Teaching Strategies for Performers with Special Needs
Because of previously discussed changes in philosophy and policy, the demographics of our performing ensembles are constantly changing. Many school districts have moved toward a policy of full inclusion of students with special needs. This has led to an increased number of students with special needs in performing ensembles and has challenged many conductors to find ways to include many students with disabilities who were not previously a part of performing ensembles. In addition, this has forced many conductors to reexamine their underlying philosophy of what it means to be a successful ensemble conductor. The purpose of this chapter is to offer techniques for choral and instrumental conductors who teach performers with special needs and to suggest ideas for consideration for those who are preparing to conduct performing ensembles. These strategies come from extensive work researching, consulting with ensemble conductors, and working with parents of performers with special needs. This chapter is designed to alleviate any anxieties conductors and conducting students may have and to provide confidence when teaching students with disabilities. Typically the percentage of students with disabilities in performing ensembles is far less than the overall percentage of students with disabilities in a school. This is anecdotal data, however; the open challenge exists to those who teach performing ensembles to truly examine this phenomenon throughout their school system (Pre-K through 12). Band, choir, and orchestra directors can inadvertently discourage participation of students with special needs in their ensembles in many ways. For example, many band and orchestra programs have an entry point in or around fifth grade. However, after that point, students are not allowed to join. Unfortunately, many students with special needs are not developmentally ready to join an instrumental or choral ensemble in fifth grade. Many of these same students would be extremely successful if given another point of entry later in their school career. Small curricular nuances such as a floating entry point to beginning band, choir or orchestra can make a meaningful difference in developing an inclusive performing ensemble program in a public school.