Teaching Creative Dramatics to Young Adults with Williams Syndrome

Teaching Creative Dramatics to
Young Adults with Williams Syndrome
Carol L. Tieso
There are no strangers, there
educational setting, educators must
performing in a creative and original
are only friends.
address the strengths and weaknesses
dramatic musical performance. The pro-
This quote came from a student with
of these students through their individ-
gram was funded by a grant provided by
Williams syndrome; and the simple
ual profiles of interests and talents.
the Javits Act Program through the aus-
quote is an expression of the often
When people with Williams syndrome
pices of the National Research Center
extreme friendliness of such students.
are viewed through the lens of talents
on the Gifted and Talented (NRC/GT).
This article describes a program that
rather than weaknesses, an entirely new
Researchers at this center asked stu-
took advantage of this strength and oth-
model of special education emerges: tal-
dents’ families to attend, using lists pro-
ers of such young people in a magical
ent development.
vided by the Williams Syndrome
summer program called “Music &
Foundation and representatives of the
Talent Development Program
Minds.”
Belvoir Terrace summer music camp in
During a similar program involving
As part of a summer program at the
Lenox, Massachusetts.
dramatic expression, researchers com-
University of Connecticut, “Music &
Enrichment—and Fun
mented: “As they told their tale, they
Minds,” 16 young adults with Williams
often altered their pitch, volume, length
syndrome were invited to demonstrate
The focus of the program was on meet-
of words or rhythm to enhance the emo-
their talents in language and music by
ing the needs and addressing the weak-
tional tone of the story. They added
more drama to engage their audience
What Is Williams Syndrome?
(‘And suddenly, splash!’ ‘and BOOM!’;
Lenhoff (1998) illustrated that Williams syndrome is a “relatively new” dis-
‘Gadzooks!’)” (Lenhoff, Wang,
covery, identified in 1961 by the New Zealand cardiologist, J. C. P. Williams.
Greenberg, & Bellugi, 1997). Can you
After examining a number of young children with pixie-like facial fea-
feel the amazement between the lines
tures, [Williams] noted that all had similar heart problems and other
here?
medical symptoms as well as cognitive impairments. . . . People [with
Despite their apparent fluency for
Williams syndrome] are missing a group of specific genes from one of
language and drama, students with
their chromosomes. Because of this “microdeletion,” Williams people
Williams syndrome have rarely had the
lack one gene from each of about fifteen pairs of genes. One is the gene
opportunity to express these talents in
pair controlling the synthesis of the stretchy protein, elastin, a protein
creative dramatics. People with
found in large amounts in aortas, intestines, lungs, and skin. Because
Williams syndrome are usually labeled
they share these same gene losses, people with Williams syndrome are
disabled, due to genetic, linguistic, and
born with a range of similar physical, behavioral, and cognitive impair-
ments regardless of their parental or ethnic background. (p. 33)
psychological deficits; and educators
usually design instruction to remediate
The incidence of Williams syndrome is estimated as 1 in 25,000
their “deficits” (see box, “What Is
(Bellugi, Bihrle, Jernigan, Trauner, & Dohery, 1990). Williams syndrome
is evident at birth, occurs in all ethnic groups and continents, and
Williams Syndrome?”). Students with
affects males and females equally (Pober & Dykens, 1993).
Williams syndrome are often placed in
special day or resource room settings
In addition, Williams identified several general characteristics (Lenhoff,
during their school years. As young
1998, pp. 33-34):
adults, they may exhaust their educa-
• Although they have extreme difficulties with simple additions and sub-
tional careers at the high school level,
tractions, spatial relations, logical reasoning, and abstract ideas, people
though some may attend special univer-
with the syndrome show a high level of language development com-
sity programs.
pared to other people with cognitive impairments.
