To begin with - Assumptions and Expectations

Leave your expectations at the door and do not settle for other people's estimation of limitations or abilities. Always talk to the whole person/child, never to the disability. Keep in mind that there is no such thing as a disability that affects creativity. Willingness to be amazed should be your only expectation.

Learn to know your students and their needs and strengths. Use your resources - physical, occupational, speech, and other therapists, family members, peers, teachers, and other specialists - for practical advice which will help make adaptive strategies that work well for them. They may well be their own best problem solvers.

Ask for information about your studets in positive ways. "What can you share that will help me make this lesson most successful for Susan?" rather than "What in this lesson can't Susan do?" will move everybody along in looking at the student from the point of view of strengths rather than deficits. Share information in the same way. "John was able to move more independently when we . . ." or "We saw much more confident choices by Sammy today when we . . ." are the kinds of exchange of information which will promote better educational strategies for all teachers and therapists involved.

Communicate, Communicate

Talk it over - especially with the child. Never talk about the child in his/her presence without asking permission or at least explaining to the child that you are going to be talking with another person to find a good way for them to do the activity. Find out what communication systems are in place for children who are non-verbal or who have limited communication. If the child's communication system is not serving well in the project you are doing, problem solve and try new ideas. I have seen artists develop new communication techniques which were then adapted by classroom teachers and the student's speech pathologist!

In talking about a student's art, use "I messages." Telling a child that a painting is wonderful, no matter how well intentioned, is a judgement. Perhaps the child feels that it is not really the best they can do. They then may think, "Oh well, I guess I don't have to try harder to make a better picture." or "Well, that is stupid - doesn't she see that I can do better?" Offer specific comments which reflect an observation, such as "I love the way you've made so many of your brush strokes swirl and dip - I see lots of movement in your painting." Ask questions which ask the child to talk about the work such as, "Tell me about the shapes in the sky." rather than, "What is it?"

Choice - Providing the lowest level of intervention needed

Take the time to work out strategies which meet individual needs and which allow as much independence as possible. We need to be constantly looking for the least restrictive ways for children to participate. The goal is for the child to work as independently as possible. Be alert to improper hand-over-hand where the one assisting is actually doing the work as well as to over-direction which takes away a student's own choice.

There is always the temptation to do the work for a child, either to improve outcome or to speed things along. But if we invest time up front to work out these strategies, in the end it will be both more expedient and more satisfying for both teacher and learner, When students are working as independently as possible they become more engaged in the learning process and are more confident and excited about their work.

Creatively Problem Solving - Exploring adaptive equipment and approaches

There are many new and exciting kinds of technology which are useful and effective, yet often this technology is ither unaffordable or does not quite work in an arts activity, since the lesson may be unique and/or all students' needs are different. Use what works for the child, but remember that problem solving the need for each child can be done with whatever is at hand. Remember that as artists, problem solving is our greatest strength!

Learning is a circular and not a linear process. There are always core goals for any activity we do with children - whether classroom, recreational, or arts activities. In dance, theater, music, and visual arts the teacher will have a core aesthetic goal. When we, as educators, allow the choices and process of exploration so that each child finds her or his unique way to experience the creative process which will take them on a journey towards that core, we provide the mot meaningful, satisfying, and potentially successful opportunities for all students.