Dyspraxia, Delinquents and Drama

Dyspraxia, Delinquents and Drama David Roy (The University of Newcastle) and Caroline Dock (Mask Theatre) Research has demonstrated a disproportionate number of young offenders in Remand Centres have dyspraxia as primary diagnosis. One in 15 children has suspected dyspraxia, yet formal school systems failing to meet the learning needs of these children who are intellectually able. Drama is a curriculum subjects that allows dyspraxic students to demonstrate their intellectual capacities. This paper offers background to dyspraxia, signifiers for identification for children with dyspraxia, the challenges facing schools and practical activities to apply within the classroom.

What is Dyspraxia Dyspraxia is a hidden disability. Children with dyspraxia are often described as having ‘clumsy syndrome’ In simplistic form, dyspraxia is the inability to co-ordinate movements smoothly. This can affect speech, oral movements and general motor movements. It does however also effect emotional and social skills. It is a physical condition, as to how the brain processes information, and is without intellectual impairment, but does involve sensory integration dysfunction. Dyspraxia can be acquired at birth but is also genetically passed through parents.(Macintyre, 2009) It has only been since the early 1990’s that dyspraxia or DCD (developmental co-ordination disorder) has become widely recognised through medical research and the World Health Organisation (WHO). International rates suggest dyspraxia affects one in 20 children, however, it is rarely diagnosed in Australia, as opposed to autism, of which there is a 300 per cent higher incidence here than overseas. The cause of Dyspraxia is the miscommunication of sensory information through the inferior olivary nucleus with the cerebellum. Through the challenges of sensory miscommunication, children (and adults) develop their motor and speech skill delays which in turn cause challenges for emotional and social development as well as accessing formal education. Recent research is also suggesting that dyslexia is in many cases, a symptom of the underlying condition of dyspraxia (Lai, Gerrelli, Monaco, Fisher, & Copp, 2003) 26

Some of the challenges of Dyspraxia include: • Poor balance • Poor fine and gross motor co-ordination • Poor posture • Difficulty with throwing and catching a ball • Poor awareness of body position in space • Poor sense of direction • Difficulty in hopping, skipping or riding a bike • Sensitive to touch • Confused about which hand to use • Intolerance of having hair or teeth brushed, nails and hair cut • Slow to learn to dress or feed themselves • Find some clothes uncomfortable • Difficulty with reading, writing • Speech problems – slow to learn to speak and speech may be incoherent. • Phobias or obsessive behaviour and impatient • History of lateness reaching milestones e.g. rolling over, sitting, walking and speaking • May not be able to run, hop or jump • Appears not to be able to learn anything instinctively but must be taught skills • Poor at dressing • Slow and hesitant in most actions • Poor pencil grip • Cannot do jigsaw or shape sorting games • Art work is very immature Drama NSW – Journal of Education in the Dramatic Arts

Dyspraxia, Delinquents and Drama

• •

Has no understanding of in / on / behind / in front of etc. Unable to kick or catch a ball (Kirby & Drew, 2003; Portwood, 1999)

To experience some of the challenges that a child with dyspraxia has day-to-day, the workshop at the DramaNSW State Conference 2013 used the following activities: •

Firstly participants had to write their name using their non-dominant hand, and copying the exact font given below.

•

Participants were then asked consider the frustration of a co-ordination speech delay. The workshop members had to say the following letters and words without ever closing their mouths. B; P; b; p; M; N; m, ‘I love you Mum’; ‘I want’; ‘I need’.

•

Finally they were asked to eat foods. In pairs, A and B. A is blindfolded and sitting behind B, who must keep their hands behind their back. A’s task is to try and feed B the food.

The Challenge for Schools With Dyspraxia affecting speech and movement, including fine motor skills such as holding a pencil, for children with dyspraxia all the major assessment tools used in schools to judge academic outcomes cannot be applied accurately. It is here that Drama can play a major factor in allowing dyspraxic children opportunities for success in the education system. If children are not being challenged in their learning or if intervention techniques are wrongly applied due to misdiagnosis, children, parents and teachers will suffer. If ������������������������������������������� students are being denied intervention, they arrive at schools with high cognitive abilities but are unable to express or communicate their knowledge. This will lead to a group of very frustrated, yet intellectually capable children which is a recipe for continual disruptive behaviour in the class. We all understand the problems of very clever children being bored and frustrated and how they can successfully undermine the learning of all, and yet have none of their own learning needs met (Eckersley, 2004; Mountstephen, 2010). A �������� large

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study from Durham Education published in 1990 demonstrated this. Through a study at a young offenders institution, over 50% of the intimates had dyspraxia. Society had failed to support these children and so other, negative forces in society had harnessed their skills. For schools, the answer appears simple. Offer teaching and learning strategies for these children that allow access to the curriculum and access to demonstrate deep understanding (Addy, 2003). In Australia, however, that process does not appear to be happening (Roy, 2011). On a positive note though, we must recognize that dyspraxia has many positives for the child with this condition. In general most people with dyspraxia develop the following strengths: • Powerful imaginations and daydreams • Determination • Long term memory • Hard working

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Dyspraxia, Delinquents and Drama

