image source:http://www.brainyquote.com/photos/m/marcelproust137794.jpg

When I first embarked upon this BAPP course it was with the sole purpose of obtaining a degree so that I could then go on to gain a PGCE and teach in mainstream education I never imagined that, at the end of it, I would have a different objective, which is to become a specialist in delivering dance classes for people on the autism spectrum.

At the end of Module 2 I was sure that my inquiry was going to be something to do with the use of projected image in choreography, but it actually ended up being about dance teaching methods for the autistic range of people. It's strange the different twists and turns that life's path can lead you down. 

When I read Module 1 Handbook and was confronted with Dewey's theories, Kolb's learning cycle and O'Reilly's blogosphere I wanted to turn and run! Here I was, a self confessed technophobe, barely able to turn on a computer, about to do a whole course that relied upon being able to competently navigate my way round the world wide web. The only web I had been familiar with was a spider's web! 

Yet, as I ploughed through Moon's 'four level's of reflection', contemplated Schon and Kottcamp's views of 'reflection-in-action' and tried to make sense of the concept of 'homeostasis' I found myself becoming immersed in a whole new voyage of self-discovery. Miraculously, too, my computer skills began to develop and the fear I had been gripped with at the outset started to subside.

I have now completed my inquiry- just the oral presentation to go now. It was an inspiring and humbling experience. I saw a whole range of people: from those who were high functioning to those who had profound and multiple disabilities. The one thing they all had in common, apart from being on the autism spectrum, was a love of dance.

 My artefact was a film about the making of a duet I choreographed which incorporated dance movements I had observed these young people devising during improvisation sessions. I wanted to do something that would reflect the positive attitude the students had and also celebrate the talents that many on the autistic spectrum possessed. It is very easy to get bogged down in all the literature which presents the many challenges of autism and forget that there are also some bestowed with great gifts.

I am now looking forward to continuing my studies about autism. I have enrolled in an Autism Movement Therapy certification course and am also considering doing the MAPP course.

Good luck to everyone on your final grades and with your future career developments. I have really enjoyed the BAPP course and found out lots about myself along the way. I think the most important thing I learnt was not to undervalue my own opinion. So I will sign off now with the following quote:

image source: http://www.quotehd.com/quotes/james-gardner-quote-life-is-an-endless-process-of-self-discovery

Image source: http://www.askkatheperez.com/wp-content/uploads/2012/01/questions-answers-cloud_question_mark.jpg



QUESTIONS AN ANSWERS ON THE ARTICLE "A MOVEMENT AND MUSIC PROGRAM FOR CHILDREN WITH AUTISM" BY SANDRA STRATTON GONZALEZ




After having read Sandra Stratton Gonzalez' article above I emailed her and below are the questions I posed together with the answers she gave me.


Being able to contact Sandra helped me to think about the questions I posed to the dance teachers delivering the classes that I observed for my inquiry. It gave me an idea of how a possible dance class for the autistic range might be structured and made me more are of what to look out for in my class observations for my inquiry.

QUESTIONS AND ANSWERS

1.Do you use musical accompaniment for your welcome and warm up songs or are they sung without music?

Most of the warm up is sung with no accompaniment. Toward the end I sit at the drum and accompany myself on the djembe.

2.When you get a new student how do you initially teach the movements and words to them? Do you explain what you want them to do or do you just do it yourself and ask them to copy you? Do you break it down in sections or teach it as a whole? 

I teach the warm up sequentially and we do it together. When I meet my kids in Pre K we start with 'Hello I Love You,' a naming song. I introduce the first two warm up songs the first class. As the fall proceeds, the children are introduced to more material. 

3.Do you use these same songs as a warm up for your non- verbal students? If so, how do they respond?

Yes - I use the songs in a shorter version with more repitition. My non-verbal students respond beautifully to the combination of rhythm, text, melody and movement. In some cases, students who cannot speak will sing.

4.In the circle dance how do they respond to holding hands as some people on the autism spectrum don’t like to be touched? What do you do in this instance?

If a child does not want to hold hands she is not forced to. In some cases a child will be shadowed by their paraprofessional, dancing behind her or him. In other cases a child will be support in staying in their dancing spot. 

5.You mention using a drum as an accompaniment and other percussive instruments, do you use any recorded music in your classes and if so how do the students react to it? Are any of them bothered by the loud sounds made by the percussive instruments? What would you do in this event?

Yes, I used recorded music. I will adjust volume for sensitive ears, and often provide headphones for children who need them. I play many different types of music in class and students have a range of preferences. Most students thoroughly enjoy both the drums and recorded music.

