TEACHING MODERN TO DEAF XLTQGNTARY SCHWL CHILDREN

BY FLOFWCE L. SCHWARTZ

Submitted to Florida State University in partial fulfillment of the requirements for the degree of Master of Science.

Approved: Professor Directing Paper

A& Minor FrofessorJA

Representative of Graduate Council

TAbLL OF COKTtiXTS

Chapter Page I. THdPKOBLM...... 1

Purpose of the Paer Statement of the Problem Basic Assmutions Delimitations Definition of Terms Significance of the Study Rel~atedStudies Procedures

il. THr, CHARACTEHISTICS AND NZXS OF Th DXAF CHLLD AGES TEN TO TWdLVh AS TE3Y Air: DIfbCTLY .WiLATED TC; THE: LE.hNlNG OF KODEUJ DANCh ...... 7

The Physical Characteristics of the Nine to Twelve Year Old Child The Physical Characteristics of the Deaf that Differ from the Hearing The Mental Characteristics of the Nine to Twelve Year Old Child The Mental Characteristics of the !leaf that Differ from the Hearing The Social Characteristics of the Nine to Twelve Year Old Child The Social Characteristics of the ijeaf Child Xine to 'Twelve Years Old The hotion& C,kracteristics of tne 5ine to Twelve Year Old Child The tivotional Characteristics of the Deaf Children intensified Problems of the 3eaf Child of Concern to the Kodern Dance Teacher

111. SPhClFIC PH0dLrr"lS AS THhY &LATE TC IX.: TLACHING OF NODLP.I$ DANCE TO T&; DELF CHILD...... 18 3eveloDing a Favorable Attitude Toward Ma5ern Dance Conmmicating with the Deaf Aiding the 3eaf to Sense ffhytythn Maint&ining Di.sciol.ine

ii iii

Chanter Page

IIJ. ,riu vfiious ;.;errfl;M)S pij,pi~m~(j~:qu LFFXCTIV~;IN SCLVI:>JG nti ~SOJINGSP~CIFIG PXOELH%S...... 23

aeveloning a ?avorable kttitLide %wmd Podern Dance Coxmunicating with the Deaf Aiding Ytie Deaf to Sense Kfiytim Msintaining Dikicinline

i: CCXCL!ISIOMS ...... 3 5 Summary Conc1;sior.s mLioGFtkpz ...... 40 CHAPTER 1

TfE PROBLEM

Purpose of the Paper

It is the ourpose of this paper to suggest effective methods for teaching to deaf elementary school children.

Statement of the Problem

The problem is to determine particular difficulties faced by the modern dance teacher when teaching a group of deaf elementary school children and to find successful methods in solving or lessening these difficulties. Three main sub-problems are involved:

1. The rbracteristics and needs of the deaf child ages ten to twelve as they are directly related to the learning of modern dance.

2. Specific problems as they relate to the teaching of modern dance to the deaf child.

3. The various methods and practices found effective in solv- ing or lessening specific problems.

Basic AssumpGions

There are two basic assumptions that must be taken into con- sideration in understanding the problem.

1. Modern dance can make an educational contribution to the deaf child by helping to develop rhythm in speech, improve posture, improve gait, and teach safety skills through the development of body

1 2 control.

2. Certain needs of the deaf are the same as those for the hearing child, but these needs must be met and satisfied in different ways.

Delimitations

The study has been limited to:

1. Girls, ages ten to twelve years, who are attending the Lexington School For The Deaf, City. 2. Girls who are deaf or hard of hearing. 3. Activities of modern dance and motor rhythms taught in the elementary school program. 4. Dance experiences as given in twelve lessons.

Definition of Terms

For the puruose of clarity, the following terms are defined:

The Deaf. Those in whom the sense of hearing is non-functional for the ordinary purposes of life. This general group is made up of two distinct classes based entirely on the time of the loss of hearing: The congenitally deaf: Those who were born deaf. The adventitiously deaf: Those who were born with normal hear- ing but in whom the sense of hearing became non-functicnal later through illness or accident

The Hard of Hearing. Those in whom the sense of hearing, al- though defective, is functional with or without a hearing aid.2

Modern Dance. According to Paul Love, modern dance is a form of dance based on dynamism, on the collision of two opposites, such as cmtraction and release, fall and recovery, etc., which were formulated from natural rhythms originally used literally.

lS. R. Silverman, "Hard of Hearing Children," Hearing and Deafness, ed. by Hallowell Davis (New York: tiinehart Books, Inc., 1947)y P. 353. 21bid.- 3

Technically, movement is regarded as the substance of the modern dance and the body is the instrument. All movement comes frm a central source, the torso, which is the controlling force anid contains emotional overtones of meaning. 1

Significance of the Study

Although little information exists on dance for the deaf, one must realize that dance is as necessary a part of the education of the deaf child as it is of the hearing child. In fact, dance may be a practical tool in improving the gait, speech, and rhythm of the deaf.

This is clearly recognized by Jayne. 2

The instruction in rhythm with the deaf child strives to give him a chance to express what is within him. He is also trying to develop physical coordination, keeping in mind that there are three fundamental Darts-the spoken word, tune in music and song, ami bodily movement. The three phases of the rhythmic program are: Action as influenced by rhythm Speech as guided by rhythm Mental attitude as the result of rhythm

I. objectives of rhythmic action To stimulate coordination between mind and muscle by: 1. Developing balance so lacking with the deaf 2. Creating poise 3. influencing a light, springing step as natural walk instead of a stumbling, shuffling gait

11. Objectives of rhythmic speech 1. Encouraging accent 2. Giving conscious control of voice 3. Influencing correct emphasis

111. Objectives of rhythm in creating desirable mental attitudes To make of the deaf child a more normal child by: 1. Providing for child activity on a constructive basis 2. Helping the child to interuret one phase of the joy of Living

'Paul Love, "Modern Dance," The Dance %cyclopedia, ed. by Anatole Chujoy (New York: A. S. Barnes & Co., 1949), D. 309.

2Gladys G. Jayne, "Rhythm and It's delation to the Training of the Deaf," American Annals of the Deaf, LXXXIV (January, 1939), 138. 4 3. Dispelling that feeling of icferiority 4. Arousing what is naturally dormant-the inner rhythmic feeling 5. Helping the child to interpret varied imitations Of life.

Related Studies

Related studies have been made on motor ability, intelligence, and psychology of the deaf, but very little soecific research exists on methods used in teaching dance to the deaf. Most of the research on methods refers to methods of teaching speech and liD reading such as the dissertation written by Rev. Francis T. rlilliams of Fordham

University entitled, "An ivaluation of Criteria for Basic Methods of

Teaching Deaf Children.