• • • • •

Creativity Writing Loyalty   Good language skills Empathy

It is also the case that once a skill is embedded, many people with dyspraxia appear to excel with the skills (Brooks, 2007; Colley, 2006). Most children with dyspraxia have average to above average intelligence, but they are unable to show their intelligence and capabilities in their written work. This, though, is one of the reasons many children with Dyspraxia find Drama an avenue that provides them with opportunities to succeed. Drama supports the child with dyspraxia through allowing them to develop the key five areas of need: • Gross Motor Skills • Fine Motor Skills • Speech • •

Sensory Emotional and Social

Drama Creates opportunities for perpetual motor intervention (Roy, 2009): • Games • Direct awareness of posture / gait • Physical Theatre activities (e.g. bio mechanics / mask engagement) • Focus on voice control • Constant rehearsal • Learning through observation • Building on strong literary/linguistic skills

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The nature of Drama, with its inclusive practices, and processes (such as rehearsal) that allows students to collaborate with others and learn from mistakes, appears to draw dyspraxic children, both consciously and subconsciously to take the subject. It is an area where success is possible.

The School Solution When a child with dyspraxia (DCD) is learning a new task or having difficulties with daily activities, T.E.A.C.H. is a helpful framework to guide you in helping your child. T.E.A.C.H is an acronym for five things that can be done to better match an activity to your child’s abilities. •

T – Teaching strategies

•

A – Alter expectations

• • •

E – Edit the task

C – Change the environment H – Help by understanding

We unpack this framework, providing examples for classroom teachers, below.

Teaching strategies Children with dyspraxia have the ability to learn with their peers, but they may require a slightly different teaching approach since they do not learn in the same way. You will have to think of other ways to teach your child to help them to experience success(Callcott, Miller, & Wilson-Gahan, 2012; Roy, Baker, & Hamilton, 2012). Examples of teaching strategies Children with dyspraxia do not typically learn from experiences or by simply watching others do a task. Some alternative teaching strategies include: •

Break a task down into steps and teach each step separately

•

Focus on your child’s strong verbal and thinking skills by asking questions. For example; What do you think you need to do next? How will we know when we are done?

•

Give clues and use questions to draw attention to key aspects of the task such as body positioning, materials and distance. For example, Where are your feet?

Drama NSW – Journal of Education in the Dramatic Arts

Dyspraxia, Delinquents and Drama

•

Engage your child in evaluating what works for them so they start to see the strategies that lead to success.

•

With children having a sense of student control and direction, their engagement level increased. Using group work and peer interactions, individuals can bserve others learning as well as offer ideas or choose to listen; whilst positively contributing to the learning.

Edit the task In order to help your child experience success, it can be helpful to change aspects of an activity that are difficult for them(Dixon & addy, 2004; Florian & Black-Hawkins, 2011). For example: • Size and weight of the tools used • Time allowed for completing the task • Structure of the task • Use of technology Examples of editing the task: • Use a computer for writing. Although we need to remember that children need to develop handwriting skills, but their inability should not be a barrier to demonstrating understanding. The workshop participants at the DramaNSW conference noted, in the group work aspects of the workshop, the ability of the group to adapt ideas to fit the skills and needs of the individuals within the group. Suggestions arose as to adapting the recording of the process to go beyond writing, but through photographs, images, and recordings (video and sound) that would allow multiple forms of communication to be used and thus not deny some pupils from sharing due to their inability to write.

Alter Expectations Another way to help a child experience success is to alter the expectations and those of others around him or her. Consider the ultimate goal of the activity. Be flexible and consider alternative ways to achieve the same goal (Callcott, et al., 2012; Roy, et al., 2012). Examples of altering expectations: Emphasise fun and participation, rather than skill in physical activities.

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If the goal is spelling the word correctly, have the child spell orally rather than writing it down. In the workshop, some participants chose to direct or take a larger role in the creative planning. Many individuals with Dyspraxia have a high level of divergent thinking and Drama is a key subject to allow them freedom to engage with their ideas. It was also recognised that all children need to learn to develop performance skills and participate in the ‘acting’ if they are to be fully prepared for the Year 12 Group Project component of the Drama HSC. Therefore it is the role of the teacher to ensure the expectations of their students during drama activities are realistic and targeted towards the students’ success.

Change the Environment Changing the environment in which the child learns is another way to help them experience success. Consider all aspects of the environment that could impact the child’s success and failure and reduce those environmental factors that make performance difficult (Ripley, Daines, & Barrett, 1997). Environmental factors to consider include: • Noise •

Light

•

Visual distractions

•

Number of people in the room

•

Furniture

•

Tools and equipment

Examples of changing the environment: • • •

Provide desks and chairs that are of the appropriate height Photocopy worksheets to reduce the amount of writing Use checklists and posters as organisational reminders

In drama there is a real strength here as the pedagogical practices often do not use desks, encourages changes in movement and position as well as often having blackout/sensory changing capabilities in the physical classroom.