6.Are your dance movements based on any particular technique?

My own dance background is Limon based modern and ballet. I describe the technique I use in class as modern/jazz.

7.Do you try to correct and perfect their execution of the movements or is it more about just getting them to move?

The degree to which I work to perfect technique depends on the individual student and class. I do consistently reinforce basic technical skills such as 'keeping your knees over your feet,' working within a child's natural turn out, building core strength, and working on balance, flexibility and stamina. In early childhood I believe the skills are learned by doing, not by describing.

8.How much praise and/ constructive criticism do you give the students?

I try to notice and point out each child's effort and successes, and minimize attention to negative behaviors. During the sharing of student work, I use peer prompts to ensure that peer critique is positive and constructive, even with the babies. 

9.How did you initially devise this class structure and content? How long did it take you and have you adapted it since it was first devised? Did you try it out it in any way first?

Curriculum evolves over time. I create between 3 and 6 units of instruction for each grade level per year and one unit for the 6 week summer session.

My current Pre K class is a development of  Pre K class I taught in a private studio 20 years ago. At that time, working with 3 year olds, I discovered that if I sang, my students focused better. Since that time I have added drumming to the mix. For awhile I was partnered with a drama teacher and I have adapted many of her creative drama activities into my practice. Other influences are the Dance Education Laboratory courses and city-wide PD. I always pay attention to the grade level curriculum, and will incorporate themes into class such as life cycles (Pre K and K) and social skills development (all grades). Finally, I respond to the children in the room. Some classes need an entire unit on following one and then two step directions!

10.Did anyone else influence you in the creation of your dance programme?

I think I just answered that!

11.What is your own dance background and how did you originally get interested in working with students with autism?

I have been teaching since the late 1970's, all ages and in many different settings. From 1985 - 1999 I was the Artistic Director of Soundance Repertory Company, where I danced, choreographed and taught. I began working with special needs children in the early 90's as a teaching artist. I was hired by PS 372 in 1999. At our main site, every class at every grade level is comprised of 10 children with special needs and 15 typically developing. I have learned primarily through experience!

Seven years ago I began teaching summer school, working with children with autism from our satellite program. These children have more severe challlenges than the children in inclusion. 

My formal education in working with special needs children includes several courses taken once I was hired in 1999 and workshops with the amazing Diane Dugan, a dance educator and psychologist with the Department of Education.

12.Can you tell me about about Linda and how much input she had? What is her background? How did you come to work together?

Linda Walker is a para professional with over 20 years of experience and is an expert in classroom management. She is also a professional musician. We were assigned to work together in the summer program for 2 years. Unfortunately, our school budget now dictates that she is in a grade level classroom. She crafted many of the drumming activities that I continue to do with my students.

13.What is the age range of the students you teach? 

Ages 4 through 11.

14.Have you tried it out / adapted it for different age ranges?

From Pre K through Grade 6.

15.How much information do you have about each student prior to them attending ( - e.g. medical info) ?

I have access to their Individualized Education Plan.

16.Do you have verbal and non verbal students in the same class?

Yes. 

17.How much liaison is there between their parent/carer?

Not too much in the summer program as there are no parent/teacher conferences in summer school. Our communication is primarily written. During the school year there is considerable communication including PTA meetings, parent/teacher conferences, newsletters, individual conferences as requested.

18.Have you ever had to exclude anyone from the programme?

No - we include every child enrolled in the school.

19.Have you found that your programme has helped your students in their lives outside the dance class?

Yes. Many children have grown in self-confidence, some have improved their verbal skills, some discovered skills they did not know they had.

20.Have you found that working with students with autism has enhanced your own teaching in any way? If so how? Have you made any changes in your own teaching for people not on the autistic spectrum as a result of this dance programme?

I am much more careful to provide multiple entry points to tasks and to curriculum. I take care to set up my classroom to be clutter free yet rich in materials and supplies. I state expectations clearly and consistently. I have incorporated strategies such as repitition, proximity control and hurdle help. I also teach self calming techniques.