Most young adults with Williams
• As a group, many people with the syndrome show a great love, appre-
syndrome who have completed their
ciation, and talent for music.
education, live with family members or
• They have the condition called hyperacusis, allowing them to hear the
in assisted living facilities. Since they
faintest of sounds.
may have a limited time in a general
• People with Williams syndrome are people-oriented and aim to please.
32 s THE COUNCIL FOR EXCEPTIONAL CHILDREN

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nesses of these students through their
talent areas, which for this population
are music and language. Participants
attended classes in chorus, general
music, individual instrument or voice
instruction, creative dramatics, and
physical therapy (Reis, Schader, Milne,
Stephens, & Tieso, in press). After din-
ner, they frequently would assemble
and initiate their own private jam ses-
sions, usually accompanied by the
musical staff.
The theoretical basis for the pro-
gram’s curriculum and instruction was
the Schoolwide Enrichment Model
(Renzulli & Reis, 1998), a model of
assessing students’ strengths and tal-
ents and designing instruction around
those talents by providing students with
specific instruction or training geared to
Scaffolding Instruction in Creative Dramatics
their interests and talents. In that way,
teachers and researchers were able to
for and talent in music and significant
and mental challenges. One of the
apply the pedagogy of gifted education
difficulties in math, spatial abilities,
implications of this inexperience was
and talent development to a population
money, and fractions.
that the staff lacked expectations regard-
of young adults who would be typically
Instructors at “Music & Minds” rec-
ing the abilities or disabilities of the
identified as learning disabled.
ognized a great sensitivity to music and
young adults. This would prove to be a
rhythm in this population, but also
key in the successful application of tal-
Student Capabilities—and
observed great discrepancies within the
ent development ideals (Renzulli & Reis,
Surprises
population. Lenhoff et al. (1997) have
1998) to address the strengths and
The directors of “Music & Minds” pre-
explained, “Investigators are attracted
weaknesses in this special population of
pared the teaching staff with readings
to Williams syndrome in part because
students.
and debriefings, but no one could really
they suspect the dramatic peaks and
Characteristic Strengths and
be prepared for something so monu-
valleys in the abilities of affected indi-
Weaknesses
mental until it occurs. The literature on
viduals will provide a new window to
people with Williams syndrome is thin,
the organization and adaptability of the
Levine (1997) suggested that the behav-
but fails to recognize the amazing diver-
normal brain” (p. 68). Further, they
ioral impairments of people with
sity of talents and sensitivities in this
remind educators of the following find-
Williams syndrome include “short
population. They are more outgoing and
ing:
attention span and distractibility, diffi-
sensitive than is mentioned in the liter-
A case study of Williams syn-
culty modulating emotions, heightened
ature. Most had no difficulty adjusting
drome has shown that low IQ
sensitivity to sound (hyperacusis), per-
scores can mask the existence of
to the new surroundings at the universi-
severating on ‘favorite’ subjects, anxiety
exciting capacities. And it warns
ty, while others phoned home several
around unexpected changes in rou-
that other so-called mentally
times a day to overcome their home-
retarded individuals could have
sickness.
untapped potentials waiting to
Here’s a plan to teach by:
In addition, they tend to have a
be uncovered—if only
assessing students’
much greater range of abilities than the
researchers, and society, will
literature suggests. For example, one
take the trouble to look for and
strengths and talents and
young woman devoured great literature
cultivate them. (p. 73)
designing instruction
while another had difficulty sounding
It is often the case that gifted stu-
out words in a sentence; one young
dents are overlooked due to learning
around those talents by
man knew the music and lyrics to 1,000
disabilities while their learning disabili-
providing students with
songs, while a young woman could not
ties are often masked by their gifts
sing a note. The literature suggests that
(Baum, Owen, & Dixon, 1991). An expe-
specific instruction or
there is a higher than average incidence
rienced staff of gifted education and
training geared to their
of musical precocity and absolute pitch
music educators was assembled for this
in this population. Parents indicated
program, but most had not worked with
interests and talents.
