10 Tips on How to Get the Most Out of the LEAD® Conference

LEAD 3 photosThe 17th annual Leadership Exchange in Arts and Disability (LEAD®) Conference is just a few weeks away! Whether you’re attending for the 1st or 17th time, you’ll want to get the most out of your time at the conference.

Here are tips from past participants on how to make the most of your time at LEADⓇ: 

  1. What to pack: Business cards, collateral from your organization, device chargers, light layers, comfy shoes, an open mind, and a willingness to learn. The conference hotel has an outdoor pool and 24 hour fitness center, if you want to pack swimming or work out attire.
  2. What to wear: Business casual, with an emphasis on casual. Some people choose to dress up a little for the Opening Night Party and LEAD® Awards Evening. Remember that you’ll be in Texas in August, but also inside an air conditioned building for most of the day and it can get cold.
  3. Plan your day in advance. Review the schedule and plan out which sessions you want to attend. Find the schedule online, in the conference app, or pick up a printed agenda at the registration table.
  4. But also be flexible. If a session you originally picked isn’t what you expected, quietly slip out and join another. It’s ok to switch sessions. It’s also ok to skip sessions. There’s a lot to take in and your brain might need a rest.
  5. Meet people in other fields. If you work in museums, make friends with theater people and vice versa. We all have a lot to learn from each other and our accessibility experiences and challenges may be similar.
  6. Don’t be afraid to ask questions! There is a good chance someone else has been through a similar situation or is pondering the same question as you. Ask a presenter, a LEADⓇ staff member, or a frequent-attender wearing a “Tipster” button (these folks have been coming for a while and can answer a lot of questions about making the most of the conference).
  7. Take notes. Everyone has a different style that works best for them (you’ll see laptops, tablets, notepads, journals, etc); there is a lot of information to absorb. Taking notes – whether extensively or in shorthand – will give you a reference when you get home.
  8. Attend affinity groups at the end of each day. Discuss what you’ve learned so far, ask questions, and connect with others.  
  9. Engage on social media. Hear what others have to share about sessions and meet people you already follow online. Use #kclead for conference updates and to connect with other attendees. Or follow LEAD on Twitter and Instagram.
  10. Engage in person. Try to talk to as many new people as possible! It helps to know that we’re not alone in trying to make the arts more accessible. Past attendees have commented that meeting new people they can connect with after the conference helps them meet their accessibility goals throughout the year.
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Using Art Education Effectively with Students who have Experienced Trauma

A photo of a woman with long, brown hair and dark rimmed glasses, wearing a short sleeved lavender shirt and chunky beaded necklace.

Donalyn Heise

In over 30 years of teaching visual art classes in K-12 settings, one student from early in Donalyn Heise’s career continues to drive her work. “This student made the top grade in every art assignment I gave, but I failed him as a teacher because I had no idea he was flunking out of school,” says Heise. She later learned that the student’s sister had committed suicide, and that he seldom attended classes or handed in assignments outside of art. This experience drove Heise to focus her own pedagogy on what she calls a “resilience framework,” using art education as a platform to help students thrive.

Many children experience psychological trauma, to include natural or environmental disasters, domestic or societal violence, bullying, homelessness, human trafficking, or rejection of sexual identity. Heise cites research by William Steele (2002), who found that youth who experience trauma may have emotional, mental, behavioral, and physical challenges that make them less likely to succeed in school.

Inspired by her early-career experience, Heise began to search for ways to use art education to help students who have experienced trauma thrive. She focused her classes not on the students’ trauma, but on ways to strengthen their resilience. Heise is quick to point out that her work is not art therapy, but teaching the content of the art project along with mastery of the technique. She explains, “We can teach landscape, shading, other artistic techniques along with how to use art to be a student’s visual voice.”

35 paper quilts are lined up together in 4 rows (3 rows of 9, 1 row of 8). The quilts are many colors, but mostly blue, yellow, pink, purple, and orange.

A display of paper quilts created in one of Donalyn Heise’s art classes.

