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Graduate Education Student Scholarship Education
Spring 2018
Adapted Art Curriculum: A Guide for Teachers of Students With Adapted Art Curriculum: A Guide for Teachers of Students With
Disabilities Disabilities
Genevieve Yoder
Messiah College
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Recommended Citation Recommended Citation
Yoder, Genevieve, "Adapted Art Curriculum: A Guide for Teachers of Students With Disabilities" (2018).
Graduate Education Student Scholarship
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Runninghead:ADAPTEDARTCURRICULUM
Adapted Art Curriculum: A Guide for Teachers of Students With Disabilities
Genevieve Yoder
Messiah College
Curriculum and Instruction Research Project
Dr. Janet DeRosa
Spring 2018
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Abstract
Due to the changes in the educational system since the 1997 Individuals with Disabilities Act,
few resources have been created to assist art teachers in adapting curriculum and art tools for
students with disabilities. This research project explores studies in art and disabilities, as well as
curriculum adaptations. The literature review offers an extensive view at current literature on
four major themes: a need for curriculum, general education curriculum adaptations, adapted arts
curriculum, and the impact of arts education in the lives of people with disabilities. Based on this
research, a project was developed to incorporate aspects of these themes into a usable curriculum
map, with accommodation considerations provided. This product also includes three unit plans
on three types of media found successful with students of disabilities: digital art, two-
dimensional media, and three-dimensional media. Each is elaborated on its usefulness for
students with varying need. This adapted curriculum map provides a solution to the research
problem because it plans for diversity of needs from the onset, and allows for flexibility. Lastly,
the researcher discusses the possible implications of this research project.
Key words: disability, curriculum, adapted arts, arts education, special education, special
needs
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Table of Contents
Chapter 1: Introduction…………………………………………………………………..…..5
Narrative……………………………………………………………………..…….....5
Contextualizing the Problem…………………………………………………..……..7
Purpose of the Project Study…………………………………………………..……...8
Methodology……………………………………………………………………..…...9
Definition of Terms……………………………………………………………..……10
Chapter 2: Literature Review……………….…………………………………………….......11
A Need For Curriculum..……………………………………………………………..11
General Education Curriculum Adaptations………………………………………….12
Adapted Arts Curriculum.………………………………………………………….....17
Impact of Arts Education……………..……………………………………………....27
Chapter 3: Adapted Arts Curriculum Plan………………………………..…………………..32
Art for Grades K-5…………………………………………...……..……..……..…...34
Unit Plans……………………………………………………………………………..41
Digital Technology..…………………………………………………………..41
Two-Dimensional Arts…..………………………………..…………………..46
Three-Dimensional Arts.………………………..…………………………….51
Accommodations Template.………………………….……………………….51
Chapter 4: Discussion………………………………………..……………………………......56
Implications…………………………………………………………………………...56
Epilogue………………………………………………………………………………58
References………………………………………………………………………….....60
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Chapter 1: Introduction
This chapter provides an overview of a research study that explores adaptations for
individuals with disabilities. It includes an adapted art curriculum map for students with
disabilities. The curriculum plan includes three unit plans complete with adaptations,
accommodations, art tools, standards, and rubrics appropriate for students with disabilities of
elementary age-range and ability. This curriculum plan will be based on research of people with
disabilities. In this chapter, I will describe my journey through art and education in relation to
special needs and my Christian faith. I also describe the background to the problem and provide
a brief overview of the literature on adaptations for individuals with disabilities. I then discuss
the study’s purpose, the methods for collecting and organizing data, and the definitions of key
terms in this study.
Narrative
Art has always been my passion. Since I was a little girl, I have always known that the act
of creating art would play an important role in my life and bring me joy. The joy of teaching
came later in life. I began to think about my gifts and talents given to me by God. One of these
talents was my ability and desire to help others. Taken together, my amiable nature and my
passion for creating art developed into the field of art education. In praying and searching for a
path to start my career, God placed me in a school for students with severe disabilities. I had
taken undergraduate courses pertaining to students with special needs, but I was not prepared for
the level of need for those with severe and multiple disabilities. My lack of experience at the
time pressured me to become more knowledgeable and fight for ways to achieve success and
participation on behalf of my students. I took additional classes in graduate school on special
education, I met and talked with special education teachers in my building for ideas, and I
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listened to and watched the paraprofessionals work with the students. Coming out of college I
was prepared to challenge students’ abilities and raise the bar of what it meant for arts education
to be a part of schools. However, when I found out that many of my students could not hold a
pencil, I wondered, “How can I challenge these students?” The challenge looks different, but it is
still possible. Part of my experience has taught me that success looks different for everyone. For
many students, it is gripping an item such as a spoon or a paintbrush for longer periods of time.
For others, it is tolerating hand-over-hand movements or tolerating certain textures. For some, it
is learning about cause and effect when they push a switch button and electric scissors turn on. In
creating this curriculum, I acknowledged that every child is unique and has their own set of
successes and challenges. Loesl (2012) stated,
The lives of students who have experienced adaptive art making have been changed in
ways that others may not understand. As with most students, the experience of art making
is very personal. And, like the other student artists, their work may never hang in an art
gallery…The work that is created comes from the very essence of who they are.
In essence, these individuals benefit greatly from artistic expression, and it is my desire to make
this possible for every child. Art is a method in which to express one’s self. For some
individuals, art is a part of their identity and they choose to fulfill that inner desire, despite any
physical or mental disabilities that try to hold them back. It is my aspiration that other teachers
can use this curriculum and research practices to provide opportunities to open the doors to art
tools, media, and techniques for individuals with differing abilities regardless of age.
Contextualizing the Problem
According to the American Community Survey approximately 12.6% of the U.S.
population was diagnosed with a disability in 2015 (Kraus, 2017). A total public school
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enrollment survey taken in the same year measured children enrolled under the Individuals with
Disabilities Act (IDEA) and concluded that 6.6 million students were in need of free and
appropriate education (National Center for Education Statistics, 2017). Despite higher education
programs promoting the instruction of students with special needs, many non-special education
teachers feel unprepared for teaching students with disabilities. There is a vast need for school-
age curriculum designed specifically for these individuals, especially in the special subjects of
art, physical education, and music.
A search of many education journals and articles for research on “adaptive art” produces
few results. The immense lack of relevant or current literature on the subject is troubling. With
growing numbers of students in need, scholars can no longer ignore the necessity of adaptive
curriculum and tools for educators to use within their art studies (Cramer, Coleman, Park, Bell,
& Coles, 2015; Derby, 2016; Guay, 1994; Mason, Thormann, & Steedly, 2004). As an educator,
I have experienced the lack of resources available in adaptive art for individuals with autism,
emotional and behavioral needs, life skills, multiple disabilities, blind/visually impaired, and
deaf/hard of hearing. Not only are special tools needed for these students to participate and
access their materials, but existing curriculum needs to be modified to the individuals as well.
A lack of curriculum for adaptive art poses many issues for the inexperienced teacher.
Teachers of individuals with disabilities, especially severe disabilities, have no pre-established
goals or objectives to aim for or draw from without an adapted curriculum. With no objectives, it
is difficult to assess the students’ abilities and understanding of the content. The educator does
not know where to start, what they are to accomplish, or how to know they have arrived at a
finishing point. The students also do not know their end goal, what it means to achieve mastery,
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or what it means to have any sense of continuity within the course. Both teacher and student
should aim to build on their skills each week as they progress through any curriculum.
Students with disabilities are required under IDEA to have equal access to materials.
Why then, are there so few resources available to special subject teachers in the way of
curriculum and tools? Mason et al. (2004) listed implementation of a specific arts curriculum as
one of six ways future researchers could measure academic achievement and cognition through
the arts. Individuals with disabilities have often been marginalized in our society and in
education (Coleman, Cramer, Park, & Bell, 2015). Educators and researchers are the pioneers for
giving these students an opportunity to be successful. Art curricula found in schools K-12 today
assumes that a child has the use of their hands, including fine motor skills. This is not the case
for many individuals in special education, and special tools must be used for these students to
participate. A curriculum that addresses this issue best suits the needs of these individuals and
provides equal opportunity for learning (Coleman et al., 2015; Erim & Caferoğlu, 2017;
MacLean, 2008).
Purpose of the Project Study
The purpose of this study is to investigate methods of teaching and adapting art materials
and concepts to students with one or more disabilities. The research guided the researcher to
create a curriculum plan with select lesson examples that breaks down the steps and provides a
comprehensive walkthrough of options and considerations for teachers working with these
students. Even though there are multiple traits and variations of disabilities, the curriculum
provides some guidance for altering lessons so that students with disabilities can be successful in
the art classroom. Creators of curriculum in core subjects, who have these students in mind, have
also discovered underlying theories, ideologies, and practices that can be transferred to the field
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of art education for those with disabilities. As many general-education teachers do not have
experience with severe disabilities, this curriculum plan based on existing research will be a
useful resource for this field.
Methodology
To address the study’s problem, peer-reviewed research was gathered on the topics of
adaptive art, special needs, art curriculum, special education theories, adaptations, and
occupational tools. Relevant studies were used to source additional resources from the reference
sections of each article. Not only did this ensure that the articles shared a similar theme, but the
reference sections allowed me to see what authors are most prominent in this field of study. Data
collected from these academic journals were collected, examined, and organized according to
common themes. A grid was used to collect specific examples of adaptations used in general
education and art education. For art education, information was collected on three art categories:
digital art, two-dimensional media, and three-dimensional media. These criteria are standard
elements of an art curriculum and will be useful for art teachers to see specific examples in
literature. As the themes were recorded and sorted, I was able to see the needs, solutions, and
evidence-based theories to implement or consider in planning an adaptive art curriculum plan.
Definition of Terms
The following key terms are used throughout this research study:
Accommodation: A type of adaptation to the curriculum content, teaching strategies,
location, timing, schedule, student response, environment, or other aspects of learning that
increases access for a student with a disability to participate without lowering the expectations or
standards of the course content (Wright, 2003).
