The Inclusive Classroom: Speaking With Our Bodies

skher brown residency

Skher Brown teaches world cultural awareness, body coordination and interpersonal skills through the basics of Capoeira Angola, an African-Brazilian martial art form that is a blend between a dance, game, and self-defense. In his new residency, Capoeira Speaks: Dancing for Social Intelligence and Life Success Skills, students develop non-verbal communication skills through body language and kinesthetic movement. This residency is well-suited for inclusive learning settings and those with behavioral, social, emotional, and/or physical disabilities.

 

“Over 90% of all communication is nonverbal, yet far too little focus is placed on teaching our children how to empathize with others and build relationships. Capoeira Angola is a non-verbal language that uses our bodies to speak instead of our mouths.”

Social intelligence affects how students manage their own behavior, their decision-making process, and how well they are able to navigate social situations. It is, along with academic achievement, one of the greatest predictors of success. Learning to read and respond to body language helps students learn to communicate more effectively, strengthening their social intelligence, thus increasing their chances of success.

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apoeira Angola creates a culture of being more aware of one another. It’s communicating all at once with everyone in the room,” Skher explains. “I will say with my movement, ‘I’m about to ask you a question, I need an answer,’ and the student will respond with his or her choice of movement–the ‘answer’. Over 90% of all communication is nonverbal, yet far too little focus is placed on teaching our children how to empathize with others and build relationships. Capoeira Angola is a non-verbal language that uses our bodies to speak instead of our mouths. Once students learn the movements, they come together and begin to have a conversation.”

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Capoeira requires students to be very expressive with their entire bodies, including their faces. Participants smile, open their eyes wide, and use animated gestures. These movements help students connect with their own emotions, which translates into being able to recognize and connect to the emotions of others.

Skher Brown

Students take ownership of the new community culture and protect it.”

In Skher’s residency, students take turns observing one another performing the dance movements of Capoeira. “After the dance routine, we form a large circle for participants to look at one another using eye contact. Here, students express what positive observations they noticed about their partners. Then, students share how it felt to give and receive positive reflections. Invariably, though the expressions might start out a little stiff, the mood and classroom environment always turns into a welcoming and connected space. Students take ownership of this new community culture and protect it.”

Skher Brown is one of nine selected roster artists who received training in a variety of inclusion tactics to utilize in the classroom through the Inclusive Allies program in partnership with Disability Rights Maryland. Learn more about our programs for students with special needs and the work we are doing to ensure that all students receive the many benefits of engaging and inclusive arts-integrated classroom experiences.

The Inclusive Classroom: Arts Integration for Every Ability

Sharp-Leadenhall school students’ introduction to guitar with YA Roster Artist Curtis Blues

Arts integration is a valuable tool for reaching multiple learning styles across the curriculum and is linked to enhanced academic outcomes as well as positive social and emotional development for children. While this is true for all students, studies have found that the impact of the arts on language development and core subject learning is particularly beneficial for students with disabilities or those with special learning needs.

As an inclusive organization, Young Audiences’ goal is to bring high-quality, arts-integrated instruction that is accessible, supportive, and welcoming to children of all backgrounds and abilities into the classroom.

Reality is a social definition. Disability is the social process that turns impairment into a negative by creating barriers to access. Difference should be accommodated and celebrated. You can create new ways to create together by taking into account universal access to creativity.

We are diligently laying the foundation for inclusive practice to be incorporated into arts-integrated curriculum, increasing the opportunities for youth of all abilities to participate in artistically-excellent programs. To help us achieve this goal, our staff received specialized inclusion training through the Inclusive Allies program in partnership with Disability Rights Maryland.

Master teaching artist Sue Trainor engages students at William S. Baer through puppetry and song

Nine selected roster artists also received training, participating in a comprehensive workshop covering a variety of inclusion tactics to utilize in the classroom. YA Roster Artist and FutureMakers founder Matt Barinholtz observed, “Reality is a social definition. Disability is the social process that turns impairment into a negative by creating barriers to access. Difference should be accommodated and celebrated. You can create new ways to create together by taking into account universal access to creativity.”

YA artists approach this “universal access to creativity” by rethinking the norms behind the ways we allow people to communicate, socialize and behave. We create a culture where all students receive the many benefits of engaging and inclusive arts-integrated classroom experiences, adapting lessons with audio/visual cues and different levels of kinesthetic movement, and applying inclusion tactics.

The following Young Audiences Roster Artists have completed the training as of 2016:

In the coming months, we will proudly share artists’, teachers’ and coordinators’ stories about their roles in this important work.

“You Are All Now 6th Graders!”

Credit: Rebecca Dupas Photography
Credit: Rebecca Dupas Photography

On an early Saturday morning this past fall, Drew Anderson, a hip hop artist, slam poet, screenwriter, producer and veteran school teacher, stood up in front of a sunny classroom filled with teaching artists and commanded:

“You are all now 6th graders!”

That’s how most mock lessons begin at Young Audiences’ Teaching Artist Institute (TAI); a weekend retreat giving Young Audience Teaching Artists and School Teachers the skills they need to maximize the huge potential of arts integration for students in classrooms.

Drew’s bold command at first surprises, but quickly shifts observing teaching artists into the mindset of a student absorbing an unexpected, uncommon classroom experience. A teaching artist himself, Drew asks his “students” to listen to Michael Jackson and break down the beat, eventually re-writing verses with science vocabulary taught by his teacher partner in the classroom, Justin Leonard. The two make an exceptional team, as both have backgrounds in public science education. They smoothly interchange directing the classroom, keeping students engaged – a flow reminiscent of Drew’s own performances on stage.

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Teaching artist Drew Anderson and science teacher Justin Leonard co-teach their mock lesson “Spoof School” for TAI faculty and teaching artists.
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Drew Anderson introduces Michael Jackson’s “Thriller” as the starting beat.

The experience is one of two Common Core compatible arts-integrated performance residencies Drew created at TAI: “C.R.U.N.K. Academy” and “Spoof School” – bridging his longtime passions for performing and teaching.

Here’s an excerpt from Drew for the first lesson of his residency:

The first step is to pick a good song to spoof. It is important to pick a song that is catchy and easily recognizable with simple lyrics. As technology guru, Mr. Leonard will record and project the students’ suggestions for spoof criteria and will play a few songs asking students to put their thumbs up or down to indicate whether the song would be easy or difficult to spoof. Students defend their responses and the creation of replacement lyrics begins!

“TAI

 forever altered my understanding of what it is to be a  teaching artist.

I learned more than I knew there was to know about arts integration and teaching artistry. I felt utterly enhanced in the realm of mind-shaping magic as if I’d been given a spell book of scholarly sorcery. I learned how to more dynamically apply my art form to educational content, how to break down my creative process for students and teachers, and how to connect my artform to 21st Century Skills, Maryland Art Standards, and the Common Core Curriculum. Every engaging exercise, helpful strategy, and supportive piece of advice from the superb staff and my equally excited peers confirmed that I had found where I belonged.

I am now prepared to convert all the potential energy hidden in classrooms into explosive kinetic energy, using engaging assemblies and super-charged residencies! I’ve been an educator and performing artist for my entire adult life and have observed the changes in both worlds. Gone are the days when students are programmed with rote memorization of stale “facts.” Employers want workers who can think on their feet and on their own. This ever-evolving environment needs young entrepreneurs armed with the creativity to solve problems that have yet to appear. Through its audacity, its abstractions, its “aliveness,” art activates parts of the brain that any teacher or employer should want to turn on. You might find yourself “shocked” at how much electricity comes from the marriage of art and education!”

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