In an interesting article, Louise Judd?describes the methods used by Virginia Tanner, director of the McCune School of Music and

Art, a branch of Brigham Young University, in teaching modern dance to nine deaf children. This is the first article found that actually describes specific methods in teaching modern dance to deaf elementary schooi children.

Procedures

The author identified specific problems, analyzed, and attempted to solve these problems.

The research procedures used in solving subproblem one "The

'Rev, Francis T. Williams, "An Xvaluation of Criteria For Basic Methods of Teaching Deaf Children" (UnDublished Ph. D. disser- tation, Dept. of Education, Fordham University, 1949).

%ouise Judd, "Dancing for the Deaf," , XXVlII, No. 4 (Awil, 1954), 54-55. 5

Characteristics and Needs of the Deaf Child Ages Ten to Twelve As

They Are Directly Related to the Learning of Modern Dance" were:

1. The survey method.

2. The data necessary included information on the character- istics and needs of the hearing and deaf child ages ten to twelve.

3. Sources of data were literature in the field of the deaf

2nd their problems, literature in the areas of biology, psychology, and education pertinent to the ten to twelve year old group, and readings in physical education, dance, and methodology of teaching.

Experience working with and teaching this age pup at camp, playgrounds, and the Lexington School for the Deaf, proved valuable sources of data.

Speaking to other deaf educators was of great help.

4. Techniques used in collection of data included reading and note-takingy observation.

5. The data were then organized according to the physical, mental, social, and emotional characteristics of the hearing and deaf, the needs of all children, the emphasized needs of deaf children as applied to the teaching of modern dance.

The research procedures used in solving sub-problem two

"Specific Problems As They Relate to the Teaching of Modern Dance to the Deaf Child" were:

1. The survey method.

2. Personal records of observations by deaf educators and the author, experience in teaching, perusal of literature, observations and interviews

3. Sources of data were emwimentation with a deaf class at the Lexington School for the Deaf, inter-fiews with other teachers of 6 rhythms at the Lexington School, oerusrl of literature, and oersonal records as gained through observations.

&. Techniques used in collection of data were experimentation, observation, record Keeping of lesson plans, evaluation of lessons, and individual, personal records.

5. Data were then organized according to the specific problems as: attitude toward modern dance, communication difficulties, rhythm, discipline problems.

The research procedures used in solving sub-problem three

?!The Various Methods and Practices Found Effective in Solving or

Lessening Specific Problemsf1 were:

1. The survey method.

2. The data necessary included records of observations and interviews by educators of the deaf and the author.

3. Sources of data were experimentation with a deaf class at the Lexington School for the Deaf and interviews with other teachers of rhythms at the Lexington School.

l+. Techniques used in collection of data were experimentation, observation, record keeping of lesson plans, evaluation of lessons and individual, personal records.

5. Data were analyzed according to methods ana practices found effective. THE CHARACTEKISTKS AND "E OF THE DEAF CHILD AGE3 TEN TO TWELVE AS TIBY ARE DImTLY RELATED

TC THE LEARNING OF MODERN DANCE

Deaf and hearing children have similar characteristics and needs. There are a few obvious differences. Deaf children's needs, those that are fundamental or basic, are no different from the hear- ing. The distinction is that deaf children's needs must be met and satisfied in a different way. They have the same adjustments to make to their immediate environment, family, neighborhood, society, world, as a whole, but deafness tends to complicate and magnify these oroblems. 1

In teaching modern dance to a group of children, the teacher must first know and understand the general characteristics and needs of the normal age group, and secondly, the characteristics and needs of the particular grouo. The specific needs of each student as they pertain to the subject being taught is an essential that must be seriously considered.

The modern dance teacher is interested in the individual as a whole person. The physical, mental, social, and emotional self are

'Grace Harris Lassman, Language for the Preschool Deaf Child (New York: Grune & Stratton, 1950), p. 2. 7 8 all involved when learning dance. Each factor is important and in- extricably joined with the others. Since this is the case, the modern dance teacher must know ard understand the pnysical, mental, social, and emotional characteristics and needs of her pupils.

The Physical Characteristics of the Nine to Twelve Year Old Child1

1. Height and weight show steady increases, with some chil- dren reaching the adolescent suurt by the end ofthe sixth grade.

2. Heart and lungs are practically up to adult proportions. General health is excellent, resistance to disease is high and endurance is imuroved.

3. Muscular strength does not keep pace with growth. 4. Coordinations are good. Many skills are now automatic, and the children are interested in the development of other skills as such. 5. Reaction time is improved. 6. Sex aifferences are appearing.

The Physical Characteristics of the Deaf That Differ from the Hearing

1. In cases where the semi-circular canals of the ear have been affected, the deaf have a poor sense of balance.

2. Many deaf children have a stumbling, shuffling gait. 2

3. Many deaf children are lacking in aoise.3 4. Deaf children have a heightened degree of activity.

hlizabeth L. Sehon et al. Physical Xducation Methods for Elementary Schools (Philadelphia: W. B. Saunders Co., 1953), pp. 40-41. 'H. S. Lane and S. H. Silverman, "Deaf Children," Hearing and Deafness, ed. by Hallowell Davis (New York: Kinehart Books, lnc., 1947), P. 376. 3Gladys G. Jape, "Rhythm and It's Kelation to the Training of the Deaf," American Annals of the Deaf, WIV(January, 1939), 138. 9

"Deaf children are comparable to hearing children in physical 1 growth, motor skill, and coordination.

The Mental Characteristics of the Nine to Twelve Year Old Child2

When considering the mental characteristics of children, we must consider inborn tendencies, powers and skills obtained from ex- perience, the combined results being the inner growth. Individual differences must be considered also.

1. Perception is keen. The nine to twelve year old gains much pleasure in using this power.

2. Memory is naturally quick, sure, and lasting.

3. Knowledge is of a practical kind. The children know things about their immediate environment.

L. Speed reactions increase constantly. 5. Reactions are vigorous. 6. Visual imagination is vivid. 7. Interests are mechanical rather than personal. Tnis is the time of short-lived fads.

8. There is interest in knowledge of outdoor nature.

9. There is wholesome curiosity but not usually that of a scientific kind.

The )!ental Characteristics of the Deaf 'I'hat Differ from the Hearing

1. The deaf have a limitation in use and understanding of language.

'Helmer K. Myklebust, Vocational Guidance for the Deaf," Hearing and Deafness, ed. by Hallowell Davis (New York: Rinehart Books, Inc., 1947), p. 460.