that their students had a great affinity
young adults who had such physical
TEACHING EXCEPTIONAL CHILDREN s JULY/AUGUST 2002 s 33

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tine/schedule, rocking, nail biting, or
Emotional Hypersensitivity
to a car waiting directly in front of the
skin picking, and difficulty building
A second major behavioral impairment
main entrance. After the students
friendships” (pp. 8-13). She suggested
is “difficulty modulating emotions.”
arrived safely at their dormitory, it was
that certain accommodations should be
There were several occasions when,
still necessary to comfort them until the
used to compensate for these impair-
because of their hypersensitivity to oth-
storm had passed. Many students
ments.
ers’ emotions, students were unable to
remained in distress throughout the
evening; others were able to overcome
Short Attention Span
focus on their acting or singing parts.
The instructor took the students aside,
their fear of the thunder by engaging in
To address the problem of short atten-
discussed the problem with them, and
singing or dancing with one another
tion span, the staff solicited information
attempted to defuse the situation before
and staff members.
from the students regarding their inter-
it became pervasive. Counseling the stu-
Researchers have contended that it is
ests, learning styles, and specific abili-
dents in the need to put off emotional
this hyperacusis that forms the basis of
ties. By focusing attention on the posi-
reactions while concentrating on specif-
their sensitivity to sound and percussive
tive qualities of each individual, the
ic tasks also proved to be successful.
rhythms. Levitin and Bellugi (1998)
staff could develop instruction to
One such incident occurred during
“prefer to use the term ‘soundscape sen-
address those differences. In their indi-
math class one day. While the creative
sitivity’ to characterize the unusual
vidual lessons, students could choose
dramatics instructor was observing, two
interest in timbre among some individu-
vocal or instrumental music, and which
students seemed to be having a quarrel,
als with Williams syndrome and their
instrument they would like to learn. In
resulting in one student’s pouting while
reported abilities to classify sounds on
their math classes, students were often
the other angrily distracted her class-
the basis of timbre” (p. 359). The
paired with other students of similar
mates. The observer quietly removed
“hyperacusis” exists as both a weakness
ability or interests; and instruction was
the more emotionally able student and
and a strength in this population.
geared to their needs. For example,
discussed with him the need to concen-
Hyperacusis also affects their ability to
some students might listen to a rhythm
trate now on his math, and wait until a
move from one topic to another by alter-
to learn the math while others would
more appropriate time to deal with his
ing their focus from the current task to
use manipulative items, such as pieces
anger and hurt toward his friend. The
the interfering sound.
of fruit or blocks, to learn their lessons.
teacher carefully and honestly discussed
In creative dramatics, students were
Repetitive Behavior Fixations
feelings with the students until they
offered jobs or roles based on their pre-
understood the situation and were ready
A fourth major behavioral idiosyncracy
vious experience in theater or their gen-
to move on to the next activity. This
is the tendency to perseverate on certain
eral interest in a particular role or song.
became a critically important strategy
favorite topics. Levine (1997) suggests
One student who felt uncomfortable
during times of loud distractions created
including social skills in classes, using
with a singing role was asked to serve
by construction workers demolishing
role play, stories, and discussion, and
as assistant director, a role she accepted
the building next door.
teaching the students to recognize their
with enthusiasm and competence. The
fixation and adjust. A teacher can facil-
students were allowed frequent breaks,
Heightened Sensitivity to Sound
itate by sufficiently questioning the stu-
and activities were varied throughout
A third behavioral issue was a “height-
dent to make sure he or she under-
the rehearsal times and all regular class
ened sensitivity to sound (hyperacu-
stands the requested information and
sessions. The students initially were dis-
sis).” Levitin and Bellugi (1998)
ignoring the “subsequent repetitions
tracted by other activities, including
explained that “loud noises such as
while offering other topics and activi-
researchers’ interviews and physical
thunder cause gross distress in some
ties” (p. 10). One successful strategy
examinations, but soon learned to focus
children with Williams syndrome, and
used by staff members to redirect stu-
on the activity in an attempt to screen
many such children are also extremely
dents’ focus, was to initiate a new activ-
out the offending distractions.
