"A Movement and Music Program for Children with Autism"
by Sandra Stratton Gonzalez
Dance specialist Sandra Stratton Gonzalez writes about the music and movement programme for people with autism that she devised with educational assistant Linda Walker and teaches in the Summer over a six week period.
The article outlines how the classes are structured in detail. She describes how she uses the Picture Education Communication System (PECS) to assist in her teaching. She explains what this is by quoting Overcast and Horton as follows:
" The Picture Exchange Communication System (PECS) is an alternative communication system developed in 1985 at the Delaware Autism Program by Lori Frost and Andy Bondy. Visual images representing people, objects, and actions, PECS symbols are designed to build communication skills in children with limited or no verbal language. Implementation of the PECS system involves learning a specific training protocol based on applied behavioral analysis "(Overcash and Horton 2010).
Gonzalez wears the symbols on a keychain round her neck and shows them to her students to clarify the instructions she is giving. The Resource Guide for Schools on teaching people with autism produced by the British Columbia Ministry for Education states that:
"The most strongly recommended approach for teaching students with autism is to use visual aids. Students often demonstrate relative strengths in concrete thinking, rote memory, and understanding of visual-spatial relationships, and difficulties in abstract thinking, social cognition, communication, and attention. Pictographic and written cues can often help the student to learn, communicate, and develop self-control" (bced.gov.bc,2000, online)
People with autism spectrum disorders sometimes have pictorial images in their heads so relate better to visual instruction. Autism expert Dr Temple Grandin, who is on the autism spectrum herself, states :
"I THINK IN PICTURES. Words are like a second language to me. I translate both spoken and written words into full-color movies, complete with sound, which run like a VCR tape in my head " (Temple Grandin , 2006, online).
I often show my pupils photographs, or film clips to illustrate certain dance positions, or dance movements I wish the children to execute, such as an arabesque demonstrated by a famous ballerina or a sequence performed by a dance company. I have found it can more beneficial than verbal instruction and I am mindful of the old adage'a picture speaks a thousand words'. I have not utilised PECS for my pupils with autism, but it is something that I will consider implementing. I found the following article which explains about the use of PECS very helpful:
http://sitemaker.umich.edu/356.kobza/pecs__picture_exchange_communication_system
Gonzalez uses coloured tape and dots to map out positions and directions of travel for the students to assist them with difficulties in orientating themselves within the space.Marking an area with tape is something which I do on stage to assist the performers; small pieces of masking tape are placed at the front of the stage to help with spacial patterning. Other strategic points on stage are marked to enable the performers to find a specific area that needs to be lit at certain times within a dance.
In my dance classes I don't use tape, but I do sometimes use coloured chalk to mark out positions in group choreography for my younger pupils. I also get my young pupils, both with and without autism, to line themselves up with different pictures on the walls; for example, I don't tell the children to travel to the left or right, but instead tell them to travel towards a particular picture on the left or right side of the room. I have found that it helps those pupils who have proprioceptive challenges to know where they need to be if they have a visual marker to assist them.
Gonzalez uses props such as ribbon wands and scarves to assist with creating spatial patterns, pathways and levels and also to help develop the imagination by using them in different creative ways to represent other objects. I use all kinds of props to stimulate the imagination in my dance classes for young children. I use many props in my drama classes for all ages and I use props in my choreography where appropriate.
Using props can be very beneficial, for example the Royal Academy syllabus uses movements with scarves to develop the use of the upper back. Props can be fun to use and create a visual spectacle on stage, but I have also found that they can provide extra problems for those who have co-ordination difficulties. If you persevere, however, they master the use of them and it helps improve their co-ordination.
A child with behavioural challenges can also easily turn a prop like a ribbon wand into a weapon to hit another child, so it does require the teacher to be particularly vigilant when using props and ensure they are used safely.
In her class Gonzalez builds in rewards for her pupils. She describes using a drum to provide musical accompaniment during a movement sequence which travels across the room and allowing the pupils the reward of banging the drum once they have completed the sequence. Edward Thorndyke introduced the law of effect. This states that "behaviour that is followed by consequences that are satisfying will be repeated, and behaviour that is followed by noxious or unpleasant consequences will be discouraged" (NHS Scotland,2012, online).