One visual art activity Heise uses within her resilience framework is making paper quilts. In the lesson, students draw or paint 3”x3” paper squares while listening to different pieces of music. They discuss repetition in terms of the quilt patterns, and also reflect on the things in our lives that need to be repeated and those which do not.

After creating many squares, the students exchange them with their classmates; the squares which are exchanged form the outside border of each person’s quilt. For their center square, Heise asks students to think about a challenging time in their life (but not to draw it or say it aloud), then tells them to draw their source of strength in that challenging time. “Their strength is at the center of the quilt, and they are surrounded by their community, through the classmates’ squares,” she says, adding that the quilts can be brought together for a large display, but can also be taken apart so that students can take their individual quilt home.

Heise emphasizes the importance of trying to structure one’s art education practice to reach every student, regardless of his or her ability level or personal experience. One method she suggests is to offer many choice-based adaptations in the art classroom, and to offer the adaptations to every student. “I recommend having all the students try out adaptive tools, then allow them to opt in or out of using them. The same goes for other types of scaffolds: I make sure they are offered to every student. This helps reduce judgments and blurs the lines of disability,” says Heise.

Ultimately, Heise aims to help students feel safe and successful in the routines and materials found in the visual art classroom. She says, “By teaching flexibility, mastery of something, and a vision of the future throughout our art lessons, we help students articulate and celebrate their strengths and points of joy.” Through the resilience framework, Heise hopes to teach students both artistic technique and the valuable, intangible properties of the arts.

 

Donalyn Heise will co-present a session entitled “Using Art to Reach Students Who Have Experienced Trauma” with Adrienne D. Hunter and Beverley Holden Johns at the 2017 VSA Intersections: Art and Special Education Conference.

Five Activities to Help Students Build Empathy Through the Arts

By Miko Lee and Suzanne Joyal, Youth in Arts

The arts are a great way to help students with and without disabilities learn more about their own feelings and the emotions of others. We like combining a visual arts lesson on photography or portraiture with an opportunity to build empathy by making “Emotional Trading Cards,” which feature students expressing their emotions. The activities listed below offer ways to extend the visual art-making experience for students.

1. Look in a mirror: how does a SAD mouth look? What about HAPPY eyes, a SCARED nose, or ANGRY eyebrows? Now try to draw what you see.

2. Draw your face two times showing two different feelings. What is the difference? Did you draw the eyes or the mouths differently? How so?

3. Draw a picture of a time when you were SURPRISED. What happened that surprised you?

4. Draw lines that show FEELINGS: happy, sad, surprised, angry, scared, etc. How does your hand move when you think about things that make you feel each emotion?

5. How does the color RED make you feel? What about ORANGE? YELLOW? BLUE?

 

The Youth in Arts logo, a black square with the letters YiA in red and white.Youth in Arts provides students in the North San Francisco Bay Area with high-quality experiences and instruction in the visual and performing arts, directly serving over 20,000 pre-K–12 students annually. Miko Lee is executive director of Youth in Arts, and Suzanne Joyal is the organization’s visual arts director.

Intersections Preview: Examining Blackness, Disability, and Higher Education with Presenter Adrianna Matthews

A photograph of a woman with shoulder length, straight dark hair and a sleeveless purple top, resting her head on her left hand.

Adrianna Matthews

Adrianna Matthews has done a lot of self-discovery in graduate school, and she is ready to share what she has learned with educators and peers. A student at the University of Texas at Austin’s MFA program in Drama and Theatre for Youth and Communities, Matthews used a research assignment as an opportunity to address her experience as a black student with three disabilities. The resulting performative essay, from which she will present an excerpt at the 2017 VSA Intersections: Arts and Special Education Conference, both examines her journey and provides facts and tips for educators on how to effectively engage minority students with disabilities.

Matthews decided to research the topic of blackness, disability, and education after facing issues of exclusion, discrimination, and systematic oppression in her graduate program. Her background as a playwright, actress, and educator inspired her decision to turn the research paper into what she calls a “performative, musical essay.” The one-woman piece features three characters: Black Graduate Student, the protagonist; Research, who provides facts and insight throughout; and Avatar for Black Graduate Student, the protagonist’s alter ego.