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Adapted art: Artwork created by students with disabilities that is changed or modified to
allow the student to create and experience art methods as independently as possible.
Assistive technology (AT): A device or piece of equipment that allows a child with a
disability to improve, maintain, or increase their speech or physical experiences and capabilities.
Curriculum: A set of lessons or courses focused on one overarching subject that builds on
concepts over a period of time. Curricula are planned experiences often taking place within
educational institutions.
Severe disabilities: An individual with greatly impacted physical or mental capacities.
These impairments may greatly limit the individual’s mobility, communication, self-care, self-
direction, interpersonal skills, and work skills and may include a hearing, visual, or health
impairment.
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Chapter 2: Literature Review
This literature review presents research from general education programs that provide
adaptations and modifications to curriculum for students with disabilities. It will then consider
what past literature has found in regards to what should be included in adaptive art curricula
through the use of different art mediums, assistive technology, independence, and instruction.
Finally, it will address what literature says about why arts education is valuable in the lives of
students and people with disabilities in multiple facets.
A Need for Curriculum
On November 29, 1975, the Education for All Handicapped Children Act (Public Law
94-142) was passed providing access for students with disabilities to general education at public
schools (U.S. Department of Education, n.d.). Today, this is known as the Individuals with
Disabilities Education Act (IDEA). Since this law was passed, many education programs in
universities and colleges have required at least one special education course for students in
teacher education programs. However, large numbers of teachers still feel unprepared for
teaching students with special needs, especially severe disabilities (Cramer, Coleman, Park,
Bell, & Coles, 2015; Derby, 2016; Guay, 1994).
In a study of preservice preparation to teach art to students with disabilities, Guay (1994)
found that the teachers she interviewed relayed that they lacked preparation and had to learn
from their students, or by working closely with a special education teacher, through trial and
error, returning to graduate school, or through workshops. Not much research has been done on
the subject since Guay’s 1994 study, so it is often used as a reference in other researchers’ work
(Coleman et al., 2015).
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In interviewing educator’s perceptions of teaching students with disabilities, Mason et al.
(2004) wrote, “Comments from teachers across the country support the value of the arts for
students with disabilities” (p. 39). Coleman, et al. (2015) similarly found that 96% of teachers
agreed or strongly agreed that it is important for students with significant disabilities to
participate in art making. This underlines the problem of this study. If teachers are open to the
idea, then why are there so few curricula and tool resources available to art teachers in order to
prepare them for the increasing number of students with disabilities in public schools?
General Education Curriculum Adaptations
In researching curricular needs and accommodations for people with disabilities, findings
suggest there is a need for more universal design for learning, normalization, higher order
thinking skills, and adaptations. The following sections will address each of these methods.
Universal Design for Learning
In Robinson’s (2013) study of the quality of arts integration research, she noticed that
universal design for learning (UDL) principles were being used in many school districts, such as
New York City. UDL is an interdisciplinary approach that provides students with multiple means
of engaging, expressing, and representing their ideas and learning. It is also a backwards design
that allows for essential concepts to connect to big ideas. Pugach and Warger (2001) also
mention UDL as a “goal yet to be fully realized in most contemporary classrooms” (p. 196),
especially when it comes to the textbooks chosen within the curriculum. The special education
teachers interviewed by Ponder and Kissinger (2009) felt that “the arts might play a role in
differentiated teaching strategies that could address the various learning styles and dominant
multiple intelligences of their students in order to meet educational and behavioral goals” (p. 41).
While students that need multiple means of learning and acquiring information might benefit
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from UDL and the use of multiple intelligences, some authors suggest curriculum needs to be
chronological, age-appropriate, and teach functional skills that are representative of non-school
environments (Baumgart et al., 1982). On the other hand, the teachers interviewed by Ruppar
Ruppar, Roberts, and Olson (2017) noted the importance of teaching life skills, but also
emphasized the importance of persistence in teaching academic skills to those with severe
disabilities. The teachers did make an effort to make sure their curriculum was age appropriate
with a sense of equity to what other students were doing in the school building. Guay (1993b)
refers to this as normalization.
Normalization
Guay (1993b) describes “normalization” as an ideology that is “a combination of beliefs,
attitudes, and interpretations of reality, that derives from one’s experiences, one’s knowledge of
what one presumes to be fact, and above all, one’s values” (p. 59). Normalization is about
keeping classroom topics, student interests, social interactions, and other needs similar to that of
students with disabilities peers. For Guay (1993b), “Normalization focuses on the classroom
system. It does not seek to provide simplified art or in any way to separate or segregate students,
but rather makes instructional provisions that accommodate the diversity” (p. 62). Broderick,
Mehta-Parekh, and Reid (2005) agree that inclusive education should resist students being
excluded and marginalized, but they differ in their approach from Guay. They wrote, “Offering
the same lesson to all makes no sense when every indication is that U.S. classrooms are
inherently diverse” (Broderick et al., 2005, p. 196). They describe differentiated instruction (DI),
which allows teachers to address diversity by “planning and delivering rigorous and relevant, yet
flexible and responsive, instruction” (Broderick et al., 2005, p. 196) in general-education
classrooms.
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Higher Order Thinking
When it comes to curriculum, many authors expressed the need for higher order thinking
skills to be addressed (Ponder & Kissinger, 2009; Pugach & Warger, 2001; Robinson, 2013;
Ruppar et al., 2017). Pugach and Warger (2001) express the curriculum issue of complex content
that requires deeper understanding, when many students with disabilities lack basic skills that
could inhibit them from reaching these deeper concepts. They wrote: “The underlying
assumption has always been that content requiring higher-order cognition was beyond the reach
of most students with disabilities” (p. 196). Instead of offering a watered-down curriculum or
only focusing effort on basic skills, these authors point out research that states, “Students with
disabilities are capable of achieving far higher levels of understanding of complex material than
many special educators previously believed was possible” (Pugach & Warger, 2001, p. 196).
In a study by Ruppar et al. (2017), they interviewed 11 teachers of students with severe
disabilities and were identified as expert teachers in this field. One theme that came up in this
study was high expectations. One teacher said, “You really have to believe that every single
student is capable of learning anything that you’re teaching” (Ruppar et al., 2017, p. 128).
Presuming competence is something that Broderick et al. (2005) address:
One is left in the position of having to make decisions about a student’s curriculum and
instruction based on assumptions, rather than certainty. One is thus faced with a choice:
(a) assume that the student is probably not able to comprehend and elect to provide that
student with more limited learning opportunities, focusing on intensive remedial
coverage of very basic concepts; or (b) assume that the student is able to comprehend
beyond his or her ability to demonstrate that comprehension and elect to provide that
student with more rich and varied learning opportunities, while continuing to seek a more
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reliable means for that student to demonstrate comprehension through differentiate
process and products. (pp. 198-199)
Ruppar et al. (2017) wrote, “High expectations for students are reflected in teachers’ advocacy,
systematic instruction, curricular decisions (i.e., academics), and collegial relationships” (p.
128). All of these authors feel that curriculum for those with disabilities can and should include
higher order thinking skills. These skills are made possible through the use of adaptations.
Adaptations
Adaptations for general education curriculum may include many things. Some authors
offer specific examples (Broderick et al., 2005; Guay, 1993a; Ruppar et al., 2017). In Ruppar et
al.’s (2017) study, expert teachers thoroughly individualized their instruction. They also used
adaptations that were specific to the students and customized their learning. Knowledge of these
adaptations was key. For instance, these expert teachers used multiple ways to present materials,
such as visual, tactile, and kinesthetic information, providing schedules, using manipulatives, and
using technology. Teachers also noted that having a deep knowledge of the student allowed for
more individualized instruction and allowed them to choose adaptations based on the students’
strengths. Just as the teachers in Ruppar et al.’s study did not believe that one size fit all,
Broderick et al. (2005) also discovered that people with disabilities are not all the same:
Disability does not play out for all students in the same way, even when they carry the
same label. . . . The intersectionality of all personal and social characteristics determines
how disability will be experienced. Thinking about disabilities as absolute categories of
difference also causes trouble because it emphasizes students’ common deficits . . . rather
than their uniqueness and competence. If teachers are to provide access to the general
education curriculum, as the 1997 . . . IDEA . . . mandate, they must identify and build on
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all students’ strengths, talents, and prior knowledge. Only through building on their
strengths and acknowledging their experiences can teachers engage students in
appropriately challenging classroom activities. (p. 196)
Regardless of their label, many students with disabilities are unable to read at the expected grade
level. Broderick et al. (2005) suggested using a reading buddy, assigning parts ahead of time,
allowing them to decide what they read, bypassing reading altogether, providing an alternative
text, placing visual aids within the text, or supporting the text with graphic organizers. Teachers
must be aware of and practiced in using adaptations in all subjects. Regardless of the adaptation,
it is the teacher that must problem-solve and remain flexible to adapt, but not water down the
material (Broderick et al., 2005; Coleman et al., 2015).
Adapted Arts Curriculum
Is there a need for specialized arts curricula? In kindergarten through 12th grade,
respondents reported that “66.7% taught students with disabilities only in integrated
classes, 30.9% taught a combination of integrated and segregated classes, and 2.4% taught
students with disabilities only in segregated classes” (Guay, 1994, p. 46). This is part of the
change brought on by IDEA. Guay (1994) goes on to say that, “Consequently, all art teachers
must be prepared to teach students with disabilities in integrated classes and to respond to the
social, instructional, and curricular needs of students with a broad range of ability” (p. 44). Many
teachers are not prepared for this, however; and therefore points to a need for adapted
curriculum.
While art educators may be provided with a typical standards-aligned curriculum, it may
not be appropriate for many of the students that are included in their classrooms. For Zederayko
and Ward (1999) a rigorous visual arts program contains “a range of elements including art
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study, two-dimensional and three-dimensional work. Thus, the student in a wheelchair who is
unable to make any marks on a two-dimensional surface will be able to experience only a portion
of a full art education experience” (p. 18). MacLean (2008) puts it this way: “The goal of
inclusion is not uniformity, true inclusion means offering each student the opportunity to learn in
a style and environment that maximizes his/her ability to fully develop as a human being”
(p. 95).