Literature Review-" A Movement and Music Program for Children with Autism "by Sandra Stratton Gonzalez

Image source: http://www.kidsmusiccompany.com/assets/Uploads/flower-8-petals-cropped.jpg

"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:

• 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

Inquiry Literature Review -Revisiting Motor Skill Development

Image source:https://cdn.psychologytoday.com/sites/default/files/styles/article-inline-half/public/blogs/75174/2013/09/133350-133043.jpg?itok=qJ0ucKuP

       "Teaching Motor Skills to Individuals with Autism Spectrum Disorders" by Terri Todd

When deciding what to focus on for my inquiry into dance teaching methods for people with Autism Spectrum Disorders (ASD) I looked at the common traits associated with autism and thought about how they directly impacted upon my dance teaching. People with autism can experience deficits in motor skill development so this was one area I was keen to explore.

In Module 2 I had reviewed Todd's article "Teaching Motor Skills to Individuals with Autism Spectrum Disorders". At this stage my inquiry direction had been quite vague, so I decided to revisit this article in Module 3 now that the aim of my inquiry was more specific in order to see if there were any pertinent points raised by Todd that might help my research.

 One of the areas I will be looking at in my research is the content of the dance class for the autistic range and whether the teacher has incorporated any exercises that are specifically designed to help pupils overcome certain challenges associated with ASD. Motor skill development will be central to this.

Todd states that :

 "recent investigations have led to an overwhelming consensus that children with ASDs have difficulty performing motor skills." 

Looking at the article again I picked out key areas that I wanted to explore. One of these was the link between postural control and motor skill development. 

Todd states that one possible reason for deficits in motor skills in people who are autistic is: “because the postural control system of individuals with ASD is underdeveloped." ( 2013, p 36). Good posture is essential in dance so this was something I was particularly interested to find out more about because, although I had witnessed that some of my autistic pupils had weaker posture than their non-autistic peers, this did not necessarily impact upon their motor skills. 


I looked for more evidence to substantiate Todd’s claim and found that Minshew et al had conducted a study to test postural control in children with autism. They concluded that there is “evidence of both a delay in development and an underdevelopment of the postural control system in autism” (Minshew et al, 2004). Their study looked to see if deficits in the motor control system were linked to lack of postural control and reached the conclusion that : “the motor control system is not primarily responsible for the postural instability found in the autistic subjects” (Minshew et al, 2004). This was in line with what I had found in my teaching.

Minshaw et all also concluded that motor and sensory deficits in autism are a result of some kind of break down in communication in the brain caused by the way the cells are arranged. They suggested that studying the motor system could lead to a better understanding of the abnormalities in neural connectivity associated with autism. 

I was very interested in this conclusion reached by Minshew et al because one of the dance teaching methods I intend to explore is Autism Movement Therapy (AMT). Its founder, Joanne Lara, has explored the connection between dance and neural signals with her AMT programme. She claims that music and dance can be used to make connections between both sides of the brain to “wake up the brain” (Autism Digest, 2009,online).


      “AMT is an empowering sensory integration strategy that connects both the left and right hemispheres of the brain (interhemispheric integration) by combining patterning, visual movement calculation, audile receptive processing, rhythm and sequencing into a “whole brain” cognitive thinking approach that can significantly improve behavioural, emotional, academic, social and speech and language skills.”  ( Autism Digest, 2009, online)

I wanted to discover more about the links between cognitive development and motor skill development. I felt that in order to recognise any deficits in either of these areas I needed more comprehension of typical developmental milestones.I began by looking at Piaget's stages of child development.

Piaget maintains that there are four stages in child development. These are:

• Sensorimotor Stage- this stage is from birth to 2 years of age. It is when children imitate what they see and hear from their caregivers and learn that they have some control of their movements.

• Pre-Operational Stage- this stage is from 2 years -6/7 years of age. In this stage children see what happens around them only from their own point of view. They cannot form abstract ideas.

• Concrete Operational Stage- this is from age 6/7- 11. During this stage children begin to see things from another person's perspective. They can think logically and systematically but cannot look at the abstract side of things.

• Formal Operational Stage- this is from 11/12 years of age - adulthood. During this stage the logical, abstract and theoretical thought process develops (Child Development Media Inc, 2012,online).

I then looked at gross and fine motor skill charts depicting developmental milestones at various stages of growth in a typical child . The charts I studied are below :

http://www.childdevelopment.com.au/home/189

http://www.childdevelopment.com.au/home/183

Having looked at the expectations for cognitive and motor skill development I felt I was better equipped to recognise if a child with autism was lagging behind in these areas. 