The essay was created for Matthews’ Performing Blackness class, where it was enthusiastically received by her peers and professor. “The class was blown away by the structure of my research presentation and the content,” says Matthews, continuing, “…many of them were surprised to learn I have invisible disabilities, or that I experience struggles because of my blackness. The positive feedback I received really boosted my confidence as a scholar and artist.”

Attendees at her Intersections session will see part of her performance piece and will also participate in what Matthews hopes will be an active dialogue on what people with disabilities experience in higher education settings, what black students experience, and what it may mean when students have both of those identity markers. She plans to explore questions like, how does white privilege play a role in disability discrimination? How does blackness play a role in school curriculum? And how does one’s cultural upbringing shape the way they identify with class and difference?

Matthews will also share suggestions for educators on working with students of color with disabilities. She strongly advises organizations and schools to provide training opportunities for educators on engaging and understanding student identity markers. “I love using drama strategies in community-building workshops to help build a better understanding of individuals,” recommends Matthews, adding, “Performing arts exercises can help a teacher and student build a relationship in a way they could not in a normal academic setting.”

 

Adrianna Matthews will present “ Blackness, Disability, and Higher Education” at the 2017 VSA Intersections: Arts and Special Education Conference on Sunday, August 6, 2017, at 3:15 p.m.

Five Tips for Creating an Inclusive Dance Experience

By Portia Abernathy, M.Ed., M.A.

Creating an environment for high-quality, inclusive dance education requires preparation, flexibility, and creativity. These tips for creating an inclusive dance experience aim to help educators offer excellent arts learning opportunities to every student.

  1. Shift Your Mindset – When working with inclusive populations, it is important to remember that the unique needs of our students are not barriers. Our students don’t need to change who they are, how they learn, or how they communicate to participate in dance. It is up to us to creatively adjust how we teach, what we teach, and where we teach to make sure all students can access our instruction and meaningfully participate in the dance experience.

 

  1. Use Inclusive Language – The words we use matter and set the tone for our instruction, programs, and institutions. It is best to use language that is inclusive, strengths-based, emotionally neutral, and that places the individual before his/her disability, label, or diagnoses.

 

  1. Conduct Intake Interviews – Each dancer you work with will have unique needs. Conducting intake interviews with all new students and families will help you get a sense of who they are, how they move, how they learn, and what they need before you start dancing together. Make sure to ask about communication, behavior, physical, and sensory needs as well as preferences, motivators, and interests.

 

  1. Make Time for Free Dance – It may sound like all fun and games, but including free dance time in each class can be very meaningful. Free dance time allows students to apply and demonstrate what they have learned in an authentic and personal way. Free dance can promote choice, independence, self-expression, creativity, and artistry. It can also help build audience skills and empathy while students wait for their turn to dance.

 

  1. Incorporate Props – Props can be very useful for creating structure and making movement accessible for all dancers.

Chairs: Seated formations can be containing and grounding for students; seated exercises can help build strength while avoiding fatigue, and chairs can help create a sense of inclusion and equity for dancers who use wheel chairs or mobility devices.

Rubber Floor markers: Star or circle shaped floor markers can help identify assigned places, formations, pathways to travel along, and can help make movement or music patterns visible for dancers.

Scarves: Scarves can help dancers who are apprehensive to move (sometimes it is easier to move an object instead of your body) and are great for helping students increase the fluidity of their movement.

 

A picture of Portia Abernathy, a smiling woman with long blonde hair and a blue jacket


Portia Abernathy, M.A., M.Ed., is Assistant Director of Education and Community Initiatives at Boston Ballet, where she oversees accessible and inclusive dance education and professional development programs. A former special education teacher, she is a presenter at the 2017 VSA Intersections: Arts and Special Education Conference.

January 2017 VSA Webinar: “The Design and Use of Inclusive Surveys in Arts Programs”

Every day you make decisions based on some type of information. Learn how to do it more systematically, reliably, and inclusively for arts programming with some tips and strategies from the Research and Evaluation team at the Kennedy Center!