%alph 35. Pringle, The Junior High Scnool (New York: McGraw- Hill Book Co., Inc., 1937), pp. 41-42. 10

2. There is often a lag in educational achievement because of not learning speech and speech reading during their early years. In a recent five year study at the Central Institute for the Deaf, results showed an educational retardation of only two to three years.l

3. "As a group the deaf are inattentlve, imperfect in speech, bewildered and baffled in expression, sensitive and aloof because of deafness.lt2

The Mental Abilities of the Deaf

The mental abilities of deaf children as a group are equal, except for language, to those of children who can hear. Tneir academic achievements may, of course, be far inferior if they have not been taught to communicate with others. The old idea dies hard that the deaf are fundamentally inferior, stuuid, and '#dumbt1in the popular slang sense of the term; but aDpropriate tests of intelligence and of soecific mental abilities now show that, a?art from obvious limitations in the field of language and an equally obvious retardation in the education of those who have not been taught speech and soeech reading in their early years, the deaf are normal mentally.3

The Social Characteristics of the Nine to Twelve Year Old Child4

1. The gregarious instincts are superseding individualistic ones. Team and gang loyalties develop.

2. Group approval is most important.

The Social Characteristics of the Deaf Child Nine to Twelve Years Old

Pinter, at the Thirtieth Convention, stressed the idea of

'H. S. Lane and S. X. Silverman, "Deaf Children," Hearing and Deafness, ed. by Hallowell Davis (New York: Hinehart Books, Inc., 1947),. 376. *Harry J. Baker, Introduction to Exceptional Children (New York: The Macmillan Co., 1953), p. 106.

'Lane and Silverman, OD. cit., p. 374. 4Elizabeth L. Sehon, et..,Physical Education Methods for Elementary Schools (Philadelphia: W. B. Saunders Co., l953), pp. 60-41. 11

adjustment. He reported findings of people in the field of test- ing. According to his information the deaf, 1. rated lower than the hearing in social canpetence, 2. were retarded in their knowledge of social conduct, ... , 4. desire immediate satisfaction rather than greater future satisfaction (a more infantile type of reaction) end 5. have a tendency to be more introverted, less stable emotionally, and less dominant than hearing chi1dren.l

'The Emotional Characteristics of the Nine to Twelve Year Old Child2

1. Some children become discouraged and may give up trying when unsuccessful.

2. The love of adventure and excitement is strong.

The Ehotional Characteristics of the Deaf Children

Psychological Effects of Deafness

The psychological effects on personality are totally different

in those who were born deaf or lost their hearing in childhood than

those who became deaf or hard of hearing later in life. Depression

and suspicion are frequent among adults &IO have lost their hearing.

Fortunately deaf youth are spared some of these psychological effects.

Objective studies do not show deaf youth to be either sus- picious or melancholy as a group, nor do the studies reveal any typical or characteristic pattern of personality. Deaf youth are not (as some people have suggested) typically unreliable, irresponsible, selfish, unsympathetic, or egotistical. They are a mixture, like any group of young people selected at random. Some are poorly adjusted; but others are better adjusted than the average normally hearing youth of today.3

'Bette La Verne Fauth and Warren Wesley Fauth, "A Study of the Proceedings of the Convention of American Instructors of the Deaf," American Annals of the Deaf, XCVII (1952), 473.

2Sehon, op. cit., pp. 40-41.

3Helmer R. Myklebust, Vocational Guidance for the Deaf," Hearing and Deafhess, ed. by Hallowell Davis (New York: Rinehart Books, Inc,, 19471, p. 464. 12

Deafness does, however, impose a psychological strain. It

requires special adaptation.

The present evidence from research indicates that the deaf youth find it slightly more difficult to adjust to their en- vironment; that they are slightly more fearful, anxious, and apprehensive; that they are slightly less mature; and that they experience greater difficulty in assuming everyday responsibili- ties.1

The deaf and hearing child have similar needs. In order to

improve teaching methods and to understand children more fully, it

is desirable that the educator have an understanding of these basic

needs. Dr. Louis Laths2 has analyzed these needs and has made them

auplicable to the teaching situation.

1. The Need for Belonging. Children want friends and want to be friends. They want to be members of a grouu.- To comment on their singularity, to emphasize differences, to send them from the room, to isolate them in any way, deeDens the need. To be friendly to students, to encourage friendliness, to Provide opportunity for choice of seating, and committee membership, to welcome children, to indicate they are needed and missed when they are absent - these are operations which tend to satisfy the need to belong.

2. The Need for Achievement. Children need to work on things which interest them. They need recognition for their efforts, praise for their accomulishments. They need encourage- ment when effort goes unrewarded. Tney need all this, not in terms of an absolute standard or in competitive terms, but in terms of their efforts. Life is much more worthwhile when our time, our efforts, and our resources are out to use on things we think important. When we carry on like this we are meeting the need for achievement.

3. The Need for hconomic Security. Minimizing the role of additional fee3 in school life, aiding students in improvising alternatives suitable to the situation, providing economic resources without advertising the need, reassuring those who

'm., p. 464. 2Notes on Presentation of Dr. Louis Baths, of on What is Teaching?" given before the Curriculum.Counci1, Wednesday, May 14, 1947. w think this handicap can never be overcome, these operations are directed toward meeting the need for economic security.

4. The Need to be Free from Fear. To protect children from ohvsical violence and threats of violence; to protect them from .I the morbid worries associated with suoerstition, death, illness, ghosts, and other suuernatural manifestations; to orotect them from fears of failure, of embarrassment, of losing; to offer help, to reassure, to orotect when protection is needed; to give them courage to go ahead - these are operations which tend to reduce fear. 5. The Need for Love and Affection. Some children are denied the love and affection ordinarily associated with whole- some family living. To accept children; to show them that you like them; to be hurt if they are hurt; to take a great interest in their lives in and out of school; to be sensitive to their dress, their plans and houes, their worries - all these are ways of meeting a need for love and affection.

6. The Need to be Free from Guilt. 'de can act in ways to make children ashamed of themselves. We can set UD standards almost imuossible of achievement and chide them for lack of accomolishment. We can be horrified at their activities or their language or their dress. We can show them that guilt is appro- priate only when choices were known; that where we don't know better, guilt can hardly enter. We can help peoole see how much they are like our most respected pillars of society. We should help them to minimize oast behavior in every way as a means of enabling them to make better choices in the future.

7. The Need for Personal Integrity in Sharing. In our society we indoctrinate children in the belief that all men are created equal, that no man should oush others around, that every man should kave somethi% to say of a propositi!m which concerns or affects him. Sometimes, however, we tend to doubt, to be suspicious of, to disbelieve, to judge as inferior, to rid~icule, or to deny oarticipation, to students. Ne reject them as contri- butors; we let them know that they are to have nothing to do about making plans or policies. .When we acceot students, invite them to share, listen to them, respond to their ideas, we are acting to meet the need for sharing.

