FROM THE TIMES EDUCATIONAL SUPPLEMENT
How can the creative curriculum better support autistic young
people?
Journalist Matt Baker talks to Margaret Meredith, Head of Art at
Chatsworth High School in Salford to discuss how the creative curriculum
might support autistic young people to reach a better understanding
of themselves. Margaret is an Advanced Skills Teacher and as part
of the Creative Partnerships Programme is working with artistic
partner - Dynamic New Animation.
There is a collective silence, a widening of young eyes and then
an inquisitive dart to the other side of the shadow screen. Many
of the young people remain seated, transfixed by the figures that
dance before them, but for some of the children at Chatsworth High
School, the mysterious movements of the shadow puppeteer behind
the screen are almost too intriguing. Unable to contain their curiosity,
they slowly edge forward, curiously searching for the force behind
the animated figures that leap towards them.
It’s a scene that could pass as a typical drama lesson in
any classroom. But for the children in this Salford classroom in
North West England, eagerly watching a shadow puppetry demonstration,
the lesson represents a titanic struggle to overcome severe autism.
“Children with autism spectrum disorder (ASD) are very isolated
in their own world and struggle to relate to others in a meaningful
way,” explains the teacher pulling the strings - Margaret
Meredith, Chatsworth High School’s Head of Art. “But
by using shadow puppetry imagery we’re finding that they’re
able to explore the world outside of them and start to try and understand
cause and effect.”
As the shadow puppets act out an elaborate and, at times, humorous,
story line, following a tradition not dissimilar to the historic
Punch and Judy, the children’s enthusiasm is tangibly obvious.
Keeping a close watch on the eager huddle of children before her,
Margaret notes how the pupils are beginning to psychologically project
feelings towards the puppets and show signs of building emotional
bridges to understanding other people.
“As we’re using live video feedback, we’re letting
the children have a go at operating the puppet shapes themselves,
so they’re able to see that they are creating the story,”
she adds. “Autism so affects their sense of self that they
struggle to understand other people and to recognise that they too
have needs. Young people with ASD can find it very difficult and
sometimes even frightening to make or develop relationships. With
this project we are trying to offer them opportunities to start
building on their understanding of themselves and other people through
the interactions of puppet images.’
With more than half a million people suffering from autism in Britain
and a 2002 poll by the National Autistic Society showing that three
quarters of British teachers are dissatisfied with the extent of
teacher training in autism, it’s initiatives such as these
that are sorely needed to give teachers the tools to support young
autistic people.
The brainchild of a Creative Partnerships Action Research Project,
which brings teachers and creative practitioners together to develop
a more creative curriculum, this initiative has enabled Margaret
to join forces with puppetry practitioner Adam Bennett of rDynamic
New Animation. As a result, she is able to use sensory theatre to
gently challenge the pupils’ autism in a risk-assessed way.
“If we molly coddle the young people and wrap them in cotton
wool they are likely to stay withdrawn and can end up in a very
lonely space,” she emphasises. “But if we challenge
them and perhaps unsettle them a little they’re able to learn
about relationships with people and this assists them to come out
of themselves. These children are very human, friendly and affectionate,
but in many cases, don’t know how to show it.”
Even though her research methods are showing early indications of
progress, Margaret is quick to underline how huge the barriers are
that these children have to overcome. “The first couple of
sessions were difficult,” she notes. “Some of the children
can be very aloof. It often feels like they’re from different
planets that are orbiting around each other but have no connection.
“When you look at two-year-olds in nursery, for example, you’ll
notice how they naturally start to play with each other. Right there
and then someone with ASD couldn’t do that because they don’t
necessarily know how to be with other people.”
Providing a supportive and creative environment is one way, though,
that Margaret believes teachers can help people with ASD learn to
cope and live with their issues and gain a meaningful grasp of identity.
In keeping with her belief that the children’s barriers can
be challenged to help them as individuals come to terms with, and
cope with their personal situation, she is busy introducing a series
of creative initiatives into the classroom to do just that.
We also collaborated with Touchdown Dance, a dance company which
has a particular expertise in working with people with Profound
and Multiple Learning Difficulties (PMLD) and Sensory Needs, to
help the children physically express themselves,” she explains.
“And we’re looking at other initiatives that involve
singing and visual arts work to open up as many outlets of personal
expression as possible.”
As one of eight teachers selected by Creative Partnerships Manchester
Salford to be involved in the Action Research Project last November
2004, Margaret is fast developing into what one of the programme
facilitators calls “a pillar of good practice”.
“The Action Research Projects are not like traditional research
projects,” explains Chris Finn, Creative Programmer for Creative
Partnerships Manchester Salford. “This programme aims to promote
a liberating and pro-active piece of research that’s all about
developing high quality teachers and asking them to delve into their
creativity. It has a strong academic element, is grounded in evidence-based
outcomes and is intended for publication in peer review journals,
but it’s more about encouraging and supporting the individual
practitioner as far as they can go.”
As Margaret turns to address her class, who by now are engaged in
exploratory ‘play’, creating their own shadow adventures,
she points out various individuals who have developed in significant
ways since the programme started. Readily acknowledging Creative
Partnerships for helping her to develop such a progressive environment,
she’s hopeful that her findings will help other teachers build
more supportive environments for children with ASD.
Creative Partnerships Manchester Salford Action Researchers are
made up of teachers and creative practitioners, each person is monitoring
an aspect of the creative programme with a specific question in
mind…
“There’s a massive need to help strengthen these children’s
sense of self and creative initiatives like these will contribute
a great deal,” she says. “You can’t imagine how
frightened some of these children are of dealing with other people
but we’re now seeing smiles on faces that never smile. And
that, I think, represents a significant breakthrough.”
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