creative expression: opportunities for persons who are deafblind

Creative Expression: Opportunities for Persons who are Deafblind �

IntroductionCreative Expression:

Opportunities for persons who are deafblind TheenjoymentonMida’sfaceisobviousasteacherPamNicholasplacesyarninthegirl’spalmandhelpsherguideitthroughaloom.WithPam’shandsoverMida’s,thetwoworktheyarnunderandover,acrosstheverticalstringsoffiber held taut by the loom’s frame.Whentheyaredone,PamguidesMida’shandstoabarontheloom.Together,theypullthebarforwardtopushtherowofyarntightagainsttheendofthefabrictheyarecreating.

WeavinggivesMida,achildwithdeafblindness,anopportunitytoexpresshercreativetalents.Itisaneasilyadaptableactivitythatletsstudentsexperimentwithavarietyoftexturesanddesigns,notesNicholas,a fiber arts educator. For Mida the loom has been lifted so it can accommodate the extension of her arms. Students can weave flat surfaces, likeplacematsorascarf,ontabletoploomsormakemoredecorativeitemsbyweavingoncardboard.

Everyoneiscapableofcreativeexpression;andeverychildwants,andneeds,toexercisehisorherownartisticvoice.Childrenmaythinkcreativelythroughwords,visualimages,movementandtouch,orrhythmsand melodies. From music to drawing and from weaving to dancing, the possibilitiesforchildrentoexperiencetheartisticprocessareendless.

For students with deafblindness and other disabilities, the arts represent animportantformofcommunication.Painting,dancing,writing,acting,andmanyothercreativeactivitiesenhanceastudent’sself-imageandgivehimorheranavenueforexpressionthattranscendsculturalandphysicalboundaries.Notonlyiscreativeexpressionenjoyable,italsoconnectspeopletotheworldandhelpsthemconveytheuniquenessofwhotheyare,whattheyreasonandfeel,andhowtheylearnaboutthemselves.

Creative Expression: Opportunities for Persons who are Deafblind�

Thegoalofthisbookletistohelpthereaderdevelopwaystoinvolvestudentswithdeafblindnessinthecreativearts.Thebackground,examples,ideas,andresourcescontainedonthefollowingpagesareintendedtoprovideinformationthatcanbeusedandadaptedtobestsuiteachstudent.

Acompanionvideo,“CreativeExpression:OpportunitiesforPersonsWhoareDeafblind,”offersexamplesofprojectssuccessfullyadaptedforpeoplewithdeafblindness.

This booklet is divided into four sections. The first section provides anoverviewofvisionandhearingimpairmentsandhowtheymightaffectthewaysinwhichastudentparticipatesincreativeactivities.Thesecondsectiongivessomegeneraltipsforpresentingthecreativeartstostudentswithvisionandhearingimpairments.Thenextsectiondiscussesadaptationsteachershaveusedsuccessfullyintheclassroomandprovidesacombinationofconceptsandconcreteexamplesofstrategiestofostercreativeexpressioninart,music,dance,andtheater.Italsoaddresseswaystopromoteawarenessofcreativeexpressionandamorepositiveimageof people with deafblindness. Finally, a list of resources is included.

Gettingstudentswithdeafblindnessinvolvedintheartsrequirescreativity, flexibility, and problem-solving skills. Teachers in a general educationclassroommayhaveneverbeforetaughtastudentwithbothvisionandhearingimpairmentsandmayonlyteachonesuchstudentduring their teaching career. They will find that traditional projects and activities involving art, music, theater, etc. will likely need modification to suittheneedsofastudentwithdeafblindness.Eventhebest-laidlessonplansmayrequireon-the-spotadaptations.

Peoplewithpastexperienceteachingtheartstochildrenwithdeafblindnesssayendlessopportunitiesexisttoopenupaworldofcreativepossibilitiesforthesestudents.

“Don’tbeafraidtotryoutdifferentsortsofprojects.Somewillworkbetter than others, but don’t be discouraged. You can find ways to give everystudentachanceforartisticexpression,”saysDavePascarella,aseniorinstructorattheHelenKellerNationalCenterforDeafblindYouthsandAdultsinSandsPoint,NewYork.

Indeed,innovations,whethersmallorlarge,thatopenupavenuesforstudentswithdeafblindnesstoparticipateincreativeexpressionalsowillenrichtheexperienceoftheteacherandotherstudentsinaclassroom.


Understanding Deafblindness:Helping children reach their full potential

“A person who is deaf-blind has a unique experience of the world. For people who can see and hear, the world extends outward as far as his or her eyes and ears can reach. For the young child who is deaf-blind, the world is initially much narrower. If the child is profoundly deaf and totally blind, his or her experience of the world extends only as far as the fingertips can reach. Such children are effectively alone if no one is touching them. Their concepts of the world depend upon what or whom they have had the opportunity to physically contact.

“If a child who is deaf-blind has some usable vision and/or hearing, as many do, her or his world will be enlarged. Many children called deaf-blind have enough vision to be able to move about in their environments, recognize familiar people, see sign language at close distances, and perhaps read large print. Others have sufficient hearing to recognize familiar sounds, understand some speech, or develop speech themselves. The range of sensory impairments included in the term ‘deaf-blindness’ is great.”

—BarbaraMiles,communicationspecialist/ consultantandteacherwhohasexperiencewithall agesandlevelsofpersonswhoaredeaf-blind,froman essaytitledOverview on Deaf-Blindness forDB-LINK, July2000.

Manypeopleerroneouslythinkapersonwithdeafblindnesscannotseeorhearatall.Onthecontrary,veryfewpeoplewithdeafblindnesshaveatotallossofvisionandhearing.

Peoplewithdeafblindnessrepresentadiversegroup(Edwards,Goehl,andGordon,1992).Theyhavedifferentdegreesofusablehearingandvision,differentwaysofcommunicating,differentlevelsofindependence,differenttechnologicaldevices,and,ofcourse,differentwaystoexpresstheircreativity.

Ifyouwillbeworkingonartisticprojectswithachildwithdeafblindnessinaclassroomorothersetting,youcandoseveralthingstopreparetoofferthebestcreativeenvironmentforthatchild.Thelongeryouhavetoplanprojectsandbecomefamiliarwiththechild’sabilitiesthebetter.However,youmaynothaveenoughtimeortheopportunity,forexample,toattendaworkshoponvisionandhearingimpairmentsortogettoknowthestudentbeforeclassbegins.


Trytolearnasmuchaspossibleaboutastudent’sparticularvisionandhearingimpairmentfromthepeoplewhoknowthestudentbest,includingparents,otherteachers,andserviceproviderswhohaveworkedwiththestudent.Seekoutthesepeople,advisesKathrynRaistrick,actingmanagerofServicestoPersonsWhoareDeafandHardofHearing,adivisionoftheIllinoisDepartmentofHumanServices.

“It’sreallyimportanttostayinextremelyclosecontactwiththeitinerantteacherforastudentwithavisionorhearingimpairment,”Raistricksays.“Thatpersongivesyouanexperttoworkwithandsomeonetotalkwithaboutthestudent’sabilities.”

Teacherswhohaveworkedwithstudentswithvisionandhearingimpairmentsofferthefollowingtips:

• Remember,astudentwhohasbothvisionandhearinglossesislikely to have difficulties with conceptual development. The student will needtolearnabouthisorherworldinavarietyofwaysincluding movement,taste,smellandtouch.Onlyafterexperiencingdifferent activitiesorobjectsinthesedifferentways,willthestudentbeableto interpret the activity or object for himself. For example, if the student will be working on a creative project involving flowers, the flowers shouldbetouched,smelled,wateredandpickedorpulledfromthe ground.Onlythenwillthestudentbeabletocreatehisorherown concept of “flowers.”