I was also interested to learn if there were any studies which proved that cognitive development could affect motor skill development. Bill Jenkins writes about this in his article: "Exploring the connection between motor skills & cognition". In it he refers to a neuroimaging and neuroanatomical analysis, conducted by Adele Diamond, which produced evidence of motor- cognition links in the brain. He concludes that:

• There is a clear connection in the circuitry of the brain between areas controlling fine motor skills and areas controlling cognition.
• These areas are developing simultaneously, with exceptional speed during early brain development.
• Motor skills are a proven indicator of future math and reading success.

The next area I wanted to explore from Todd's article was motor planning. He states:

"People with motor-planning problems often know what they should do with their body but are unable to perform a sequence of movements correctly." (p 33)

Physiotherapist Pam Versfeld states that a reason for this might be that people with ASD "have difficulty interpreting and integrating the information from the different senses and in using this information for motor planning" ( Versfeld, P, online).

I had not considered that difficulty processing sensory information might directly affect a person's ability to put sequences of movement together. If they are struggling to make sense of what is going on around them then they will obviously have difficulty grasping sequences of movement and will require more time to execute them. This made me consider whether there were any teaching aids I could use to assist my pupils with the challenges they might face.

 Todd suggests using coloured polydots to help pupils orientate themselves in the space. Since reading the article I have tried this. I have also placed coloured pictures in the corners and sides of the room so that I can refer to these rather than to specific directions. Some of my pupils, both with ASD and without, find these visual aids helpful.

I had observed that my pupils with ASD liked repetition and sometimes were reticent to try new movements and combinations of movements. I had not attributed this to possible motor planning difficulties that they may possess.

Todd advocates breaking the movements down into 'bite size chunks'. I have always done this with all my pupils, but I realise now that I need to allow even more time for my pupils with ASD to grasp and repeat the movements before joining them together.

The final area from Todd's article that I wanted to explore was  his reference to mirroring. Todd advocates mirroring as a means of compensating for deficits in "self-other mapping and reversal errors". He maintains that people with ASD often find it difficult to imitate the movement demonstrated because they have problems working out directions and recognising which limb is moving when the movement is mirrored in front of them. He recommends teaching the movements with your back to the pupil so that the movements executed are moving in the same direction as the dancer.

 I tend to teach a lot facing my pupils, as I want to convey the movement quality to them as well as the mechanics of the movement and this can be shown more clearly if they can see my face. I also find it engages the class more. Another reason for this is that I don't rely a lot on mirrors as they can be a distraction for younger pupils and older ones can have poor self body image and hate having to stare at themselves while they are dancing. Since reading this article I have found myself turning round and teaching the movements with my back to my pupils more than I have previously done. I have not noticed any significant differences in the way my pupils with ASD grasp the movements.

Reading this article again has made me consider certain things to look out for in the dance classes that I observe. I will be taking note of any teaching aids used. I will be looking at how the pupils move and noting whether they appear to have any motor skill challenges. I will be looking to see how the dance teachers address these challenges. I feel that after studying this article again I now have a better appreciation of the motor skill deficits some people with ASD face and be able to recognise them in the pupils that I observe and teach.

Below is the link to my original review in Module 2:

http://lynnterry001.blogspot.co.uk/2015/04/task-4-d-1-reviewing-literature-for-my.html


BIBLIOGRAPHY

Autism Digest (2009), Fox News online: http://www.foxnews.com/story/2009/10/06/autism-movement-therapy-wake-up-brain.html

Child Development Media Inc. Blog (2012) "Piaget's Theory of Cognitive Development" online : http://blog.childdevelopmentmedia.com/piagets-theory-of-cognitive-development/


Jenkins, B (2012)  "Exploring the connection between motor skills & cognition" online:http://www.scilearn.com/blog/early-fine-motor-skills-cognitive-skills

Kid Sense Child Development (2015) Fine Motor Development Chart online: http://www.childdevelopment.com.au/home/183

Kid Sense Child Development (2015) Gross Motor Developmental Checklist online:http://www.childdevelopment.com.au/home/189

Minshew, N J   KiBum Sung, Bobby L. Jones and Joseph M. Furman  (2004) "Underdevelopment Of The Postural Control System In Autism" "Neurology" online: http://www.researchgate.net/publication/8132646_Underdevelopment_of_the_postural_control_system_in_Autism

Versfeld, P  "Autism Spectrum Disorders and Motor Skills, online:http://www.skillsforaction.com/autism-spectrum-disorders (accessed October 2015)

Literature Review - "Autism Movement Therapy- Waking Up the Brain"

Image source:http://www.dancinginriverside.com/wp-content/uploads/2012/05/mentally-benefits-of-dancing-for-the-brain.jpg

Review of "Autism Movement Therapy- Waking Up The Brain" by Joanne Lara

 Lara divides her book into two parts. Part 1 is entitled "Understanding Autism Movement Therapy" and part 2 is called "Behavior- Behavior- Behavior and the Value of Teaching Social Skills". 

