“Lunch Doodles with Mo Willems” is a webinar by Mo Willems, Kennedy Center Artist in Residence and author of Don’t Let the Pigeon Drive the Bus. With students suddenly and unexpectedly home from school due to the COVID-19 epidemic Mo Willems began his lunchtime doodle session with a suggestion: “Let’s find a way to be isolated and together at the same time,” he said.

As we, globally, transition to school shutdowns as part of social distancing, arts continue to be a vital tool for engaging diverse students in learning remotely and at home.

Mockingbird, a play by Julie Jensen, adapted from the novel by Kathryn Erskine, features a main character on the autism spectrum.

“We were determined to cast an actor with autism to play the character with autism in Mockingbird”, says Erica Berman, Mockingbird’s director and Children’s Theater of Madison’s (CTM) Director of Education and Community Engagement. “In doing so, we are deepening our commitment to representation in the theater for people who are underrepresented.” Berman cast Mattie Olson, an 11-year-old on the autism spectrum, in the role.  Olson found it to be a natural fit.  "Acting has always helped me figure out the world,” says Olson, “It's like the whole world is kind of a script to me. And what I say is my script."

The John F. Kennedy Center for the Performing Arts, Council for Exceptional Children, and Division of the Visual and Performing Arts published the inaugural issue of the Journal of the Arts and Special Education (JASE).  JASE is the first scholarly journal to focus on the intersection of the arts and special education. 

Historically there have been very few research studies that focused on both arts education and special education that met high-quality research standards.  The Research and Evaluation Department at the Kennedy Center, as well as leaders from across the field, have been pushing to change that.  This change will make more, and better, information available that educators can utilize to inform their evidence-based practices.  

 
The power of music to significantly impact the lives of children and communities is widely acknowledged.  But how can we best harness that power in a way that reaches young people of all backgrounds, circumstances and abilities? And, how can we create a world where all people are viewed equally-where diversity is the point of celebration? As artists, can we build projects that enable all young people’s ideas to be valued? And, how can we grow the capacity to deliver innovative creative projects through unique partnership models?
 
 
It is these such questions that inspired the vision for the Music for All Project-a pioneering music-education program in South Australia that saw over fifty students with multiple intellectual and physical disabilities collaborate across a weeklong creative music program. The bold design of the project sought to demonstrate the deep potential of a contemporary and inclusive model for music education that positioned students of all abilities at the centre of the creative process, mentored and guided by world-class teaching artists and emerging musicians.
 
 
Under the direction of award-winning composer and educationalist, Paul Rissmann (UK), and London-based violinist, Belinda McFarlane, students from three Adelaide special schools came together to take part in a series of collective composition workshops, supported by early-career musicians from the Australian Youth Orchestra. Inspired by the heart-warming Australian picture book Fancy Pants, by Kelly Hibbert and Amanda Graham, the five-day program of music-making and creativity was designed to empower and engage students of all abilities and experience.
 
The challenge for the artistic team to successfully incorporate the ideas of so many students with such highly diverse individual needs required extensive creative thinking, flexibility and commitment. The extraordinary outcomes achieved exceeded all expectations and were a true testament to the deep-level of collaboration and ambition demonstrated by all staff and artists involved in the project. A key indicator of the level of success of the project was the way in which each child personally felt acknowledged, celebrated and valued across the entire creative process.
   
 On stage, in a sold-out public performance, the students sang, hand signed, danced, played instruments, and narrated, as they performed side-by-side on stage with the AYO Momentum Ensemble and international artists. The concert integrated the musical contributions of all student groups, interwoven with enchanting musical excerpts and songs composed by Paul Rissmann. The event was a joyous and deeply moving celebration of the power of music and community to bring people together.
 
 
Beyond the artistic achievements of the project, most significant of the successes was the deep level of connection that developed between students, artists, community members and school staff. There is no doubt that the immense impact that the Music for All Project has had on both the school community and the individuals involved will be felt for a lifetime.
   
Emily Gann
Project Leader
Connecting the Dots in Music
 
This project was made possible by a team of highly committed partners.  Project footage available at www.musicforallproject.com. 
 
Creative Directors: Paul Rissmann (composer), Belinda McFarlane (violinist)
Project Leader: Emily Gann
Music teachers: Lucy Standish, Lily Lorraine, Mala Byam
Delivery Partners: City of Marion, Connecting the Dots in Music, Kilparrin Teaching and Assessment School and Services, Australian Youth Orchestra, Raising Literacy Australia,
Partner Schools: Kilparrin, SA School for Vision Impaired, Suneden Specialist School

Rhoda Bernard, Managing Director of the Berklee Institute for Arts Education and Special Needs regularly meets with arts teachers who are hungry to know more about how to help students with disabilities.

“You are not alone,” Bernard says.  “There are terrific resources, you can get help and you can connect with other people that care about this work.”