• Find out what communication styles — verbal, manual, gestural, or symbolic—thestudentprefers.

• Familiarize yourself with the type of communication aids the student uses.High-techcommunicationaidsincludesuchitemsas computers,Braillewriters,orotherelectronicdevices.Low-tech communicationaidsmightincludeobjects,pictures,communication boards,orenlargedprint.

• Askthestudentwhatheorshecanseeandnotseeorhearandnot hear.

• Contactyourstatedeafblindprojecttoseeiftheycanprovide informationand/ortrainingaboutthedifferenttypesofvisionand hearingimpairments.

Sourcesputthenumberofchildren(agesbirthto22years)intheUnited States who have been classified as deafblind at more than 11,000


(Miles,2000).Ithelpstohavesomeknowledgeofthevaryingdegreesofhearingand/orvisionimpairmentsincludedundertheumbrellaofdeafblindness.

Following is a list of terms and information to help familiarize you with visionandhearinglossesthat,whencombined,mayqualifyanindividualasdeafblind (Edwards et al., 1992; VSA arts 1998; Federal Deaf-Blind Census Form 1992; Quist, 1992; Whaley & Wong, 1989).

Vision • Lowvisionappliestoallindividualswithsightwhoareunableto readthenewspaperatnormalviewingdistance,evenwiththeaidof eyeglassesorcontactlenses.

• Legallyblindindicatesapersonhaslessthan20/200visioninthe better eye (with corrective lenses) or a very limited field of vision (20 degreesatitswidestpoint).

• Peoplewhohavelightperceptiononlyareabletodistinguishlight andtheabsenceoflight.

• Peoplewithtotalblindnessareunabletoperceivelight.

• Peoplewithacorticalvisualimpairment(CVI)areabletoseebut theirbrainisunabletoprocessthevisualinformationandmake senseofwhatisseen.

• Peoplewithadiagnosedprogressivelosshaveavisualcondition that may fluctuate and or deteriorate over time. For example, retinitis pigmentosa(RP),isaninheriteddisorderwhichleadstoagradual lossofperipheralvision.

Hearing (Hearing loss is classified by thelocationoftheimpairmentandbythedegreeofloss.)

• Peoplewithamildhearinglosswillhearlouderconversationsbetter thanwhispersorloweredconversationaltones.Theyhearvowel soundsclearly,buttheymaymissconsonantsounds.

• Peoplewithamoderatehearinglosswillunderstandmost conversational speech at three to five feet. Beyond that distance, conversationmustincreaseatanintensitytobeunderstood.


Difficulties with understanding speech, and problems with language usageandcomprehensionmaybeobserved.

• Peoplewithaseverehearinglosswillhearloudvoicesaboutonefoot fromtheirear,mayidentifyenvironmentalsounds,andmay discriminatevowelsandsomeconsonants.

• Peoplewithaprofoundhearinglossmayhearsomeloudsounds, butareawareofvibrationsmorethantonalpatterns.

These photos were taken by a budding photographer who happens to be an Indiana student with deafblindness.Using a camera provides him with a creative outlet and encourages him to use his remaining vision.


Creative Expression:Strategies for students with deafblindness

“To see my daughter smile and hand me a drawing that she has completed, to know that she recognizes and takes pride in her achievements, and to see her happy and active – this means the world to me.”

—HeidiMillerinanarticleaboutdrawings createdbyRebekah,herdaughterwhois deafblindandsuffersfromrelatedneurological problems,intheJournal of Visual Impairment & Blindness. May-June,1995.

It is crucial to recognize that children with deafblindness have different levelsofability,saysCarolynArd,anartistwhohastaughtstudentswithvisualand/orhearingimpairmentsthroughVSAartsofIndiana.Understandingaparticularstudent’srangeandcapabilitieswillhelpdeterminewhatsortsofstimulation,explanation,andprojectswillbestsuitthatindividual.

Ardandotherteachersandartistswhohaveworkedinthisareaadvisegettingridofanypreconceivednotionsofwhataprojectshould“looklike”or“soundlike.”

“Youhavetothinkdifferentlyabouttheappreciationofaprojectandofhowyoujudgealesson.Astudentaccomplishessomethingbecausetheydidtheprocess.Theycantakesomethingawayfromthat,”Ardsays.

DavePascarella,aseniorinstructorattheHelenKellerNationalCenterforDeafblindYouthsandAdults,agrees.“Youcan’tfocusontheendproductatall.Theimportantpartistheprocess;howthestudentgotthere,”hesays.

For instance, he had a student with deafblindness and other severe handicapswholovedtopickthingsapart.Usingthisinterestasastartingpoint,hedesignedanactivityhehopedwouldbemeaningfultoher.Whenshecametoclass,Pascarellawouldgiveheraballofyarnfullofknotshe’dtiedearlier.Theyoungwoman’sgoalwastounwindtheyarnfromtheballandunraveltheknots.

Earlyinthesemester,thestudentworkedtountangletheyarnforabout10minutesofeachartclassperiod.Eventually,theactivityregularlyheldherattentionforthedurationofthe45-minuteclass.Pascarellaviewedthis


asamajorsuccessandanimportantelementinthedevelopmentofthisstudent’screativeexpression.

“There’snotonestudent,nomatterwhattheirdisability,whocan’ttakeonsometypeofartprojectanddosomethingproductive,”Pascarellasays.

Whileonestudentmightbeabletoimproviseapercussionsolo,anothermayexpresshismusicalcreativitybyfeelingandenjoyingthevibrationsofa bass drum. The important thing is for the student to find an avenue for artisticexpression,anothermethodofcommunication.Thecreativeartsalsogivethestudentachancetoexercisehisorherjudgment,organizational skills, sensory perception, memory, and decision-making abilities(Harlan,1993).

Theenjoyment,creation,andinterpretationofartisverypersonal.Theprocess,notnecessarilytheendresult,nurturesastudent’screativeinstinctsandallowshimorhertoexpandindividualinterestsandcapabilities.

General Tips for Presenting the Creative ArtsWhiletheapproachtopresentingthecreativeartstoastudentwithvisionandhearingimpairmentswilldifferdependingonthechild,theproject,classroomcomposition,andothervariables,severaltipscanbeapplied to most situations. Following is advice from teachers who have workedwithstudentswithvisionandhearingimpairments.

• Startaprojectwithsomethingthestudentcantouch. Tactilestimulationisextremelyimportanttopeoplewithvisualand/ orhearingimpairments.Nomatterwhatsortofprojectyouaredoing, whetheritbelearningaboutamusicalinstrumentorwritingapoem about trees, incorporate the sense of touch. For example, in the formercase,youmightletthestudentfeelthekeysonasaxophone. Inthelatterinstance,youcouldtakethestudentoutsidetofeelthe barkorleavesofatreeorthewindblowing.

• Whenstartingaproject,explainwheretheneeded materialsarelocated. Givingthestudenttheopportunitytogetfamiliarwiththe“tools” lessenshisorheranxietyandprepareshimorherfortheprojectat hand. For example, you might say, “On your right, you’ll find a bowl ofwater.”Or,“Directlyinfrontofyouisacontainerofpaste.”Letthe


studenttouchthematerialsheorshewillbeusingandlearntheir functionbeforetheworkbegins.