sensitive to broad-band sounds that are
ity that they knew the students would
not loud, such as those made by vacu-
enjoy, such as singing a familiar song,
um cleaners, fans, helicopters, and
clapping a specific rhythm, or relaying a
other motors” (p. 359). Amazingly, the
humorous story.
students adapted well to the ever-pres-
In creative dramatics, the teacher
ent blasting that bored through the wall
was often able to address the persevera-
By focusing attention on
from the building next door but they did
tion problem by asking students to
not do as well in avoiding the sound of
improvise or role play a different person
the positive qualities of
thunder and its visual twin, lightning.
or emotional reaction. By allowing stu-
each individual, the staff
The final dress rehearsal for the per-
dents to focus on a new identity or emo-
formance was almost canceled due to
tion, the teacher was able to end or slow
could develop instruction to
the cacophonous sounds of the nearby
their tendency to fixate on certain prob-
address those differences.
thunderstorm. Staff members had to
lems or issues. The staff had initially
escort several students from the theater
solicited information regarding stu-
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dents’ interests and talents, which they
This characteristic was difficult to
their students continued to observe
later used to assist students in moving
observe at first because many of the stu-
half moons, a quarter past the hour,
away from perseveration toward the
dents knew each other or quickly
and were able to understand money
task or activity at hand, by asking spe-
became friends. The behavior became
values—all issues of great difficulty
cific questions regarding their interests.
evident, however, in students’ attempts
for most of these students before the
This flexibility training also helped stu-
to socialize with the general population
program.
dents deal with unexpected events or
of university students in the dining hall
These learning styles and talents
changes to their daily routines.
or around campus. Some university stu-
were nurtured and flourished by expos-
dents ignored them, whereas others
ing the students to creative dramatics
Anxiety About Change
teased or made fun of their appearance
combined with instrumental or vocal
A fifth behavioral impairment is “anxi-
or their extroverted personalities.
music.
ety around unexpected changes in rou-
Although some of the Williams students
Lenhoff (1998) suggested that people
tine or schedule.” One young man was
seemed unaware of the teasing, others
with Williams syndrome
so fixated on the weather that he would
were genuinely hurt and wondered aloud
discriminate melodies well; they
inquire as to the weather forecast for the
to their teachers why other students
also show significantly more
week then wear four different shirts to
would not befriend them. It seemed an
interest in and emotional
address the changing conditions. This
opportune time to interject some empa-
responsivity to music than do
problem was pervasive throughout the
thy education to those students concern-
subjects from the general popu-
program.
lation. As one Williams child
ing others who are different.
said, “Music is my favorite way
The program directors successfully
In addition, the Williams students
of thinking.” (p. 35)
addressed students’ anxiety about daily
had an easier time relating to adults or
events by giving each student a note-
persons of authority than they did to the
Lenhoff (1998) identified several
book with his or her daily schedule
real emotions felt by young adults
characteristics of people with Williams
printed on the first page. Each morning
towards one another. There were several
syndrome:
at breakfast, the day’s schedule, in the
cases in which students formed romantic
• Whereas Williams children
form of a daily newsletter, was made
relationships with one another, but they
have short attention spans for
available to the students. Information
often had difficulty modulating and con-
most subjects, their attention
regarding the weather forecast and any
trolling their emotions, which led to
span for listening to and par-
special activities was also addressed in
breakups between the couples.
ticipating in musical activities
the newsletter. Finally, the newsletter
appears to be surprisingly
highlighted information about the inter-
Meeting Students’ Interests
long.
ests or talents of individual students to
and Learning Styles
• Although most cannot read
allow students who were not acquaint-
Adapting instruction—scaffolding—was
musical notation, many seem
ed to learn more about their peers.
an important tool in dealing with these
to have absolute and relative
students’ weaknesses (Figure 1). It also
pitch.