Positive Behaviour Support (PBS) advocates "consistently rewarding positive behaviors and minimizing the rewards for challenging behaviour" (Reuf, M, et al,1998 online).
I have in the past used a point system to reward my young pupils for dancing well in their lessons. The points were added up each term and a small gift was awarded to the child with the highest number of points. I had not realised that, unwittingly, I had been employing a PBS strategy. To be most effective, however, PBS advocates that the reward be immediate, so I am now considering having a small prize, such as a sticker, at the end of each class so that the award is more instant.
Gonzales mentions the importance of having a calm, uncluttered environment for teaching pupils with autism. The Autism UK website states:
"Many people with autism can be very sensitive to noise, light, heat or smells. Therefore, it is important that lessons and activities are carried out in a calm environment, free as far as possible from disruption or noise which may make them feel anxious" (National Autistic Society,2015, online)
The teaching environment is something that can be controlled if you have your own studio, but, if you are teaching in various different venues, as I am doing at the moment, this is something that can't always be managed.
Gonzalez maintains that "Predictable routines are important in all dance classes, and crucial in classes for students with autism". I find that my pupils with ASD are often reticent to try new movement sequences, even those who are extremely talented and high functioning panic, in an examination when it comes to the unset exercise given by the examiner- they have a fear of the unknown. To counteract this I make sure that I give my pupils lots of unset sequences in their classes. I start with very simple combinations that they can easily master to build their confidence and then gradually increase the content and degree of difficulty. The more combination they practice the more it allays their fears.
In her classes, Gonzalez states that improvisation plays an important part. It is interesting that she says most children will readily engage with this task, because the essence of improvisation is experimentation and that is at odds with the fact that people with autism like routine and predictability. I think that it may be due to the fact that they themselves are in charge of which movements they are making, so this takes away the fear of the unknown. This is in line with what Temple Grandin says about hypersensitivity to the senses. She states that : "sometimes a child with autism can learn to tolerate a loud sound if he/she has some control over it" ( Temple Grandin, 2015)
Gonzalez says that a high ratio of adult helpers to pupils is crucial to the success of her class and that those helpers must have "a deep understanding of children's needs and behaviour". In a class where pupils on the autism spectrum are integrated with those who are not this might not be practical. I have taught mainly integrated classes and I always liaise with the children's parents/carers frequently to get as much information about them as possible, but I do not have the parents/carers in the class. I do however have older students to assist and also use peer support as I find this builds relationships within the class.
Gonzales concludes her article saying:
"A successful dance and music class for children with autism starts with the creation of a safe space. The room is cleared of obstacles and visual distractions. Class routines are in place and followed consistently. All class activities are explicitly demonstrated, described, and represented visually. Repetition is used to support student achievement. It is also crucial for the dance educator to model calm behavior, have the confidence to allow silence and time for a child to respond, and have patience for confusion and chaos when children become overwhelmed and act out."
This article is very helpful for my inquiry because it provides insight into the way a dance class for the autistic range is structured.It has raised some key points for me to look out for in my class observations. These are:
The article posed some questions that I wanted to answer so I contacted the author. She kindly replied and provided me with the answers I sought. I will discuss this in a future blog.
