“Ring the bells that can still ring,
Forget your perfect offering.
There is a crack, a crack in everything,
That’s how the light gets in”.*
Trauma walks to its own beat. As with adults, children and young people who have experienced trauma, or any other adverse experiences often seem to have a different rhythm than children of a similar age. This is because of the way their sensory system makes meaning of the information around them, the information they see, hear, touch, taste, or smell. I recall one of my students, on a school excursion, responding in horror when we walked into the education room. He pointed to a corner of the ceiling and called out, “they are coming…with big horns on them”. His distress so intense, I took him outside until he felt safe and settled. We then returned to our school; he was too distressed to join the rest of the group. No-one suggested another possibility for him to participate in the event. He was excluded.
My first-year teaching in a program for children with disabilities, was filled with experiences like this. It became apparent that all of my assumptions about children, about language, about the very meaning of the objects and situations around me, belonged only to me. The children in my class had other ways of communicating, of seeinging and of understanding the world that was uniquely their own. A uniqueness many schools interpreted as a problem, a “developmental delay”. A perspective, I found only expressed what my students were not yet able to do compared to other children. A perspective supporting the existence of two school systems in Australia, schools for specific purposes (SSP’s) and schools for everybody else.
Last week the disability royal commission heard about the experience of students and their families in both school settings. Despite the legal right of students with a disability to a free education, “on the same basis” as students without a disability, SSP’s appear to be increasing. A phenomenon that is at odds with the overwhelming research in support of inclusive education. Research that outlines how education can be accessible for all.
Education that is accessible for all is not about changing students. It does not problematize students by attempting to (as I did in my early career) correct their differences, their differences in language, communication, the differences in their literacy, numeracy, or the differences in the way they played. It should not be about “getting children ready for big school”, and attempting to shape them into a size to fit a school for which they had never been considered.
It is an approach, as one mother told the disability royal comission, “that will never work”.
Or until we learn to do otherwise. About a year into my teaching, I was introduced to AMICI Dance Theatre at an Orff Schulwerk Conference in Sydney. Wolfgang Stange, the artistic director led us through a series of workshops that for my thinking and teaching were transformational. At the heart of his practice, was a belief in the contribution of everyone to dance, a unique contribution that should be valued and recognized. It was an approach that challenged the notion that there was only one way to do things and explored the possibilities of many, including those dependent on spoken language.
I danced back to my classroom with not only a range of approaches and strategies for children to express their ideas, make choices and reveal themselves in a way that was uniquely their own. I had been given a way “to see” the children and everything that they were doing, a complete contrast to the view of everything they were not. Now the light was getting in.
A light that gave me the permission to bring my knowledge of theatre, drama, and puppetry into the classroom. The puppets helped me not only to “see” but to “listen” to the children. To discover their interests, their strengths and how much they could contribute to their learning at “big school”. I wondered how much “big school” would contribute to them.
Twenty years later, I am still wondering, wondering if children and young people, walking to their own beat will belong in all our schools. Testimonies by children, families and young people at the Disability Royal Comission speak of their experience of being excluded. My research told the story of how puppets and the creative arts could bring about alternative ways of teaching and connecting with ALL children. To remove the barriers to communication and self expression through the object of the puppet was a revelation and one that allowed the children and I to learn together, to see our differences and embrace them.
Teaching is problematic. It asks that teachers be responsive, be reflexive and embrace the idea that every day is not the same and that every child is unique. To let the light shine in.
Olivia Karaolis teaches across the School of Education and Social Work at Sydney University. She completed her research at USYD after working in the United States in the field of Early Childhood Education and Special Education. Her focus has been on creating inclusive communities through the framework of the creative arts.