Art educators do not have to work alone. In collaboration with universities, art educators
could provide knowledge of tools and adaptive materials for review. Another form of
collaboration takes place within the school building: “Art teachers often serve students with
significant disabilities for limited amounts of time and have limited disability-specific
knowledge while special education teachers understand individual students’ needs but have little
knowledge about the art curriculum” (Coleman et al., 2015, p. 639). Both special educators and
art educators must rely on each other for support and the exchange of knowledge.
Artistic Media
Digital technology. In an art-based study conducted by Darewych, Carlton, and Farrugie
(2015), digital technology was explored as a possible art medium for adults with developmental
disabilities in art therapy. It was found successful, especially by those on the Autism spectrum
with touch, tactile, or smell sensitivity (Darewych et al., 2015). The authors found that
“participants with tactile sensitivity favoured creating art on the texture-free touchscreen devices
because of its compact, mess-free therapeutic environment. Such results support . . . that certain
individuals may interact more effectively with low kinetic sensory or mess-free digital device
than with traditional messy art materials” (p. 99). Taylor (2005) also investigated ways in which
the arts curriculum could be made accessible to young disabled people through digital
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technology. Although many disabled students have difficulties with manipulative skills that keep
them from techniques such as drawing, she argued that “digital technology if managed
appropriately, has the power to obviate the requirement for high levels of manipulative skills and
physical dexterity in the production of visual images” (Taylor, 2005, p. 327). Digital technology
is just one artistic medium available to students with disabilities. Next, literature on two-
dimensional art will be explored.
Two-dimensional arts. Painting, printmaking, collage, and drawing are all techniques
found in art curricula. As mentioned previously, drawing can be a particularly difficult technique
for students with severe disabilities to accomplish (Taylor, 2005). Zederayko and Ward (1999)
have also seen this struggle in two-dimensional works: “The student who is physically unable to
hold a pencil or paintbrush, for example, is bound to have difficulties with a lesson on painting
or drawing” (p. 18). In Guay’s (1993a) study of effective art programs, she noticed that “teachers
emphasized assignments that did not require realistic drawing. Printmaking and ceramics were
the most frequently observed studio activities” (p. 228). The teachers in Guay’s study often
chose art media and processes for whole class success. For painting, LaMore and Nelson (1993)
found that “adults with mental disabilities painted significantly more if they were given options
and the opportunity for choice than if they were not given options” (p. 400). Although many
students struggle to hold a pencil or paintbrush, Zederayko and Ward (1999) constructed
assistive technology, which was designed to address this issue. This technology will be discussed
in a later section of this review.
Three-dimensional arts. Art also consists of the three-dimensional arts including
sculpture and ceramics. Timmons and MacDonald (2008) conducted a study on the experience of
using clay for people with chronic illness and disability. They wrote, “Occupational therapists
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have reported that clay offers an opportunity for creativity, imagination and expression, whilst at
the same time requiring dexterity and strength, making it useful for improving fine motor control
and coordination (Breines, 1995)” (pp. 86-87). Not only did the clay provide opportunities for
fine motor skills, but “the diversity of techniques and the essence of clay as a sculptural medium
enabled the participants to create pleasing work despite physical limitations” (Timmons &
MacDonald, 2008, p. 91). Similarly, clay stood out as an artistic medium because no tools were
needed and the participants enjoyed the feeling of the clay. For those that do not like the feel of
clay, gloves could be worn as protection.
Curricular Content
Some authors lamented that current art curricula lack in value and effectiveness for
individuals with disabilities. Having a curriculum that was meaningful was important to multiple
researchers (Broderick et al., 2005; Ponder & Kissinger, 2009; Pugach & Warger, 2001). In
addition, Eisenhauer (2007) advocated for “the inclusion of disabled people doing art in art
curriculum,” which “placed an emphasis upon the representation of difference through a
curriculum of admiration and appreciation in which individual artists are admired for their ability
to create work similar to other able-bodied artists” (p. 9). Lastly, Schiller (1994) and Guay
(1993a) both mention the discipline-based arts education (DBAE) as a recommended focus for
art education goals. For example, Schiller (1994) writes, “Art lessons that are content-rich, in
that they include concepts in art history, criticism and aesthetics, can promote the use of oral and
written language, as well as addressing specific art learning” (p. 12). Looking at these studies, a
combination of meaningful art lessons, the inclusion of disabled artists, and DBAE would give
an art educator focus for a well-rounded art education curriculum.
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Accommodations and Adaptations
When looking at accommodations or adaptations to the curriculum, some researchers
consider teachers being proactive to be the best approach (Cramer et al., 2015; Pugach &
Warger, 2001; Wexler & Luethi-Garrecht, 2015). Cramer et al. (2015) believe that “students
require teachers to be proactive in creating art experiences that are meaningful by being fluent in
various accommodations and modifications that allow them to participate fully in the preK-12 art
classroom” (p. 7). Pugach and Warger (2001) feel that being proactive is not only important in
understanding accommodations, but in redeveloping the way curriculum is approached. They
shared:
. . . Bart Pisha and Peggy Coyne, are among those who are taking a proactive approach to
“hardwiring” curriculum materials from the outset so that they naturally accommodate a
far greater range of students and motivate them as well. In this way, they are attempting
to relieve an unreasonable burden for teachers and make curriculum materials flexible
enough from the start to meet typical differing needs. This in turn, can free up specialists
to work on very complex needs. (Pugach & Warger, 2001, p. 196)
When a teacher is proactive in their approach to inclusive curricula, they consider the
environment, any need for assistive technology, opportunities for independence, and their
instructional methods.
Environment: bringing out the best in students.
The environment, and even the layout of the art room can have an impact on whether or
not a student with a disability feels welcomed and included. Wexler and Luethi-Garrecht (2015)
found that the physical arrangement of the art room was more of an obstruction to collaboration,
independence, empathy, and dialogue than the lack of communication itself. MacLean (2008) put
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it this way: “Because she is in charge of creating an environment that is conducive to learning,
the teacher has many decisions to make including how she will physically set up the space, what
materials she will make available, and the best way to plan” (pp. 93-94). Broderick et al. (2005)
suggested:
To accommodate disabled students, aisles should be clear and wide enough to be
wheelchair accessible and students should be able to choose the specific environment in
which they prefer to work. . . . Materials should be accessible, charts and bulletin boards
at eye-level. (p. 198)
Not only does the physical environment play a role, but the teacher’s perception and
attitude toward diverse individuals. Broderick et al. (2005) seems to also make this point,
“Students tend to take cues from the teacher, and so the teacher’s attitudes toward disability will
greatly influence how students treat difference. Thus, teaching about diversity . . . should be an
integral part of the curriculum in inclusive classrooms” (p. 198). Teachers can take care to set up
their room to accommodate different needs, as well as check their own engagement with students
with disabilities in the classroom. Next, assistive technology will be discussed in relation to
participation in the art room.
Assistive technology: the sky’s the limit.
Assistive technology (AT) is a device or piece of equipment that allows a child with a
disability to improve, maintain, or increase their speech or physical experiences and capabilities.
Finding the most effective combinations of adaptations and teaching strategies for
students with physical, visual, severe, or multiple disabilities access to the general
curriculum can be especially difficult for teachers. Though true for all-inclusive
environments, this especially applies for art classrooms where curriculum access relies
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heavily on physical, visual, and abstract problem solving abilities. (Coleman & Cramer,
2015, p. 638)
The results of Coleman et al.’s (2015) study showed that over half of surveyed teachers rarely or
never used assistive technology. In contrast, the experienced teachers in Cramer et al.’s (2015)
study often used more than one type of assistive device to help students with disabilities. Taylor
(2005) asserted that students with disabilities are subject to the lottery principal when it comes to
teachers that are trained to use assistive technology. She writes, “They may or may not encounter
the teachers and technicians who can equip them with the adaptations to the computer, its
hardware and software that they require, and they may or may not encounter a teacher who is
committed to the creative use of [Information Communication Technology] in the arts” (Taylor,
2005, p. 331). It is because of this that teachers must become more knowledgeable of current
technology, tools, and adaptations for these students.
Zederayko and Ward (1999) suggest varieties of adaptive strategies such as adjustable
tables, elevated lapboards, or tools to modify art materials, such as larger crayons, for the student
to be able to grasp them more easily. These are not just tools; they are opportunities for children
to experience art as their peers do. After creating an adaptive tool for a student to use, Zederayko
and Ward (1999) wrote:
At last Craig was making his own drawings. Craig felt intense personal achievement with
his accomplishments and felt ownership for his drawing. He was so engrossed that he
refused to give up his activity long enough to allow his aide to switch pen colors in the
drawing tool. In the past Craig permitted his aide to complete most of his art projects for
him as he sat placidly watching the process. (p. 21)
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This incredible transformation would not have been possible without assistive technology. In
Guay’s (1993a) study, “traditional art media and processes were found viable for all students,
although adaptations of tools and alternative methods for working with materials were observed”
(p. 230). She also found that a student’s physical needs could require media to be chosen or
adapted in order to provide independence. For example, “Oak tag and chunky crayons helped
when hands were awkward. One used a turntable when students had limited reach . . . five styles
of scissors were found in classrooms along with teacher-invented paper and scissor holding
devices” (Guay, 1993a, p. 229). Taylor (2005) also made a suggestion about adapting art
materials: “There are a range of both sophisticated and simple technological solutions that
facilitate students’ learning in the arts. These can be as simple as a crayon attached to a long
stick or a moulded splint that supports or effects grasping a drawing implement” (p. 326). AT
does not have to stretch the budget or be store bought.