Difficulty with Relationships
became an important tool in addressing
• Many are able to retain com-
A final major behavioral deficit is a “dif-
their strengths, and their strengths lay
plex music (some in a variety
ficulty building friendships.” Contrast
in sensitivity to music and rhythm, lan-
of languages), including both
this with their tendency toward “hyper-
guage, and imitation. By becoming
the words of many verses of
sociability.” Levitin and Bellugi (1998)
familiar with the interests and talents of
long ballads and the
suggested:
each individual, staff members were
melodies, for periods of years.
Williams syndrome is further
able to scaffold and differentiate
• Experienced Williams musi-
characterized by hypersociabili-
instruction based on those profiles of
cians have a facility with har-
ty. Most children with Williams
interests and talents:
mony.
syndrome are eager to talk with
• Students with talent in instrumental
• A number can improvise and
people, including strangers,
music played instruments during
compose lyrics with great
and, in fact parents say that it is
facility.
difficult to teach them not to
instruction and performance.
Virtually all Williams syndrome per-
talk to strangers. One young
• Those with vocal talents sang.
formers lack stage fright. (p.34)
woman with Williams syn-
• Those with a proclivity for reading
drome told us, ‘There are no
and role-playing shared the bulk of
If you study these characteristics,
strangers, there are only
the acting duties.
you might conclude that creative dra-
friends.” Individuals with
• In the students’ math class, their
matics, combined with musical theater,
Williams syndrome typically
problems with time, space, and part-
is the prescriptive choice to meet both
strike up conversations easily
whole relations were addressed
the learning styles and interests of
with anyone, are generally
through physical expressions of musi-
young adults with Williams syndrome.
polite, and have learned a num-
cal and rhythmic notation. Several
As one parent commented, however, no
ber of complex social mores. (p.
weeks later, parents indicated that
one had attempted to teach creative dra-
360)
TEACHING EXCEPTIONAL CHILDREN s JULY/AUGUST 2002 s 35

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tion in all these musical per-
Figure 1. Scaffolding Instruction in Creative Dramatics
formances, but this is more than
compensated for by the subjec-
Consciously speak in a normal tone, pace, and vocabulary.
tive quality of musicality they
Provide clear goals and instructions; don’t string too many concepts together.
bring to their performances. (p.
Avoid the use of idioms or quirky sayings.
376)
Exercise [students’] lips and tongue to gain better control.
Levine (1997) recognized that, in
Have students practice the formation of sounds.
addition to weaknesses that we must
Be aware of students’ strengths and interests.
address, there are also strengths that we
Allow for instruction in a kinesthetic mode whenever possible, but be aware
must nurture—as follows:
of potential physical frailties.
Use rhythm and music in instruction whenever possible. Teach students to
• Expressive vocabulary.
associate music/rhythm with specific content or ideas.
• Long-term memory for information.
Use students’ interests to help them avoid perseverating on certain topics.
• Hyperacusis.
Express empathy and understanding for students if they are exposed to loud
• Ability to get information from pic-
noises or other distractions. Realize that these are real fears that must be
tures.
addressed.
• Ability to learn through hands-on
Practice having students move around the stage in different contexts and
experience.
under different physical conditions.
• Musical ability (a love of, and some
Provide a large-font, typed script for everyone that includes the lyrics to
sense of, music).
each song typed out in bold print within the script and highlight each stu-
dent’s name on the script.
• Short- and long-term auditory memory.
Use highlighting or color-coding to assist students in reading silently or
• Interest in and heightened awareness
aloud.
of the emotions of others.
Suggest that students work with a buddy or instructor to rehearse lines.
• The ability to initiate social interac-
Tape dialogue to provide them with an aural version of the script.
tion and conversation.
