INCLUSION IN A HIGH SCHOOL PHYSICAL EDUCATION DANCE CLASS

written by Diane Sniegowski, High School PE Teacher and Distance Education Student, University of Florida

Dance education in a public high school is a rewarding experience for students who are fortunate to take these classes as part of the curriculum. Students may be able to experience various styles of dance, including ballet, jazz, tap, modern, and social dance. In a physical education setting dance classes often include students who are physically or intellectually challenged. The educator need to consider many approaches to teaching those with special needs in order to make the classes fun and challenging.

The students in a dance class may have physical disabilities involving limbs, hearing, or vision. Some students may have autism or Down syndrome. The teacher who prepares for the instruction of a dance lesson can adapt each lesson to the needs of the learner. By examining the teaching strategies that have been studied and applied in inclusive dance classes, high school dance teachers can assist those students who are physically and intellectually challenged to become successful at learning dance skills.

In a high school dance class, physical disabilities may involve students in a wheelchair who have full use of their arms, or students who use a wheelchair but do have some mobility in their lower legs. There are also students who wear a permanent brace or use crutches. Adapting dance for these students is important in an inclusive physical education dance class. A Chinese study of people in wheelchairs who used taijiquan (YouTube video), a form of graceful mind-body movement, showed that their overall physical and mental health improved (Guo, 2009). Dance movement can also improve the overall health and well being of participants, regardless of (dis)ability.

For the dance teacher, the best method to use while exploring approaches to teaching those who use a wheelchair is to actually sit in a chair to experience how dance steps can be performed. Ginger Thatcher, who worked to create a dance show for the Cleveland dance group, "Dancing Wheels," put herself in a wheelchair to experience a great many movement ideas she could construct for the dancers (Carlon, 2010). Thatcher needed to understand where spinal injuries were located on each dancer in order to determine how much movement could be performed.

For example, if the dancer was able to actually stand up from the chair for a few movements, then the choreography could vary movement and more level changes could be added to the dances. Thatcher also explored the possibilities between stand-up and seated (wheelchair) dancers so interesting duets could take place between them (Carlon, 2010). Classroom teachers should also gain prior knowledge about physical abilities of any student who uses a wheelchair in order to develop movement patterns that can be used in the dance class. By understanding the range of motion and the physical strengths of the student, appropriate dance steps can be constructed, taught, and learned.

Some examples of dance class adaptations have shown that students in wheelchairs can learn dance movements using their hands and arms, as well as movement of the chair. If the dance student can use hand gestures, which are nonlocomotor movements, then the student can do the same movements as standing dancers. These can be done with a partner close by them. In addition, the dancer in the chair can turn to face any direction in the dance class just as standing dancers turn directions (Boswell, 2005).

By pairing a standing dancer and a seated dancer, a ballet skill such as an arabesque can be successfully performed. The seated dancer would roll the chair forward, while at the same time the standing dancer would hold on to the back of the chair. When the chair stops, the standing dancer would lift her leg in an arabesque while the seated dancer moves her arms to ballet third position. This would be a most beautiful movement that would exhibit the gracefulness of the step, and the relationship between the two dancers (Block & Johnson, 2011). In a classroom setting, this would provide a level of respect among the students, as each is aware of the importance placed on both of them to achieve a successful dance performance.

When including seated dancers with standing dancers, a whole-group approach to the class can make for a fun dance lesson using levels and direction changes. Cone and Cone (2011) described the use of a small parachute using streamers tied from the center to each dancer to make it look like the arms of an octopus. Using a scripted story that the teacher writes in advance, the octopus moves in various ways and the students follow the words (of the story) as the story progresses. The teacher can use words that mimic waking up, eating, dressing, exercising, etc., and the students move their bodies in those ways while holding on to the streamers. These actions can be performed for both seated and stand-up dancers (Cone & Cone, 2011).

Modern dance classes in a high school setting include lessons and explorations in improvisation, which allow dancers to discover new ways in which to move. When a wheelchair is part of this exploration, those who are not seated in the chair should view this as an aid to creativity, not an obstacle (Stark, 2009). How can the chair, and the dancer who is seated in the chair, provide the choreography with a dimension not present in a setting with only stand-up dancers?

Through improvisation the class of dancers can find as many movement possibilities as possible to open the doors for creativity in modern dance. These explorations also provide trust and an important socialization factor that is most needed in a class where students learn from and respect those with disabilities.

