Special Needs Students in the Art room: A Journey by Doris M. Guay
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Special Needs Students in the Art Boonl: A Journey by Doris M. Guay
Three stories from educator Doris M.Guay, in an article titled "Special Needs Students in the Art Room", show us the diversity of students and learning possibilities in art education. Each includes creative discoveries for understanding and overcoming the practical challenges art teachers face directly in the classroom.
The three stories that struck me the most were that all three of these stories provided in-classroom experiences of these real teachers. The two classrooms described in the story incorporate children with disabilities. The third is a separate class consisting only of students with severe and multiple disabilities. As readers encounter these teachers and students through their stories, the individual's concept of disability and the approach to teaching students experiencing disability depend on their personal and professional successes and failures and their own experiences.
Each of the preceding stories depicts the reality of art education in a classroom that includes students with multiple disabilities. These stories are helpful for art teachers who are struggling to find themselves in a similar situation. Teachers in the three cases worked to transform the teaching and learning environment beyond the constraints.
In the case described above, the first teacher was personally confident as a learner. She became increasingly confident not only in her students' abilities but also in her own abilities. The second teacher described it came to need her help through reflection and interaction with the author.
In the case of the third teacher, it is a good case of overcoming the poor situation where it was impossible to ask for feedback through students' responses because he had severe or complex disabilities by applying creative research techniques and educational strategies. I was particularly impressed with David and Becky's third and final case. This is because it was an excellent case to confirm that students in this unique environment can be educated more effectively through a creative problem-solving framework.
Studying this article also taught me once again that the success of art education for students of diverse abilities and needs is related to planning, problem finding, and consistency. Moreover, I think it is the best story for the five environmental domains of solving this problem. First, to recap the story of David and Becky:
Ms. Brady's special education classes were in a suburban high school with a poverty level of less than 3%. Her students had previously been unable to take art education classes in high school buildings. Students have multiple disabilities and are not given many decision-making opportunities in other settings. Brady's eight students had severe and multiple disabilities, including mental retardation, cerebral palsy, and autism.
The students in Brady's class needed a new perspective on the curriculum and teaching. The primary focus of high school general education art classes is a curriculum inadequate for these students in developing two-dimensional imitation drawing and design skills. Brady turned to a nearby university for help to solve this problem. Through compulsory courses at a nearby university, prospective field experience students David and Becky have been assigned to teach art to students with severe disabilities in this class. Under the course guidelines of their university instructors, they could engage non-verbal students in a comprehensive arts curriculum focused on themes of contemporary, multicultural, and multicultural works of art. David and Becky learned to understand students' eye, voice, and face communication. They also learned to engage students with questions that require a "yes/no" signal and a "show me" answer. David and Becky introduced each class to illustrations to explore thematic possibilities.
To prepare for the lesson, David and Becky researched unit ideas and prepared stories and questions to engage students. For example, a class based on two works by Judy Chicago asked comparative questions and "yes/no" questions. "
Students learned that through units focused on the work of Andy Goldsworth, some artists could show us nature as it is. Some artists alter what is or can be, creating something unique and special (Dissanayake, 1988) in a way that is not real and could not be without the artist's hand. After talking about this, I asked the question to take a careful look. "Look carefully at these two works. Who is the artist who shows us the autumn days we can go out and see?" Stop me by saying "yes" when I point to something that tells me it is autumn. "Now, what works can an artist change nature or use nature to show us something beautiful that we cannot see without the artist's work?" "Which artist do you think helps us see nature most extraordinarily?" Students can choose either one. Becky and David encouraged visual engagement and revealed student experiences and understanding through questions.
All studio projects included student ideas and mark-making. As the class team leader, the prospective teacher provided each assistant with a written handout and a quick discussion before each lesson began. Handouts included planned goals for student engagement and learning.
That is, the first domain.
1. Monitor areas of potential students with disabilities and become more independent and responsible for the individual.
-i.e., she has a good grasp of the areas in which the severely disabled students in her class are unsuitable. Furthermore, it concludes that for them to have a practical art education, they must first be able to interpret their reactions. This attitude of facing the problem directly, being immersed in inertia, and taking an active stance without relying on the existing system is an independent and responsible attitude.
2. The possibility of collaboration or cooperation in the realm of peers, paraprofessionals, and other classroom assistants and joint training are considered.
-When they checked domain 1, they immediately looked for a resource to check their problem at a nearby university. I used to say I was lucky, but I think it's a humble expression. Suppose they have not found the problem and are looking for the answer, but no luck. Thanks to this, they could meet an expert who could distinguish yes/no in the facial expressions, eyes, and actions of children with disabilities. And we were able to maximize their participation.
3. Areas of the student environment with spaces and places
Signs, visual installations, learning centers, and each student's
Placement and personal space are taken into account.
- Where they work, the poverty rate is not that high. It seems to have been a benefit to them. Because there was no need to jump over spatial complications and obstacles. They were able to utilize the handouts and marks, and their teaching assistants were well stocked in a well-prepared space. Looking at this domain, it is thought that having some external environment in education is the fastest way to improve the fatigue of educators.
4. Goal orientation, flexibility,
- Explaining the concept of art to students with severe disabilities is a tough goal. Because the concept itself is vague, the teacher can draw conclusions on their own, inject them, and imitate them if you do it wrong. However, they did not do that, and after observing the artist's work-making style, they chose one of the two styles by themselves, helping learners to take the lead in understanding the meaning of art.
5. The teacher's domain as a learner in his or her classroom
Active problem discovery, knowledge exploration, and support for understanding are considered.
- Learning to interact through non-verbal communication with students with severe disabilities, i.e., visually teaching the concept of art after solving a problem, is also consistent with this realm of active problem-discovery, i.e., the realm of the teacher as a learner.
Although emphasized several times, a modern and comprehensive art education helps students understand many of their immediate and extended environments. In particular, the arts take students to the world in different ways. As I read this article, I realized that art education should go beyond simply drawing, showing pictures, and introducing the artist. In other words, students and educators learn that both learners and educators should grow through interaction in consideration of dynamics and interaction, which are elements of creativity. This is the effect of comprehensive contemporary art education. At the same time, it will be a shortcut that can help students with disabilities to understand their world and environment through proper education.
Myungja Anna Koh