Metodología de evaluación de ofertas

Social identity theory is one theoretical underpinning by which researchers examine relationships and power within social groups. This theory specifi - cally addresses how social structures can have a negative affect on indi- viduals. The fundamental understanding of social identity theory is that a person’s self-perceived value to a group can directly affect his overall self- worth and self-identity. Hogg and Terry (2001) explain that “a social cat- egory within which one falls, and to which one belongs, provides a defi nition of who one is” (p. 7). Music students can construct a social identity based on their experience within their music classroom in several ways. This iden- tity can manifest itself within a social group, a section within a performing ensemble, or in ways their self-perceived success relates to the overall goals or class expectations. Because a student’s self-worth is a critical part of this identity, particular attention needs to be paid to those who are challenged, and how the student and the rest of the class perceives those challenges.

One co-author recently worked with a student who was challenged by traumatic brain injury and played trumpet in band. Because he struggled in band socially and academically, he had diffi culty understanding that these challenges did not make him a bad musician, or more important, a bad per- son. It was just as much work as a teacher to convince him otherwise as it was to get him ready for a concert. At times he wanted to give up. His parents and the co-author worked very hard to separate the academic, personal, and social challenges in his instruction as well as to encourage him to improve

Figure 5.1 Steps to Organizing a Classroom Intervention for Positive Behavioral Support in an Inclusion Classroom

1. Identify behaviors that you would like to change and the student that you would like to support.

2. Speak with special education staff about appropriate terminology to use in describing the students challenges

3. Plan a day when the student in question can be diverted to another class or activity during this time (if needed).

4. Have special educators, parents, and your students sit together in an uninterrupted environment and make this the topic of the day. 5. Ask the students for help including what specifi cally they can do

to assist you in teaching music.

6. Reestablish rules for conduct and what you expect.

7. Establish a clear conduit of communication for when adjustments need to be made.

Developing a Student-centered and Inclusive Classroom 107 in all areas. This can be very challenging for music teachers. However, it is critical for a student with special needs to understand that his academic and social challenges do not make him “stupid” or “bad.” It is obvious how these implications can snowball into larger mental health concerns.

RISKS (LESSONS LEARNED FROM VYGOTSKY)

Even as adults, forming relationships in a group setting requires risk. We must take chances not only to reach out and form a relationship but also to foster and continue a relationship. This can be uncomfortable for all stu- dents, especially students with special needs. In our classrooms, a student may have tried to initiate and reinitiate contact and failed. Other students may have attempted to initiate conversation with a student who has a com- munication challenge and also failed. The combination of both behaviors can result in a “downgrade” of a student’s place within a group (see social identity theory above). In addition, these events may discourage a student from attempting to connect in the future.

The Zone of Proximal Development (ZPD) developed by L. S. Vygotsky is often used to explain the benefi ts of group learning within a social context. The basic premise is that students often learn more from capable peers than they would learn if left alone. Cooperative learning, peer-tutoring, and modeling are all examples of where the Zone of Proximal Development (ZPD) can be applied. The most important part of this theory regarding students with special needs is to understand their need for a “comfort zone.” Students with disabilities often struggle with many aspects of everyday life that cause them to retreat into their “comfort zone.” Students can have a social, physical, sensory, or academic “com- fort zone.” It is apparent that students with certain disabilities at an early age already demonstrate a lack of interest in engaging with their teacher or with their peers. It is important for teachers, therapists, and parents to keep students with disabilities interested in existing and learning with their peers.

Students who are not challenged by special needs also have a “comfort zone.” It is often easier for them to retreat into their established social net- work than to take the risk to reach out to a student who may appear to be dif- ferent. The key is to encourage students (with or without disabilities) to take risks in order to make a connection with other students. As music educators it is vital to encourage both groups to take the risk to interact.

Music teachers may ask: How do we encourage students to take risks in socializing with students? Ice breakers at the beginning of the year are great for this. For example, have students choose a number. Have them sit accord- ing to this prescribed number (to mix them up and not allow students to sit by their friends). Have your students interview the person sitting to their

right. Questions could include items like what is your favorite food? Or what kind of music is on your iPod? Students will then realize that they have more in common than they think. This is just one example. There are also other ways of encouraging positive socialization such as pre-assigning group proj- ects (with students that you think would work well together), pre-assigned seating (as mentioned before), and mentoring (older students with younger students). Figure 5.2 is a list of print resources for music teachers to develop a deeper understanding of this phenomenon.

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