Baumgart, Brown, and Pumpian (1982) list five ways to create individualized
adaptations. These include: (a) utilizing/creating materials and devices, (b) utilizing personal
assistance, (c) adapting skill sequences, (d) adapting rules, and (e) using social/attitudinal
adaptations. However, many solutions should be attempted before an adaptation is decided upon.
An expert teacher would have multiple adaptations of tools prepared for each lesson to
individualize the technology to each student. As seen in Coleman et al.’s (2015) study, teachers
need to be more active and conscientious of creating adaptations through the use of assistive
technology. Assistive technology is used to increase skills in many areas but with a common goal
to increase independence.
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Independence: the artist in me.
Independence is something that individuals without disabilities may take for granted.
When students with disabilities are provided with aides or lack AT, their voices may not come
through in their artwork (Taylor, 2005; Zederayko & Ward, 1999). Taylor (2005) believes that
“The enabler’s role should be to build confidence in independent thought and recognition that
difference is valid and worthy of aesthetic consideration. A significant part of this creative
process is to learn by making mistakes or by taking advantage of the ‘happy accident’” (p. 330).
The art classroom is an ideal place to allow for independence, as there are multiple ways to
interpret art, and children with or without disabilities should not be pressured to conform. Ruppar
et al. (2007) also felt that the teacher played an important role in creating student independence.
They wrote, “An expert teacher takes responsibility for equipping students for independence and
recognizes that part of the job of teaching is to find opportunities for students to build on their
strengths” (Ruppar et al., 2007, p. 128).
In the reviewing studies focused on adapting art for people with disabilities,
independence was always seen as a positive. For example, Ponder and Kissinger (2009) shared
that during multiple projects taught by a special education teacher, a teaching artist, and an arts
specialist, “the students learned to work independently and to meet the challenge of producing
finished objects to certain specifications, and they have successfully sold their works at
gardening shows” (p. 42). With some students with disabilities being segregated in different
schools, it was important for Guay (1993a) to see that a “normalized art curriculum” was still
being used to promote independence and provide the students with “classroom responsibilities
similar to those at non-segregated sites” (p. 230). Through the use of computers, Darewych et al.
(2015) found that there was an improvement in independence of digital art over traditional art:
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Due to the multimedia design of touchscreen devices and the proximity of the digital
canvas right at one’s fingertips, as sessions progressed, participants were able to
independently choose their preferred art tools, blend their desired colours, and transfer
images from the Internet onto digital collage work. The participants often require
assistance with mixing colours and operating tools such as scissors when creating
traditional art. (Darewych et al., 2015, p. 98)
LaMore and Nelson’s (1993) study shows that “choice making within parameters set by the
therapist can enhance performance. In addition, choice making is a developmental achievement
in its right that should be encouraged” (p. 400). This is one method for creating independence so
that the child has a voice.
Instructional methods: initiating student artistic success.
In addition to the environment and assistive technology, a teacher’s instructional methods
can be adapted to accommodate or modify a student’s access to learning. In the pilot project
initiated by Ponder and Kissinger (2009), the arts specialists learned that “they needed to give
directions in a very linear way, that they might have to repeat themselves more often, and that
they had to give directions in smaller ‘chunks,’ step by step” (p. 43). The arts specialists also
learned “how to structure activities so that students with a variety of abilities could be successful.
They learned how to differentiate teaching in classes where students have various dominant
learning styles and multiple intelligences” (Ponder & Kissinger, 2009, p. 43).
For further instructional adaptations, Guay (1993a) lists “one-one-one directness,
repetition, example, and modeling” (p. 228). One might think that repetition might decrease the
likelihood of creativity, but she found that “students experiencing developmental disabilities
gained in art knowledge and art skills while creating original designs” (p. 223). Similarly, Arem
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and Zimmerman (1976) found that “modeling art behaviors, demonstrating techniques, and
showing completed examples of art products did not stifle creativity but rather enhanced it” (as
cited in Guay, 1993a, p. 223). Task analysis, a strategy found useful by Guay (1993a, 1993b) is
an approach used to reduce specific skills into small sequential steps. In her study, Guay (1993a)
also breaks instruction down into different categories. For students needing academic assistance,
she recorded that “teachers used a cue hierarchy, verbal cuing, and additional demonstration
preceding hand-over-hand assistance if needed” (Guay, 1993a, p. 229). For students with
attention and behavioral disabilities, Guay found that teachers allowed them to work in the media
of their choice, instructed in small increments, provided effective tools, and tried to keep
frustration levels down.
Zederayko and Ward (1999) suggested an approach to lessons that move away from
“appropriate” activities and instead focuses on skills needed for the lesson, such as holding and
using a pencil. For Broderick et al. (2005), “Students need many and varied smaller opportunities
throughout the course of study and having multiple opportunities for rehearsal and practice of
assessment activities typically supports students’ successful performance” (pp. 199-200). They
also stated that “goals and procedures are clearly articulated; the instruction is relevant,
accessible, and responsive; and the tasks are interesting and challenging, but reachable with
effort. Disabled students benefit from good instruction, just as all students do” (Broderick et al.,
2005, p. 200). It is clear that there are many techniques a teacher must consider as they instruct
individuals with disabilities to promote success.
Impact of Arts Integration
If you are wondering why arts education is important in the lives of children with
disabilities, the literature so far discussed so far has found many benefits to not only teacher
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perceptions, but to the individual student’s perceptions of themselves and their disability (Derby,
2016; Guay, 1994; Mason et al., 2004). Some of these benefits include: (a) a greater range of
communication possibilities through visuals (Coleman et. al, 2015; Mason et al., 2004;
Zederayko & Ward, 1999); (b) developed literacy, writing, and numeracy skills; (c) improving
motivation and comprehension; and (d) opportunities to find success, build confidence, social
skills, fine motor skills, problem solving, and participation (Erim & Caferoğlu, 2017; Mason et
al., 2004). Given these benefits, “to deny students access to art is to deny them the opportunity to
develop themselves” (Zederayko & Ward, 1999, p. 19). According to Ponder and Kissinger
(2009), students with disabilities gain many additional benefits through the arts:
Students are “given a voice,” are allowed to solve problems in different ways, and are
inspired to ask more questions and make their own choices, improving communication
skills. Students are proud of their work and their self-esteem “blooms” when they get to
show it to visitors. Some commented on how the arts encourage practice in skills such as
fine motor control, following instructions, and seeing a project through to the end, and
how they provide direct connections to academic subjects (i.e., arrangements of colors,
shapes, and patterns connect to mathematical abilities). (p. 45)
Some of the most significant benefits will be discussed in the final sections of this review.
Motor Skills Development
Because the arts allow for more than one solution to a problem, they encourage students
to problem-solve in new and creative ways, differing from the structured path of academic core
subjects (Guay, 1993b; MacLean, 2008). The arts also provide opportunities for fine motor skills
to be developed. Erim and Cafeogu (2017) found that “most of the special education teachers
have agreed that using art education for the education of mentally retarded children has a
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positive effect on the motor skills development of the children” (p. 1306). Motor skills are not
the only benefit to arts education, but communication skills are also found to increase with time
spent in the arts for those with disabilities.
Communication: Art as a Voice
Another common theme of previous research was the ability to communicate through, or
because of, the arts (Coleman et al., 2015; Kissinger & Ponder, 2009; MacLean, 2008; Schiller,
1994; Taylor, 2005; Zederayko & Ward, 1999). Schiller (1994) believes that “the link between
language development and art should be highlighted as an important aspect of lesson objectives”
(p. 13). In Give Students With Special Needs Something to Talk About, Schiller interviewed a
speech pathologist, Dora, to get her perspective on art and communication. Dora said, “By doing
art projects, I can see, coming from a language perspective, how advantageous it is to do these
kinds of activities” (Schiller, 1994, p. 13). Zederayko and Ward (1999) found that “art study also
provides the student with a greater range of communication possibilities because it provides
students with access to the language of the visual" (p. 19). Taylor (2005) expresses that although
augmentative communication may be used, teachers and assistants may also look for eye
direction, facial expression, gesture and sound as communication for choices and art criticism.
Students may also find ways to communicate or collaborate in the arts through the social
interaction of class. “One special education teacher reported discovering that her students learned
‘so much more than art’ in the project: vocabulary, social skills, cognitive skills, planning, and
pride in their work” (Ponder & Kissinger, 2009, p. 43). Art is interdisciplinary in nature, but does
lend itself to other opportunities outside of traditional art making. Robinson (2013) felt that “arts
integration is naturally engaging, as it offers students many opportunities for individual choice,
autonomy, and self-regulation through collaborative learning experiences with peers” (p. 192).
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Likewise, Coleman et al. (2015) wrote, “Students of all ages and ability levels can benefit from
expressing their thoughts, ideas, and emotions through the multiple modes of learning (intuitive,
kinesthetic, etc.), creative processes, graphic narratives, and social experiences of an art
classroom (e.g., working with shared materials, learning how to critique constructively,
participating in group art projects)” (p. 638). All of these authors have found that art provides
opportunity for growth in multiple areas of their learning, and should not be discounted.
Self-Esteem and Expression
Self-empowerment, enjoyment, confidence, and expression through art making were
common themes in the literature (Darewych et al., 2015; Erim & Cafeogu, 2017; Mason et al.,
2004; Ponder & Kissinger, 2009; Schiller, 1994; Timmons & MacDonald, 2008). In exploring in
digital technology, Darewych et al. (2015) found that, “through the creative process, participants
gained a sense of empowerment and utilized their talents and imaginative thinking abilities” (p.
100). In the evaluation of clay for people with disabilities, Timmons and MacDonald (2008)
wrote, “Whether it was through the process of making or the end product, all the participants
gained a sense of enjoyment and satisfaction from creating works in clay” (p. 89). Erim and
Cafeogu (2017) found the exploration of art materials to create expression despite physical
developmental delays:
Art materials result in beneficial outcomes for mentally retarded children in terms of
coordinated use of their hands and eyes simultaneously. Different materials and methods
affect the developmental processes of children and increase their interest for art lessons.