8. The Need for Understanding and for Knowledge. Providing a permissive atnosohere where students may raise the questions which bother them,. helping them to acquire a knowledge of what causes many of our more persistent problems, taking very seriously questions which nodally are called "naivef* or %msophisticated", showing the relationships between world and national and local problems, at times reassuring some that answers are available even though not in the possession ofthe teacher. All of this is conducive to better understanding. Intensified Problems of the Deaf Child of Concern to the Modern Dance Teacher

Those that have taught the deaf are aware of the problem of satisfying their needs. Since the deaf child has an handicap in speech and communication, all other media of expression and communi- cation must be utilized. Fxpression through dance, and especially modern dance, has limitless possibilities.

Myklebustl classifies the needs of the deaf as: the need for expression, activity, consistency, affecti.cn, success arrf security.

The author has used this classification and related it to the teaching of modern dance to deaf elementary school children.

The Need for Upression

Speech is our main way of communicating with others. It is our most direct way of Letting people know our ideas and feelings.

The deaf are handicaoped in expressing themselves. Although the most modern trend in deaf education is to teach them to speak and lip read, it is a slow, laborious process. The deaf child with even a fair de- gree of skill in sDeaking has a limited vocabulary. The deaf child, however, must express his feelings and therefore must utilize other media. All the arts can day an important role in aiding the deaf.

Modern dance in particular can be a medium of Daramount importance.

He can, with training, use movement to communicate ideas, emotions, and attitudes. If one observes a POUD of deaf children, it is ap- parent that they use gesture ad aantomime freely in making themselves

‘Helmer H. Myklebust, Your Deaf Child (Springfield: Charles C. Thomas, 1950), pD. 34-50. 15 understood. This use of movement can easily be channeled, with proper training, into the learning of modern dance. Modern dance, without doubt, can make an imoortant therapeutic and educational contribution to the deaf in aiding to satisfy the need for expression.

The Need for Activity

It is particularly noticeable that deaf children are hyoer- active. Their deficiency in sueech tends to make them use gesture and pantomime in making themselves understood.

All children are especially active before learning to talk. Perhaps, this is because they do not have words to use in the place of activity. In order to learn about an object which attracts them they must go to it, handle it, and perhaps taste it ....1 This characteristic of the young hearing child is true of the older deaf child. This unusual amount of activity might get the deaf child into trouble. Instead of trying to stop this energetic outlet, emphasis should be on directed activity. Modern dance is a directed, constructive activity which is pleasurable and fun for all children.

Modern dance can helu fulfill the deaf childs need for activity.

The Need for Consistency

A deaf child desires and needs consistent instruction in every phase of his upbringing. Consistency in teaching modern dance ac- tivities contributes to a sense of security.

Language ties many of the daily happenings and egeriences together. To the deaf child these happenings are not united. Because the deaf child misses these words ,and sounds, his world needs direction in a day by day manner so as to learn what is expected of him and to see relationships between happenings. 16

His experiences must be organized and routine when it comes to his eating, sleeping, toileting, alaying, and resting. This rhythm of living helps him to feel secure.l

How then does the modern dance teacher satisfy the need for consistency?

She must be consistent in dealing with the children. The deaf child quicKly notices whether one is pleased or dimleased with him by noticing facial emressions and gestures. A smile, a tap on the head, a kind word means encouragement and oleasure for the child. It may spur him on to higher achievement. On the other hand, standards of work should be high, and disapproval indicated if the child does not strive to do his best.

The modern dance teacher must be consistent In discipline.

If the child is permitted to break rules at times but required to follow them at other times, he is always in a state of uncertainty.

Too many rules are bad, but the few that are made must be consistently followed.

The Need for Affection

All children need affection. The deaf, particularly, need a great amount of love. They must feel that they are wanted. In our world of sound, kind or loving words emress moplets feelings. We know by word whether one is pleased or not. More outward manifesta- tions must be made with the deaf. Provision must be made by the teacher for the child to feel his acceptance and aooroval by the teacher.

Children often idolize their dance teacher. They love beauty,

b&l., p. 35. grace, the aura of fantasy that surrounds imaginative stories danced about, the rhythm of movement. Kindness, love affection by a dance teacher can make a lasting impression.

The Need for Success

Psychology teaches that success is conducive to learning.

Without a fair degree of success a child will lose interest and will give up. For further achievement, success must be present.

What meaning does this have for the dance teacher?

She must present dance techniques and material which is with- in the grasp of her students. The students must achieve success, yet find the material interesting and challenging. Grading of material should be progressive so that all will derive pleasure from success.

In order that this success is made Dossible, the modern dance teacher should work with her deaf students in a patient manner, should praise them when deserving, and give encouragement.

The Need for Security

The feeling of being wanted, being an imuortant contributing individual and member of a group indicates the need for security.

Knowing these emotions ad drives, the modern dance teacher can channel them constructively in her dance class. Each child must be recognized as important and given the opportunity to contribute suggestions and creative work to the success of the class. Group work should be included in each lesson. When a child is successful, it should be recognized.

This gives added confidence and the feeling of security. SPECIFIC PKOBW AS THEY RELATE TO THE

TEACHLVG OF MODM DANCE TQ

THE DEAF CHILD

The oroblems involved in teaching modern dance to deaf children are manifold. One of the greatest problems imnosed by deafness is ths shut?.hg out of speech an? world of music. HOK can the deaf child dance if he camDt hear music? The deaf child does have an inherent rhythmic sense as every hearing child, but its develonment has been negligible. Solving the problem of rhyth-nical difficulties has been a challenging task for many educators of the deaf.

Another question linked to a soundless world is, how can the child understand what you say? How can he make himself understood?

Physical handicaps are present in cases where tne semi- circular canals of the ear have been affected and equilibrium is poor.

Deafness imposes usychological strains and deaf children have more than the normal amount of fears, feelirgs of insecurity and in- adequacy. As Louise Judd writes in her article "Dancing for the

Deaf,"' many handicauped children are learning to dance away thei- fears.

Another problem that confronts an educator for the deaf is

- _I_ kouise Judd, "Dancing for the Deaf," Dance Magazine, XXVIII, No. 4 (April, 1954), 54. 18 19

the deaf child's inattentiveness.

