999), 34–41. Gail J. Richard and Debra R. Hoge, The Source for Syndromes (East Moline, IL: LinguiSystems Inc., 1999).

Creating a niche in your art room that serves as a safe spot will benefit the entire class.

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Chapter 11

Final Thoughts “Imagination is everything. It is the preview of life’s coming attractions.” Albert Einstein A student artwork inspired by American Pop artist Jim Dine.

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The use of the visual arts as an avenue for language development is extremely important. For students who have learning disabilities, art may be their strongest and most accessible form of communication; for this reason, art should be seen as an alternative form of language development when other avenues have been When I see depleted.1 When students come I see students alive in my art come alive in my room, I know that art room, I know they feel free to that they feel communicate their free to communiideas, feelings, cate their ideas, and emotions. feelings, and emotions. I have observed firsthand that art is an academic discipline in which children who have disabilities can thrive and feel comfortable if you, as an educator, move beyond the traditional limitations that confined learners in the past. I empathize with my students who have disabilities that cause them to struggle to complete tasks and understand concepts I once thought were so clear. This empathy and my own philosophical framework have caused me to react on my feet, adapting as I go, learning about students’ abilities and areas of concern. Teaching adaptive art and the inclusion model in the classroom has been my laboratory for the past several years. I have experimented with a variety of ways to modify lessons, materials, and techniques, resulting in many of the adaptations found in this book. Other adaptations I have picked up from colleagues, art teachers I have observed, or fine motor workshops I have attended. I am grateful to all who have guided and inspired me in my quest for art lessons that fully engage and benefit all students, regardless of ability.

Art educators are often a bit isolated compared to classroom teachers. Finding support and teaching strategies requires resources that support your teaching. These resources for adapting your lessons, ideas, tools, and techniques can be found among your peers: other art teachers, paraprofessionals, or special education teachers and liaisons. Look to universities that specialize in art or special education, as well as organizations such as the National Art Education Association (NAEA); Special Needs in Art Education (SNAE); VSA, the International Organization on Arts and Disability (formerly Very Special Arts); and the National Center on Universal Design for Learning.2 All offer a vast amount of information and resources that will inform your quest to create a classroom that treasures the individuality of each learner.

Constructive Conversations Establishing guidelines for working with paraprofessionals will help your art room run smoothly. Sit down and talk one-on-one with the paraprofessionals who work with the students in your classroom. Outline your expectations, explain your philosophy, and share your reasons for teaching and adapting lessons the way that you do. Explain the adaptations prior to each lesson, showing examples and providing the lesson objectives. If a paraprofessional is still not doing what you requested or continues to overlook your suggestions, speak with the special education teacher or supervisor. It should be your goal to have a classroom that works effectively and efficiently with all adults present; working from a platform of respect and cooperation will help ensure that this occurs.

Chapter 11  Final Thoughts  139

Striving to meet the needs of all students is a challenge. But working with the varying levels of ability in your classroom is much better than holding on to the one-size-fits-all approach. Flexibility when designing and implementing your curriculum and lessons is as important as understanding that lessons can have Working with the varying different outcomes and that all levels of ability in your artworks need not look the same. There are numerous ways to get classroom is much better to the end product. Do not limit than holding on to the yourself or your students to one one-size-fits-all approach. medium, tool, or technique to reach that result. As long as they achieve the lesson objectives, it does not matter what they used or how they got there, just that, ultimately, they did. I have given you a collection of tools, adaptations, and skills that will enable you to engage your students in a meaningful creative process of self-expression. These ideas will help them better communicate with the world in which they live. And this is only the beginning. I am sure that, now that you have read this book, you will see how easy it is to think of ways to adapt your lessons, media, tools, and ideas by watching what your students can and cannot do and then creating your own adaptations based on that valuable knowledge. I encourage you to work through your students’ abilities and desires to achieve success by removing obstructions that inhibit their ability to communicate freely through the arts. Remember to use your community of special education teachers, paraprofessionals, occupational therapists, and students’ families and peers as a resource and support network when developing your art education program. Once you have created and implemented your adaptations, you can then enjoy watching your students grow and fully engage in the arts.