When a student uses a wheelchair, but has the ability to move their legs while seated, the teacher can provide adaptations to lessons that allow lower leg mobility. For example, any movement style that uses a rhythm, such as stepping or tap dance, can be performed while seated. For those students who are able to move their feet while in the wheelchair, they can wear tap shoes and learn the exact steps as the stand-up dancers. The sound patterns, timing, and dynamics are virtually the same from both positions (Cudjoe, 2006).

Also, there are some teachers who make gloves for the hands with taps attached that can be worn if the seated dancer does not have the strength to move their lower legs. This allows the dancer to clap out the rhythms using tap sounds (Cudjoe, 2006). It is also possible to use these gloved taps on a wooden board mounted on a table in front of the seated dancer. The seated dancer can tap out the sound on this board and make the same tap beats as the standing dancers.

Including 'chaired' people in high school ballroom dance can make for interesting varieties in floor patterns. Teachers should pair a stand-up dancer with a seated dancer. An example of interesting pairing can happen in a cha-cha lesson. The two dancers face each other and begin the cha-cha progression on counts one and two, moving forward and backward, standing or in the chair. On the cha-cha-cha rhythm, the standing dancer shakes his/her shoulders and the seated dancer shakes his/her head. This is the basic cha-cha pattern.

When adding the crossover pattern, the seated dancer uses a 45° turn to the right and the other takes a left turn on counts one and two (Hill, 1976). The main objective is to have both dancers face each other as often as possible to provide that important social interaction that is needed in inclusive dance classes.

When a student uses a crutch or wears a leg brace, there are several ways to make adaptations for that student. First, the teacher should be aware of physical limitations prior to giving instruction. The student should have a dance partner who can stand nearby to demonstrate and give positive feedback. One modification to a dance step would be for the student to lift or raise his/her arms anytime there is a jumping or kicking motion in a dance. This would keep the dancer on both feet, in proper balance, but will allow the teacher to see that the student understands that a kick represents "arms up."

If a student uses 2 crutches and is able to balance on one of them, then the free arm can swing the crutch in different directions to the beat of the music. The teacher can set a specific pattern for using this swinging action. This works particularly well in social dance steps that do not require a great deal of space (Hill, 1976). Any type of assisted device that is used by the dance student can be incorporated into the movement patterns through exploration. The teacher should be aware that the student is an expert when it comes to the use of the device, and that student may be able to show a creative way to incorporate it into the choreography (Block & Johnson, 2011).

Hearing music while dancing is an important part of one's ability to move in time with the song. However, for those dance students who are hearing impaired, the music has to be felt or read in modified methods. As with any disability, the dance teacher should be made aware of the degree to which the student is deaf or hard of hearing. If a hearing aid device is utilized, it is best to be aware of the distance from which the dancer can hear instructions or music (Reich & Lavay, 2009). The teacher should communicate with the student prior to the first day of class in order to make adaptations from the start.

Sometimes the hearing loss is not severe and having the student stand closer to the stereo speaker is enough modification for the student. Several approaches to teaching dance to students with more extensive hearing loss can be used, and sometimes the techniques can be changed depending on the style of the dance being taught for a particular unit.

In a ballet unit, the teacher - prior to the demonstration - can show large cards that list the names of the steps. The cards should be bold and printed with large letters. With the student in close proximity to the teacher, this step is then easily identified and learned through repetition, while the student reads the card and sees the movement made by the teacher or student peer helper (Snyder, 1999). Some students can read lips as the teacher pronounces the name of the step. Since ballet words are in French, this card system will simplify the identification of each step with the corresponding technique. Sometimes the cards can be placed on the floor in front of the dancer so that the order of the steps and directional arrows are read in order to learn the dance pattern (Snyder, 1999).

Another technique used by teachers for hearing counts is to hold up fingers in succession with the musical beat. For those students who can hear low levels of sound, it can be beneficial to increase the bass sound on the stereo, especially when there is a wooden floor in the dance studio. Some dance teachers use a drum, and they beat the rhythm of the song as the music plays so the hearing impaired dancer can watch the action of the teacher (Gallaudet University, 2011). Sometimes information is given to hearing impaired dancers through touch, in order to communicate which leg or arm will be used to perform a step (Green, 2009).