The soecific problems Dosed to the modern dance teacher ore-

ceding or durini: class are:

1. Develoning a favorable attitude toward modern dance

2. Comunicating with tne deaf in:

a) Givinc simple directions

b) Teaching dance techniques

c) Correcting mistakes

1) General corrections for the groun

2) Specific corrections for the individual child

d) Conveying an idea which is to be expressed in movement 3. Aiding the deaf to sense rhytnm

l+. Maintaining the type of discipline conducive to self direction.

Developing a Favorable Attitde Toward Modern Dance

Amon& the first problems that confront a modern dance teacher,

or any teacher for that matter, is the uroblem of having her pupils

gain a favorable attitude toward the subject matter and more particu-

larly toward herself. The introduction of modern dance to deaf chil-

dren emphasizes these considerations. Rapport should be established

during the first lesson.

Probably, this will be the young deaf child's introduction to modern dance. Such established dance forms as , tap, folk, and

are familiar to the average person; modern dance, as

yet, is not. The younger modern dance has to prove its worth, enjoy- ment, and educational value to adults. The young child quite naturally 20 loves rhythmic movement, lilting melodies, the realm of fantasy and imagination.

Consideration should be given to the fact that the success or failure of any class hinges upon the personality, teaching skill, and creativeness of the teacher.

Communicating with the Deaf

Communication with the deaf is the most challenging and diffi- cult problem to overcome. In the dance class it becomes even more acute because of the very nature of the activity. The children are active and not in one small, compact group. Their little bodies are changing position as they busily mwe in dm’ce movements. Focus is also changing. They are not sitting quietly in a class room as is the case in most lessons.

In order for the child to lip read, he must be directly facing the instructor at not too great a distance. This is not the usual case in dance class. Employing sign language is not permitted in the

Lexington School and several other deaf institutions. The philosouhy is that a deaf person must learn to adjust to a hearing, speaking world and should not draw undue attraction to himself as being deaf or dif- ferent. Not only is speech communication at a minimuin, but, in addition, the world of music is shut out to the deaf.

It was found that in communication with the deaf the following oroblems presented themselves:

1. Giving simple directions

2. Teaching dance techniques

3. Correcting mistakes 21

4. Understanding an idea which is to be expressed in movement

AidinR the Deaf to Sense Rhythm

How do the deaf sense rhythm? The deaf Itfeel" sound. If a deaf child places his hands or head on a piano, when chords are played, he feels the vibrations. Most rhythm classes are usually begun in this manner.

The sense of vibration, which is really the sense of touch, and the sense of hearing merge into one another in two ways. From the point of view of evolutionary development, the inner sense organ of hearing is a highly specialized organ of touch, specialized to be fftouched" only by vibrations of the air and never by a solid object. Secondly, when we "hearf1 the lowest notes of a pipe organ we are probably feeling the vibration quite as much as we are hearing it. As tones get lower and lower in frequency, the ear is less and less sensitive to them and the tones must be stronger, with longer vibrations, in order to be heard. Finally, the point is reached at which the pressure waves begin to stimulate the skin of our hands, the linings of our noses, and throats, the hairs of our heads, and even our bones, joints, and inner organs. The senses of hearing and touch merge as imperceptibly as smell and taste. But touch, like taste, cannot distinguish the fine differences for which hearing (like smell) is specialized. Therefore, although we say, for example, perceive th: rhythm of a piece of music as accurately by touch as by ear, we cannot feel the tune, because touch is so poor at discriminating the frequencies that give us OUT sense of musical pitch. Likewise, the tempo and stress of very loud speech can be felt, but only in the most favorable context can words ever be understood through touch al0ne.l

Bone is a conductor of vibration. As the deaf child feels vibration through his hands when placed on a piano, he can also feel vibration through his feet since a wooden floor acts as a conductor of vibration, An interesting note from Dance Magazine verifies this fact.

The annual dinner dance of the National Fraternal Society of

'Hallowell Davis, "Physics and Psychology of Hearing," Hearing and Deafness, ed. by Hallowell Davis (New York: Rinehart Books, Inc., 19/+7), D. 28. 22

the Deaf in Chicago always atrracts a large attendance on the Dart of its members. Though deaf, most of the members dance, the bare floor permitting them to receive the rhythm and vibration of the music through their f eet.1

Maintaining Discipline

The problem of discipline is oft times a very serious one for parents and teachers of the deaf. From uersonal experience teach- ing at the Lexington School for the Deaf, it was observed that these deaf children were often willful and belligerent to adult correction.

If she did not wish to listen, the deaf child merely refused to pay attention.

The fact that a deaf childls interest SD~and length of con- centration is short adds to discipline problems. Mihen the deaf child loses interest, ne walks away to do something else.

Keeping the grouu unified and interested, preventing fights between the students, are all serious uroblems tne modern dance teacher must face.

1 ItPoints of Information," Dance Magazine, XXVlI, No. 2 (February, 19531, 38. CHAPTER IV

THE VARIOUS KETHODS AND PRACTICES FOUND WFZCTIVILIN SOLVING on LGS~ING

SPECIFIC PROBLDS

Develooing Favorable Attitudes

The personality of the dance teacher helm to determine the success or failure of the modern dance class. Some of the factors that make for success are enthusiasm, Datience, friendliness, love for children, understanding, and a sense of humor.

A dance teacher should enjoy what she teaches to evoke a similar response in her students. Her enthusiasm for dance must be made obvious through her own dancing and teaching. This is the first requisite for a successful dance program.

The dance teacher must be very patient, and oarticularly so with the deaf child. Sne must advance slowly and assure each child a degree of success. She must encourage and compliment often.

The teacher's personality traits pervade her own dancing and teacning. If sne is warm, friendly, flexible, understanding, and has a sense of humor together -with a love for children, it will reveal it- self to her mmils. Dance movement, being a tery expressive idiom, reveals many facets of the Dersonality. The deaf child, depending so mucn on gesture, pantomime, and dramatization of ideas, is quick to

23 24 understana the teacher's incod toward him and the subject she teaches.

Skill in teaching dance is an important factor determining

success or failure. Before an attemut is made to teach a dance class,

the teacher must have definite aims and objectives. She must have her

own philosophy of dance and know why she is teaching a uarticular move-

ment uattern. The materials with which she works and the methods em-

ployed are all inter-laced in her teaching. She must be aware ofthe

new experiences the child is having and evaluate what is hapuening to

the child because of these new exueriences. These considerations will

influence her entire dance program ard will be a factor in the chil-

dren's attitudes toward modern dance.