Since techniques and methods taught by working with different materials help children
link their physical and personal features, children find opportunities to express
themselves in a better way. (p. 1302)
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Not only did students’ self-perception change positively after engaging in the arts, but the
teachers’ perceptions of the students’ capabilities and strengths also changed in positive ways.
Teacher Expectations and Perceptions
Many researchers found that teacher perceptions of success reflected the expectations that
were set (Broderick et al., 2005; Guay, 1993b; Mason et al., 2004; Ponder & Kissinger, 2009;
Wexler & Luethi-Garrecht, 2015). In one study that conducted focus groups with teachers,
Mason et al. (2004) found that they reported being thrilled when students demonstrated artistic
talents or abilities in their classroom, and were encouraged when they observed students engaged
in the artistic process. These authors state, “Many teachers truly believed that students with and
without disabilities who experience success with the arts and have experiences with the arts, tend
to learn more and be more successful academically” (Mason et al., 2004, p. 27).
Ponder and Kissinger (2009) also saw similar results: “[Special education teachers] also
reported learning that their students were capable of creating in the arts beyond the levels they
had imagined at the beginning of the project” (p. 43). In these authors’ pilot program, “Parents
were very pleased with the works of art their children created, were surprised they were so
successful, and were very proud” (Ponder & Kissinger, 2009, p. 44). In addition, Guay (1993b)
found that “many art teachers have shared their belief that disabled students seem to rise to
expectations, often surprising other teachers and parents” (p. 59).
According to Valle and Connor (2011), “What teachers believe about disability
determines how students with disabilities are really educated” (p. 13). This means that teachers
must be prepared and educated on disabilities and more resources are needed to demonstrate to
these teachers how to believe in these students’ strengths. How does one raise teacher
expectations of learning for those with disabilities? Broderick et al. (2005) state “Educators must
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presume, first and foremost, that their students are competent individuals who are ready for and
capable of benefitting from academic curricular content, and then must create the necessary
instructional package to ensure students’ access to that content” (p. 199). Teachers must presume
competence, and set high expectations of learning for these individuals to be welcomed and
included in education.
Conclusion
Throughout this chapter it has been clear that there is a need for individualized
curriculum. Peterson (1995) warns that it “does little good to include a student only to have the
group or program exclude the individual beyond observation of activities” (p. 6). This literature
review has pointed to past research indicating that arts integration for students with special needs
is important (Derby, 2016; Erim & Caferoğlu, 2017; Guay, 1994; Mason et al, 2004) and yet
lacking (Coleman et al., 2015; Cramer et al., 2015; Guay, 1994; Mason et al., 2004; Zederayko
& Ward, 1999). This review considered the accommodations and adaptations of both general
education curriculum and arts education curriculum and instruction. It also included multiple
studies on the benefits of arts education in the lives of individuals with disabilities and the
changed perception of their teachers. With a look into past and current literature, it is still
apparent that even with the enactment of IDEA, there is still a need of specific art-related
knowledge for art educators including instructional adaptation, curriculum, and tools.
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Chapter 3
Adapted Arts Curriculum
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Adapted
ArtCurriculum
Grades K-5
GenevieveYoder
May2018
ADAPTEDARTCURRICULUM
33
Table of contents
Introduction……………………………………………………………………………………...35
Art for Grades K-5…….………………………………………………………………………...35
The Goal of the Curriculum Map…….…………………………………..……………………...36
The Unit Plans …….……………………………………………………………………..……...37
Digital Technology…….………………………………………………………………...37
Two-Dimensional Arts…….………………………………………………………...…..43
Three-Dimensional Arts…….…………………………………………………………...48
Accommodations Template…….………………………………………………………..53
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Introduction
This curriculum produces the application and response to the meta-analysis research
found in the Adapted Art Curriculum thesis project by Genevieve Yoder. First, the following
curriculum will cover the application and background of the curriculum plan. This curriculum
will include three in-depth unit plans that demonstrate the three art media sections mentioned in
the research meta-analysis: Digital Technology, Two-Dimensional Arts, and Three-dimensional
Arts. Each unit plan will incorporate accommodations and modifications for successful art
making for students of all abilities. After that, there will be a separate table for an
Accommodations Template to help teachers plan for accommodations that can be made for
presentation, response, and setting. The full curriculum plan will be shown as a map for
overarching topics to be covered for the entire year for elementary students levels K-5. This map
can be viewed as a supplemental document.
Art for Grades K-5
The curriculum map is designed to be age appropriate, rigorous, and relevant, while still
allowing flexibility for individualization (Broderick et al., 2005; Guay, 1993b). There are
columns, or sections, to the curriculum map for each grade K-5: Units, Media, Art Production,
Cultural History, Art Criticism, Aesthetic Standards, and Modifications. Art Production, Cultural
History, Art Criticism, and Aesthetic Standards are all established on the Disciplined-Based Arts
Education (DBAE) principle, suggested earlier by Schiller (1994) and Guay (1993a).
“Art lessons that are content-rich, in that they include concepts in art history, criticism and
aesthetics, can promote the use of oral and written language, as well as addressing specific art
learning” (Schiller, 1994, p. 12). These four areas of learning are also reflected in the
Pennsylvania Academic Standards for the Arts and Humanities. Because of this, the
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35
Pennsylvania (PA) standards were applied to each category according to the unit topics being
covered. For the individual unit plans, the National Core Art Standards were included in addition
to the PA standards.
The Goal of the Curriculum Map
The goal of the curriculum map* was to make sure that:
1. Learning was tiered, becoming more complex with each grade level
2. Each academic standard was accomplished within a student’s elementary educational
experience
3. There was some form of proactive adaptation or modification ‘hardwired’ in the
curriculum from the start (Pugach and Warger, 2001).
*The curriculum map is available for reference in a supplemental document created for
these units.
These modifications were made directly from the research above, including specific items
under three categories: Environment, Instruction, and Materials. A teacher with one or more
students with disabilities will need to be proactive in accomplishing or preparing many of these
items. This is why it is important to have it listed in the curriculum plan, so that it is in the
forefront of the teacher’s mind. They must plan with purpose to allow for the most success.
Many items, such as AT communication devices may require collaborating with speech
therapists in order to understand what words the child has access to, or how to assist the student
in using the device if it is new to them. As far as artistic tools, teachers may need to purchase
these before the need arises so that they are prepared to swap out materials at any moment.
The Elements, Principles, Artists, and Cultures are intended to be closely related and
overlap to an extent, activating prior knowledge. For instance, in 5
th
grade, students will learn
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about artists Diego Rivera and Frida Kahlo. In order to learn about these artists appropriately, the
culture of Mexico would also be taught. A lesson on the Dias de los Muertos (Day of the Dead)
may include symmetrical skeletons of Diego and Frida (Cortes, n.d.). During the lesson students
will learn about art elements and principles such as shape, pattern, balance and unity. These
elements and principles of design would be discussed and learned prior to this lesson, which
incorporates a merging of artist, culture, and design. This repetition will be helpful to typical
students, as well as students with disabilities. Each district has differing amounts of time spent in
the arts, so the number of lessons that include the art elements and principles, artists, and cultures
would be flexible according to the needs of each teacher.
The Unit Plans
Each unit plan includes a description, essential questions, learning objectives, curriculum
standards, assessments, materials, instructional activities, accommodations, and resources. The
description is important for the teacher, administrator, or substitute teacher to familiarize
themselves with the overarching concepts and goals of the unit. The essential questions and
vocabulary focus the teacher to address the learning so that the students will be able to answer
the questions by the end of each lesson or unit. The summative assessments included in the unit
plans are geared towards elementary-aged students. The rubrics are visual, allowing for
understanding for students with English as a second language, students with disabilities, and
typical students alike. The materials, resources, accommodations, and instructional activities are
all structured in a way that will lead back to the instructional objectives. This creates a
backwards, universal design where students have multiple means to represent and express their
learning (Robinson, 2013).
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Digital Technology
In Chapter two, it was expressed that Darewych et al. (2015) found that digital
technology benefitted those with touch and smell sensitivity because it is texture-free and mess-
free. Using technology in the art room provides engagement different from the traditional tools
that may also be used for creation. For this unit, students will be creating an artistic image using
an iPad application (app) called Pic Collage. It is a free application, and with instruction, is easy
to learn and use. Many children are already exposed to this technology by this age, but it is
important for the teacher to go over the basic functions of the device before beginning the lesson.
Not only does this unit incorporate technology skills, but it also provides interdisciplinary
avenues through the use of literature.
Through the use of a digital surface, an accommodation is already being made for whole
class success. Since the iPad is the only art media being used, there are not an abundance of
adaptive materials to worry about. However, there may be students with severe disabilities who
lack fine motor capabilities that may find the screen too small for their arm movements. In this
case, under the Modifications/Accommodation section of the unit plan, a suggestion was
included to have the student(s) use the interactive classroom board, whether it is a Smartboard,
Promethean, IPEVO, or other interactive instructional device. If the digital pen is too short, it can
be attached to a yardstick and wielded hand-over-hand if necessary. For students are visually
impaired and would not be able to engage with the device by touch, it was suggested to modify
the assignment by having the student use three-dimensional materials such as foam, so that they
can feel the shapes they are producing and arranging. While these adaptations or modifications
do not address every possible scenario, they demonstrate the flexibility in the lesson and the
possibilities to create success for individual learners.
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Unit: Eric Carle iPad Collages Grade Level: 1st Grade
Description: Students will use the app Pic Collage on their iPads to create an Eric Carle
inspired digital collage. As a class, we will complete an author study by reading multiple books
by Eric Carle. We will compare them and look at how each shape is made up of smaller shapes.
We will watch a short video to see Eric Carle painting and creating the textures, then cutting
them out. Students will learn how to use tools in Pic Collage such as web search, clip tools, and
creating shapes. They will search for Eric Carle backgrounds, add them to their Pic Collage
gallery, and then cut shapes from the textures using their finger. They will then use these shapes
to create an image that illustrates a part of a fable found in one of the books on Epic! Students
will be assessed on this final design.