A physical education class with a fan or running air conditioner could cause 'interference sound,' so the student and teacher should be at a distance from those contraptions. Also, the teacher should use a remote control for the stereo or MP3 player so that when oral instruction is given, excess sound is minimized. In addition, direct eye-to-eye contact should be made with the student who has hearing impairment when a teacher is giving verbal cues or instructions (Reich & Lavay, 2009).

Sometimes a dance teacher will place students in small groups to practice dance combinations or experiment with choreography. If a dance student has a hearing impairment, the group work should be 2-3 people so that students can closely communicate with each other. This can allow the teacher to write instructions to the student in order to make corrections or give feedback (Reich & Lavay, 2009). These same small groups can be used in a modern dance unit where activities such as mirroring and contact improvisation provide a close working space in which dancers who are hard of hearing can quickly adapt to the lesson (Block & Johnson, 2011).

Dance students (who are visually impaired) face other challenges in a high school dance class, but can be helped with several adaptations. As with any student who has a disability, the teacher must communicate with the student prior to class to ready all necessary modifications. One of the important goals for a dance teacher is to help all of their students have a better awareness of how their bodies can move in a space. For the students who are visually impaired, they do not know if their bodies have improper posture or if tension is being held in the shoulders. They cannot see those images in the mirror. The power of touch and manipulation for correction and awareness is the key to helping these students become aware of body placement (Silliker, 2009). For example, to stand up straight in a ballet class students need to pull the shoulders back and pull up in the front of the abdomen. The teacher can verbally describe (to the students who are visually impaired) how to achieve this ballet posture.

The teacher can also physically manipulate or gently move the shoulders, legs, or arms in order to instruct or correct any step in a dance class. Prior to the start of any dance unit, the teacher must discuss this tactile correction style with the student. There are teachers who use imagery to inform about dance movement. If a teacher wants the students to open arms wide and then close them together, the teacher can relate that to opening and closing a door. The students then associate a basic movement they have done with a specific action of the arms. This becomes a type of muscle memory for them when it is repeated (Silliker, 2009). Numerous verbal imageries assist dancers with movement, so good verbal communication is a vital part of teaching students how to move - including direction and force.

Dance research has been conducted with students who have visual impairment, as they dance alongside those students who are not visually impaired. The most important form of dance learning takes place when contact improvisation is a part of the learning process. Contact improvisation involves two dancers who use touch and body-part movement to practice and learn various dance steps and sequences. With the guidance of the teacher's voice, the dancer who has sight watches the demonstration and then conveys this by touch to the dancer who is visually impaired (Paxton, Kilcoyne, & Mount, 1993). Research has shown that the dancers who are visually impaired feel empowered to move their bodies more freely through the use of contact improvisation. Not only does this convey a sense of self-importance in the dance class; it also develops a mutual cooperation, trust, and partnership between the two dancers (Paxton, et al., 1993). As with other types of dance partner practices, the disability does not matter - the learning is mutual between all involved (Figure 1).

In a high school dance class, a student who is visually impaired should be carefully paired up with a peer in the class. Research has shown that the academic learning time (ALT) increases for a student who is visually impaired when a peer tutor effectively assists and guides the student (Ayers, 2009). Peer helpers should have a clear understanding of the disability and receive proper instructions from a faculty member who works with that student daily. The positive effect of feedback, skill help, and verbal instructions will prove beneficial for the student who is visually impaired, and can act as an aid to the teacher when it comes to safety in the dance studio.

As discussed, high school dance students with physical disabilities can be provided with a number of ways for the dance studio to be adapted and modified for successful learning to take place. This is also the case for students who have an intellectual disability. Students with autism and Down syndrome can be included in all dance classes when effective inclusion ideas are in place prior to the start of the dance units. Depending on the degree of the disability, each dance student can achieve success at learning basic ideas, movements, and concepts in many different dance styles.

A male dance student with autism, who attends the Murphy School of Dance in North Carolina, although unable to tie his own shoes he learned over 15 ballet French terms and could perform each one, (Harold, 2008). This speaks for the variances in the learning process among students with autism. The dance educator needs to become familiar with the students who have an intellectual disability by speaking with their special education teachers and parents about how the disability challenges the learning process.