Objectives for Teaching Creatively

1. -.-General Objectives

a) To develop a thorough enjoyment of rhythmic activity.

b) To develop desirable social attitudes through partici- pation in a group activity.

c) To promote optimum development and efficient use of the body through big muscle activity performed to definite rhythms.

d) To develop a strong, well-coordinated, and flexible body.

e) To increase speed, agility, and endurance.

f) To emphasize the principles of @od body mechanics. 2. Specific Objectives

a) To provide a recreative joy-giving activity which will relieve nervous tension.

b) To provide an opportunity for creative activity in dance.

c) To develop the skill to express thoughts and meanings through body movement in dance form. 25

d) To develop a knowledge of and sensitivity to the basic Drinciules of time, force, and space.

e) To develop accurate, intelligent responses to the basic princinles of time, force and space'l

Creative Ideas Used by the Author in Teaching at the Lexington School for the Deaf

The methods used in teaching influence the deaf child's atti- tude toward modern dance. The teacher must take a democratic approach to teaching. She must recognize and be interested in each student whether they dance well or poorly, Interest in eacn child's progress is essential. The teacher should be kind, yet maintain order and con- trol.

Dance is a creative activity. The teacher must be a creative person an3 present material that produced enthusiasm and interest in her pupils. Just as important, is her objective of encouraging creative- ness on the part of her students. She should permit ample opportunity for each child to create his own dance movements.

A few of the creative ideas used were:

1. The Name Game:

Each child had a chance to clap out the rhythm of her own name.

She counted the number of syllables in her first name and held up that number of fingers. Then she clapDed the rhythm, putting emphasis on the accented syllable. She made up a dance movement containing the number of syllables in her name accenting the body movement to coincide with the accent in speech. The teacher was quick to imitate her. This

blizabeth L. Sehon et.,Physical Education Methods for Ele- mentary Schools (Philadelphia: W. B. Saunders Co., 1953), pp. 257-258. 26 is a good examule of utilizing body movement in teaching emphasis in sueech.

2. The Doll Game:

The group was told that they would do a doll dance. The teacher imitated a rag doll. The children understood the meaning of the move- ments and said, "doll.11 The class would then imitate a rag doll by relaxing and shaking different parts of the body. This led to a dis- cussion of other type dolls. each child had the opportunityto describe through movement different nationality and character dolls. The group would then copy the movements of the performer. They would speak the name of the doll showing their understanding. The children in the particular class taught showed their alertness and understanding. They selected excellent movement demonstrations of various dolls. These in- cluded boy soldiers, Indians, ballerinas, Hawaiians, Hindu dancing girls, Spanish dolls. When an imitation was made of a Ma-Ma doll, one child reminded the teacher that a doll blinks its eyes rapidly,

3. Follow the Leader:

Improvisation of one or two locomotor movements by each child, followed by the class.

4. Going to a circus:

Imitating animals and people in the circus proved great fun.

Since the children had recently seen the Ringling Brothers' Circus, this experience was used as motivation for the lesson. The children were able to demonstrate what they had seen in dance movement.

5. Sleepy-Time Gane:

The grouu lies down in a circle and uretends to be sleeping.

The teacher about the circle and selects one child by tauping 27 her gently. The child tapped dances about the circle and selects some-

one else. After each child has tapped another, she sits down.

Communicating with the Deaf

When the dance teacher meets her dance class she introduces

herself and learns her Dupils' names. She must say her name in front

of each child to be understood. If the child is not able to lip read

what is said, she must place the child's hand on her cheek and jaw so

that the deaf child feels the sound. If a blackboard is available she may write her name on the board. She must uatiently wait until each

child says his own name and speaks it intelligibly. After this informal,

preliminary acquaintance, her first problem is giving simule directions

for class organization.

How do deaf children receive directions from the dance teacher?

One way the children receive directions in dance class is

responding to the teacher's gestures. She may indicate for them to

sit or stand, face in certain directions, begin with the left or right

hand or foot, or gather in a group. If gesture is not comprehended,

she may place one child in the moper position and have the others

follow ,suit. The children might also use liu-reading to understand the

teacher's directions.

How do deaf children receive instructions from the teacher?

1. They notice the teacher's gestures.

2. They watch the teacher demonstrate a dance movement and imitate her.

3. Theyread the teacher's lips if they are facing her.

4. They read instructions on the blackboard. 23

Gesture i.s almost as important as words in teac'hing a modern dance class to the deaf. Gesture and pantomime are constantly used to make for understanding. Many instructions are made clear by the use of gesture.

A great cart of the learning of dance is accomolished through teacher de:nonstration and ouuil imitation. Teaching a dance movement to zhe deaf is a challenge. Since the ueaf child must imitate the teacherrs dance movement, .the teacher must be aware of the quality of her own movement and oroject it strongly enough to be sensed. She should emuhasize the starting position, the movement in time and space, ana the ending positi >!I. The importmt n0inr.c of body jlcsition and nlacs- nent miis.t* bt2 indj.cateci.

Axial moveintnt is usl;ally easier to teach sine> :?e child is in one soot. in a locomotor rnavement the rhytAm mist be analyzed and fel: by th+: child. In an axial movement. the children often count olit loud. Tnis help hem keep time. As soon as tnz movement is learned, the teacher should stress keeping time silently. ;leoetit.inr of a move- ment several times by the teacher is usua1l.y necessary befor- the chiid noti~cesall the factors. He must., likewise, reoeat the corrected move- ment over ana over.

Li? reading is oft,en used in comnrehendin,: th,: teacher's in- structions. 'dhen a child is directly in front of a person he can us>Jally lip read. Emrever, when tAre are several students in a line forrnat~ionfacing the instructor, some have goo2 visibility of the teacher's mouth, others not. Other formations as a circle, file, square, are difficii1.t oositions for all to see the teacher's mouth. The child's 29 ability to lip read, the teacher's rate of SDS?I:C~, correct or inCOrrct proriunciati.m, all are elements to be cmsider-d in using speech to in- struct the desf in sodern dancs.

3se of the blackboard has prsven very helpful in instructing the deaf. When the cnildrei had difiiculty un6erstanding fully what was snid or gestured, new meth,s3s bid to be found for comuricating.

Through trial an2 er-or, it, vlas found mat tne blrickbozrd -das an in- va1;lable~tool in teaching. The lesson dan, wit.? the names of dance techiii-pes, dance gmes, ideas t3 be expressed in movement, and anima: pantcini:fles, wzs understood more raoirily and the children learned to associ.atr mrxlern dance techniques and creative activtti~sswitn tho nam- listed. Less time was wasted and there was gre?.ter comorehensi.on. If the teach% could not understand the .incohzrsnt s~eechof one of her oupils, the child would write an explanation xi the blackboard.

How does t2e teacha correct mist&:es?