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I close with a quote from the philosopher G. W. F. Hegel: “Nothing great in the world has ever been accomplished without passion.” Be passionate about life, art, and teaching so that, in turn, great things can be accomplished.

Notes 1. Paula K. Eubanks, “Art as a Visual Language That Supports Verbal Development,” in Issues and Approaches to Art for Students with Special Needs, ed. Andra L. Nyman and Anne M. Jenkins (Reston, VA: National Art Education Association, 1999), 109–117. 2. The UDL Guidelines (August 31, 2018). Retrieved September 2, 2018, from http://udlguidelines.cast. org/?utm_medium=web&utm_ campaign=none&utm_ source=udlcenter&utm_content=sitebanner

Additional Resources VSA - Education - The John F. Kennedy Center for the Performing Arts. (n.d.). Retrieved September 2, 2018, from http://education.kennedy-center.org/ education/vsa/

“Nothing great in the world has ever been accomplished without passion.”

Bibliography Albany-Ward, Kathryn. “What Do You Really Know About Colour Blindness?” British Journal of School Nursing, 10(4) (2015), 197–199. https://doi. org/10.12968/bjsn.2015.10.4.197. Beethoven, Ludwig van. “Heiligenstädter Testament.” (n.d.). Retrieved August 28, 2018. https://www.nyu. edu/classes/gilbert/classic/heiligenstadt.html Blandy, Doug. “A Disability Aesthetic, Inclusion, and Art Education.” In Issues and Approaches to Art for Students with Special Needs, edited by A. L. Nyman and A. M. Jenkins, 34-41. Reston, VA: The National Art Education Association, 1999. Bonwell, Charles C. and James A. Eison. “Active Learning; Creating Excitement in the Classroom.” ASHEERIC Higher Education Report No. 1. (Washington, DC: The George Washington University, School of Education and Human Development, 1991). Byron, T. and P. McEntee. “Art-making: An Impact on Fine Motor Development,” Resource packet distributed at a Chester County Intermediate Unit In-Service, 2006. Causton-Theoharis, Julie and Corrie Burdick. “Paraprofessionals: Gatekeeper of Authentic Art Production.” Studies in Art Education 49, no. 3 (September 2014): 167–82. Cawthon, Stephanie W. “Teaching Strategies in Inclusive Classrooms with Deaf Students.” Journal of Deaf Studies and Deaf Education, 6(3) (2001): 212–225. https://doi.org/10.1093/deafed/6.3.212. Coleman, M., PhD and E. S. Cramer, PhD. (September 24, 2018). “Making Art Accessible for Students with Physical, Visual, Severe and Multiple Disabilities.” Making Art Accessible for Students. PowerPoint Presentation Handout, 2013. Cox, Penny R. and Mary K. Dykes. “Effective Classroom Adaptations for Students with Visual Impairments.” TEACHING Exceptional Children, 33(6) (2001): 68–74, https://doi.org/10.1177/004005990103300609. Eubanks, Paula. “Art as a Visual Language that Supports Verbal Development.” In Issues and Approaches to Art for Students with Special Needs, edited by A. L. Nyman and A. M. Jenkins, 109–17. Reston, VA: The National Art Education Association, 1999.