Autism Movement Therapy (AMT) Lara states is : "a 45-minute, formal, structured movement and music method that stimulates the brain to "wake up" through audio, visual, gross motor and imitation skills" (Lara, 2015, p 13). She then explains how it works: 

"the method blends multi-sensory, structured movement and music experience with Positive Behavior Support (PBS) to connect the left and right hemispheres of the brain.”

It is generally accepted that dance and music are very beneficial for everyone.  Christopher Bergland, author of ‘The Athlete’s Way’ states:

“Through regular aerobic training that incorporates some type of dance at least once a week anyone can maximize his or her brain function’ (2013, online)

Marcela De Viro, in her article for the Autism Science Foundation entitled “Music Therapy May Help Children with Autism”, states:

“A 2004 study from the Journal of Music Therapy found that music in interventions used with children and teens with ASD can improve social behaviors, increase focus and attention, increase communication attempts (vocalizations, verbalizations, gestures, and vocabulary), reduce anxiety, and improve body awareness and coordination” ( De Viro, M, 2013, online)

I have had teachers in mainstream education tell me that they have noticed significant progress in their pupils after they have started having dance classes with me. I put this down to the fact that, as well as the obvious physical benefits dance provides, it also helps a person to focus, improves concentration and enhances memory skills. 

As well as believing in the benefits of music and dance, Lara believes in the principle of neoroplasticity; this is"the ability of your brain to change and adapt in response to experience" (Mercola, 2015). She maintains that it is possible to train a person with autism to respond differently. I have long held the belief that the brain has the capacity to heal the body and affect change in a person, so I was very interested in Lara's claim that AMT targets both sides of the brain through its combined use of music and dance and helps people with ASD improve in many ways.

Lara is not alone in her belief that movement can create new neural pathways in the brain.The Anat Baniel Method also claims that “movement is the language of the brain” ( Baniel, A, 2015, online). Baniel, like Lara, believes in the concept of neuroplascitity and also maintains that movement can affect change in the brain. She states:

“Movement is a window to the brain and movement opens to us a magnificent opportunity to communicate with the brain of the child on the spectrum and help it heal.”

The Anat Baniel Method is a “neuromovement approach in the understanding and treatment for autism and movement.”  (Baniel, A, 2015, online). It is based upon the teaching of Dr Moshe Feldenkrais who believed in the plasticity of the brain and in it’s ability to bring about improved movement and enhanced functioning. The Feldenkrais Method “facilitates self-healing through a science-based approach to movement and posture.”
( Sigman, M, 2010) It works by experimenting with slow, gentle manoeuvres which enable you to gain a better understanding of how your body works. Baniel incorporates this premise and develops it further with her Nine Essentials programme.

Both Lara and Baniel refer to the fact that the principal of neoroplasticity helps explain the concept of 'practice makes perfect' because the brain is developing new neural pathways which hone in on the new skill learnt. Dr Mercola describes this process as “synaptic pruning”—elimination of the pathways you no longer need (Mercola, 2015,online).

They both maintain that, if the brain has the capacity to change, then it should also be possible to affect change in people with ASD. I was interested to see how Lara proposed to do this with her AMT.

 In Section1 of her book she goes into great detail about the structure of her class showing how AMT works. She clearly defines each exercise in her programme and states what it's aims are. For example the 'Alphabet Cross-Hemispheric Clapping' exercise is designed to develop eye contact, social interaction with a partner, improve memory, increase vocabulary and stimulate the right and left sides of the brain. 

Lara illustrates, by referring to specific individuals she has taught, the benefits of AMT. She also sites the work of other autism experts such as Dr Steven Shore and Dr Temple Grandin, both of whom are on the autism spectrum and are, themselves, examples of how the arts can benefit people with ASD.

Lara has also produced a film called 'Generation A :  Portraits of Autism and the Arts '. It gives a glimpse into the lives of eight talented people with ASD and shows how the arts have helped them develop as people and enabled them to excel in their particular field.

 AMT is seen in action in this film; a young girl at her first session of AMT is shown to be unable to concentrate, or maintain eye contact when being spoken to, but, several sessions later, she is shown in an AMT class to be clearly engaged in the clapping exercise described above, focused and reciting the alphabet with ease. I have since used a variation of this exercise,in small groups, in my drama classes and it has helped my young pupils with  Attention Deficit Hyperactivity Disorder (ADHD) to concentrate.