Use a tape recorder to practice speeding up speech and improve inflection.
Creative dramatics and musical theater
Read the lines to the students and have them read them back. Read or sing
became the perfect outlet for students
the lines to the students exactly as the director would like to hear them.
with these special abilities and talents.
To teach the students stage directions and how to move scenery, demon-
strate exactly where each actor is to stand and how the scenery is to be
Scaffolding for Optimal
moved.
Learning
If some students have physical frailties, remove some set pieces and simply
have students stand where they are to be within a scene.
There are several important techniques
The night of the performance, take a “Reader’s Theater” approach and allow
in working with students with Williams
students to have their scripts in hand with the stage directions typed in ital-
syndrome that may generalize to a larg-
ics on the page.
er population of students with learning
Have the director be visible to the students at all times. Stand in the wings
disabilities. One major technique
or in the orchestra pit, directly in front of the actors and call out scenes
addresses verbal instructions and sug-
before each scene change.
gests providing clear goals and instruc-
Treat students as actors! Have high expectations. Praise their successes.
tions and not stringing too many con-
cepts together. People with Williams
matics or conduct a theatrical perform-
Resvesz (1953/1954) defines musi-
syndrome have a tendency to fixate on
ance with these students in the past.
cality as the ability to enjoy music aes-
certain topics and display an inability to
When teachers focus on the interests
thetically. Levitin and Bellugi (1998)
quickly adjust to changes in routine or
and learning styles of these students,
studied people with Williams syndrome
schedule. This is also true of their reac-
they will recognize a facility for per-
at the summer music camp at Belvoir
tions to verbal instructions. They have
formance and an unusual love of
Terrace in Lenox, Massachusetts, and
an excellent visual memory and the
rhythm and music.
noted:
ability to mimic and imitate, but they do
Many of the individuals with
struggle with long-term verbal memory,
Williams syndrome we
especially if reading is required.
It is beneficial to apply the
observed appear to be . . .
engaged with music and
Providing Avenues Other Than
pedagogy of gifted
showed the external behavior of
Verbal Communications
being in a “flow” state
The first rehearsal for the creative dra-
education and talent
(Csikszentmihalyi, 1990), a
matic production began with the direc-
development to a
state of concentration and deep
tor’s handing out sheet music to the stu-
enjoyment that allow Williams
dents. She chose music from Broadway
population of students with
syndrome absolute absorption
in an activity. . . . There is a
musicals that was familiar to most of
learning disabilities.
decided lack of technical perfec-
the students. She also created a short
36 s THE COUNCIL FOR EXCEPTIONAL CHILDREN

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script, based on The Wizard of Oz that
scious training in diction, listening to
followed the students through their day
the director read his lines for him, and
The director was surprised
at “Music & Minds.” Students per-
one-on-one musical and acting coach-
to hear that a musical
formed scenes about toothpaste fights
ing. One suggestion for future programs
in the lavatory and giggling matches on
would be the addition of a speech ther-
theater production had
the girls’ floor. Only one of the assem-
apist to assist with diction, intonation,
never been attempted with
bled students could read music, and
and other speech impairments.
most had great difficulty following
this population.
along with the printed lyrics on the
Avoiding Idiomatic or Metaphoric
Speech
score.
The next day the director had a large-
Another verbal issue to address is the
font, typed script for everyone that
use of idioms or quirky sayings. Several
musical Guys and Dolls flourished
included the lyrics to each song typed
of the students would become upset to
under the pressure and actually was “in
out in bold print within the script. If stu-
hear that it was “raining cats and dogs”
character” long before her song
dents were unfamiliar with the song,
or it was going to be so hot that “we’d
appeared in the script. This was gratify-
the director and accompanist would
all melt.” Persons with Williams syn-
ing in that this was the same young
play the song for them. In addition, the
drome have the tendency to take
woman whom the staff did not think
director highlighted students’ names on
instructions and directions literally,
would survive the first week. She truly
the scripts because they sometimes had
which suggests that subtle teasing could
had the opportunity to demonstrate her
trouble following along. She suggested
easily be misunderstood. The Williams
talent in a way that was new and excit-
that to learn their parts, they should
students had frequent trouble with teas-
ing to her, especially as she was one
work with a buddy or instructor to
ing in their encounters with general uni-
who had to deal with some physical
rehearse lines. She also suggested tap-
versity students in the dining hall and
challenges.