BIBLIOGRAPHY
British Columbia Ministry Of Education , 2000 Teaching Students With Autism A Resource Guide For Schools, online: https://www.bced.gov.bc.ca/specialed/docs/autism.pdf
National Autistic Society, 2015, "Environment And Surroundings", online: http://www.autism.org.uk/living-with-autism/at-home/environment.aspx
Overcash, A and Horton,C, 2010, "The Picture Communication System: Helping Individuals Gain Functional Communication, Autism Advocate 3: 21-24
Positive Behavioural Support A Learning Resource, 2012 online: http://www.nes.scot.nhs.uk/media/570730/pbs_interactive_final_nov_12.pdf
Reuf M, B et al, Positive Behavioural Support: Strategies For Teachers, 1998, online: http://digitalcommons.calpoly.edu/cgi/viewcontent.cgi?article=1032&context=gse_fac
Stratton Gonzalez, S, A Movement and Music Program for Children with Autism, 2015 Routledge, online: http://s3.amazonaws.com/ClubExpressClubFiles/893257/attach/1354242_0_Dance_Education_in_Practice_Article.pdf
Temple Grandin,M, 2006, "Thinking In Pictures", online:http://www.grandin.com/inc/visual.thinking.html
Temple Grandin, M, 2015, Temple Talks About Autism And Sensory Issues, Sensory World
"The most strongly recommended approach for teaching students with autism is to use visual aids. Students often demonstrate relative strengths in concrete thinking, rote memory, and understanding of visual-spatial relationships, and difficulties in abstract thinking, social cognition, communication, and attention. Pictographic and written cues can often help the student to learn, communicate, and develop self-control" (bced.gov.bc,2000, online)
People with autism spectrum disorders sometimes have pictorial images in their heads so relate better to visual instruction. Autism expert Dr Temple Grandin, who is on the autism spectrum herself, states :
"I THINK IN PICTURES. Words are like a second language to me. I translate both spoken and written words into full-color movies, complete with sound, which run like a VCR tape in my head " (Temple Grandin , 2006, online).
I often show my pupils photographs, or film clips to illustrate certain dance positions, or dance movements I wish the children to execute, such as an arabesque demonstrated by a famous ballerina or a sequence performed by a dance company. I have found it can more beneficial than verbal instruction and I am mindful of the old adage'a picture speaks a thousand words'. I have not utilised PECS for my pupils with autism, but it is something that I will consider implementing. I found the following article which explains about the use of PECS very helpful:
Gonzalez uses coloured tape and dots to map out positions and directions of travel for the students to assist them with difficulties in orientating themselves within the space.Marking an area with tape is something which I do on stage to assist the performers; small pieces of masking tape are placed at the front of the stage to help with spacial patterning. Other strategic points on stage are marked to enable the performers to find a specific area that needs to be lit at certain times within a dance.
In my dance classes I don't use tape, but I do sometimes use coloured chalk to mark out positions in group choreography for my younger pupils. I also get my young pupils, both with and without autism, to line themselves up with different pictures on the walls; for example, I don't tell the children to travel to the left or right, but instead tell them to travel towards a particular picture on the left or right side of the room. I have found that it helps those pupils who have proprioceptive challenges to know where they need to be if they have a visual marker to assist them.
Gonzalez uses props such as ribbon wands and scarves to assist with creating spatial patterns, pathways and levels and also to help develop the imagination by using them in different creative ways to represent other objects. I use all kinds of props to stimulate the imagination in my dance classes for young children. I use many props in my drama classes for all ages and I use props in my choreography where appropriate.
Using props can be very beneficial, for example the Royal Academy syllabus uses movements with scarves to develop the use of the upper back. Props can be fun to use and create a visual spectacle on stage, but I have also found that they can provide extra problems for those who have co-ordination difficulties. If you persevere, however, they master the use of them and it helps improve their co-ordination.
A child with behavioural challenges can also easily turn a prop like a ribbon wand into a weapon to hit another child, so it does require the teacher to be particularly vigilant when using props and ensure they are used safely.
In her class Gonzalez builds in rewards for her pupils. She describes using a drum to provide musical accompaniment during a movement sequence which travels across the room and allowing the pupils the reward of banging the drum once they have completed the sequence. Edward Thorndyke introduced the law of effect. This states that "behaviour that is followed by consequences that are satisfying will be repeated, and behaviour that is followed by noxious or unpleasant consequences will be discouraged" (NHS Scotland,2012, online).
Positive Behaviour Support (PBS) advocates "consistently rewarding positive behaviors and minimizing the rewards for challenging behaviour" (Reuf, M, et al,1998 online).
I have in the past used a point system to reward my young pupils for dancing well in their lessons. The points were added up each term and a small gift was awarded to the child with the highest number of points. I had not realised that, unwittingly, I had been employing a PBS strategy. To be most effective, however, PBS advocates that the reward be immediate, so I am now considering having a small prize, such as a sticker, at the end of each class so that the award is more instant.
