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Gerber & Guay - Chapter 1 - Students with Special Needs in the Art Room: A Journey

1. Key Claims: There was so much information packed into this one chapter, that honestly, it was hard to choose just two key claims. I felt like I could pick out so many different main ideas, but somehow they all seemed to come together in the end and provide such an informative and productive viewpoint. The first key claim I want to touch on is the importance of asking for assistance when you need it. The second story shared in the chapter, detailing Ms. Kerry’s classroom experience, depicted someone struggling to maintain a conducive learning environment and basically giving up. She was overwhelmed and didn’t know what the solution was, however, she was aware that her current means of decline were not working. Resources, like intervention specialists in this case, can be incredibly helpful and important aspects of the education system we all should remember, and never feel ashamed to utilize. The second key claim I want to highlight from this chapter is the importance of pre-established objectives. Not only do objectives come in handy when introducing a lesson; allowing students to understand what is expected of them, and begin to independently prepare and organize their ideas beforehand. This quote is what really solidified the concept of objectives as one of the author's key claims “the major challenge facing each art educator is to choose art learning objectives that will enable each student to grow in understanding and skills. Art objectives, well chosen, enhance the student’s future, direct attention toward what is worth knowing, and develop skills worth having. Art education objectives, when designed carefully, consider ideas, skills, and attitudes that have value beyond the classroom (Wiggins & McTighe, 1998)” (Gerber & Guay, p. 11). That idea of what we teach out students, having value beyond the classroom, is incredibly important. Especially, when trying to appropriately accommodate and simultaneously empower students with different levels of abilities.

2. Shifting Perspective: The perspectives this chapter provides are not only true stories from actual teachers' classrooms, but also glimpses into the daily realities of teachers all over the world. The raw and authentic experiences shared in this chapter are so important, especially to a first-time teacher like me. They’re not idealizing what teaching is, making it out to be this constantly amazing and gratifying job, where you just do art with kids for 8 hours and then go home. They’re giving us a picture of what adapting in a classroom really looks like, the positives and the negatives. Being able to hear this from the perspective of someone who is only there to objectively observe the daily workings of each space, and also has a deep knowledge of this subject matter, allows for there to be this amazing feeling of understanding and appreciation coming from the interviewer. You can tell they are seeing everything through the lease of the teacher and simultaneously the student, which is so important to hear and allows us to learn from the subjects.

3. Would you let someone observe your classroom and write a piece about how you teach and structure your classroom? Why or why not?

Kraft & Keifer-Boyd - Chapter 2 - Empowered By Difference

1. Key Claims: I really enjoyed how much this chapter emphasized the importance of activism, empowerment, and breakdown of pre-conceptions when it comes to the notion of disability. Highlighting the importance of our role as educators in enforcing and encouraging those acts of change. The first key claim I found impactful in this chapter, is the idea of disabling stereotypes, and how they are so deeply rooted in our culture, specifically when it comes to moving cliches. This quote summed the concept up very well “Materiality of metaphor, therefore, is an awareness of how pervasive linguistic and visual metaphors impact how we interpret our lived experiences.” (Kraft & Keifer-Boyd, p21) Because of the oftentimes offensive, demeaning, and pandering media that is broadcast to us from a young age, we are bound to carry negative stereotypes with us throughout life, sometimes even unknowingly. However, it is our responsibility, especially as educators, to unlearn those ignorant perspectives and not create preconceived notions about people simply based on their perceived outward appearance. The second key claim I want to discuss is the importance of the reclamation of the term (dis)ability. “Moreover, reclaiming the meaning of disability from "it isn't necessarily bad to be disabled" to “it is bad to be discriminated against, unemployed, poor, and blocked by bad laws, architecture, and communication” re-directs critique.” (Kraft & Keifer-Boyd, p.24) This quote is so incredibly astute and powerful. This is what the idea of reclamation is; not reiterating the fact that it isn’t “necessarily bad” to be disabled, something that most competent people are well aware of. But, pointing out the bigger issues that come along with the word and how it affects the lives of people every day. Being able to reclaim the “dis” in (dis)ability, is necessary for true equity to happen.

2. Shifting Perspective: Something that really resonated with me throughout this reading was their attention to all aspects of what difference means for an individual, and how we as teachers play a huge part in assuring equal opportunities in our classrooms. More specifically, when they touch on the concept of teaching rather than training. Encouraging an environment of sharing and connection between the teach and student, as well as, adaptability and preparedness for various situations and specific needs. This idea allows for, not only, swifter classroom integration of certain students, but also smoother transition periods for special needs students entering the art classroom (Kraft & Keifer Boyd, 2006.