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Dyspraxia, Delinquents and Drama

Help by understanding The more those around a child understand dyspraxia and its impact on his/her functioning, the more they can help a child succeed. If the child feels supported and understood, he/she is more likely to try new activities and stick with them until he/she succeeds (McKeown, 2011). Examples of helping by understanding: •

Help everyone around your child understand dyspraxia and why the child behaves the way that they do.

•

Partner with other teachers and the families to share information and advice.

•

Access health professionals who have knowledge about dyspraxia.

•

Emphasise that the child is not lazy, unmotivated, stubborn or difficult.

•

Provide opportunities for the child to shine and show their strengths.

With constant analysis and evaluation as well as the closer personalisation in communication through engagement and sharing of emotional concepts, the relationship and support offered in Drama by the teacher and the pupils to each other allows immense understanding for all students with a form of disability (Cziboly, 2010b).

Other areas It is important for teachers to be aware that the classroom can be a physically uncomfortable place for children with dyspraxia. While sitting at their desk or on the floor, children with dyspraxia tend to have slumped posture, hold their head in their hands, lean on others, lie down, wiggle, or even fall over. This is due to the fact that many individuals with dyspraxia have low muscle tone (the resting state of muscles). The brain constantly sends impulses to keep our muscles ready to contract. Low tone means that muscles are less ready to contract and the child may look floppy and loose like the Scarecrow from the Wizard of Oz. Children have difficulty controlling the muscles that are needed to keep a standing or seated position creating a ‘decreased postural control’. Moving to maintain muscle activity or to

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hold themselves up is therefore very important for sufferers. It is most difficult to maintain a posture when the children are required to be still. Some children need to keep moving in order to keep the level of brain activity high enough to be stable (Callcott, et al., 2012; Mountstephen, 2010; Roy, et al., 2012). Whilst participating in physical activities not only do the children enhance their motor skills but also through drama being a collaborative, not competitive methodology, the fear of rejection, failure and connection to strengths in academia support the children. It is this area more than any other that allows Drama to be the key to unlocking the educational potential that all children with dyspraxia feel, being trapped inside. Children with movement and speech development issues are often introverted, isolated in play and lack ability to respond to facial cues (due to eye contact). Drama Creates opportunities by developing these skills as a knowledge where children themselves do not realise they are learning life skills that they apply and so are empowered without being targeted (Cziboly, 2010a). An important thing to remember is that when a child with dyspraxia masters a skill, they become an expert at it. We should embrace the children with Dyspraxia in our classroom. The chances are that they will be the ones that will get the best results from Drama and be our highest achieving students.

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Dyspraxia, Delinquents and Drama

References Addy, L. (2003). How to Understand and Support Children with Dyspraxia. Nottingham, UK: LDA. Brooks, G. (2007). Dyspraxia (2nd ed.). London: Continuum. Callcott, D., Miller, J., & Wilson-Gahan, S. (2012). Health and Physical Education: preparing Educators for the Future. Melbourne: Cambridge University Press. Colley, M. (2006). Living With Dyspraxia. London: Jessica Kingsley Publishers. Cziboly, A. (2010a). The DICE Has Been Cast A. Cziboly (Ed.) Research Findings and Recomendations on Educational Theatre and Drama Cziboly, A. (2010b). The DICE Has Been Cast: A. Cziboly (Ed.) Research Findings and Recommendations on Educational Theatre and Drama Retrieved from www. dramanetwork.eu Dixon, G., & Addy, L. M. (2004). Making Inclusion Work For Children with Dyspraxia. London: Routledge.

Macintyre, C. (2009). Dyspraxia 5-14 (2nd ed.). Abingdon, Oxon: David Fulton Publishers.

McKeown, S. (2011). How to help Your Dyslexic and Dyspraxic Child: A Practical Guide. Richmond, Surrey: Crimson Publishing Ltd.

Mountstephen, M. (2010). Meting Special needs: A practical Guide to Support Children with Dyspraxia. London: Practical Pre-School Books. Portwood, M. (1999). Developmental Dyspraxia Identification and Intervention (2nd ed.). Abingdon, Oxon: David Fulton Publishers. Ripley, K., Daines, B., & Barrett, J. (1997). Dyspraxia A Guide for Teachers and Parents. Abingdon, Oxon: David Fulton Publishers. Roy, D. (2009). Nelson Drama for Secondary Students. Melbourne: Cengage. Roy, D. (2011). Helping The Invisible Children. Education review, November 2011, 24-25. Roy, D., Baker, B., & Hamilton, A. (2012). Teaching The Arts Early Chilhood and Primary Education. Melbourne: Cambridge University Press.

Eckersley, J. (2004). Coping With Dyspraxia. London: Sheldon Press. Florian, L., & Black-Hawkins, K. (2011). Exploring Inclusive Pedagogy. British Educational Reserach Journal, 37(5), 813-828. Kirby, A., & Drew, S. (2003). Guide to Dyspraxia and Developmental Coordination Disorders. Abingdon, Oxon: David Fulton Publishers. Lai, C. S. L., Gerrelli, D., Monaco, A. P., Fisher, S. E., & Copp, A. J. (2003). FOXP2 expression during brain development coincides with adult sites of pathology in a severe speech and language disorder. Brain, 126(11), 8.

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