Fountain, Heather. Differentiated Instruction in Art. Worcester, MA: Davis Publications, 2015. Gaul, David and Johann Issartel. “Fine Motor Skill Proficiency in Typically Developing Children: On or Off the Maturation Track?” Human Movement Science, Vol. 46 (April 2016): 78–85. Geisser, Maura and Peter Geisser. “Students Who Are Deaf and Hard of Hearing.” In Reaching and Teaching Students with Special Needs through Art, 147–152. Reston, VA: National Art Education Association, 2006. Gerber, Beverly L. and Doris M. Guay, eds. Reaching and Teaching Students with Special Needs through Art. Reston, VA: The National Art Education Association, 2006. Gregorc, Anthony. “Mind Styles,” SUNY Cortland Faculty Webpages, accessed January 7, 2018. http:// web.cortland.edu/andersmd/learning/Gregorc.htm. Harwell, Joan and Rebecca Williams Jackson. Complete Learning Disabilities Handbook: Ready-to-Use Strategies & Activities for Teaching Students with Learning Disabilities, 3rd ed. West Nyack, NY: Center for Applied Research in Education, 2008. Hunter, Adrienne and Beverly Johns. “Students with Emotional and/or Behavior Disorders.” In Reaching and Teaching Students with Special Needs through Art. Reston, VA: National Art Education Association, 2006: 43–60. “Hypotonia Is Also Known as Low Muscle Tone,” Our Journey (blog), accessed January 7, 2018. http://www. cdadc.com/ds/hypotonia.htm. Loesl, Susan D. “Students with Physical Disabilities.” In Reaching and Teaching Students with Special Needs through Art. Reston, VA: The National Art Education Association, 2006. Logsdon, Ann. “Gross Motor Skill Development in Childhood” (updated March 19, 2019). Verywell Family website, accessed January 7, 2018. https://www. verywell.com/what-are-gross-motor-skills-2162137. Marincola, Elizabeth. “Hands-on Learning Boosts Success in the Classroom and Beyond” (September 7, 2012). Retrieved January 7, 2018. https://www. huffingtonpost.com/elizabeth-marincola/stemteaching-hands-on-_b_1865146.html Bibliography  141

Medaris, Kim (n.d.). “Study: Hands-on projects may be best way to teach engineering and technology concepts.” Retrieved August 28, 2018. https://news. uns.purdue.edu/x/2009a/090128DarkStudy.html. Menzer, Melissa, PhD. “The Arts in Early Childhood: Social and Emotional Benefits of Arts Participation: A Literature Review and Gap Analysis” (2000–2015). Washington, DC: National Endowment for the Arts, 2015. https://www.arts.gov/sites/default/files/artsin-early-childhood-dec2015-rev.pdf Miller, Lucy, et al. Sensational Kids: Hope and Help for Children with Sensory Processing Disorder (SPD). New York, NY: Tarcher-Perigee Book, 2014. Nyman, Andra L. and Anne M. Jenkins, eds. Issues and Approaches to Art for Students with Special Needs. Reston, VA: National Art Education Association, 1999. Prince, M. “Does Active Learning Work? A Review of the Research.” Journal of Engineering Education, 93(3) (2004), 223–231. https//:doi. org/10.1002/j.2168-9830.2004.tb00809.x Richard, Gail J. and Debra Reichert Hoge. The Source for Syndromes. East Moline, IL: LinguiSystems, 1999. Thompson, Michael. “What Causes Hearing Impairment and Why?” updated December 18, 2017. http://hearingcenteronline.com/audiology/ what-causes-hearing-impairment-and-why Thunder-McGuire, Steve. “Narrative Accounts of Experience, Context, Meaning and Purpose.” In Issues and Approaches to Art for Students with Special Needs, edited by A. L. Nyman and A. M. Jenkins, 99–108. Reston, VA: The National Art Education Association, 1999.

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Understood Team, The. “Understanding Sensory Processing Issues.” Understood.org: www.understood.org/en/learning-attention-issues/childlearning-disabilities/sensory-processing-issues/ understanding-sensory-processing-issues. Universal Design for Learning Guidelines (August 31, 2018). Retrieved September 2, 2018. http:// udlguidelines.cast.org/?utm_medium=web&utm_ campaign=none&utm_source=udlcenter&utm_ content=site-banner Vera, Debbie, M. M. Jozwiak, and M. L. Castilleja. “‘The Computer is Broke!’ Could Technology Be Affecting Fine Motor Development in Tech Savvy Pre-School Children or Could It Be Something Else?” Schooling 1st ed., Vol. 7: 1–10, Rep. No. 1 (2016). San Antonio, TX: Texas A&M University. www.nationalforum. com/Electronic Journal Volumes/Vera, Debbie J The Computer is Broke Schooling V7 N1 2016.pdf Waggoner. “What Is Colorblindness and the Different Types?” accessed January 7, 2018, http://colorvisiontesting.com/color2.htmeqwwsa. Williams, Karen. “Understanding the Student with Asperger Syndrome.” In Focus on Autistic Behavior, 10(2) (1995): 9–16. https://doi. org/10.1177/108835769501000202. Willings, Carmen (n.d.). “Font Legibility.” Retrieved August 25, 2018. https://www.teachingvisuallyimpaired.com/font-legibility.html

