By Claire Penketh (auth.), Claire Penketh (eds.)
An ungainly stumble upon deals an interrogation of inclusive schooling by way of exploring the purpose at which dyspraxia and drawing from statement meet inside of formal studying environments. Drawing on tales of person event, this e-book seeks to advertise the interrogation of implicit academic practices. right here the complexity of observational drawing is tested no longer inside a closed neighborhood of paintings schooling yet in the social and cultural area of alternative serious debates inside of schooling, particularly these with regards to inclusion. students don't adventure inclusion and exclusion within the summary yet via discipline-based and positioned practices. This ebook goals to discover this complexity and disrupt techniques that would search to rationalise and compartmentalise academic adventure. an ungainly stumble upon displays a cross-disciplinary point of view and should be of curiosity to lecturers, pros and practitioners attracted to the character, function and cost of paintings schooling in addition to people with a selected curiosity in dyspraxia. it is going to even be of specific relevance to these all for listening to the voices of student event of inclusive and specific academic practices.
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Additional resources for A Clumsy Encounter: Dyspraxia and Drawing
Tomlinson (1982) argues that ‘Special Needs’ education, 37 CHAPTER 3 is considered within a concept of ‘enlightened and advanced’ forms of caring for weaker members of society, yet this concept of inclusion recognises that those to be included are already excluded. This drive to , identify, label and intervene, forms the real dilemma discussed by Norwich (2008), where recognition of the specific needs of the individual can be described as a form of exclusion, but where failure to act can deny participation.
Such a discussion, I suggest, reveals something of the embedded nature of exclusive cultural practices in the discipline when it is positioned as a subject in compulsory education. However, there are elements of art education and more particularly drawing practice that are sympathetic to a reading of exclusive individualising practice outside of formalised systems of education. As a starting point for a consideration of ‘inclusion’ in respect of art education, curriculum guidance suggests the existence of a reactive approach to ‘provision’.
Individuals can be perceived of as having a form of ‘capital’ by the physical talents they display. This can be understood as a form of ‘habitus’ where players become legitimated by their physical practices: to enter a field (philosophical, scientific, [artistic] – my addition) to play the game, one must possess the habitus which predisposes one to enter that field …one must also possess at least the minimum amount of knowledge, or skill, or ‘talent’ to be accepted as a legitimate player (p. 8) Within this discussion inclusion takes place via participation, yet it is the nature of participation that is significant since it has to be the type of participation that ensures legitimate inclusion.