Fine arts are one of the school subjects which offer the opportunity to all the students to develop their fine-arts talent. The same is true for those students who are directed to the customized program and additional professional help and have special needs in individual learning fields. According to the concept of work with the students with learning difficulties, a teacher adapts learning environment immediately when he senses student’s difficulties and special needs. A lot of teacher’s knowledge and a good teaching practice are necessary for the successful teaching of children with learning difficulties and special needs. Students with dyspraxia, i.e. developmental coordination disorder, are one of those groups of students with deficiencies in individual fields of learning. They can experience substantial difficulties in fine arts lessons. Therefore, they need more individual support and adjustments as within the framework of some other subjects. A lot of general adjustments are written for the students with dyspraxia in the professional literature. Mostly, however, they do not focus on the subject of fine arts only. Therefore, we decided to present adjustments and support strategies for the students with dyspraxia within the fine arts lessons in the theoretical part of the master’s thesis. By studying literature, we researched and described several strategies of teaching and adjustments which are divided according to the learning environments, learning stages, and individual fine-arts fields (drawing, painting, graphics, modeling, and architecture). They can serve as the support and assistance in teaching children with dyspraxia to the fine arts teachers. The empirical part of the master’s thesis includes the case study of the selected student with dyspraxia. We determined and offered individual adjustments to the student within the lessons of the fine arts. We processed the data qualitatively by means of coding of the gained materials on students, records of individual observations with participation, the analysis of fine-arts products, and interviews with the student. On the basis of the results, we ascertain that the students had most difficulties with motoric functions and with orientation on the surface and in the organization of work, space, and time. The student’s strong fields show in natural-science subjects. Student’s hobby is also a technical drawing by means of a computer. He needed a lot of teacher’s support and adjustment of fine-arts accessories, materials, and techniques. The empirical qualitative research enabled us that we searched the most efficient support strategies for the student which enabled him to progress in fine-arts expression. They served us as an example of good teaching practice.
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