It is vital that peer helpers or aids are present in the dance class to participate along with all of the students. Peer helpers should be pre-selected and have a clear understanding of how to assist the student who has the disability (Figure 2). The dance teacher should not expect the peer helper to discipline, but to provide clear directions and feedback throughout each class period. The peer helper is an extra set of ears and eyes for the teacher who may have many students in the class. However, it is the sole responsibility of the teacher to monitor any and all issues that may be of concern to the student who has the disability (Cone & Cone, 2011).

Inclusion in a dance class requires that the teacher have certain rituals that are followed no matter who the dancers are in the studio. For example, setting a warm-up exercise that is repeated daily will provide dancers with special needs a type of ritual that is followed and is predictable - allowing consistency and structure (Kassing & Jay, 2003). All dance students benefit from repetition - not just those who have a disability. This becomes a routine for all students in the class, and provides a sense of security for dancers with disabilities who require repetitive patterns.

The dance teacher should select appropriate and fun music that energizes the class and provides that added spark of enthusiasm. By finding out which musical artist or songs that the student with autism or Down syndrome enjoys, the teacher can add some of those tunes to the lesson planning. For example, if the student enjoys the music of Michael Jackson, the teacher should use one of his songs somewhere during the dance unit. In addition, if the student has a sensory issue with extremely loud sounds, then the music selection should reflect that concern (Cone & Cone, 2011).

Often the dance student who has an intellectual disability will take longer to learn a dance step or movement than the other students. This is when a peer or buddy can be of value in showing encouragement and dancing the steps side-by-side as partners in the class. The teacher can make a connection with these steps or movement by chanting the counts, lyrics to the songs, or humming the tune as the steps are practiced (Kassing & Jay, 2003).

The actual learning environment in the dance studio space should be welcoming, spacious, and provide the dancer with a disability appropriate viewing of the teacher. Attendance should be taken in the same spot at the start of each class, and clear and concise directions about what will be covered in the class should be part of pre-movement directions. Sometimes a visual checklist of the day's activities can be posted on a dry erase board for those students who can read simple directions (Cone & Cone, 2011).

Since each dancer with an intellectual disability has a unique learning ability, the actual dance steps and movements must be constantly monitored for change and adaptation. For example, if the dance teacher presents a series of jazz steps such as chasse, kick ball-change, pas be bouree, pirouette, this pattern can be shortened or simplified by removing the pas be bouree step. This is the most difficult step in the pattern and it can be added in if the student successfully performs the other steps. This simple modification keeps the entire class dancing to the same music with the same type of dance combination.

When it comes to introducing abstract concepts in modern dance, there are several approaches that a teacher can use to assist the dancer who has an intellectual disability. For example, if the concept of light or flowing is explored, the teacher can describe those words by talking about a leaf falling from a tree. Another way to describe this abstract concept is to show a photo or picture of light snowflakes falling to the ground. Also, the teacher can give the student a tangible object such as a feather that can be released and observed as it lightly flows to the ground. It is important to support all verbal directions with an object or picture for clarity (Cone & Cone, 2011).

Besides the fitness and motor skill aspect of a dance class, an important physical education objective is to provide a social exchange between all those present in the dance studio. A goal in a physical education class should always be to show mutual respect, trust, and a positive attitude about learning and appreciating dance no matter a person's physical or intellectual (dis)ability. Communicating any type of information, from learning a specific step to creating choreography, is a shared process that enhances the experience for all students. In addition, the emotional aspect of self-discovery, expression, and creativity is a learning objective that develops over days and weeks in the dance class.

A dance teacher's main goal in an inclusive classroom should center on the overall atmosphere of accomplishment - that each and every student has been successful in acquiring new skills and unique ways to explore body movement. Each student in the classroom should have a relevant and meaningful dance experience. Above all, the dance learning experience for all students should evoke feelings of excitement, satisfaction, and fun!

REFERENCES

Biography:
Diane Sniegowski holds a Bachelor of Fine Arts in Dance from Arizona State University, secondary education certification in dance in Illinois, and a Master of Science in Physical Education from Chicago State University. She taught ballet, jazz, tap, lyrical, modern and pointe in private studios for a number of years and many of her students have won awards in dance and have become professional dancers and teachers. For the past 11 years she has taught dance in the Physical Education Department at Lockport Township High School in Lockport, Illinois and is the director of the Orchesis Dance Club.

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