Creating Meaningful Art Experiences with Assistive Technology for Students with Physical, Visual, Severe, and Multiple Disabilities
Creating Meaningful Art Experiences with Assistive Technology for Students with Physical, Visual, Severe, and Multiple Disabilities
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利用辅助技术为身体、视觉、严重和多种残疾的学生创造有意义的艺术体验
DOI：
10.1080/00043125.2015.11519308
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发表时间：
2015
期刊：
影响因子：
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通讯作者：
E. S. Cramer
中科院分区：
文献类型：
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作者：
M. Coleman;E. S. Cramer
由于需要更多的信息，如何适应和解决所有学习者在艺术课堂上的增加，已经取得了长足的进步，提供文献，以协助艺术教师在改善残疾学生的成果。Loesl（2012）倡导在学校中培养适应性艺术专家。自适应艺术专家拥有K-12艺术许可证的额外认证，并与学校的所有教师合作，支持具有不同学习需求的学生的艺术需求。Loesl认为，学校的艺术为学生提供了一个绝佳的机会，可以提高精细运动技能、练习多种掌握方式并增强解决问题的能力（第48页）。由于很少有学校系统雇用艺术治疗师，艺术教师往往必须承担责任，让学生在艺术课堂上接受各种学习和情感挑战（Loesl，2010）。除了Loesl的工作，其他几个资源可能有助于指导这一领域的艺术教育工作者。Gerber和Guay（2006年）的《通过艺术接触和教育有特殊需要的学生》澄清了艺术教育者在法律方面的作用，并提供了与接受特殊教育的学生合作和接触的全面视角。通过艺术理解自闭症学生（Gerber & Kellman，2010）帮助艺术教育工作者更好地理解与自闭症学生合作时调整课程和教学方法的方法和概念。这两本书都包含了适应或修改工具或利用辅助技术的实用建议。在What to Do When Students Can 't Hold a Screw（Zederayko & Ward，1999）一书中，包括了一些建议，比如如何制作一个可以容纳绘图工具的腕带，以及如何制作一个绘图工具。在文章中，Zederayko认为，“必须调整包容性的艺术课程，使所有学生都能积极参与”（第18页）。积极参与艺术课堂为残疾学生提供了表达自己想法的机会。Nyman和Jenkins（1999）在他们的选集的导言中建议，发展“我们所有学生的创造力和表达能力是至关重要的”（第5页）。要求学习如何为所有学习者提供最佳机会的呼声越来越强烈，艺术教育工作者正在询问最佳实践解决方案。
As the need for more information on how to accommodate and address all learners in the art classroom increases, strides have been made to provide literature to assist art teachers in improving outcomes for learners with disabilities. Loesl (2012) advocates for an adaptive art specialist in schools. The adaptive art specialist has additional certification to the K-12 art license and works with all teachers in a school on supporting the art needs of students with diverse learning needs. Loesl argues that art in schools provides an excellent opportunity for students to increase fine motor skills, practice multiple ways of mastery, and strengthen the ability to problem solve (p. 48). With few school systems employing art therapists, art teachers often must assume responsibilities for engaging students with a variety of learning and emotional challenges in the art classroom (Loesl, 2010). In addition to work by Loesl, several other resources may serve to guide art educators in this area. Gerber and Guay’s (2006) Reaching and Teaching Students with Special Needs through Art clarifies the role of the art educator in relation to laws and provides a thorough view of working with and reaching students who are served in special education. Understanding Students with Autism through Art (Gerber & Kellman, 2010) assists art educators with ways and concepts for better understanding of adapting curriculum and instructional approaches when working with students with autism. Both of these books contain practical suggestions for adapting or modifying tools or utilizing assistive technology. In What to Do When Students Can’t Hold a Pencil (Zederayko & Ward, 1999), suggestions such as how to create a wristband that holds drawing implements and how to build a drawing tool are included. In the article, Zederayko argues that “inclusive art programs must be adapted so that active participation is possible for all students” (p. 18). Active participation in the art classroom provides students with disabilities a voice in expressing their ideas. Nyman and Jenkins (1999) advise in the introduction of their anthology that developing “creative and expressive capabilities of all of our students is of paramount importance” (p. 5). The call for learning how to provide optimal opportunity for all learners is gaining in strength and art educators are asking about best practice solutions.