• Giveclear,specificdirections. Astudentwithvisionandhearingimpairmentsmayworryaboutan artisticactivityandhowheorsheisgoingtoperformit.Giving concisedirectionswillhelpalleviatesomeofthisconcern.Outline eachstep.Rememberyoucannevergotooslowly.

• Keeptalkingand/orsigning. People tend to gesture more than they realize while they are explainingsomething.Don’trelysolelyongestureswhendescribing projectsandactivitiestoastudentwithdeafblindness.Thestudent mayormaynotbeabletoseeyourgestures.However,ifastudent hasaseverehearingimpairmentandamildervisualimpairment, facialexpressions,bodylanguage,andpantomimeareimportant.

• Don’truleoutvisualaids,butifyouusethembesure thereisalotofcontrast. Manystudentswhoaredeafblindhavesomedegreeofsight. Theymaybeabletoseelargeshapesandthedifferencesbetween darkandlight,butnotnecessarilynuances.

• Beawareofclassroomenvironment. Environmental factors are important and can influence how well a studentuseshisremainingvisionandhearing.Considersuchfactors aslighting,distance,color,contrast,backgroundnoises,andglare. For example, avoid standing in front of a light source or window that might silhouette your face, making it difficult to see you clearly.

• Preparethechild’saideorassistant. Ifthestudenthasanaideorassistantassignedtoaccompanyhimor her,spendtimeexplainingthevariousactivitiestothatperson.The morepreparedtheaideorassistantis,thebetterheorshewillbe abletohelpthestudent.Writeinstructionsoutfortheaideor assistant,orevenaskhimorhertocometoyourclassroomafew minutesearlysoyoucantalkone-on-one.Insist the student’s aide or assistant attend your class.

• Buildrapportwiththestudent. Peoplewithdeafblindnesscansenseifyouaretentativeorfearful.Be consistentinyourbehavior,anddon’tbackawayifyouruninto

Creative Expression: Opportunities for Persons who are Deafblind�0

communicationroadblocks.Worktobuildacomfortablerelationship withthestudent.

• Developgoodcommunicationskills. Ifasignlanguageinterpreterisinvolved,speakdirectlytotheperson whoisdeafblind,nottheinterpreter.Speakclearlyanddistinctlyina normaltoneandatanormalspeed.Askthestudenttorepeat himselforherselfifyoudonotunderstand.Itisimportantto learnhowthestudentbestcommunicates(signlanguage,verbally, tactilesigning).Oneartteacherdescribedhowhelearnedtosign suchphrasesas“Doyouwanttomake...,”sohecouldbetter communicate.

• Letthestudentknowwhat’sgoingonaroundhimorher. Itisimportantthestudentisinformedaboutothersintheareaand whattheyareworkingon.Astudentwithdeafblindnesswillwant toknowabouttheirsurroundingsandwhoentersandleavesthe area.

• Ifpossible,involvethestudentingroupprojects. Creating a situation that encourages socialization and a forum for sharingcreativityispositiveforseveralreasons.Itadvancestheuse oftheartsasameansofexpressionforastudentwithdeafblindness, itinvolvesthestudentinpartofthesocialframework,andit promotesamorepositiveimageofpeoplewithdeafblindnessand disabilitiestoothers.

• Understandandrespectthestudent’spersonalspace. Somestudentswhoaredeafblindareverysensitivetotouch.When tryingtogethisorherattention,itisimportanttotakecarenotto startlethestudent.Talkwiththestudentorthosewhoknowhimor her best in order to find out the best way to let the student know of yourpresenceandthatyouwanttocommunicatewithhimorher. For example, does she like to be tapped on the shoulder? On the back of the hand? Share this information with others in the class.

• Pickprojectsthatfosterindependence. Astudentwithdeafblindnessmaygetfrustratedifheorsheis workingonaprojectthatcanbedoneonlywithconstantsupervision.

Creative Expression: Opportunities for Persons who are Deafblind ��

Creative Expression:Adaptations and ideas for students with

deafblindnessWhendevelopingthelessonplansforhermusicclasses,teacherLoriCar-pentertriestoincludethreedistinctactivitieseachperiodthatincorporatemovement,vocals,andinstruments.CarpenterteachesmusicforinclusionandspecialeducationclassesatRileyElementarySchoolinTerreHaute,Indiana.Herchallengeistoadaptclassroomactivitiesforallstudents.Using some creativity and flexibility, she has found that goal easy to meet. “I thinkkidswithdisabilitiescandoprettymuchanythingtheotherkidsdo.Almost any activity can be modified,” Carpenter says.

For example, students in her classes do a lot of dancing. A student who usesawheelchairmaynotbeabletojumpupanddownduringadance,“butwecanloosentheirfootstraps,andtheycanmovetheirlegstothemusic,”shesays.Or,apeerhelpercanguidethewheelchairifthestudentsaremovingaroundtheroomintimewithasong.

Whilesomestudentswithdeafblindnessmaynotbevocal,theycanpar-ticipateindifferentwayswhentheclassissinging.OneofCarpenter’sformerstudentshummedalongtothemusic,whileanothermovedhismouthtothewords. Another student liked to keep a beat with her fingers, so Carpenter gaveherinstrumentswithdifferenttextures,suchasatambourineandarainstick,totapalongonwhiletheclasswassinging.“Theimportantthingistheywereallabletoparticipateandbepartofwhattheotherstudentsweredoing,”shesays.

Carpenterlikestodoalotofhands-onworkwithmusicalinstruments,lettingstudentsholdthemandgetfamiliarwiththedifferentshapes.Thatactivityiseasilyadaptable.Carpenterorapeermightassistastudentwhosehandsaretightbyhelpingthemholdasmallerinstrument.“Igetinstrumentsintoeveryone’shands.Allstudentsenjoytactilethings,”shesays.

Studentswithvisionandhearingimpairmentsandotherdisabilitiesalsoenjoyfeelingthevibrationsofdifferentinstruments.Carpenterkeepsthatinmindwhetherherlessoninvolvesplayinginstrumentsorsimplylisteningtomusic. For instance, if she were doing a lesson on string instruments, Carpentermighthavestudentsputtheirhandsonthewoodenbodyofabasswhilesheplayedanotesotheycouldfeelthevibration.Woodisanexcellentconductor of vibration. While her classroom floors are concrete, Carpenter has aCDplayeronawoodentable.WhensheplaysCDs,studentscanputtheirhandsonthetableandfeelthevibrationsofthemusic.

Creative Expression: Opportunities for Persons who are Deafblind��

Carpenterandotherteachershavehadgreatsuccessbycenteringdifferentcreativeexpressionprojectsaroundonetopicthatisdiscussedinseveralclasses.AtRiley,eachgradelevelstudiedaparticularcountryinsocialstudies.ThosestudiescarriedovertoCarpenter’sclass,wherestudentslookedatwhattypesofmusiccamefromtheirparticularcountry.Theyalsomadereplicasofnativeinstrumentsandlearneddancesandsongs.Inartclassthestudentsmadedifferentitemsthatrepresentedtheircountry.Alltheeffortsculminatedinayear-endprogramthatshowcasedthedifferentcountriesstudied.

SharronPollack,associateprofessorofartatSaintLouisUniversity,workswithstudentswhoarepreparingtobecometeachers.Adaptingcurriculumforstudentswithdisabilitiesisoneareashediscussesinherclasses.“Mostimportantisunderstandingeachchild’scapabilities,”shesays. “From there, you can come up with all kinds of ideas.”