In this webinar, we will present some tips for good question writing, and some strategies for more inclusive survey design and administration. We will explore the big ideas about why language choice for questions is important for reliability and accuracy, as well as how variation in answers can be productively used to understand and improve programs. As take-away resources, we will share checklists for Survey Design and Universal Design for Evaluation

Click on the play button below to watch a free recording of the Webinar. (You will be prompted to enter your email address and contact information prior to viewing the Webinar.)

november-webinar-blog-video

Presenters:

The panelists are from the Kennedy Center’s Research and Evaluation Team, Bina Ali and Don Glass.

 

 


Links and Resources:

We want to know-what did you learn from this webinar?

November 2016 VSA Webinar: “Teaching Students with Autism: What Teaching Theater Teaches Us”

In this series, three psychologists share insights from their research on how theater activities affect cognitive and social skills in children with autism spectrum disorders. On the final webinar, a special educator discusses how those findings impact classroom practice.

Click on the play button below to watch a free recording of the Webinar. (You will be prompted to enter your email address and contact information prior to viewing the Webinar.)

november-webinar-blog-video

Presenters:

Blythe Corbett, Ph.D., is an Associate Professor of Psychiatry and Psychology at Vanderbilt University. Her research program, the Social Emotional NeuroScience Endocrinology (SENSE) lab, evaluates the socioemotional responsivity of children with autism. Dr. Corbett founded SENSE Theatre, which uses behavioral approaches and theatrical techniques to improve social and emotional abilities of children with autism.

Laura Guli, Ph.D., is a psychologist in Austin, TX. She authored a social skills manual for children with autism, Social Competence Intervention Program, that uses creative drama to help children and adolescents become fluent in nonverbal social cues that make interactions difficult for them. Prior to private practice, Dr. Guli was a theater arts teacher and a school psychologist.

Matthew D. Lerner, Ph.D., is an Assistant Professor of Psychology, Psychiatry, and Pediatrics at Stony Brook University. He is the founding Director and current Research Director of the Spotlight Program at the Northeast Arc in Massachusetts, a program for social competence and confidence development. Dr. Lerner’s research focuses on “real world” implications of social problems in children with autism, and evidence-based approaches for ameliorating those problems.

Alida Anderson, Ph.D., is an Associate Professor in the School of Education at American University. Her research focuses on language development and literacy acquisition in diverse populations. Recent publications include Arts Integration and Special Education, an edited volume connecting interdisciplinary frameworks in human development and linguistics, special education, and urban education with primary action research by special educators.


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Bringing Spoken Word into Inclusive Science Classrooms

Students study literary arts in many forms throughout their educational careers, from novels to poetry and short stories to plays. But after working with middle and high school girls in Pittsburgh, Pennsylvania, on STEAM (science, technology, engineering, arts, and math) lessons, Venneasha Davis and Dr. Temple Lovelace had an idea about how to make the content more inclusive and culturally responsive. They incorporated a different literary arts form: spoken word.

A photo of Venneasha Davis

Venneasha Davis

Davis and Lovelace introduced spoken word into their Sisters e S.T.E.A.M. classroom sessions on science topics, and also used spoken word to talk about self-esteem and empowerment. They encouraged students to create pieces of spoken word rooted in both their own experiences and in science.

The Sisters e S.T.E.A.M. program includes students with and without disabilities, and Lovelace says that spoken word is a great equalizer for the participants. “Any time you open arts and academic content to intersect, kids are able to pull from different experiences and kinds of comprehension,” Lovelace says, continuing, “[A student] can be strong in putting spoken word together, but not in science concepts. It levels the playing field and allows students to feel more included.

When starting a spoken word session with the Sisters e S.T.E.A.M. students, the educators set the stage for creation with a foundational idea, like a quote or song of the day, or a trio of facts about the relevant academic content. Lovelace says using a prompt helps so one student does not have more knowledge about the topic than a peer. The educators also allow students to use their phones and tablets to quickly look up information on a topic.