Additional Resources “5 Excellent Text to Speech iPad Apps for Teachers and Students.” Educational Technology and Mobile Learning. http://www.educatorstechnology.com/2013/11/5excellent-text-to-speech-ipad-apps.html

Virtual Museum Tours

“Colour Blindness: Experience It,” Color Blind Awareness website, accessed January 7, 2018, http:// www.colourblindawareness.org/colour-blindness/ colour-blindness-experience-it.

www.youvisit.com/themet

www.google.com/culturalinstitute/beta www.nationalgallery.org.uk/visiting/virtual-tours

Hypotonia Information Page. National Institute of Neurological Disorders and Stroke, accessed January 17, 2018. https://www.ninds.nih.gov/Disorders/ All-Disorders/Hypotonia-Information-Page. “Famous Well Known People with Hearing Impairments and Deafness.” Disabled World Disability News, updated May 17, 2018. https://www.disabled-world. com/disability/awareness/famous/deafness.php National Core Arts Standards http://www.nationalartsstandards.org National Eye Institute https://nei.nih.gov National Institute on Deafness and Other Communication Disorders (NIDCD). https://www.nidcd.nih.gov/ “Sensory Differences.” The National Autistic Society, accessed January 7, 2018. http://www.autism.org. uk/about/behaviour/sensory-world.aspx Sensory Processing FAQ. Child Mind Institute, accessed August, 16, 2018. https://childmind.org/article/ sensory-processing-faq/ VSA – The International Organization on Arts and Disability http://education.kennedy-center.org/ education/vsa/

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Index A adaptations emotional, behavioral disabilities and, 130 gross motor impairments and, 72–74 hypotonia and, 33–37, 43–44 intellectual disabilities and, 103–104, 108–109 low vision, 53–55, 55–57, 57–58 sensory processing disorder (SPD) and, 26 adaptive benefits, whole class and, 32–33, 48, 66–67, 82, 96, 113, 125, 136 apps, sensory processing disorder (SPD), 32 art communication and, 15 language alternatives and, 139 artist statements, 64, 110, 124 Asperger syndrome, 130, 135 assessments, initial, 7 assistive devices, hearing loss and, 116 auditory descriptions, low vision students and, 61 autism, 137 B Beethoven, Ludwig van, 114–115 Blandy, Doug, 5–6 blindness, 52 presenting art and, 65 See also low vision students brushes, 35, 36, 37 Buddha (Guatama Siddhartha), 98 Burdick, Corrie, 11–12, 14 C Causton-Theoharis, Julie, 11–12, 14 classroom activities connections to community, 93–94 Garza, Carmen Lomas example, 121–122 hypotonia, art exploration, 42–44 hypotonia adaptations, 39 intellectual disabilities and, 105 Jamie Wyeth lesson, 59–60 lesson adaptations, 43–44 Mondrian lesson, 77–78 sensory example, 28–29

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sensory processing disorder (SPD), 20, 22, 23 clay, gross motor impairments and, 73 collaborations, 71,139 conversations and, 13–14 learning communities and, 9–10 paraprofessionals and, 10, 11–13 peers, parents and, 10, 13 colleagues. See collaborations color blindness, 52 adaptations, 57–58 techniques, 58 See also low vision students communication, art and, 15, 139 connecting to art assistive apps for, 32 emotional, behavioral disabilities and, 133 fine motor delays and, 92–93 gross motor impairment and, 78–79 hearing loss and, 121–122 hypotonia and, 41 intellectual disabilities and, 110 low vision students and, 61–63 sensory processing disorder (SPD) and, 27–29 connections. See collaborations conversations, starting, 13–14, 139 craftsmanship, challenges, tips and, 71 criteria cards, 124 D disabilities role of art in communication and, 15 drawing, gross motor impairments and, 73 E E.A.T., example, asking, thinking, 15 Einstein, Albert, 138 emotional, behavioral disabilities, 126–127 adaptations and, 130 alternatives, offering and, 131 connecting to art and, 133, 134 creating art and, 129 media and, 130–131 presenting art and, 135–136