ing their lines to listen and learn.
around campus because they interpret-
Even Out the Complications
Different methods were attempted with
ed comments, which were often inno-
each student until one proved success-
cent remarks, based on their own expe-
Once the problem of reading lines was
ful. These methods allowed the students
riences rather than those of the general
solved, a new question of movement
to follow along more readily as well as
university population.
and blocking arose. To teach the stu-
enjoy the flow of the production.
dents stage directions (where they need-
Encouraging Play Acting and
ed to be in what scene) and how to
Providing Speech Therapy
Practice
move scenery, it was imperative to
One anonymous physician (1985) sug-
Another scaffolding technique used was
demonstrate exactly where each actor
gested techniques for assisting students
to encourage students who understood
was to be and how the scenery (in this
with speech impairments: “consciously
words literally to experiment and “play
case, chairs) was to be moved. Due to
speak in a normal tone, pace, and
act.” Since reading ability varied greatly
some physical frailties among the par-
vocabulary; exercise lips and tongue to
among the students, it was often neces-
ticipants, moving the chairs from one
gain better control; practice the forma-
sary to read the lines to them and have
scene to another was difficult, so the
tion of sounds, us[e] a tape recorder to
them read the dialogue to the teacher.
solution was to have them stand rather
practice speeding up speech; and
To encourage creativity in characteriza-
than sit where the director wanted
improve inflection.” (p. 966)
tions, it was often necessary to read or
them. This saved wear and tear on
At “Music & Minds,” one talented
sing the lines to the students exactly as
everyone’s eyes and ears the night of
musician and budding actor had some
the director would like to hear them. As
the culminating performance.
difficulty with diction. The director used
the students became more familiar with
Cues, Cues, Cues
some of these techniques with him to
the script and their own parts, they
improve his diction and voice inflec-
began to experiment and individualize
Another major scaffolding technique
tions, with some success. The young
their roles. Several students could have
was used the night of the performance:
man flourished with specific and con-
benefited greatly from longer, more
The students were able to have their
intense practice in creative dramatics as
scripts in hand with the stage directions
they seemed to be more open to charac-
typed in italics on the page. Further, the
The staff solicited
terization and creative acting. Others
students were asked if they would like
could have soared with specific and fre-
to have the director nearby to assist
information from the
quent practice in playing Charades, act-
them during the performance. Since
students regarding their
ing out pantomimes, performing as a
they unanimously agreed, the director
mirror with a peer, or other creative dra-
seated herself in the orchestra pit,
interests, learning styles,
matics exercises.
directly in front of the actors and called
and specific abilities.
One young woman who was
out scenes before each scene change.
assigned a song from the Broadway
This was unobtrusive for the audience
TEACHING EXCEPTIONAL CHILDREN s JULY/AUGUST 2002 s 37

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and helpful for the budding actors. A
only the learning disabilities and not the
Pober, B. R., & Dykens, E. M. (1993).
full house of parents, educators, and
gifts, they tend to apply the deficit
Williams syndrome: An overview of med-
researchers was on hand as students
model of special education; that is, they
ical, cognitive, and behavioral features.
