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| Id | 920 | |
| Author | Goddard J. | |
| Title | Valuing the place of young people with learning disabilities in the arts | |
| Reference | Goddard J.; Valuing the place of young people with learning disabilities in the arts ;Child Care in Practice vol:21.0 issue: 3.0 page:238.0 |
Link to article | https://www.scopus.com/inward/record.uri?eid=2-s2.0-84954027832&doi=10.1080%2f13575279.2015.1029871&partnerID=40&md5=a3ddedc8f0b93df561aeb829db2627e5 |
| Abstract | Methodologies of embodied learning, radical pedagogies and applied drama offer a lens through which to investigate the empowerment of young people with learning disabilities in Northern Ireland, thus counteracting more traditional, disempowering methods. According to Helen Nicholson, the “participatory, dialogic and dialectic qualities as effective and democratic ways of learning” (2005, p. 38), which advocates of applied drama expound, encourage interactivity and collaboration that is at the same time active and critical. Transformative inquiries involving action, where people change their way of being and doing and relating in their world, is based on practical knowing- how. Having the right practices in place is thus essential in engaging young people marginalised by traditional modes of learning. This paper charts the course of a group of young people with learning disabilities using theatre to explore ways in which they can express the emotions and dilemmas they face in transitioning from young people “participating” in their world to more actively engaging in arts leadership roles. A comparison is drawn with Swedish models of disability arts, which tend towards a relative or weaker social model of disability—more akin to the World Health Organisation’s International Classification of Functioning, Disability and Impairment than the one we are used to in the United Kingdom—which I argue is more suited to inclusion of young people with learning disabilities. Questions of facilitation, co-creation and participation are examined in light of this comparison. © 2015 The Child Care in Practice Group. |
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| In addition, carefully structuring working processes so that there is a logical progression to the learning processes of individual participants greatly facilitates the development of the work. . | This has the potential to be adapted and developed as a reflexive tool for facilitators across disciplines, and also for participants, thus contributing to their development as artists in their own right. . | The model supports learning that by using instructional arrangements that provide opportunities to form cooperative relationships in which students support each other and serve as learning models, students have multiple models and guides to practice and encourage the development of new and emerging abilities. . | Seeing and recognising oneself reflected in the other serves both to validate ones own creative actions, and to gain a greater understanding of personal identity as separate from the other. . | 4) Creative Development In terms of developing young people with disabilities as professional artists, their creative learning is a key component to consider. . | A greater focus on the arts, facilitation and training is needed in order to do this. . | Once psycho-emotional oppression2 and notions of identity have been explored, allowing space for individual voices to be heard, the actor has greater autonomy to be creative and develop as an artist. . | Thus, by knowing individual needs, it is possible to guide the group as a whole to support one another in positive peer relationships. . | Through this, a greater equality of participation can be achieved. . |
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