Correctims nay be made to th5 entire group or to the imlividu.zd cnild. Corre:r:-tions nay be given by gesture as wnen ?ne teachw points to body parts. She may xant the knees straizht,, thz ar,ns curved at shoulder level, etc. If the chil~drendo a mnvment incorrectly, the teacher may re-denonstrate *at she wishes. She may also write a correction on tne blackboard. The teach-$r !nust, be on gird to correct imntediatrly any gross mistake in bdy mechanics. Often denonstratian, gesture, written explanations are not effective. The child very often is not, aware of what is involved in performing a movement. The teacher, then, must actual1.y give assistmce by moving th- body part,. When giving this ind.ivi.riuz~t help, tne teacher always runs the risk of losing 30 contrr~l.of the group.

What meLho3s does the teacher ase in having her deaf students understand an idea which is to be expressed in movement?

'When a movement must arise from an idea, the teacher is faced with a more cmolicated Droblm. How may she inform and be assured the children wu3erstad her gestures? Ths teacher must. often be in- genious and exoeriment wit? several approaches to the problem. Having the child understand the meaning of words as well as gesturs is a serious problem in every deaf class. Only through associating ideas witn past experiences ,411 the deaf' child understard. For example, in conveying the idea of a doll, a mama dol, was imitated, the teacher pointed to the braids of another child, the teacher oretended she was rxking a baby to sleep. Hany understod, but this was a slow process.

Perhzps writing on the blackboard, or better still, hilving a dolt would have cmveyed the idea much more quickly. Usc of oictures, toys, ob- jects used in dancing like tamboueens, castinebs, scarves, druils, ratL.ies, all add to the understanding and interest of class.

In every learning situation the deaf must make up for their los~ of nearing by utilizing all. other senses to the fullest. The visual sense is most often called upon to make up for a hearing deficiency. . . . the eyes of the deaf child have to take over many of the jobs that the eyes and ears of the hearing child assme. ln tine, the hearing child is able to intermet what is being said tnrough hearing alone, Withmt having to watcn the speaker and he also develops an ability to interpret through hearing inany things being done althwgh the actions, within earshot nay be out of his line of vision. The deaf child is never in this fortunlte posit,ion. He must use his eyes ard other senses he possesses in a normal cawcity to make up for the lack of 31 hearing. 1

Aiding the Deaf to Sense Khythm

Knythm classes usually begin with the deaf children placing their heads or hands on tne piano, closing their eyes, and trying to flfeel" the number of chords played. They also distinguish high and low chords. The rhythm felt through their hands or head is carried along through Done conduction. Once felt, they would clap out the rhythm and count it out. They would thus learn the rhythm of the , march, , etc. In doing a modern dance movement, they woulo clap out the timing, count the rhythm, and speaK the step rhythmically i.e. step, step, step, hop for Ghe schottische. It was found that sue&- ing a dance uattern was very helpful in learning it.

Once the deaf children feel the rhythm through claoping, counting, or soeaking, their muscles learn the movement oattern. The rhythmical body movernent is learned through kinesthetic awareness.

The muscles feel and know when they must move. Kinesthetically they feel time and space.

It is well known that, as compensation for their lack of hear- ing, deaf people are sharper in %heir other senses than most people. They are, for instance, extremely sensitive to vibration. While a shout would do no good to call this class to order, a stamp on the floor gets attention immediately. Miss Tanner has the children gather around the piax and put their hands on the top or on the sides of it as the pianist plays a simDle tune. As the acconpanist plays for the children, she stresses th? rhythmic accents: ->one two, three, as they l~listen"attentively with their nands. 'Then, with their elbows restinE on the piano, they clap the rhythm as they feel the vibrations. And so they learn the rhythm of the waltz, the march, the polka, etc. (It is interesting,

'Elizabeth L. Sehon et.,Physical Zducation Methods for hlementary Schools (Philadelohia: W. B. Saunders Co., l953), p. 26. a heavy beat; a light color a soft beat. The squares are used like flash cards in an arithmetic class and the children clap the beat as Miss Tanner holds up or indicetes each card. As they advance the class will clap or move to haif or quarter squares in interesting rhythmic variation.:!

The deaf enjoy dance steps that permit them to nit their feet against the wooden floor. This contact with the floor sets up vibra- tions. Tap dancing is very uopular with the deaf because of this. In modern dance locomotor movements like running, hoDping, skiDping, jumping, and step-hops are particularly effective in helping then keep

Maintaining Discipline

The discipline problem as explained in ChaDter 111, is often a serious one. It has been observed that the standard of discipline in other classrooms of the school usually carries over to the dance class.

Of course, the standards set by each teacher usually are the standards the children come to exuect. One must always be consistent in teaching the deaf. Accepting one standard of worn and conduct one time and another the next, makes for discord.

'Louise Judd, "Dancing for the Deaf," Dance Magazine, XXVIII, No. 4 (Auril, 19541, 54. 21bid.- 33

When a disciuline oroblem arises the teacher should ime- diately speak to the child causing the difficulty. If a warning is ineffective, the child should be told to sit out and not uarticipate in class. Be strict to a point, but be understanding as well.

'%ere are devices the teacher may use to contribute to class harniony ami efficient organization. The first suggestion is to keep the group unified. This may be done by ore-planning the formations that will be used during the class. Warm-uu techniques are usually done in either a single circle facing the center or in line formation.

The circle fornation tends to give a sense of unity and the children are able to watch each other. If a horizontal line formation is used, two short lines, with spacing so all may see the instructor is prefer- able to one long line. The teacher should always face her grow. When doing a locomotor movement, thwe must be specific formations as lo- comotor movements make for greater excitement. Skiaping and running seem to evoke more noise, and control of the grour, may prove difficult.

Here too, the circle formation uroved the most successful. The teacher must, of course, consider the size and shape of the dance room before planning the safest and most practical forma.tions.

Maintaining the child's interest is a key to successful dance classes. It is, in fact, a necessity. Tne subject matter should be suitable to the age and interests of the pupils. Repeat activities previously enjoyed and add something new or more advanced to each lesson. Motivate the students. Have the children desire mare danc- ing. Never suend excessive time on any one dance technique, In fact, technique should not be introduced immediately. Dance games and 34 improvisations are a greater selling ooint. Timing must be balanced so that too mucn time is not spent on ?ure technique. There are ways of including technique and making it into a story or game. Here is an opportunity for the teacher to 3rove her inventiveness and imagi- nation. Allow the children to make suggestions and utilize their fine imaginations. Guarantee each child success by going slowly untii all have learned the dance oattern. Don't, however, make it ton easy.

Naterial should be challenging. Use progressions in teaching, and comcliment often.