preventive planning and, 128–129 safe spots and, 134 sensory, kinesthetic movement and, 128–129 techniques, 132 tools and, 131–132 understanding, 127 white flag, waving for help and, 136 Estrada, Ignacio, 8 Eubanks, Paula, 6–7 F fine motor delays adaptations for, 87–88 art media and, 88 connecting to art and, 92–93 defined, 84 example lesson, 93–94 exercises, hidden, 93 gross motor impairments and, 92 learning center, 91 mosaic pieces exercise, 86 presenting art, ideas and, 95–96 responding to art and, 94 screen time and, 84 techniques, 89, 90–91 tools, 89, 90 flashcards, art vocabulary, 123 folding, cutting, tearing, gluing, gross motor impairments and, 72 Fountain, Heather, 44, 89 G games Token Response (Katter and Erikson), 45 gatekeepers, collaborations and, 11–12 Geisser, Maura, 115 Geisser, Peter, 115 Gerber, Beverly L., 15 glue drawings, 21 Gogh, Vincent van, 84 gross motor impairments adaptations for, 72–74 alternative methods for, 69 defined, 68 fine motor delays and, 92 fine motor skills and, 83 Mat Man and, 70 presenting art and, 81–82

reflective practice and, 75 responding to art and, 79–81 techniques and, 74, 76 tools and, 74–75 warm–up activities and, 69 group work, 116 Guay, Doris M., 15 H Haring, Keith, 76 hearing loss, 114–115 adapting art media and, 118–119 assistive devices and, 116, 117 connecting to art and, 121–122 creating art and, 118 media and, 119 modeling communication with, 116 presenting art and, 124 responding to art and, 122–123 step-by-step process instructions and, 125 techniques and, 121, 129 tools and, 120–121 visual handouts and, 117 visual reinforcement and, 118 Hegel, G.W.F., 140 Hoff, Benjamin, 4 Hofmann, Benjamin, 68 Hofmann, Hans, 126 Hunter, Adrienne, 127 hypersensitivity, 19–20, 31–32 hyposensitivity, 19–20, 31 hypotonia adaptations for, 33–37 art exploration activity and, 42–44 art ideas and, 41 connecting to art and, 41 defined, 34 movement breaks and, 40 presenting art and, 46–48 responding to art and, 45–46 talking, writing, choices and, 46 techniques, 39–40 tools, 37, 38–39 virtual presentations and, 48 I incentives, rewards, 112 initial assessments, 7

instruction, dumbing-down versus clarification and, 115 intellectual disabilities adaptations and, 103 art and, 102 back mapping, 111, 113 building confidence and, 100 choices, expression and, 101 connecting to art and, 110 defined, 98–99 lesson example and, 105 media and, 103–104 presenting art and, 112 responding to art and, 111 techniques and, 104, 107 tools and, 104, 106 interactive whiteboard gross motor impairments and, 73, 79, 81 J Jamie Wyeth lesson, low vision students and, 59–60 Johns, Beverly, 127 K Kant, Immanuel, 16 L Laurent, Reggie lesson, 87 learning communities collaborations and, 9–10 paraprofessionals, 10 peers, parents, 10 school therapists, 10 lesson examples. See classroom activities lessons. See classroom activities light boxes, tables, 40, 106 Jamie Wyeth lesson and, 59–60 Loesl, Susan D., 97 low muscle tone. See hypotonia low vision students, 51 adaptations for, 53–55 auditory descriptions and, 61 high contrast artists and, 61 personal associations and, 61 presenting art and, 64–65 responding to art and, 63 tools for, 55–57 See also visual impairments