Gonzales mentions the importance of having a calm, uncluttered environment for teaching pupils with autism. The Autism UK website states:
"Many people with autism can be very sensitive to noise, light, heat or smells. Therefore, it is important that lessons and activities are carried out in a calm environment, free as far as possible from disruption or noise which may make them feel anxious" (National Autistic Society,2015, online)
The teaching environment is something that can be controlled if you have your own studio, but, if you are teaching in various different venues, as I am doing at the moment, this is something that can't always be managed.
Gonzalez maintains that "Predictable routines are important in all dance classes, and crucial in classes for students with autism". I find that my pupils with ASD are often reticent to try new movement sequences, even those who are extremely talented and high functioning panic, in an examination when it comes to the unset exercise given by the examiner- they have a fear of the unknown. To counteract this I make sure that I give my pupils lots of unset sequences in their classes. I start with very simple combinations that they can easily master to build their confidence and then gradually increase the content and degree of difficulty. The more combination they practice the more it allays their fears.
In her classes, Gonzalez states that improvisation plays an important part. It is interesting that she says most children will readily engage with this task, because the essence of improvisation is experimentation and that is at odds with the fact that people with autism like routine and predictability. I think that it may be due to the fact that they themselves are in charge of which movements they are making, so this takes away the fear of the unknown. This is in line with what Temple Grandin says about hypersensitivity to the senses. She states that : "sometimes a child with autism can learn to tolerate a loud sound if he/she has some control over it" ( Temple Grandin, 2015)
Gonzalez says that a high ratio of adult helpers to pupils is crucial to the success of her class and that those helpers must have "a deep understanding of children's needs and behaviour". In a class where pupils on the autism spectrum are integrated with those who are not this might not be practical. I have taught mainly integrated classes and I always liaise with the children's parents/carers frequently to get as much information about them as possible, but I do not have the parents/carers in the class. I do however have older students to assist and also use peer support as I find this builds relationships within the class.
Gonzales concludes her article saying:
"A successful dance and music class for children with autism starts with the creation of a safe space. The room is cleared of obstacles and visual distractions. Class routines are in place and followed consistently. All class activities are explicitly demonstrated, described, and represented visually. Repetition is used to support student achievement. It is also crucial for the dance educator to model calm behavior, have the confidence to allow silence and time for a child to respond, and have patience for confusion and chaos when children become overwhelmed and act out."
This article is very helpful for my inquiry because it provides insight into the way a dance class for the autistic range is structured.It has raised some key points for me to look out for in my class observations. These are:
- Are visual aids being used?
- Are props being used?
- Is there a special environment created?
- What type of music is being used?
- How are behavioural challenges dealt with?
The article posed some questions that I wanted to answer so I contacted the author. She kindly replied and provided me with the answers I sought. I will discuss this in a future blog.
BIBLIOGRAPHY
British Columbia Ministry Of Education , 2000 Teaching Students With Autism A Resource Guide For Schools, online: https://www.bced.gov.bc.ca/specialed/docs/autism.pdf
National Autistic Society, 2015, "Environment And Surroundings", online: http://www.autism.org.uk/living-with-autism/at-home/environment.aspx
Overcash, A and Horton,C, 2010, "The Picture Communication System: Helping Individuals Gain Functional Communication, Autism Advocate 3: 21-24
Positive Behavioural Support A Learning Resource, 2012 online: http://www.nes.scot.nhs.uk/media/570730/pbs_interactive_final_nov_12.pdf
Reuf M, B et al, Positive Behavioural Support: Strategies For Teachers, 1998, online: http://digitalcommons.calpoly.edu/cgi/viewcontent.cgi?article=1032&context=gse_fac
Stratton Gonzalez, S, A Movement and Music Program for Children with Autism, 2015 Routledge, online: http://s3.amazonaws.com/ClubExpressClubFiles/893257/attach/1354242_0_Dance_Education_in_Practice_Article.pdf
Temple Grandin,M, 2006, "Thinking In Pictures", online:http://www.grandin.com/inc/visual.thinking.html
Temple Grandin, M, 2015, Temple Talks About Autism And Sensory Issues, Sensory World
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