Pollack suggests first thinking about how to add texture to coloring and paintingprojects,twocommonartclassactivitiesforelementaryschoolchildren.Puttingapieceofwindowscreenorsuchitemsasmacaroniorfish gravel underneath paper and having the students draw on the paper withcrayonwillmakeraisedareasonthepaperstudentscanfeel.Addingsandorsoaptopaintisanotherwaytoaddtexturetoaproject.

“Thereareallsortsofthingsyoucandotoappealtothesensesofsmellandtouch.Therearescentedmarkers.Therearefabrics.Youcanhavethestudentspaintusingsponges.Youcanhavetheclassworkwithmodelingclaytocreateshapes,”shesays,addingthatmoldingtheclay

mightbeagoodexerciseforhanddexterity.Ratherthanhavingthestudentswithdeafblindnessmakea specific object, if they prefer, let themworktheclaywiththeirhands,makingimpressionsinitwiththeirfingers, and/or squeezing it.

IncreasingdexterityinallstudentsisagoalofBillBlankenbaker,agymteacheratRileyElementarySchool.Even


whenhisclassisdoingwarm-upexercises,studentswithdisabilitiesparticipatewiththeassistanceofpeerhelpers.Whilestudentswithdisabilitiesmaynotbeabletodotheexactactivityotherchildrenintheclassaredoing,theycanexperiencesimilarmovementsandsensationswithsomeadaptations.

For example, he helps some students dangle from a climbing net on the gymwall.“Whiletheymaynotbeabletoclimbthenet,theycanexperiencewhatitfeelsliketohangfromit.”Healsohasstudentswhoaren’tabletoclimbsimplygriptheclimbingropesotheycanfeelthetextureofit.

Blankenbaker’sadaptationstophysicalactivitiesofteninvolvechangingthe size and weight of the equipment involved so students can experience activities as fully as possible. For example, students with a vision impairmentorotherdisabilitymightenjoyplayingbasketballbythrowingabeachballintoabarrelasopposedtousingaheavierregulationballandtallerhoop.

Otheractivitieshecoordinates,suchasridingscooters,aredesignedtoletstudentsexperiencedifferencetypesofmovement.Usually,studentssitorstandonthescootersandpushthemselveswiththeirfeet.Butifthatisnotwithinastudent’scapabilitiesBlankenbakeralsohaslargerscootersonwhichstudentscanlay.“Wepullthemorsometimestheypullus.”

Following are some additional suggestions for projects for creative expressioninart,music,danceandmovement,andtheatre.

Art“I had a student who was blind from birth. He had heard and read a lot about Van Gogh. He wanted to know what the painting “Starry Night” looked like and what all the other paintings he’d read about looked like. We developed an art appreciation program that included visiting an art museum. He was able to feel a recreation of the textures in “Starry Night” by touching a raised line tracing of the painting.”

—CarolynArd,artistandteacherintheVSA artsofIndianaprogram.

Amultitudeofprojectssuchaspainting,drawing,sculpting,etc.areeasilyadaptableforstudentswithdeafblindness.Manyteachersfavorcombiningartisticactivitiessuchaspoetryandliteraturewithartprojects.


Thestudentcanwritesomethingaboutaparticularpieceofartheorshehascreatedoruseapoemasabasisforaproject.Askthestudenttomakeawiresculpturedepictinghowaparticularpoemmakesthemfeel.Thestudentcanalsodoa“soulpainting”toexpresshisorherpersonalitytoothers.

Keepinginmindthatthesenseoftouchisaprimarywayinwhichchildrenwithdeafblindnessexperienceart,trytoincorporateideasthatwillallowastudenttofeelavarietyoftexturesandusedifferentmaterials.Opportunitiesalsoexistforstudentstolearnaboutexistingartworkthroughspeciallyarrangedvisitstoartmuseumsandgalleries.

Thefollowingideasarejustsomeofthepossibilitiestogivestudentswithdeafblindnessacreativeoutlet.TheywerecompiledfromacombinationofinterviewswithartistsandteachersincludingCarolynArd,DavePascarellaandSharronPollack,aswellasfromthe“ArtandPoetrykit”andothermaterialsavailablefromVSAartsofIndiana.Modifythemorusethemassparkstocomeupwithsomeofyourownideas.Useyourimaginationanddon’tbeafraidtotrynewthings!

UsingTextureinArt

• Putapieceofwindowscreenorotheritemsthatwilladdtexture (macaroni, fish gravel, Styrofoam etc.) underneath paper and have the studentsdrawonthepaperwithcrayon.They’llbeabletofeelthe raisedareas.

• Addsandorsoaptopainttogiveittexture.

• Glueyarnontopaperorusewikkiesticks(astickypipecleaner-type materialavailableatcraftstores)tooutlinevariousshapes.This method can be used to teach a child the shape of a flower or what a square,circle,triangle,orothersimpleshapelookslike.Thestudent cancolorinbetweentheraisedlines.


• Havethestudenttearoffsmallpiecesofmaskingtapeandattach themtoajarorbottle,coveringitcompletelytocreateatextured surfacethatcanbecoloredwithmarkers,varnished,orpainted.

• Astudentwith somesightwill enjoyprojectsthat involvebrushing glueontopaper. Havethestudent pickawordfroma magazine. Cut thewordout,and glueitontoa pieceofpaper. Cutdifferent materials,such as flannel or burlap,into shapesandglue themaroundtheword.

• Takeawalkoutside.Havethestudentnoticewhatsortofdayit is,whattypesofsurfacesheorsheiswalkingon,whatobjects(trees, buildings)heorshepassesandhowheorshefeels.Havethestudent paintapictureofwhatheorsheexperienced.

AppealtotheSenses

• Scentedmarkerscanhelpastudentwithavisualimpairment “experience” a color through the sense of smell. For example, red smellslikestrawberry.

• Useothermaterialsthathavedistinctivescents:leaves,wood,grains, gluewithspices,scentedKleenex.

• Scratchandsniffstickersareanothertoolastudentmightenjoy.

TactileProjects

• Rughookingisanactivitythatcanbeadaptedforastudentwitha visualimpairment.ApatterncanbewrittenoutinBrailleandbagsof coloredyarnalsocanbelabeledinBraille.Somestudentsmaywant tocreatetheirownrandompattern.


• Macraméisagoodactivityforastudentwholikestousehisorher hands.Startwithteachingasimplepatternforasinglerope,for example,andworkuptoprojectssuchasmakingaplanter.

• Othertactileactivitiesthatastudentwithdeafblindnessmightlike aretie-dyingshirts,weaving,makingjewelry,orprintmaking.

SculptureandPottery

• Havethestudentusewiretoconstruct linesthatdescribeadjectives(straight, curved)orillustrateanaction(sailing ship).Or,havethemcreateabstractart or specific shapes (flowers or butterflies) withthewire.

• Potteryand/orworkingwithclayare goodactivitiesbecausethestudentmight enjoyformingandchangingtheshapeof theclayandworkingthematerialwith theirhands.

• Havethestudentusewood,metal,or itemslikeseashellstomakeimpressions inmodelingclaytocreateamold.Or, theycancarvedirectlyintotheclay. Mixplasterwithwaterandpoorintothemoldtomakeasculpture. Somestudentsmaysimplyenjoymixingtheplaster,ormakinga sculpturewiththeleftoverplaster.


ArtAppreciation

• Glueyarnorapplywikkiestickstocopiesofpaintingstodetailsuch thingsaswherethelandendsandtheskybegins.Othermaterials, suchasraiseddotsortexturedpaintcanbeappliedtodifferentiate elementsinapaintingordrawing.Youcanmakeyourownorcheck with the nearest VSA arts affiliate, which may have some samples available.