A photo of a woman with a dark blazer and white necklace

Dr. Temple Lovelace

After discussing the foundational idea, students free write about it, then analyze their free writing before creating a spoken word poem. They also sometimes write as a group, depending on the students and time available. The educators explain everything in three ways—verbally, in writing, and with guided notes—to ensure all learners understand the instructions. Lovelace and Davis also provide examples for every part of the literary process, as well as a template to help students get started.

Spoken word is just one of the art forms Sisters e S.T.E.A.M. incorporates into its sessions. Students have also used digital storytelling, photography, dance, filmmaking, visual art, and audio production as tools for science learning. Regardless of the art form being used, Lovelace and Davis always approach the lessons with respect and understanding for the differences the children bring to the classroom.

“Because of my background as a special educator, I always approach learning differences not from a deficit basis, but as understanding who each individual young person is. Then I walk myself and the teaching artists through the content and how to differentiate our instruction, “Lovelace says. She also emphasizes the importance of being ready to differentiate on your feet, while you are in the classroom.

According to Lovelace, incorporating spoken word and other arts components into project-based, small group learning allows students to demonstrate character strengths along with academic strengths. “If I am a good collaborator, communicator, listener, those skills are just as important as mastering software applications,” she says, continuing, “By bringing arts into the school space, we allow everyone to shine.”

Belfast’s Replay Theatre Company Makes a Splash with Students with Disabilities

A female actor in a blue costume holds a boy audience member in a pool.At Replay Theatre Company in Belfast, Northern Ireland, part of the organization’s mission is to provide meaningful arts experiences to children and young people with profound and multiple learning difficulties and those who live and work with them. Their current production for students with disabilities is Into the Blue, a show in a pool featuring actors who sing an original score.

We had a chance to speak with Janice Kernoghan, Replay’s artistic director, and Anna Newell, director of Into the Blue and former artistic director at Replay, about the show and the company’s other work with students for disabilities.

 

VSA: Tell us about what happens at a performance of Into the Blue.

Janice Kernoghan: Three pupils attend each show, each with an adult companion (who could be a teacher, teaching assistant, parent, etc.). We tour the show to special school hydropools across Northern Ireland, so our audiences are pupils from each school we visit. This increases accessibility as it means no travel for children for whom travel can be disruptive and/or difficult. Into the Blue is currently on its second tour, and on both tours we have also performed it in the hydropool of the Northern Ireland Children’s Hospice.

We send schools a social story for the show in advance so that students can get an idea of exactly what happens at a performance. Three performers sing the entire 20-minute show in three-part harmony. The performances always have a ratio of one actor to one child. This means that the actors can be completely attuned to the reactions and preferences of the child they are working with.  This intensive interaction is central to all of Replay’s work with children with disabilities.  Each different song in Into the Blue represents a different feeling of being in water—gentle waves, bubbling whirlpool, open seas.  To accompany these changes in mood there are different props used, including colanders and reflective mirrored globes. You’ll find video footage of the show on our website.

 

Three actors in blue costumes perform for three children and their caregivers in a pool.VSA: What was the inspiration for creating the piece?

Anna Newell: I’d always had the plan to make a show in a pool for children and young people with profound and multiple learning difficulties, inspired by our contact with [UK children’s theater company] Oily Cart who had made a very different piece in the same unusual environment. Much of my work for both the very young and children with disabilities involves substantial use of harmony singing. There is something ultimately, beautifully, and viscerally connective about human voices singing in harmony. And the pool is one of the few environments where children and young people who are anxious find calm […and] have a (literally) more fluid kinaesthetic experience. So it made sense to me to put these two things together.

 

VSA: What was the development process like?

Anna Newell: Practically, we would spend the mornings learning the sung score and the afternoons taking the singing into the pool with audience members. This show is incredibly responsive to each audience member and is a totally different bespoke experience each time, with the performers nuancing the show in tacit dialogue with the audience both as individuals and as a group.  And whilst there are initial conversational openers—gentle droplets of water dripped on hands, floating reflective globes, cascading colanders—during the development process, the children and young people in all their extraordinary diversity are training the performers to be able to create a blissful watery adventure that is developed/devised in the moment substantially led by the audience. Some shows are very, very splashy and energized, others are very, very gentle, some are cheeky and playful, and others are intensely intimate; some are all of these at the same time in different corners of the pool with different audience members.