3. Is there a cinematic portrayal of a person with a disability that you find problematic? If so, what is it and why?

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Reading 1

What I appreciated so much about this reading was its constant emphasis on respect and humanity, this is what I would consider their first claim. When learning environments become too rigid and solely focused on results and efficiency, we tend to lose that sense of humanity. It dulls student-teacher connections and oftentimes leaves students feeling unimportant and disengaged. Without these two key concepts as a base for educating; practicing equity, and making sure every student is having their individual needs met in order to best succeed, becomes more and more difficult. Another one of the claims made in this reading focuses specifically on the concept of the "communitarian" perspective, which states that "—rather than merely compensating for an individual's perceived disability—views all people within a community as interdependent, able to contribute in working toward a common good." (Kraft & Keifer-Boyd, p. 9) This concept seems to be frequently ignored by many; when people see a person with a disability, they often will make assumptions about how that person must live their life, what things they are and aren't able to do and feel as though it is their responsibility to "help" where they are assuming help is needed. To me, what this claim supposes is that every person on this earth has the ability to contribute towards something. And while yes, the degrees to which people are able to contribute may vary, that certainly does not mean that anyone who has a disability will be automatically lacking in their contribution. We all have strengths and weaknesses, and those who have no context of an individual's situation, have no right to assume one person is "weaker" or less able to contribute than another, based solely on the fact that they have a disability.

Claim 1: Emphasis on respect and humanity.
Claim 2: Communitarian Perspective

Key Ideas, Concepts, and Vodab

Person-First Language - emphasizes the person before the disability.

"students with different-abilities" or "typical-abilities" (Kraft & Keifer-Boyd, p. 9)

"responsibility towards others" (Kraft & Keifer-Boyd, p. 10)

"mutual respect for individual differences" (Kraft & Keifer-Boyd, p.10)

"An environment that is neither threatening nor antagonistic will facilitate dialogue." (Kraft & Keifer-Boyd, p. 10)

"individual strengths contribute to group's goals." (Kraft & Keifer-Boyd, p. 11)

"the best way to remove biases and prejudices is through positive working experiences with people different from themselves." (Kraft & Keifer-Boyd, p. 11)

Reclaiming - retrieve or recover (something previously lost, given, or paid); obtain the return of.

"empowerment through difference" (Kraft & Keifer-Boyd, p. 12)

"increase funding for art education, differentiate curricula, and create a sense of shared responsibility." (Kraft & Keifer-Boyd, p. 12)

Reading 2

This reading did a fantastic job of demystifying and destigmatizing some of the most common assumptions made about the field of art therapy. One of the first things I noted, and feel is definitely one of the main claims the author tries to make abundantly clear, is that "as art therapists, we accept the fragmented, the chaotic, the abortive, the incomplete." (Kramer, p. 37) They're making a statement that, in order to give a client the best chance to work through their problems, we cannot, and must not, get caught up in what we perceive to be "art". Along with this, if the client is too focused on the detail of what they're creating, or is constructing their piece in a certain way to avoid judgment or reticule, then their true feelings are not being expressed and represented in the work they're creating. Kramer details techniques used to induce 'spontaneity' and "encourage chaotic manipulation of art materials." (Kramer, p. 37) Basically, you want your client to feel as free as possible to create whatever it is they're feeling, and sometimes we need to break through natural human defense mechanisms/ barriers to do so. Another claim Kramer makes when debunking assumptions about art therapy is that spontaneous forms of expression, while they may look simple or obscure, are "invaluable in gaining access to the patient's inner life". (Kramer, p. 37) Just because a patient's artwork doesn't look like anything meaningful to one person, that's okay, in fact, that's probably good! Patients put so much of themselves into the work they create; often expressing past traumas or visualizing emotions in abstract ways that only they can decipher. But, just because something doesn't look like "art" doesn't mean that person didn't put real-time, dedication, and love into the end result. Kramer describes it as "At best, this is a labor of love, but all the same, it is arduous, not spontaneous." (Kramer, p. 37)

Claim 1: Art therapists accept art in whatever form it takes.
Claim 2: Spontaneous ≠ Simple

Key Ideas, Concepts, and Vodab

"pseudo-products that can create the illusion of art." (Kramer, p. 36)

"preconceived perfection that is both guaranteed impersonal and guaranteed bad art," (Kramer, p. 37)

"We are in trouble when we are taken in by our own propaganda" (Kramer, p. 37)

"counteract rigidity and alleviate anxiety" (Kramer, p. 37)

Spontaneity - performed or occurring as a result of a sudden inner impulse or inclination and without premeditation or external stimulus.

"false dichotomy of process and product." (Kramer, p. 37)

Abortive - failing to produce the intended result.

"When concentration on process results in systematic neglect of or disrespect for its natural culmination - the product - the patient is deprived both of his goal and of the reward for his labors." (Kramer, p. 37)