ATriptotheArtMuseum

Somemuseumshaveprogramsdesignedespeciallyforpeoplewithvi-sionandhearingimpairmentsthatallowthemtoexperienceartworkina“hands-on”way.ThefollowinginformationisfromtheBostonMuseumofFine Arts, Division of Education and Public Programs, and from Carolyn Ard,basedonhervisitwithaclassofvisuallyimpairedstudentstotheIn-dianapolisMuseumofArt. • Beforebringingstudentstothemuseum,visititonyourowntoget acquaintedwiththeobjectsthey’llbeviewing.

• Instructstudentsnottoleanonobjectsinthemuseum.

• Find out if there are any exhibits visitors are allowed to touch. Sometimesthemuseumwillallowvisitorsormakespecial arrangementsforstudentswithvisionimpairmentstoweargloves andfeelcertainpieces.

• Ifyourgroupincludesstudentswhoarevisuallyimpaired,have sightedstudentsdescribecertainworksofarttothem.Havethem discuss size, configuration, color, and shape of the art.

• Usemetaphorsinyourdescription.(Asculptureofakingandqueen mightbedescribedas“aroyalcouplestandingaserectandtallastwo largetrees.”)

• Rememberthatpeoplewithhearingorvisualimpairmentsmayneed extratimetoviewartwork.Ifasignlanguageinterpreterisneeded, makesuretheinterpreterfacesthegroupofstudents,nottheart object.

• Flashlights work well for pointing out features of works of art. Avoid low-litgalleries.


• Thepaintingsinacontemporarygallerywilloftenhaveenoughbright boldcolortobeseenbymanystudents.Thosewithpinholevision mayenjoysomethingmoredetailed,suchasaEuropeancollection.

• Sharestoriesabouttheartistsorthesubjectsofpiecesyouare viewing.

• Artworkinglasscasesoftenwillgiveoffalotofglare,whichmay appearasanobjecttosomestudents.

Music “My daughter at age 4 loves music through feeling vibrations. One day we came across a floor piano (the kind you step on and it lights up). Boy, she had fun with it.” — Motherofachildwithdeafnessresponding toalistservaboutmusicforpeoplewith hearingimpairments.

Thesensemostoftenassociatedwithmusicishearing.However,thesenseoftouchplaysaprominentrole.Apianoorbongodrum,forexample,canprovidearichvibro-tactileresponseforastudentwithdeafblindness.Astudentwithdeafblindnessmaybeabletoread,feel,appreciate,andunderstandmusicwithoutbeingabletoseeasheetofmusicorhearthenotesofasong.

EvelynGlennie,aninternationallyfamouspercus-sionistwhobeganlosingherhearingatageeight,saysshecantakeoffhershoesandfeelanorchestraorshecanfeelthevibrationofastickhittingacertainpercussioninstrument.LudwigVanBeethoven,thefamousGerman-borncomposerbornin1770,createdthe9thSymphony,oneofhismostbeautiful,afterhehadlosthishearing.

Aswithalltheactivitiesaddressedinthisbooklet,studentswithdeafblindnesswillhavedifferentlevelsofabilitydependingonthetypeofimpairmenttheyhave.Astudentwithsomehearingmaybeabletopickoutmelodiesandharmoniesplayedbyanorchestra,whileastudentwithnohearingmayonlyfeelthevibrationsfromtheinstruments.Manypeoplewithhearingimpairmentscandiscriminatebasstonesbetterthantrebletones.Anawarenessoftheseabilitieswillhelpyoudevelopactivitiesthatbestsuitaparticularstudent.


FeelingtheMusic

Some facilities have vibrating floors, chairs, or platforms that are microphonesensitiveandallowapersontofeelthesoundwaves.Whileyoumaynothaveaccesstothistypeofequipment,suchthingsasanelectrickeyboard, a microphone, CD player, a floor piano, etc. will allow a student tofeelthevibrationofmusicinhisorherbody.Havethestudenttakehis or her shoes off to feel the vibrations on the floor or have them touch differentinstrumentsorequipmenttoexperiencethephysicalsensation.

Thissortofactivitycanbetiedinwith:

• lessons about different types of music, such as jazz, rock, modern, classical,rap,orcountry; • lessonsaboutcomposers; • or,lessonsabouthowmusicexpressesdifferenttypesofemotions, seasons,cultures,orothermessages.

LearningaboutInstruments

Astudentwithdeafblindnessmayenjoylearningaboutavarietyofmusicalinstrumentsandmayexpressaninterestinlearningtoplayaspecific instrument. Allow the student to explore different types of instrumentsbytouchingthemandlisteningtoorfeelingtheirsound.

Agoodexercisetointroducemusictoastudentwithdeafblindnessistohavethechildusecommonobjectsasaninstrumentormakeaninstrumentoutofeverydayitems.Letthechildexploreeachinstrumentandexperimentwithdifferentwaysofusingittocreatesoundorsensation.Following is a list of improvised and constructed instruments (Wright, 1994).

ImprovisedInstruments

magazines doors doorknobs keys corkonbottle vacuumcleaner drawers potsandpans switches spoons

popcornpoppervegetablegratebottlescanopenerstypewritertelephonecoffeepot


ConstructedInstruments

paperrollrattles canrattle bottlecaprattle sandblocks tincandrum

MusicalGames

• Have a student tap out a rhythm on the floor or on another person. Therestofthegroupjoinsin.Thepersonstartingthegamesuddenly stops.Thelasttostopisthenexttostartarhythm.

• Toworkonrhythm,tryanactivitywhere“Youmustpassthisshoe (spoon,stick,etc.)frommetoyou.”Havethechildrenstandinaline orcircleandpasstheitemtothestudenttotheirleftoneachbeatof therhythm.

Singing/WritingLyrics

• Ifthestudentusessignlanguage,theymayenjoysingingsongsby signingthem.

• Thestudentmayenjoywritinglyricstoexpressthefeelingsthey experiencewhentheyhearorfeelaparticularmelody.Theycanput theselyricstoarhythmormelodycreatedbyarealorimprovised instrument.

OtherMeansofExpression

• Havethechildcomposethelyricsforajinglefortheirfavoritefoodor anitemtheyuseeveryday.

• Havethechildimitatedifferentsoundstheyhear,suchasnature sounds.

Dance and Movement “I also love the sense of rhythm. I love dancing. It gives me a feeling of freedom. I just found out I succeeded in making the cheerleading team at school. I also take ballet at a dance studio with a whole class. I have an

eggcartontambourinelightbulbmaracasglassandtincanbellspopbottlexylophonepingpongpaddletambourine


interpreter with me. My dance teacher tutors me after class or once in a while on Sundays to help me understand the movements. I know I can do anything I put my mind to.” —ExcerptfromaletterfromCorrinaVeesart, adeafblindteenager,appearinginDbl Review, January–June1998

Danceandmovementaregreatwaystoinvolveachildwithdeafblindnessinrecreationalgroupswithotherchildren.Theyaregoodexercise,andtheyallowthechildtoexpressemotion,releasetension,andcommunicatethroughbodymovement(Dymoke,1998). Besidesteachingastudentwithdeafblindnessmathandmusicfundamentals,danceandmovementalsohelp an individual to develop fine and gross motorskills.Theyareparticularlyeffectivetoolsinmobilitytrainingbecausedanceandmovementcontributetoself-awareness,bodylocalization, and spatial orientation (Wright, 1994).

