Anexos

For a student with special needs, creating and maintaining relationships with other students can be a challenge. Students with disabilities may be coming to music from a self-contained classroom or even another school. The follow- ing suggestions are intended to encourage music educators to be proactive in their approach to creative a positive social environment in the classroom.

As mentioned in part I, in the days and weeks prior to the start of a new school year, it is critical that teachers take the time to read and comprehend the IEP (Individualized Education Program) and 504 (Section 504) Plans or Summaries for their students. As we know, this is a legal responsibility. How- ever, more importantly, it is part of an inclusive philosophy to know the stu- dents in our classrooms. Taking the time to read the paperwork regarding a student with special needs is a helpful fi rst step in integrating students (with and without special needs) within the music classroom.

After reading the paperwork, it is also advisable to talk to the teachers closely involved in the educational planning for students with special needs.

Developing a Student-centered and Inclusive Classroom 113 If some students follow a specifi c behavior plan (see part I), it is very helpful to make that plan a part of daily, or weekly, interactions with them. Consis- tency is imperative when defi ning parameters for classroom expectations and behaviors. These conversations are also important as they set the tone with other professionals regarding attitudes and levels of participation in the overall inclusive culture of schools. When colleagues are aware that music educators are prepared and willing to actively include all students in instruc- tion, they will often be willing to assist with creating strategies to educate students with special needs (Ainscow, 1999; Hobbs & Westing, 1998).

In planning for the fi rst few days, assist students in breaking down social barriers. Oftentimes, students simply do not know each other. Students can have a tendency to separate from those who are different. In this instance, being proactive is the best approach. Take class time to allow students to reveal information about themselves to their peers. This may require assistance for a student with special needs. In some cases it is advisable to involve a special educator or parent to explain the challenges a student faces. Try to move the focus away from a disability and to the common interests among students. For example, Andrew may have autism. With the appropriate permission and support, it may be acceptable to reveal the diagnosis and the challenges involved. Do this without dwelling on the diagnosis. Move to the fact that Andrew likes to play basketball or guitar. Students will attach themselves to those commonalities when they attempt to interact. Other techniques that are often used include: icebreakers, wearing of name tags and other tech- niques to initiate contact. Remember, information will promote acceptance.

In elementary music classroom settings, playing partner games and dances early in the school year will assist in introducing students to others they may not know. It also reminds students that we all have relative strengths and weaknesses. For example, Bruce may not be able to read notes on the staff quickly; however, he is one of the fi rst to remember all the steps to a new folk dance. It is also important to choose partners carefully for students and to allow them to practice choosing partners themselves. A common approach is to have a student ask, “Will you please be my partner?” The other student then will say one of two things: (a) “Yes, I would be happy to be your partner”; or (b) “I’m sorry—I already have a partner. Maybe next time?” This simple set of steps, taught early in the school year, and reinforced throughout the year, may lead to increased positive interaction in the music classroom.

Seating for Socialization

As mentioned in part I, strategic seating is essential for effective classroom management. Seating is also an easy, nonthreatening way to encourage students to interact. It is effective, even in performing ensembles, to vary

seating arrangements. Another strategy is to create opportunities to encour- age students to work together. Music educators can also be strategic in plac- ing gregarious students with students who are reserved or placing students who are farther along academically with those who need assistance. All of these seating approaches, if well considered, can make a meaningful differ- ence in encouraging students to work together.

When planning classroom instruction, consider placement of students with special needs near students who are good academic and behavioral models. These students may serve as formal or informal “buddies” for stu- dents with special needs. A small caveat to this strategy is to not use the same students for each class meeting. “Buddy burnout” can be a negative factor among students who are consistently asked to partner with students with special needs. Also, consider only using a student helper for the portion of class when a student with special needs will need assistance. Another suc- cessful strategy is to ask a student with special needs to assist someone else. This has been a powerful reminder to all students that those with special needs have areas of strengths as well.

When placing students in semipermanent seating, such as a secondary ensemble, consider the needs of the student, the ensemble, and the recom- mendations on the IEP (Individualized Education Program) or 504 (Section 504) Plan. Often, creative thinking can lead to fi nding a place for all students that fi ts their academic, emotional, and social needs. It is hoped that the suggestions mentioned above will assist in providing a learning environment that is conducive to learning for all of your students.

Travel

Whether it is a fi eld trip to an orchestra concert, a trip to a local festival, a day trip to perform at an amusement park or a trip across the country, music groups often travel. Trips can often be times when students with social chal- lenges have diffi culty. Trips can also be an environment for inappropriate behavior such as bullying or abuse. It is our job as responsible educators to curtail these behaviors and protect those who are vulnerable.