Showing aictures of dancers and dance movies, having the children watch dancing on television, and going to dance recitals are all important phases of a good dance urog

DeveloDing Favorable Attitudes

1. The modern dance teacher's oersonality and character traits are ir.fluentia1 in developing favorable attitudes toward modern dance.

Sone of' thzse important nzrsonality and character traits are: enttu- siasm, oatience, friendliness, love for chil.?ren, understanding, in- terest in eacn student, ana a sense of humor.

2. , The modern dmce teacher snould set down aims and objectives for heir creative modern dance program.

3. Lesson plans should be drawn u:, to aid in giving directj~on to the nrogram. These I~SSGT,qlans snm~l:' ant~.i,,.,f diffimlties in texhing tk? deaf child.

4. The matzrialij use? in dance class skoi.ld be interesting to t,n? stujmt5 and should encourage creitive ac+,ivl~+;r.

5. The tiaching 1r,eths3s should allow Tor DuDil creativenos:;.

Conimi:r!ication iiitii ths Dezf

1. ?ne rnxlern dance teacher shioi&d encourage? tne students to snc?aic.

2. She sh:>uld spe,zk slowly to ai6 tns students to lip read 35 36 what she says.

3. 'Ahen giving simple dirsctl,>ns, the teacher's gestures shoillfl

be easil~yunderst321 and tnzse gest'zes shauld be used consisLently.

$. if gesture and lioreading as a means of conunuricatior: are

unsuccessPL1 at :he time, it, may be necessary to move the child to

me proper place or get his body into proper position.

5. When giving dance inst,ructim, the teacher %wally demon-

strates and has the chi.ld imitnte her. She may alsn instract, by use

of gesture, speaking, an3 writ~ingon the blacXbo?pl.

.5. She should introduce dance activiti~nstnat enmurage ?uiil

creativen":;..;.

'?. Sne must emohasire correct, body xechanics.

3. The format:ioris tused in class must cnnsider visibility of'

stulents and teachv, contrnl of tne group, and giving the class a sense

of .unity.

9. dhen correcting rnist&es, the tmcner must, set up methxls

she will use in COP: t,~;ns tne grmp as a whole or individual students.

Some of iiiz teachintz techniyes she may use in correcting mistakes are:

re-demor,skrlLLir:, writ.ing the correction an the Slackboar2, manual

assisl.mce. >hen giving manual ass~istarrceshe must be careful not tr,

force any body Dart. Shc must also talle orecaut;nn- not to lose con-

trol of the group.

10. Coixmnicati~ngan idea which is to be emressed in movement Is often a diffi~wltDroblem. It was feud tnat the use of objects

or pictures of objects to be danced abmt Drove3 helpful.. The teacher

may imitate the object or idea to be danced. 'iqritin:; a message on thz 37 blackbxrd that cannot, b? understood. in other ways, is often used.

Aiding the Deeif to Sense Rhyt:m

1. The deaf "feel" vibrati~wis3f tne -iiano through their hands or head by borie conduction.

2. Clawing out t,hc rhythms felt increas-. their senss of rhythm.

3. After c1anni.T the rhyth, they coi:nt it.

4. They may alsa soeak the step rhytAmicnlly.

5. Their bodi.es have a kinesthetic awareness of rhythm and mace.

h. The deaf enjoy ;sercussive stms and mnvf!ine;:ts that permit tnern to make contact n.itii a wooden floor.

7. Csloxd cards my be use2 as flash cards to indicate ac- cented an.? unaccented beats.

8. Cards xay 3153 be used to indicate whole, half, quertsr, eight.? and sixteenth notes.

:*:aintai:?i~ngLiscigline

1. It is necesswy for the tenchm to set a standard of con- duct ad mrk.

2. The Todern dame teacher mus.t be consistmt in what she expects.

3. She must tack1.e a discipline problem imnediaLely.

L+. Tne dance t-acher must be strict blii understanding.

5. Keeping the group unifX& thrcmgn use of formntims elimL- nates many discigline uroblems. 33

6. 'Thz teacher should always face her grnu?. 7. Xany disciglinary oroblems are avoided by nresentinq materials that are of interest to tne child. These matsrials shoulfl be suitabl- to the age and interest of tne deaf child. Activities tnzt prove Dopul.ar sho~l~dbe renentd. Sometning new or more a-lvanc-ai should be added to each lesson.

8. The lesson sh:jiLld be timed so that the chi1.d'~interesr. is mint,sin ~d.

9. Not too murii time should be soent on oure techniqile. Tecn- nique shoulz be ir?coruori.terl into pines and storis.

10. The lesson -dill k enhanced if the children are encouraged to make tneir own suggesti3ris and contribute creative ideas and dance movm? n t c .

11. gacn child should be guaranteed a degree of success.

12. The teacher should introduce mterial that is challenging.

13. There snoulJ. De orogressions in teachi.:g.

14. It is up to the teacher to motivate and create interest.

15. %nphas~i.ze.? tne appreciation nhase of the nrogr4:n thr?u& use of novie:;, oictures, television, and dance recitals.

16. Plan lessons that are fun.

Conclusions ___._I

Conclus.i.ons

I. Deaf ch;.ldren can learn modern dancing and Derf0I-m with a 39 high degrar of skill. In fact, this is an area in which they can excel.

2. Xodern dance can be a bo1 for improrLng speech patterns,

?ost,ure, gait, and poise. dhen. iroperly taught, the deaf child can use modern dance as a means of self exaression, creativitjr, and an emotional outlzt for Dent up tens~ionsand fears.

3. Certain needs of each age group and each child may be met through active participation in modern dance.

$. The principal problems of developing a favorable attihde toward modern dance, communicating with the deaf, aiding the deaf to sense rhythm, and maintaining discipline can be successfully met by an intelligent, creative dance teacher.

5. There is a great nee? for :mblicat~ionof infonnati.on on the rhythm ani dance orogrzns for the deaf. Work is being done in this area, but there is very little written about it. The educatimal progrm for the deaf can be greatly enriched through a sharing of ideas and ex-

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Mason and Bright. "Tempo in Rhythmic SDeeCh Education," Volta ileview. UXX11: 385-401. WiXlII: 1C7-108, 239-240. Mills, M. l%hythm in the Primary Grades of the New Jersey School for the Deaf," Volta Heview. LXXXIII, 31-341.

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"New Program of dducation," Volta fieview. LIII (September, lqgl), 420.

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"We've Gat :ihythm,t8 Volta Revi*w. LI (March, 1949), ill. riilliams, Kev. Francis T. "An Evaluation of Criteria For Basic Methods of Teacking Deaf Children.'% Unpublished Ph. D. dissertation, De- Dartment of fiducation, Fodham [Jniversity, 3.949. Pp. 330.