Thefollowingguidelinesprovideaframeworkforpresentingdanceandmovementactivitiestoachildwithdeafblindness(Wright,1994).

• Childrenwithdeafblindnesswillnotlearnatthesamerateas childrenwithoutthisdisability.

• Theaspectsofmusic,i.e.rhythm,anddanceshouldbefamiliar.If not,givethechildthenecessaryexperience.

• Durationofexposuretorhythm,dance,andinstrumentsshouldbein keepingwiththechild’sattentionspan.

• Rhythmandmovementactivitiesmustprogressgraduallyfromthe simpletothecomplex.

• Thefeedback,anyvibrationscausedbymovementonsurfacesand anyresidualsightorhearing,mustbestimulatingandrewarding.

• Theplacewheretheactivitiesarecarriedoutshouldbeveryfamiliar tothechild.Startoutwithasmallareaandprogressivelymoveinto


alargerone.Ropes,boards,boxes,etccanmarkoffareas.Allowthe childtoexplorethisspace.Graduallyextendtheboundaries.

RhythmicMovement

Twotypesofrhythmicmovement,fundamentalandinterpretive,canbeincorporatedintoactivitiesforthestudent(Wright,1994). Fundamentalmovement combines gross motor skills and fine motor skills.Thegrossmotorskillsincludewalking,crawling,creeping,running,jumping,hopping,skipping,galloping,climbing,skating,swimming,etc.Fine motor movements, which involve different parts of the body, are bending,turning,striking,pushing,pulling,lifting,clapping,drooping,wav-ing,sweeping,brushing,pointing,rubbing,patting,kicking,wrigglingtoes,andothers.

Makesurethestudentexperiencesmanyoftheabovemovements.Teachthosethechilddoesnotknow.Oncethemovementsarefamiliar,establishdifferentpatternsofarrangementorbodymovementforthechildtoexperience(Wright,1994).Youmighttry:

• Settingupapatternofalternatingmovements.

• Setting up a maze or obstacle course.

• Havingthestudentweardifferenttypesoffootwearandexperience howmovementchangesdependingonwhattheyarewearing. (Footwear could include tap shoes, heavy house slippers, wooden clogs,boots,hard-soledshoes,soft-soledshoes,etc.)

• Havingthestudentweardifferenttypesofclothingandobserveits effectonmovement.(Clothingcouldincludehats,gloves,capes, robes,vests,etc.)

Interpretivemovementallowsthestudenttoactoutcharactersorobjectsindifferentways(Wright,1994).Heorshecanactthingsoutstrongly,heavily,lightly,softly,slowly,quickly,jerkily,smoothly,quietly,noisily,happily,sadly,gradually,suddenly,regularly,andirregularly.Thestudentcanmoveinlarge,small,tall,orshortways,andcanbeactive,passive,tense,relaxed,forceful,orforceless.

Amongthethingsachildcanimitateare:


SpatialConcepts

Danceandmovementarehelpfulinteachingsuchspatialconceptsasdi-rection, level, size, shape, and position (Wright, 1994). The following activi-tieshelpdevelopthisarea.

• Havethestudentpairwithasightedpartnerandsitback-to-back. Whileonepersonmovesanarm,aleg,etc.,theotherpersonfeelsor “reads”whattheotherisdoingandmimicsit.

• Havethestudentmoveindifferentdirections.(Up,down,forward, backward,sideways,right,left,over,under,ontopof,underneath, behind,infrontof,between,in,andout).

• Havethestudentinterpretthroughmovementdifferentlevels(low, medium, and high) and sizes (small, medium, large, little, big, tall, short).

• Havethestudentimagineheorsheisinthecenterofabox,circle, etc.,orontheside,top,orbottom.Askthemtomoveaccordingly.

• Havethestudentsworkingroupstoformthefollowingshapes:

Objects

trainstrucksbusescars

vacuumcleanerblendertugboats

snowplowsballs

spinningtops“slinky”toys

clockjackinthebox

washingmachinepopcornpopper

canopenerrecordplayer

telephone

Elements

firewater

airearthforestwindmist

lighteningthunderoceanrainfog

snowsunshine

icerock

mountainriverlakemud

Plants

bushesflowersgrasscactiivy

weedsvegetablessagebrush

catrabbitbeartigercrab

lobstermouseturtlebird

wormsalamander

snailfish

horsecowduck

chickendog

kangarooelephant

frogsnake

Animals

Insects

beetlesantsbugs

grasshoppercaterpillarbutterfly

Emotions

happysad

joyousfear

angerlonelinessexcitementsurprise

quietloud


Circle–allthestudentsfacecenterandimproviseinunison movement.Designatealeaderwhodecideswhichmovements everyone in the circle will make. For example, to expand the circle, theleaderwouldtakeastepbackwards.Theotherstudentswould follow,everyonetryingtomovetogether.Circlesalsocancontract, revolve,sink,rise,etc.

Concentriccircles– Face center. The outer circle makes movements thatareinspatialcontrasttothoseofthecenter.

Line–Onebehindtheother,followingtheleader.

Side-by-SideLine–Allfacethesamedirection.Linemayremain straight,curved,stationary,moveable,etc.Actinunison.

Front


Inadditiontothelistedexercises,childhooddancescanbetaughtaslong as the participants can memorize sequences and respond to simple commands.Someofthesedancesare“LoobyLoo,”“HokiePokie,”“DidYouEverSeeALassie,”“MulberryBush,”“TenLittleIndians,”andmanymore.

AdvancedDanceTechniques

Somestudentswithdeafblindnessmaywanttolearnmoresophisticated,specific dances. At this level, the dancer will not necessarily “hear” by feeling vibrations through the floor because their feet will not actually touch the floor continually if they are jumping or leaping. This is true for the membersofGallaudetDanceCompanyatGallaudetUniversity,aWashingtonD.C.collegeforpeoplewithhearingimpairments(Gallaudet).

Thetroupepracticeslonghourssomemberscandevelopaninnersenseof timing for a specific dance. Dancers with some hearing may eventually pickupcuesfromthemusic,buttheyprimarilylearnadancefromcountingallthemovementsinadancestep(Gallaudet).

Theatre “Because I am deafblind, my enormous enjoyment of theatre tends to shock and confuse many people. They cannot fathom how I could possible enjoy it because of the way I see. If you can imagine what it is like to drive through a blizzard, where visibility is extremely difficult and sometimes impossible, then you have a sense of how I see. I look through a snowstorm all the time. But with a good interpreter sitting at close range, proper lighting, and seating close to the stage, the excitement and fun of music and dance be-come accessible to me. And like many other deafblind people, I can feel – and sometimes hear – the deeper musical tones, which fill my body with a sense of loveliness.”

—JanetK.Marcous,inOpening Doors to the Theatre: Creating Access for the Deaf-Blind Community, apublicationbytheDeaf-Blind TheatreAccessProjectinNewEngland.

Theatercombinescommunication,relationships,andentertainmentforstudentswithdeafblindness.Theopportunitiestocombinetheatreprojectswith other creative expression activities are many. For instance, students canconstructapuppetshowstageoutofaboxanddecorateit;makepuppets;andwriteascript.Thestudentmaywanttowatchorlistentoafilm by a playwright they are studying.


Enjoymentoftheaterextendstoexperiencingdrama,comedy,musicals,andimprovisation.Italsoinvolveslettingstudentsexperiencethemselvesthroughoriginalworksorperformancesthatletthemconnecttotherestoftheworld.