When I was creating the first ever show I made as Replay’s artistic director for this audience, I had a massive personal revelation about what theatre meant to me. These children and young people revealed to me that what I think theatre is, is very simply one human being communicating with and connecting with another human being. And my job as director is to create the optimum conditions for this communication, for this connection. Into the Blue does this, I think, really uniquely, with its combination of a blissful environment, David Goodall’s exquisite vocal score, and performers who have been trained through the development process (and trained by their audience as much as by myself) to listen intently with all their senses and to find the connection, to find the conversation, and to travel on the adventure together with their audience.

 

An actor in a blue costume holds a colander draining water up in the air for a child in a pool.VSA: Does Replay have any other productions or programs happening this year for students with disabilities?

Janice Kernoghan: Replay always has a production for young audiences with disabilities in development. Into the Blue is the last project for audiences with disabilities during 2016; however, in February we will be continuing development work on our brand-new show Yes Sir, I Can Boogie. The show is designed for children ages 3-7 with physical disabilities who may not always be able to get on the dance floor. Yes Sir, I Can Boogie is a party of a show where everyone gets to get on down, and is an upbeat celebration around the joy of dance and movement.

Next year we will also be retouring Snoozle & The Lullabugs, a rockabilly-rockabye show for children under age 5 with profound and multiple learning difficulties or severe learning difficulties, which can also be enjoyed by under 5s without disabilities. In the show, Snoozle wants to stay up and rock, but his band, The Lullabugs, just want to go to sleep. Using everything at their disposal, including chilled-out doo-wop harmonies and calming sensory activities, The Lullabugs try every trick in the book…but Snoozle will not be easily swayed. The audience decide for themselves and vote with their eyelids who wins this battle of the band.

 

For more information about Replay Theatre Company and Into the Blue, visit their website, http://www.replaytheatreco.org/. There is also an article about Into the Blue on the Arts Council of Northern Ireland’s website.

October 2016 VSA Webinar: “The Teacher and the Teaching Artist: Collaboration and Community Building in the Classroom”

In “The Teacher and the Teaching Artist: Collaboration and Community Building in the Classroom”, teaching artist Nancy Volante and special education teacher Chad Hamilton discuss how the classroom is a community where learning, communication and socialization take place everyday. Building a strong foundation and relationship between classroom teachers and teaching artists creates an environment where the classroom community can engage in the intellectual and creative process. In this one-hour webinar, we examine and discuss the necessary components of a strong collaborative relationship that sustains learning, communicating and socialization in the classroom—for both students and professionals.

Click on the play button below to watch a free recording of the Webinar. (You will be prompted to enter your email address and contact information prior to viewing the Webinar.)

october-webinar-blog-video

Presenters:

Nancy Volante received her Master’s Degree in Interdisciplinary Arts from Goddard College in Vermont. She teaches theatre and dance residencies and professional development workshops throughout the country. Nancy’s particular interest is integrating arts education in the classroom. She is co-creator and former lead teaching artist/coach for Everyday Arts for Special Education (EASE). Her community based art practice addresses place, identity and memory through movement, text and image.

Chad Hamilton is a Special Education Teacher and Board Certified Behavior Analyst (BCBA) based in Brooklyn, NY. This is his 11th year teaching within District 75 of the New York City Department of Education. District 75 is an all-borough special education district within New York City, serving students with a range of disabilities. As a classroom teacher, Chad works with students classified with Autism, Intellectual Disability, and/or Emotional Disturbance, in Grades K-5.


Summary of Discussion Topics:

  • Six Characteristics Defined
    • Trust
    • Diversity
    • Mindfulness
    • Interrelatedness
    • Respect
    • Effective Communications
  • How to Build and Sustain the Six Characteristics
    • Professionalism
    • Pedagogy
    • Collaboration
    • Flexibility
    • Creativity
    • Trust
    • Alturism
  • Outcomes when the Six Characteristics are Present

Links and Resources:

We want to know-what did you learn from this webinar?