Essential Learning/Instructional Outcomes: (Identify the important concepts and
skills that students are expected to learn)
Students will be able to:
• Identify similarities between books illustrated by Eric Carle
• Illustrate for another book using Eric Carle’s style and textures
• Create a unique image using shapes, texture, and color on the iPad
Essential Questions:
• How can I illustrate a book using implied textures?
• How can I use technology to create a digital collage?
Vocabulary:
• Eric Carle
• Illustration
• Implied Texture
• Shape
• Collage
Curriculum Standard:
PA Academic Standards:
9.1.3.A: Know and use the elements and principles of each art form to create works in the arts
and humanities
9.1.3.B: Recognize, know, use and demonstrate a variety of appropriate arts elements and
principles to produce, review and revise original works in the arts.
9.1.3.C: Recognize and use fundamental vocabulary within each of the arts forms.
9.1.3.E: Demonstrate the ability to define objects, express emotions, illustrate an action, or relate
an experience through creation of works in the arts.
9.1.3.J: Know and use traditional and contemporary technologies for producing, performing, and
exhibiting works in the arts or the works of others.
9.2.3.L: Identify, explain, and analyze common themes, forms, and techniques from works in the
arts.
9.3.3.A: Recognize critical processes used in the examination of works in the arts and humanities
(compare and contrast)
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National Core Arts Standards:
Va:Cr1.2.1a: Use observation and investigation in preparation for making a work of art
Va:Cr2.1.1a: Explore uses of materials and tools to create works of art or design
ELA Standards:
CCSS.ELA-LITERACY.RL.3.7
Explain how specific aspects of a text’s illustrations contribute to what is conveyed by
the words in a story (e.g., create mood, emphasize aspects of a character or setting)
CCSS.ELA-LITERACY.RL.3.9
Compare and contrast the themes, settings, and plots of stories written by the same
author about the same or similar characters (e.g., in books from a series)
Assessment: (Identify the formative or summative assessments you will use to determine
student progress toward achieving that instructional outcomes of the lesson)
Formative:
• Whole class discussion- “What is similar about the way these books are illustrated by
Eric Carle?”
• Whole class discussion- reading comprehension of books
• Ticket in/out the door on the artist
Summative:
• Students will be graded according to this rubric:
4
points
3
points
2
points
1
points
Image fills the entire screen
Collage has two or more shapes and two or more
textures
Collage illustrates part of a fable
Creativity- the image created is unique and complex
Materials and Resources: (Identify major resources/materials needed for the lesson)
LESSON 1: Reading; Drawing
• Eric Carle books
• Epic! reading site
• Pencils*
• White copy paper
• Pic Collage app on iPads*
• Drawing from previous week
LESSON 3: Create Illustration
• Pic Collage app on iPads
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LESSON 2: Collect textures
• Eric Carle books*
• Epic! reading site
• Drawing from first week
*Denotes something that may require an adaptation
Instruction/Activities:
1. Whole class author study of Eric Carle
2. Compare and contrast books illustrated by Eric Carle and determine how the images are
made
3. Watch a short video to see Eric Carle painting and creating the textures, then cutting them
out
4. Whole class discussion on fables- Look at fable stories on Epic!
5. Choose a fable and brainstorm ideas and do a preliminary sketch on copy paper before
designing on the iPad
6. Use tools in Pic Collage such as web search, clip tools, and creating shapes to search for
Eric Carle backgrounds, add them to their Pic Collage gallery, and then cut shapes from
the textures using their finger
7. Create an image made of smaller shapes using Eric Carle’s textures on a digital device
Anticipatory Sets
• Read a selection of books illustrated by Eric Carle
• Discussion on common themes
• Discussion on fables
• Video(s) on Eric Carle’s process spaced out over the course of the unit
Technology Integration
• PowerPoint Presentation on artist
• iPad app (Pic Collage) to create final product
Modeling/Guided Practice
• How to use the Pic Collage app
o Web search through app- “Eric Carle Backgrounds”
o Select and add to library
o Add background image(s)
o Shapes- use existing and create your own using your finger
o Continue creating and moving around shapes to create a larger image
o Mistake? - How to change a shape once it has been clipped
Adjustments/Modifications/Grouping:
Hard of Hearing- face student during presentations; sign language and visual cues for each step
Students with Physical Disability- Hand over hand creation; use wheelchair trays or elevated
board to support the iPad; wheelchair tray or clipboard to support paper during preliminary
drawing; in small class sizes, they could create on the app using a large interactive white board,
instead of creating directly on the iPad. Student may need the digital marker to be attached to a
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yard stick for additional length
Students with Autism- Few transitions; visual cues for steps
Students with Visual Impairment- puffy paint, glue lines, or braille for book images/text; text to
speech option for Epic! books; black background when presenting visuals; screen brightness
turned up, preferred seating close to the board
*A student whom is fully blind would create the shape collage using paper or foam sheets to be
able to manipulate tactilely
Non-communicative students- AT options (such as Big Mack button or LAMP communication
device) for participation/assessment; eye gaze for color/texture choices, sign language for
instructions/prompting
Resources:
Manipulatives:
• iPads
• Pic Collage App
• Epic! Reading site
• Eric Carle books
o Very Hungry Caterpillar
o Brown Bear, Brown Bear, What Do You See?
o Polar Bear, Polar Bear, What Do You Hear?
o From Head to Toe
o 10 Little Rubber Ducks
Instruction:
• PowerPoint Presentation
• Videos on Eric Carle
o 40 Years- https://www.youtube.com/watch?v=vYG1tLt5GCQ#t=119
o Brown Bear Series- https://www.youtube.com/watch?v=QbCOteqvdII#t=84
• Eric Carle’s Process: http://eric-carle.com/photogallery.html
• Lesson: http://www.erintegration.com/2016/12/21/eric-carle-style-digital-collages-on-
pic-collage/
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Two-Dimensional Art Lesson
In art, there are many two-dimensional media. As mentioned above, in a study conducted
by Guay (1993a) she found that teachers relied most on printmaking and ceramics when fine
motor skills were compromised. For this reason, printmaking was not selected as the model unit,
but instead a paper collage was chosen as a demonstration of adaptations for materials, such as
scissors. There are four examples of differentiated scissors for a range of capabilities. A short
description is included. There is also a handgrip option for a larger grasp for items such as
paintbrushes, pencils, crayons, and other straight materials. Lastly, another option for watercolor
painting is included, called the Aqua-flo brush. These come in three brush sizes and can be filled
with water or ink to allow for more continuous painting with no fear of knocking over cups of
water.
In addition to the added section of adapted materials, this unit was selected because of the
opportunity to promote people with disabilities or restrictions as artists. In the literature review, it
was advocated that disabled people doing art in art curriculum would place “…an emphasis upon
the representation of difference through a curriculum of admiration and appreciation in which
individual artists are admired for their ability to create work similar to other able-bodied artists”
(Eisenhauer, 2007, p. 9). Although Henri Matisse was not born disabled, he experienced
difficulty in creating art from a wheelchair, needing help to accomplish his visions. This is one
example of representation within the art curriculum so that people with disabilities are not
continually marginalized.
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Unit: Matisse Paper Collage Grade Level: 3rd Grade
Description: Students will learn about the French artist Henri Matisse and his unique
decoupage style that began later in his life due to external factors. After surgery for severe
intestinal disease, Matisse was confined to his bed or to a wheelchair and needed create
differently than he had in the past, due to his restricted movement. Instead of painting, Matisse
began to “draw with scissors.” An assistant helped Matisse arrange his cut shapes onto a large
surface until he was content with it. After watching short videos of Matisse and participating in
read aloud stories on Matisse, students will discuss disabilities and art.
For their project, they will create multiple geometric and organic shapes and use both the
positive and negative shapes (the cut pieces and the scraps) and glue them overlapping in an
abstract collage. For an added element of fun, students can work in artist/assistant pairs to direct
one another in the placement of the pieces for their own respective artwork, as Matisse did.
Students will also learn about watercolor techniques and how to create a watery texture using
plastic wrap. Students will learn about symmetry and create a symmetrical fish bowl and stool.
Students will be assessed on the use of color, space, and shape in their final arrangement.
Essential Learning/Instructional Outcomes:
Students will be able to:
• Identify artwork created by Henri Matisse
• ‘Draw’ with scissors to create organic and geometric shapes from paper
• Create a unique image of goldfish in a fish bowl using watercolor, cut paper, and collage
techniques
Essential Questions:
• Why did Henri Matisse ‘draw’ with scissors?
• How can I create an artistic collage using geometric and organic shapes?
• How can I design and cut a symmetrical shape?
Vocabulary:
• Organic/Geometric shape
• Positive/Negative space
• Overlap
• Henri Matisse
• Symmetry
Curriculum Standard:
PA Academic Standards:
9.1.3.A: Know and use the elements and principles of each art form to create works in the arts
and humanities
9.1.3.B: Recognize, know, use and demonstrate a variety of appropriate arts elements and
principles to produce, review and revise original works in the arts.