Following are some ideas from teachers and theater groups on how studentswithdeafblindnesscanaccessthedramaticarts.

• Astudentcanshareapoemheorshehaswrittendescribing themselves.Theymaywanttoactoutthepoembythemselvesoruse otherclassmatesasactors.

• TheTonyAward-winningNationalTheateroftheDeaf(NTD)conducts thefollowingactivityatworkshopsdesignedtoshowtheimportance ofsensorymemory.Putthestudentsintwocirculargroupsandhave themputtheirhandsontheshouldersonthepersoninfrontofthem. Givethemabout5secondstofeelthatperson’sshoulders,neck,and head.Havethestudentsclosetheireyesandlocatethatsameperson usingonlytheirsenseoftouch(NationalTheateroftheDeaf).

• AnotherNTDactivityistoletstudentsperformanon-spokenscene. Separatethemintogroupsandgivethemafairytale,suchasLittle Miss Muffet.Eachgroupisaskedtoshowthewell-knownstoryina different style. For example, some of those styles could be Little Miss Muffetasaballet,withasumowrestlerasthemaincharacter,orasa western.Thisactivityhelpstheparticipantstothinkvisuallyanduse physicalmotionstoexpresstheirstoryclearlywithoutusingwords.

• Incorporatedanceandmovementintorole-playingactivitiesinwhich thestudentscanactoutcharactersfromafavoritebookorplayoract outascenariotheyhavedeveloped.

• Mimingalsoincorporatesmovement.Havestudentsmimedifferent activities,animals,characters,etc.andhavetheothersguesswhat theyaredoing.

ATriptotheTheatre

“With specially trained interpreters, close-up seating, and an opportunity to experience sets, costumes, and props through touch, people with deafblindness can experience the ‘magic of the theatre.’”

—TheDeaf-BlindTheatreAccessProject


Sometheaterswillaccommodategroupswhosemembershavevisualand/orhearingimpairmentssotheywillgetthemostoutoftheirvisit.Whilemosttheatersmaynothaveaformalprogram,theymaybewillingtowork with you to accommodate special needs. Following are some guidelinesfromtheDeaf-BlindTheatreAccessProjecttothinkaboutwhenarrangingatriptothetheaterfordeafblindchildren.

• Apersonservingasaliaisonwithaparticularproductioncanwork withthecostumeandpropsdepartmentsandactorstodevelopa pre-showtour.

• Schedulepre-showactivitiestointroducestudentstotheplotand charactersandtogivethemasensoryawarenessofsetdesigns, costumes,props,etc.Duringthepre-showtour,studentscanwalk aroundthestage,touchingcostumes,props,sets,furniture,andeven actors. Extra lighting at this time is beneficial.

• If available, a model of the set helps students visualize the full stage.

• Allowone-and-one-halftotwohoursforthepre-showtoursoitcanbe completedbeforetherestoftheaudiencearrives.

• Getaudioandvideorecordingsoftheperformancesointerpreterscan previewtheshow.Theinterpretersmaywanttohavearehearsalin theactualauditoriumand/orattendadressrehearsal.Often,they willwanttorunthroughtheperformanceseveraltimesforpractice.

• Tactileandclose-visioninterpretingarebothphysicallyandmentally tiring,soitisbesttohavetwointerpretersforeachstudentwith deafblindness.

• Dependingonthestudent’svisualneeds,theinterpretersmaysit besideoracrossfrompatrons.

• MakesurethereareBrailleandlarge-printplaybillsavailable.

PromotingAwareness

Displayingartworkcreatedbystudentswithdeafblindnessgivesthemaforumtoexpressthemselvesandtheiruniquecharacteristics.Havingstudentsperformadramaordance,presentanartshow,orstageaconcertisasimportantasthecreativeprocessitself.Thecreativeartsareaformofcommunication,andit’simportanttosharethetalentsofyourstudents.


Eachpieceofartworkcontainsthesensoryimpressions,memories,andpersonalpreferencesofanindividual(Harlan,1993).Thecreativeexpressionofeachpersonwillrelaythingsaboutthemthatotherpeoplemay not have known and will find interesting. Displaying the work not only validatestheartist,itcreatesapositiveimageofpeoplewithdeafblindness.

Sharingworkwithintheclassroomisimportant.Whilethestudentsareworkingonprojects,askopen-endedquestionssuchas,“Isthereanythingyou would like to tell me about your work?,” Harlan suggests. Make sure youhavestudentssignanddateallartwork,andcreateaportfoliooftheirprojects.

Manyopportunitiesexisttoshowcasecreativeexpressionprojects.Youcandisplayartworkinyourschoolhallways,inmuseums,galleries,corporate offices, or some other formal setting. You can create a scrapbook ofpiecesthatcanbesharedwithfamilies,students,andothers.Youcanvideotapeadanceroutineforfutureviewing.Withalittleimagination,thepossibilitiesareendless.

These are examples from a story written by a student with deafblindness. This future author works with his brother on his stories and the illustrations.


Creative Expression:References and Resources

References

Boston Museum of Fine Arts. (1999). Stories in Art: A Resource for Teachers of Young People with Disabilities. [Brochure].Boston,MA:Author.

Deaf-BlindTheatreAccessProject.(1998).Opening Doors to the Theatre: Creating Access for the Deaf-Blind Community.[Brochure].Boston,MA:Author.

Dymoke,K.(1998,January-June).TouchdownDance.Dbl Review,28-29.

Edwards, L.E., Goehl, K.S., & Gordon, L.A. (1992). Profiles: Individuals with Deaf-Blindness.(Monograph).TerreHaute:IndianaStateUniversity,BlumbergCenterforInterdisciplinaryStudiesinSpecialEducation,IndianaDeafblindServicesProject.

Federal Deaf-Blind Census Form. (1992). Washington, DC: Office of Spe-cialEducationPrograms.

Gallaudet Dance Company. Official site. [On-line].

Harlan,J.E.(1993).Yes We Can: Overcoming Obstacles to Creativity. Paper presentedattheannualmeetingoftheAmericanAssociationonMentalRetardation,Washington,DC.

Miles,B.(2000).Overview on Deaf-Blindness.Monmouth,OR:DB-LINK.

National Theater of the Deaf. Official site. [On-line].

VSAarts.(1998).Access and Opportunities: A Guide to Disability Awareness[Brochure].Washington,DC:Author.

Whaley, L.F., & Wong, D.L. (1991). Nursing care of parents and children.St.Louis,MO:MosbyYearBook,Inc.

Wright,Vickie.(1994).Music,RhythmandDanceforDeaf-Blind.InJ.Nesbitt(Ed.),Play, Recreation and Leisure for People Who Are Deaf-Blind (pp.15-17).IowaCity:UniversityofIowa,RecreationforDeaf-BlindProject.