Allen (2004) explains that an unsupervised group in certain situations can attempt to exert group control over an individual. A familiar example of this type of situation is hazing. As mentioned above, the synergy of a group can outweigh the logical and caring judgment of the individual. Again, this may seem extreme. However, with the excitement of the trip, students can fi nd themselves in a situation that they will regret.

Be careful of such things as rooming lists and bus lists when traveling. Students with social challenges will struggle (if they attend at all) in these

Developing a Student-centered and Inclusive Classroom 115 circumstances. Travel often requires students to take initiative to fi nd people to room or sit on the bus with during the trip. Signing up for a bus list or a rooming list often reminds them of the fact that they do not have friends within the ensemble with whom they feel comfortable.

Consider the following rules for such occasions: (a) assign bus and room- ing lists yourself; (b) if you want students to sign up themselves, require stu- dents to have representatives from different groups (sections, classes, etc.); or (c) if you are on a longer trip, have a different rooming list every night. Some of these suggestions require more work and attention by the music teacher. These strategies can limit the possibilities of isolation and force stu- dents to ask other students to be a part of their travel plans. Again, model acceptance and zero tolerance of inappropriate behavior. This includes the willingness to accept anyone into a group. Students can learn valuable life lessons from situations where positive behaviors are modeled.

Free time at a festival, park, or museum is an optimum time for students with special needs to become isolated. Students who are socially challenged may attempt to stay with the adults instead of exploring with other students. It is easier to remain with adults instead of attempting to make a connection to a peer group. Remaining with adults on a trip defeats the purpose of expe- riencing such opportunities with peers. When this occurs, consider having a “buddy system” rule and require students to travel in groups. If someone is left out of a group, hold the “buddy” accountable. Students can learn the life lesson of caring about the well-being of everyone in a group by abiding with this system. Sometimes by adhering to these rules students can connect with others who they would not otherwise know. Again, establishing rules such as the ones suggested above allow you to model acceptance and community building among your students.

Leadership

Leadership opportunities can be considered out of reach for students with special needs. It can often be challenging enough to be in class and par- ticipate. In secondary programs, leadership positions often go to students who are chosen, at least in part, by their peers. Students who are coming into music programs from self-contained classrooms or even from other schools may not, for whatever reason, be chosen. In elementary general music classrooms, music teachers can fi nd themselves in a bad habit of choosing the most outgoing students for leading the class or passing out instruments.

Music may be a subject where a student with special needs can demon- strate and develop leadership skills. One co-author recently met a young man

named Sam who was diagnosed with autism and was elected president of his high school band. This was due in part to some assistance from his band director. His director nominated him. Sam probably would not have been nominated otherwise. Because of this nomination, Sam gained confi dence, gave a good “pitch” to his peers, and won the position. In fact, his band direc- tor has expressed that Sam was the most organized and dedicated leader he has ever had. The students were so inspired by him that they had one of the most productive years in recent memory. In addition, his classmates nomi- nated him for student of the year at a local television station.

The point of this example is that Sam needed some help in the initial nomination process. By nominating him, Sam’s band director instilled a dose of confi dence into Sam that allowed him to shine. In other words, Sam’s band director forced his hand to integrate him into the social structure of the band by setting up a positive scenario for Sam to succeed. It is also important to point out that this required risk taking by all parties involved.

We would caution that Sam was ready for this. Some students are not. The same sort of situation could have happened on a smaller scale. For example, Sam could have been elected to a position of less responsibility (i.e., section leader). It is up to the teacher to know the student well enough to under- stand what he or she can handle.

Collaborative Performance Opportunities

Performance opportunities can be an excellent way to encourage interaction among a group of students. Music can be the catalyst to encourage commu- nication between students who would not ordinarily collaborate. Examples include: collaborative performances between classes (e.g., self-contained classroom and general education classroom), group composition projects, and chamber music. The challenge is to not always group these perfor- mances by ability level. It is sometimes useful to group students together based on other outcomes. For example, you may place a student who is chal- lenged into a chamber group with a student who is exceptional to achieve an instructional goal. Another example is to have a combined performance with a self-contained classroom (with students assisting each other) in order for the outcome to be more about teaching or building personal relationships. A student from another culture may have unique insights to share as an ensemble prepares a piece of music or a lesson from his culture. These stu- dents, who have often recently immigrated, sometimes have limited means to express themselves to their classmates. As music educators, it is important to step out of usual routines and take a look at the larger picture of what a performance could mean.

Developing a Student-centered and Inclusive Classroom 117

CONCLUSION: CRITICAL ISSUES FOR STUDENTS