M markers, 35 Mat Man, 70 media emotional, behavioral disabilities and, 130–131 hearing loss and, 119 Miller, Lucy Jane, 17 Mondrian, Piet lesson adaptation, 77–78 mosaic pieces exercise, 86 music, sound, sensory processing disorder (SPD) and, 39 N narrative accounts, 6–7 O online learning, 124 P painting, 23 brushes and, 36, 37 gross motor impairments and, 72 paint and, 21 paraprofessionals, collaborations and, 10, 11–13 peers, parents, collaborations and, 10, 13 philosophy of education, personal, 5–6 photos, connecting to world and, 43 posture, foam noodle and, 43 presenting art blindness and, 65 emotional, behavioral disabilities and, 135–136 fine motor delays and, 95–96 gross motor impairment and, 81–82 hearing loss and, 124 hypersensitivity and, 31–32 hyposensitivity and, 31 hypotonia and, 46–48 intellectual disabilities and, 112 low vision students and, 64–65 selection process, 46–47 sensory processing disorder (SPD) and, 31–32 visual color deficiency and, 66 proprioception, 17

Index  145

R reflective practice, 75 responding to art choosing activity and, 80–81 drawing and, 80 emotional, behavioral disabilities and, 134 fine motor delays and, 94 gross motor impairment and, 79–81 hearing loss and, 122–123 hypotonia and, 45–46 intellectual disabilities and, 111 low vision students and, 63 music, sound and, 30 prompts, 46 sensory processing disorder (SPD) and, 29–30 3D, textural items and, 30 verbal response and, 80 Richard, Gail and Debra Hoge, 19 Rumi, 50 Russell, Bertrand, 34 S safe spots, emotional, behavioral disabilities and, 134 scents, 54 school therapists, collaborations and, 10 screen time, fine motor delays and, 84 sensory, kinesthetic movement, emotional, behavioral disabilities and, 128–129 sensory processing disorder (SPD), 17–20 adapting art media and, 21–22 connecting to art and, 27 defined, 17 ideas, adapting and, 26 music, sound and, 30 over-responsiveness and, 18, 19 presenting art and, 31–32 responding to art and, 29–30 sensory collections and, 29 techniques, adapting and, 24–25 3D, textural items and, 30 tools, adapting and, 18, 20, 23–24 under-responsiveness and, 18, 19

146

T techniques color blindness, 58 emotional, behavioral disabilities and, 132 fine motor delays and, 89, 90–91 gross motor impairments and, 76 hearing loss and, 120, 121 hypotonia and, 39–40 intellectual disabilities and, 104, 107 sensory processing disorder (SPD) and, 24–25 textures, tools, 18, 54 Thunder-McGuire, Steve, 6 “Token Response” game (Katter and Erikson), 45 tools emotional, behavioral disabilities and, 131–132 fine motor delays and, 89, 90 gross motor impairments and, 74–75 hearing loss and, 120–121 hypotonia and, 37, 38–39 intellectual disabilities and, 104, 106 sensory processing disorder (SPD) and, 23–24 visual impairment and, 55–57 V Venn diagrams, 41 vestibular sense, 17 virtual museums, 95 virtual presentations, portfolios and, 48 visual color deficiency, 51–52 blindness versus, 52 presenting art and, 66 visual handouts, 117 visual impairments, 50–52 blindness, 52 creating art and, 52–53 low vision, 51 low vision adaptations, 53–55 scents, adding and, 54 tools and, 55–57 visual color deficiency, 51–52 See also low vision students

W weaving gross motor impairments and, 74

Deconstructing Disability in the Art Classroom

As art educators, we encourage students of all abilities to create and engage with art. Reaching students with

physical or developmental differences can be challenging.

In her debut book, author and art educator Bette Naughton shares more than twenty years’ practical experience creating adaptive lessons, resources, and strategies for educating

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Deconstructing Disability in the Art Classroom

By Bette Naughton

ADAPTIVE ART

Adaptive ART

• conducting initial assessments to determine barriers to each student’s success

• designing effective adaptations of materials, tools, • building a team of paraprofessionals with the resources of a supportive special education department

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students with vision or hearing losses, fine and gross motor challenges, cognitive or behavioral differences, and more, this addition to your professional library promises to help you build an informed and evolving awareness of your students’ needs.

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Bette Naughton

and lessons that will encourage engagement