I am currently teaching several pupils with behavioural challenges so I was interested to see that Lara was attempting to address behavioural issues in her classes using Positive Behaviour Analysis (PBS) and sought to find out more about it. PBS is described as "a set of research-based strategies used to increase quality of life and decrease problem behavior by teaching new skills and making changes in a person's environment. Positive behavior support combines:

Valued outcomes;

Behavioral and biomedical science;

Validated procedures; and

Systems change to enhance quality of life and reduce problem behaviors." (Carr, E.G, et al, 2002)

PBS is a method used in Applied Behaviour Analysis(ABA). The Applied Behavior Strategies website defines ABA as:

 "the process of systematically applying interventions based upon the principles of learning theory to improve socially significant behaviors to a meaningful degree, and to demonstrate that the interventions employed are responsible for the improvement in behavior" (ABS, 2010, online).

In her book Lara explains how she uses PBS. She refers to three main strategies.They are:

1: stating the rule- tell the child what is expected of them, get them to repeat what you have said and praise them for repeating what you have said.

2: if and then contingencies - tell the child that if they complete a task or respond well to a request they will get a reward and make the reward instant so that it has an immediate impact.

3: giving a child choices- if you want a child to do something give them two choices which gives them a feeling of empowerment rather than dictating the course of action you require.

Since reading this I have tried implementing the 'choice strategy' with my pupils who have behavioural challenges and it has worked on some occasions but not on others. I found that, in general, the younger the child was, the more effective this method seemed to be. I attribute this to the fact that very young children think in a more black and white way, so are more likely to readily accept that they must choose one of the options you have presented them with; an older child, on the other hand, might have their own idea about what they want to do and it might not correspond with either of the options you have presented them with. 

According to Piaget's theories on cognitive child development a child will think in black and white terms until he reaches the 'Formal  Operational’ stage of development (. This is the fourth and final stage of development from around age 11 to adulthood. The other three stages are:

Sensori-motor -birth to aged two. 

• It is when children imitate what they see and hear from their caregivers and learn that they have some control of their movements.

Pre-operational - two - seven years. In this stage children see what happens around them only from their own point of view. They cannot form abstract ideas.

Concrete Operational - seven to eleven years. 

• During this stage children begin to see things from another person's perspective. They can think logically and systematically but cannot look at the abstract side of things.

Formal Operational - eleven years - adulthood.During this stage the logical, abstract and theoretical thought process develops (Child Development Media Inc, 2012,online)

This would seem to substantiate my view that a younger child might readily engage with the ‘choice’ strategy where an older child might not. 

Lara's book is very clearly written and easy to understand. Reading in depth about AMT and how Lara structures her classes has made me want to see a session in action. AMT will be one of the methods I observe for my inquiry research.

BIBLIOGRAPHY

Applied Behaviour Strategies , online: http://www.apbs.org/new_apbs/genintro.aspx#definition

Daniel, A (2005) "Breakthrough Treatment For Autism in Children", online: http://www.anatbanielmethod.com/children/autism-spectrum-disorder

Bergland, C "Why is Dancing So Good For the Brain", article : "The Athlete's Way", (2013) online: https://www.psychologytoday.com/blog/the-athletes-

way/201310/why-is-dancing-so-good-your-brain 

Carr, E.G., Dunlap, G., Horner, R.H., Koegel, R.L., Turnbull, A., Sailor, W., Anderson, J., Albin, R., Koegel, L.K., & Fox, L. (2002). Journal of Positive Behavior Interventions, 4(1), 4-16. Copyright (2002) by PRO-ED, Inc. online: http://www.apbs.org/new_apbs/files/PBSevolutions.pdf


De Viro, M  "Music Therapy May Help Children With Autism", (2013) online: https://autismsciencefoundation.wordpress.com/2013/08/30/music-therapy-may-help-children-with-autism/

Marcola, J  "Neuroplasticity Studies Reveal Your Brain's Amazing Malleability" (2015) , online : http://articles.mercola.com/sites/articles/archive/2015/01/15/neuroplasticity-brain-health.aspx

McLeod,S (2009), Jean Piaget online: http://www.simplypsychology.org/piaget.html

Sigman, M (2010), "Falling For Feldenkrais: A Patient's Progress", online: http://www.huffingtonpost.com/michael-sigman/falling-for-feldenkrais-a_b_614129.html