9.1.3.C: Recognize and use fundamental vocabulary within each of the arts forms
9.2.3.L: Identify, explain, and analyze common themes, forms, and techniques from works in the
arts
9.3.3.B: Know that works in the arts can be described by using the arts elements, principles, and
concepts
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9.4.3.D: Recognize that choices made by artists regarding subject matter and themes
communicate ideas through works in the arts and humanities
National Core Arts Standards:
VA:Cr1.2.3a: Apply knowledge of available resources, tools, and technologies to investigate
personal ideas through the art-making process
VA:Cr2.1.3a: Create personally satisfying artwork using a variety of artistic processes and
materials
VA:Re.7.1.3a: Speculate about processes an artist uses to create a work of art
Assessment:
Formative:
• Whole class discussion
• Ticket in/out the door on the artist and vocabulary
• Museum walk- progress critique of positives and improvements
Summative:
• Students will be graded according to this rubric:
4 points
3 points
2 points
1 points
Shapes created with scissors are different in
shape, color, and size
Student combined organic and geometric shapes
in the background
Artwork demonstrates symmetry
Creativity- the image created reflects Matisse’s
style but is unique and complex
Materials:
LESSON 1: Bowl Texture
• Watercolors (cool colors)
• Aqua-flo Water brushes*
• Plastic Wrap
• Watercolor paper 9x12”
LESSON 2: Background Collage
• Construction paper- pre-cut rectangles
• Scissors*
• Stencils*
LESSON 3: Goldfish; Fish Bowl
• Orange paper
• Scissors*
• Printer paper- 8.5x11”
• Pencils*
LESSON 4: Stool; Complete Bowl
• Stool template
• Pencils
• Scissors*
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• White paper 12x18”
• Glue sticks
• Glue sticks
*Denotes something that may require an adaptation
Adaptive Materials:
Scissors (in order of least need to most):
• Self-opening:
use as typical
scissors, but with
a spring to help
open after each cut
• Loop easy grip:
Student squeezes
handles together;
Can be used hand-
over-hand
• Mounted spring:
Student presses
down on the top
handle, adult
helps by moving
the paper
• Electric scissors with
a switch button:
Student presses
the button to
activate the
scissors
Hand grips:
• For paintbrushes and pencils
Aqua-flo Water Brush:
• Creates ease of painting without the
need to go back and forth between
paint and
water
Instruction/Activities:
1. PowerPoint presentation on the artist, Henri Matisse
2. Compare and contrast his paintings to his cut outs (Look specifically at The Goldfish)
3. Watch a short video to see Matisse cutting and applying shapes to a large surface
4. Whole class discussion on disability and the arts
5. PowerPoint presentation on shapes and vocabulary
6. Ticket in/out the door on artist and vocabulary
7. Create a unique two-dimensional work of art based on Matisse’s painting The Goldfish in
his cut out style
8. Museum walk- students walk around the room and say something positive about someone
else’s work
Anticipatory Sets
• Read aloud “Henri Matisse: Drawing with Scissors book by Jane O’Connor and/or
Matisse: The King of Color book by Laurence Anholt
• Discussion on artists with limitations/disabilities
• Discussion of vocabulary words
• Video(s) on Matisse’s art and process spaced out over the course of the unit
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Technology Integration
• PowerPoint Presentation on artist and concepts
Modeling/Guided Practice
• Watercolor techniques- painting and using plastic wrap
• ‘Drawing’ with scissors
• Gluing down geometric shapes for the background
• Gluing organic positive and negative shapes overlapping
• Folding paper in half and drawing half a bowl shape
• Cutting on the line to create a symmetrical shape
• Drawing and cutting fish
• Arranging and gluing fish in the bowl
Adjustments/Modifications/Grouping:
Hard of Hearing- face student during presentations; sign language and visual cues for each step
Students with Physical Disability- Hand over hand creation; use wheelchair trays, elevated board
or clipboard to support paper during cutting; stencil options to choose from for the vase; adapted
scissor options (Loop easy grip, Table-top spring, Mounted spring, Self-opening, electric scissors
with a switch button)
Students with Autism- Few transitions; visual cues for steps, wet towel or wipe for sticky hands
Students with Visual Impairment- puffy paint, glue lines, or braille for concept; black
background when presenting visuals; preferred seating close to the board, hand-over-hand
creation if needed, stencil options to choose from for the vase
*A student whom is fully blind would create the shape collage out of foam for a more three-
dimensional surface.
Non-communicative students- AT options (such as Big Mack button or LAMP communication
device) for participation/assessment; eye gaze for color/shape choices, sign language for
instructions/prompting
Resources:
Manipulatives:
o Henri Matisse: Drawing with Scissors book by Jane O’Connor
o Matisse: The King of Color book by Laurence Anholt
Instruction:
• PowerPoint Presentation
• Videos on Matisse
o Footage of Matisse cutting- https://www.youtube.com/watch?v=GN0okOq8Hyc
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Three-Dimensional Art Lesson
In the three-dimensional arts, sculpture and ceramics can be used to create forms unlike
the methods used for two-dimensions media. For Timmons and MacDonald (2008) clay provided
opportunities for fine motor skills, and “the diversity of techniques and the essence of clay as a
sculptural medium enabled the participants to create pleasing work despite physical limitations”
(p. 91). A clay lesson was chosen for this reason to represent three-dimensional studies. There
are far less tools needed for certain types of clay making (Timmons & MacDonald, 2008) and
therefore, there is not an additional section for adapted materials. The adaptations are more in the
process of creating the flower. If a student is unsteady in gripping a pencil, a stencil can be used
to give them something to aim for. Because creativity and choice are important in art (LaMore
and Nelson, 1993), a student should have multiple items to choose from, so that they can still
take ownership of their work. Handgrips, as seen in the previous unit, may be necessary to use
with the pencil or with the straw.
o Art with Mati & Dada- https://www.youtube.com/watch?v=s37OoBXkYAc
o Matisse at the Tate Modern-
https://www.youtube.com/watch?time_continue=32&v=I1W4fdGyS98
o Drawing with scissors MoMA animation-
https://www.youtube.com/watch?v=si_GBCJGIP4
o A Cut Above the Rest- https://www.youtube.com/watch?v=wCgNY0jAOZU
• MoMA- https://www.moma.org/interactives/exhibitions/2014/matisse/the-cut-outs.html
• Lesson: https://wilderpaintsplatters.wordpress.com/2011/11/08/marvelous-matisse-cut-
outs/
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Unit: Van Gogh Clay Sunflowers Grade Level: 5th Grade
Description: Students will learn about the Dutch Post-Impressionist artist Vincent Van Gogh
through the use of illustrated books, videos, and PowerPoint presentation over the course of three
classes. Students will look specifically at his series of paintings Sunflowers. In learning about
these paintings, students will create three-dimensional flowers using clay slabs and molds.
Students will make their flower unique by the shape and number of the petals, as well as the
glaze and additional texture they apply.
Essential Learning/Instructional Outcomes:
Students will:
• Identify artwork created by Vincent Van Gogh, such as the Sunflowers series
• Classify Van Gogh’s work as the artistic movement known as Post-Impressionism
• Create a unique three-dimensional sunflower using a traditional art medium: clay
• Learn how to create a clay slab, use glaze, and learn about the process of firing clay in
a kiln
• Observe color choices made by the post-impressionists and apply similar choices of color
to their individual art pieces
Essential Questions:
• How can I create a three-dimensional flower using clay?
• How can I design a realistic and unique flower using the elements of art?
Vocabulary:
• Vincent Van Gogh
• Post-Impressionism
• Sunflowers
• Three-dimensional
• Clay slab
• Score/Slip
• Glaze
• Texture
Curriculum Standard:
PA Academic Standards:
9.1.5.A: Know and use the elements and principles of each art form to create works in the arts
and humanities
9.1.5.C: Know and use fundamental vocabulary within each of the art forms
9.1.5.J: Apply traditional and contemporary technologies for producing, performing, and
exhibiting works in the arts or the works of others
9.2.5.C: Relate works in the arts to varying styles and genre and to the periods in which they
were created
9.3.5.B: Describe works in the arts comparing similar and contrasting characteristics
National Core Arts Standards:
Va:Cr2.2.5a: Demonstrate quality craftsmanship through care for and use of materials, tools, and
equipment.
Va:Re7.1.5a: Compare one's own interpretation of a work of art with the interpretation of others.
Va:Re8.1.5a: Interpret art by analyzing characteristics of form and structure, contextual
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information, subject matter, visual elements, and use of media to identify ideas and
mood conveyed.
Assessment: (Identify the formative or summative assessments you will use to determine
student progress toward achieving that instructional outcomes of the lesson)
Formative:
• Whole class discussion
• Ticket in/out the door: ordering the steps of the stages of clay
• Preliminary drawing of flower
Summative:
• Students will be graded according to this rubric:
4 points
3 points
2 points
1 points
Clay- Flower is three-dimensional and realistic
Glaze- Glazing is even and opaque
Creativity- flower stands out because of colors,
shape, or textures
Student cleaned up and followed directions each
class
Materials and Resources:
LESSON 1:
• Flower pictures/ Fake Sunflowers
• Clay
• Rolling pins
• Styrofoam bowl
• Saran wrap
• Painter’s tape
• Circle shape (Ex: bowl)
• Straws- different sizes*
• Plastic knives/Pencils*
*denotes something that may require an adaptation
LESSON 2:
• Under glazes
• Paint brushes*
• Containers with lids
• Glass pieces/Red marbles for center
LESSON 3:
• Clear Glazes
• Paint brushes*
• Containers with lids
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Instruction/Activities:
1. PowerPoint presentation/video on the artist, Vincent Van Gogh
2. Compare and contrast the different Sunflower paintings
3. Watch a short video to see the size of the painting at the Philadelphia Museum of Art
4. PowerPoint presentation on clay and other vocabulary
5. Ticket in/out the door: vocabulary and artist
6. Preliminary drawing of flower- look at pictures or tangibles
7. Create a unique three-dimensional flower using form, texture, and color
8. Ticket in/out the door: ordering the stages of clay
Anticipatory Sets
• Read aloud Camille and the Sunflowers book by Laurence Anholt and/or Katie and the
Sunflowers book by James Mayhew
• Discussion of the process of clay
• Discussion of vocabulary words
• Video(s) on Van Gogh or the Sunflower paintings spread out over multiple classes
Technology Integration
• PowerPoint Presentation on artist and concepts
Modeling/Guided Practice
• How to roll out a slab
• How to cut out a flower based on design
• How to create the center circle by pressing an object lightly on top
• How to place the flower into the mold to give it a three-dimensional form
• How to create texture using straws, pencils, or additional clay using the slip and score
technique (coils or rolled balls)
• How to glaze the flower (discuss how it is different than paint)
Adjustments/Modifications/Grouping:
Hard of Hearing- face student during presentations; sign language and visual cues for each step
Students with Physical Disability- Use wheelchair trays as work surface if needed; Hand-over-
hand creation, especially with rolling pin; use hand grips for holding the straws and pencils
Students with Autism- Few transitions; visual cues for steps; wet towel, wipes, or gloves for
hands if tactile defensive
Students with Visual Impairment- puffy paint, glue lines, or braille for concept (sunflower
shape); fake flowers for tangible connection; black background when presenting; preferred
seating close to the board, hand-over-hand creation if needed; Different flower shape stencil
options to cut from clay
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Non-communicative students- AT options (such as Big Mack button or LAMP communication
device) for participation/assessment; eye gaze for color/shape choices, sign language for
instructions/prompting
Resources:
Manipulatives:
o Fake Sunflowers for inspiration
o Camille and the Sunflowers book by Laurence Anholt
o Katie and the Sunflowers book by James Mayhew
Instruction:
• PowerPoint Presentation
• Videos on Van Gogh
o Biography- https://www.youtube.com/watch?v=qv8TANh8djI
o Philly Museum “Sunflowers”-
https://www.youtube.com/watch?v=SEf7Y8UtEsM
o LIVE Philly (until 3:10)- https://www.youtube.com/watch?v=DzYsk6cWSeM
o Mati & Dada- https://www.youtube.com/watch?v=9lGEvm1Lve0
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Accommodations Template
In the following table, the researcher will go into more depth on the types of
accommodations that can be made for presentation, response, and setting. These follow similar
suggestions made in the Adapted Art Curriculum Map and unit plans; however, this format may
be useful for some as a focused accompanying document to each lesson. The suggested
accommodations are not exhaustive and there may be other beneficial options that a teacher can
explore. The format is adapted from the Pennsylvania Department Of Education,
Accommodations Guidelines (Rendell & Zahorchak, 2010).