Mental Retardation, 5, 929-943.
performed an original musical comedy
encourage educators to focus on reme-
Reis, S. M., Schader, R. M., Milne, H.,
skit.
diating weaknesses, rather than devel-
Stephens, R., & Tieso, C. L. (in press). A
The audience members were
oping talents. This experience offered
study of musical talent in persons with
engaged and enthusiastic about the
the opportunity to demonstrate to
Williams syndrome. Exceptional Children.
resulting performance, providing the
teachers of students with learning or
Renzulli, J. S. (1994). Schools for talent devel-
opment: A practical plan for total school
students with an extended standing
physical disabilities, that these students
improvement. Mansfield Center, CT:
ovation. The students responded profes-
have much to offer in terms of their
Creative Learning Press.*
sionally as they took their curtain calls
strengths and talents when instruction
Renzulli, J. S., & Reis, S. M. (1998). The
and requisite bows and excitedly as they
is geared to those talents, rather than
schoolwide enrichment model: A how-to
rushed to their respective families when
emanating from a canned curriculum or
guide for educational excellence. Mansfield
Center, CT: Creative Learning Press.*
the performance was concluded. One
an assessment of students’ deficits.
Resvesz, E. H. (1953/1954). Introduction to
parent stated with amazement that “no
the psychology of music. (G.I.C. de Courcy,
one had ever done anything like that
References
Trans.). Norman: University of Oklahoma
before.” Considering the students’ pro-
Anonymous. (1985). Compassionate pedi-
Press.
atrics: Case history of a child with
files of interests and talents, that was
Williams syndrome. Pediatrics, 7, 962-968.
the most surprising review heard that
Baum, S. M., Owen, S. V., & Dixon, J. (1991).
evening.
To be gifted & learning disabled: From
identification to practical intervention
*To order the book marked by an asterisk (*),
Expect the Best
strategies.
Mansfield, CT: Creative
please call 24 hrs/365 days: 1-800-BOOKS-
NOW (266-5766) or (732) 728-1040; or visit
The final scaffolding that was needed
Learning Press, Inc.*
Bellugi, U., Bihrle, A., Jernigan, T., Trauner, D.,
them on the Web at http://www.clicksmart.
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& Dohery, S. (1990). Neuropsychological,
com/teaching/. Use VISA, M/C, AMEX, or
director was surprised to hear that a
neurological, and neuroanatomical profile of
Discover or send check or money order +
musical theater production had never
Williams syndrome. American Journal of
$4.95 S&H ($2.50 each add’l item) to:
been attempted with this population.
Medical Genetics, Supplement 6, 115-125.
Clicksmart, 400 Morris Avenue, Long Branch,
NJ 07740; (732) 728-1040 or FAX (732) 728-
The director was perplexed, given the
Csikszentmihalyi, M. (1990). Flow. New
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7080.
natural abilities, learning styles, and
Gardner, H. (1983). Frames of mind: The the-
interests of these students. The end
ory of multiple intelligences. New York:
Carol L. Tieso, Assistant Professor, University
result was that the director treated the
BasicBooks.
of Alabama, Programs in Gifted Education,
Tuscaloosa.
students like actors; she treated them as
Lenhoff, H. M. (1998). Information sharing:
young adults because she had no com-
Insights into the musical potential of cog-
Address correspondence to the author at
nitively impaired people diagnosed with
peting expectations or profile of signifi-
University of Alabama, Programs in Gifted
Williams syndrome. Music Therapy
cant weaknesses.
Education, Box 870232, Tuscaloosa, AL 35487-
Perspectives, 16, 33.
0232 (e-mail: Ctieso@bamaed.ua.edu).
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Final Thoughts
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Copyright 2002 CEC.
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Information for teachers. Clawson, MI:
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The Williams Syndrome Association.
(1983) theories regarding talent devel-
Levitin, D. J., & Bellugi, U. (1998). Musical
opment and intelligences. When
abilities in individuals with Williams syn-
researchers and school personnel see
drome. Music Perspectives, 15(4), 357-389.
38 s THE COUNCIL FOR EXCEPTIONAL CHILDREN

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