Resources

AmericanAssociationoftheDeaf-Blind(AADB)814ThayerAvenue,Suite302SilverSpring,MD20910Phone:(800)735-2258TTY:(301)588-6545Fax: (301) 588-8705www.tr.wou.edu/dblink/aadb.htm

Boston Museum of Fine ArtsDivisionofEducationandPublicProgramsAvenueoftheArts465HuntingtonAvenueBoston,MA02115-5523Phone:(617)369-3300Fax: (617) 369-3165www.mfa.org

TheChildren’sMuseumofIndianapolisTeacherResourceLink3000NorthMeridianStreetIndianapolis,IN46208-4716(317)334-4001www.ChildrensMuseum.org

DB-LINK:NationalInformationClearinghouseOnChildrenWhoAreDeaf-BlindTeachingResearchWesternOregonUniversity345NorthMonmouthAvenueMonmouth,OR97361Phone:(800)438-9376TTY:(800)854-7013Fax: (503) 838-8150www.tr.wou.edu/dblink

TheDeaf-BlindTheatreAccessProjectNortheasternUniversityInterpreterEducationProgramPhone:(617)373-2463Fax: (617) 373-3065TTY:(617)373-4302www.dac.neu.edu/nuiep


GallaudetUniversityNationalInformationCenteronDeafness800 Florida Avenue, NEWashington,DC20002Phone:(202)651-5052TTY:(202)651-5051www.gallaudet.edu

HelenKellerNationalCenterFor Deaf-Blind Youths And Adults (HKNC)111MiddleNeckRoadSandsPoint,NY11050-1299(516)944-8900Fax: (516) 944-7302 TTY:(516)944-8637www.helenkeller.org/national

IndianapolisMuseumofArt1200West38thStreetIndianapolis,IN46208Phone:(317)923-1331www.ima-art.org/

KentuckyCenterfortheArts501WestMainSt.Louisville,KY40202-2989(502)584-7777KentuckyCenterAccessibilityHotline:(502)562-0111(v)(502)562-0140(TTD)

National Family Association for Deaf-Blind (NFADB)111MiddleNeckRoadSandsPoint,NY11050(800)255-0411x275www.cpd.usu.edu/nfadb

NationalInstituteonArtandDisabilities55123rdStreetRichmond,CAPhone:(415)620-0290www.niadart.org

VSAarts1300ConnecticutAvenue,NWSuite700Washington,D.C.20036Voice:(202)628-2800Toll Free: (800) 933-8721Fax: (202) 737-0725TDD:(202)737-0645Web:www.vsarts.org

VSAartsofIndianaHarrisonCentrefortheArts1505N.DelawareStreetIndianapolis,IN46202Phone:(317)974-4123Fax: (317) 974-4124TTY:(317)974-4117www.vsai.org

Creative Expression: Op⇢por⇢tu⇢ni⇢ties for Persons who are

Opportunities for Persons

Who are Deafblind

Nancy Pieters Mayfield

Creative Expression: Opportunities for Persons Who are DeafblindwasdevelopedwithsupportfromtheBlumbergCenterforInterdisciplinaryStudies in Special Education, the U.S. Department of Education, Office ofSpecialEducationPrograms(OSEP),andtheIndianaDepartmentofEducation,DivisionofSpecialEducation.Theviewsexpressedinthesematerials do not necessarily reflect the opinions of any of these entities and no official endorsement should be inferred.

Nancy Pieters Mayfield

The Indiana Deafblind Services Project,

Blumberg Center, Indiana State University, Terre Haute, IN

Copyright 2001

Creative Expression:

Opportunities for Persons who are Deafblind

Acknowledgements Creative Expression: Opportunities for Persons Who are DeafblindwasdevelopedwithsupportfromtheIndianaDeafblindServicesProjectattheBlumbergCenterforInterdisciplinaryStudiesinSpecialEducation,the U.S. Department of Education, Office of Special Education Programs (OSEP),andtheIndianaDepartmentofEducation,DivisionofSpecialEducation.Wewouldliketoexpressoursincereappreciationforthesupportoftheseentities,aswellasfortheassistanceofthemanydifferenteducators,artists,individualsandgroupswhohelpedtoprovidetheinformationcontainedinthisbook.Inaddition,specialthankstothestudentartistsacrossthestatewhoseworkcontributedtothisprojectandtoSteveBrennemanandBailyVideoDesignforthegraphicsusedasapartofthecoverart.

Creative Expression: Opportunities for Persons who are Deafblind iii

Preface Amongthewayswecanexpressourselvescreativelyarepainting,drawing,pottery,sculpture,textiles,jewelry,collages,murals,symbols,illustrations,cartoons,andphotos.

Amongthewayswecanexpressourselvescreativelyarewritinglyrics,studyingmusicappreciation,makinginstruments,listeningtonaturesounds,imitatingrhythmicpatterns,studyingmusicians,makingupjingles,listeningtoandlearningaboutmusicfromdifferentcultures,playingmusicalgames,andparticipatinginmusictherapy.

Amongthewayswecanexpressourselvescreativelyaredifferentsortsofdance (ballet, ballroom, modern, jazz, tap) and different types of movement (exercise,imitatingobjects,partneringwithothers).

Amongthewayswecanexpressourselvescreativelyarestory-telling,acting, attending theater, mime, improvisation, comedy, film, puppet shows, films, and videos.

Asyoucansee,“creativeexpression”cantakemanydifferentforms.Thisbookdiscussesmanyoftheseformsandprovidessuggestionsonhowtoassiststudentswhoaredeafblindinexpressingtheircreativitythroughvariousmediums.Creative Expression: Opportunities for Persons who are Deafblind isintendedforanyoneinterestedinpromotingaccesstotheartsandcreativeexpressioninstudentswhoaredeafblindandwhohavemultipledisabilities.Thisincludesconsumers,familymembers,friends,professionalsandothercommunitymembers.

IndianaDeafblindServicesProject BlumbergCenterforInterdisciplinary StudiesinSpecialEducation SchoolofEducation,Room502 IndianaStateUniversity TerreHaute,IN47809

Creative Expression: Opportunities for Persons who are Deafblind v

Table of Contents

Acknowledgements............................................................................... iiiPreface ............................................................................................... vTableofContents..................................................................................vii

Introduction-CreativeExpression:Opportunitiesforpersons whoaredeafblind.............................................................................. 1UnderstandingDeafblindness:Helpingchildrenreachtheir fullpotential..................................................................................... 3 Vision............................................................................................... 5 Hearing............................................................................................. 5

CreativeExpression:Strategiesforstudentswithdeafblindness............ 7 GeneralTipsforPresentingtheCreativeArts.................................... 8

CreativeExpression:Adaptationsandideasforstudents withdeafblindness.......................................................................... 11 Art ............................................................................................. 13 UsingTextureinArt................................................................... 14 AppealtotheSenses.................................................................. 15 TactileProjects...................................................................... 15 SculptureandPottery............................................................ 16 ArtAppreciation.................................................................... 17 ATriptotheMuseum............................................................ 17 Music............................................................................................. 18 Feeling the Music....................................................................... 19 LearningAboutInstruments....................................................... 19 ImprovisedInstruments......................................................... 19 ConstructedInstruments....................................................... 20 MusicalGames........................................................................... 20 Singing/WritingLyrics........................................................... 20 OtherMeansofExpression.................................................... 20 DanceandMovement...................................................................... 20 RhythmicMovement................................................................... 22 Fundamental Movement........................................................ 22 InterpretiveMovement........................................................... 22 SpatialConcepts........................................................................ 23 Circle..................................................................................... 24 ConcentricCircles................................................................. 24 Line....................................................................................... 24

Creative Expression: Opportunities for Persons who are Deafblind vii

Table of Contents(Continued)

Side-by-SideLine................................................................... 24 AdvancedDanceTechniques...................................................... 25 Theatre........................................................................................... 25 ATriptotheTheatre.................................................................. 26 PromotingAwareness................................................................. 27

CreativeExpression:ReferencesandResources.................................. 29 References...................................................................................... 29 Resources....................................................................................... 30

Creative Expression: Op⇢por⇢tu⇢ni⇢ties for Persons who are viii

creative expression: opportunities for persons who are deafblind

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