Category 1: Presentation Accommodations
Auditory
Sign language
Rationale: Students, hearing impaired or not,
can benefit from additional visuals (sign
language) to accompany spoken language.
Students with hearing impairments must be
seated where the teacher is less likely to turn
their back to the student, so that they may read
the teacher’s lips.
Tactile
Gloves
Hot glue on pictures
Real life objects
Project
Rationale: Students who have sensory issues
have the option of wearing gloves while
working with clay or paint.
The teacher may raise the surface of artwork
by using hot glue on laminated pictures for
students with visual impairments as well as
students with autism who desire more tactile
interaction. Similarly, real objects can be used.
Ex: foam or wood forms for learning shapes
Lastly, the project itself is tactile in nature,
students get a chance to apply what they
learned and create something with various
materials.
Visual
Hot Glue
Contrasted pictures (light tables)
PowerPoint (PPT)
Rationale: When painting, students with
Cortical Visual Impairment (CVI) may use a
light box to illuminate the colors and create
needed contrast. Images are used to “brand”
each topic (ex: balance) so that students
associate the image with the word. Auditory is
not the only form of instruction, but should
paired with PPT visuals.
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Multi-Sensory
Project
Rationale: Art involves all senses and uses
auditory, visual, and tactile at different times
during each lesson.
Category 2: Response Accommodations
Assistive Devices
LAMP devices
Low-tech art mats
Eye monitors
Rationale: Students are encouraged to use the
LAMP devices provided to them by their
speech pathologists as a secondary voice.
I have made low-tech art mats as another
option for students to use throughout the lesson
to support learning, to request items, or
demonstrate knowledge independently.
Some Multiple Disability Support (MDS)
students who do not have the use of their hands
have eye-tracking devices that allow the
students to communicate.
Any of these devices can be used at any point
in the lesson.
Category 3: Setting Accommodations
Organizers
Visual schedules
Art Bins
Visual Timer
Rationale: Visual schedules are used for the
progression of the art class as well as for each
step of the project. I have found this helpful in
providing structure and predictability for
students as well as providing context clues and
support for learning outside of auditory.
Each class has their own Art Bins that contain
the materials needed only for the lesson they
will be working on that day. This helps with
organization because it provides fewer
distractions from unnecessary materials and
students know where to return the materials
when the steps are complete
Lastly, I started using a visual timer that
changes colors when class time is running out.
When the light is blinking on red, it is time to
clean up
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Location
Assigned seating that keeps in mind:
• Paraprofessionals/Agency staff
• Students with ADHD
• Students with violent behaviors
• Students with visual impairments
Rationale: Adults are placed between students
to maximize control over behaviors and
assistance with steps. Students with violent
behaviors are placed near the door for easy exit
when necessary. Students with ADHD and
other attention issues are seated so that they
can have direct sight of the teacher.
Conditions
Lighting
Temperature
Decorations/Environment
Rationale: The room does not have an
abundance of decoration or distractions. Parts
of the room are sectioned off, to create flow.
The temperature is constant and lighting is kept
low for videos and presentations.
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Chapter 4: Discussion
The purpose of this study was to research existing methods of teaching and adapting art
concepts and materials to students with disabilities. Research was also found on the benefits of
teaching arts to individuals with disabilities. This step was important because many art teachers
may not be aware of the impact their class has on individuals with disabilities. Nor do
administrators or policy makers always understand the impact art classes can have on people
with disabilities. Unfortunately, as a result of administrative shortsightedness, art classes are
often eliminated from student schedules. The purpose of the project was to create an informed,
purposeful art curriculum for elementary aged students with disabilities in mind. This chapter
covers the implications of the research and project through theory, practice, and proposals for
future research on adapted arts education. The epilogue concludes this research project with an
emphasis on the researcher’s mindset and journey throughout the process.
Implications
By examining and utilizing this research, art teachers can incorporate methods of
adaptation to their own classroom teaching using creative problem solving by this example. Art
educators can directly apply this framework and varying types of adaptive art tools, to their
curriculum planning, with consideration for additional changes based on grade level and severity
of the disability. As this curriculum is practical and feasible, it is likely that a sense of
accomplishment will be acquired on behalf of the students they engage in the lessons. Each facet
of the lesson provides accommodations or modifications in such a way that the goal will most
likely be attainable to the child or individual, then these students, despite their disability, will do
it! This research has shown that motivation and high expectations will lead to interest and
stimulation in art.
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Due to this notion, administrators can provide their teachers with tools and modification
concepts from this study to enhance their students’ engagement through the integrated arts.
Universities can use this research to adjust the educational curriculum for general education
teachers (specifically art teachers) to promote experience with students with severe disabilities
and adapting lessons for these individuals. This project has covered the presentation, methods,
and assessment of an inclusive elementary art class. Therefore, teachers can improve their ability
to reach these individuals academically by addressing the environment, instruction, and materials
of each lesson they teach.
In current art curricula there is a lack of acknowledgement of students with severe
disabilities that face difficulties with basic skills, such as holding a pencil on their own. It may
not address sensory issues, or language communication barriers. This is what led the researcher
in pursuit of peer-reviewed studies to determine proven methods of accommodation to better
inform the creation of art curricula. During the research phase, there was a lack of literature
pertaining to severe disabilities in art. In addition, there were not many findings of specific
lesson examples or curricula. This changed the direction of the project, and the scope was then
broadened to all disabilities, with the inclusion of art therapy. Continued research is needed to
point art teachers in the direction of inclusion and building success for these marginalized
learners by concrete examples and strategies in curricular design.
This is not enough, however. In order to narrow the gap in understanding disabilities,
additional research is also needed on the preparation of art and general education teachers in pre-
service programs for teaching these individuals. As more teachers become knowledgeable,
preparation and shared knowledge would impact the research base and studies completed on
adaptive art education. Collaboration with a special education teacher or specialist, occupational
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therapist, or speech therapist is vital to problem solving solutions for many of the instructional
needs a child may face in the art room accessing their materials. Additional research can be
conducted on the use of assistive technology (AT) in general education classrooms to see how
often they are used and how they increase participation and inclusion for that student. Guay’s
1994 study titled “Students with disabilities in the art classroom: How prepared are we?” was
conducted twenty-four years ago. Current, more recent, data is immensely needed based on our
present-day standing with the laws of special education inclusion and the preparedness of
teachers.
Epilogue
In a time after the Individuals with Disabilities Act was passed, teachers, administration,
and policy makers have been called to create an inclusive education for all learners. We are
required to make learning relevant, engaging, and rigorous. We cannot sit idly by and wonder
why ‘those kids’ are in our classroom, when they were not previously. As education policies
change, so must our curriculum and mindset.
As stated in the meta-analysis, little research has been completed on adaptive art
curricula. Through the process of collecting, sorting, and summarizing literature on this topic, I
have refined my knowledge of adaptations for a variety of disabilities. My perspective on
instruction, environment, adaptations, and curriculum has all been influenced by this research.
While I work with students with severe disabilities every day, I have been reminded of the
importance of participation and independence. Prior to this experience, I only had my hunches
and self-discovery to guide me, whereas now I have study-based facts to direct my instruction.
Through this research and creation process, I have a renewed sense of wonder for
teaching those with special needs. It is incredible to see their progress in tangible ways, such as
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artwork. I have come to learn how important art can be on an individual level. It is my desire for
students to create projects that are meaningful, yet create a sense of pride and accomplishment
that they may not experience in other classes. During the process of creating a curriculum map
and three unit plans, I was able to discover how well arts and inclusion work together. Art is
open to possibilities, and “…beauty is in the eye of the beholder...” It is with this, that I will
continue to create opportunities for growth, learning, and independence in the lives of people
with disabilities.
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References
Arem, G. A., & Zimmerman, B. J. (1976). Vicarious effects on the creative behavior of retarded
and non-retarded children. Journal of Mental Deficiency, 81(3), 289-96.
Baumgart, D., Brown, L., Pumpian, I., Nisbet, J., Ford, A., Sweet, M., Messina, R., Schroeder, J.
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