Introduction  The ECRS Approach  Games  Cultural Messages  Play Parties  Dancing  Singing  Exploring Outdoors  Dramatics  Informal Dramatics  Small Scenes  Storytelling  Puppetry  Crafts and Art  » Special Populations  Program Planning  Dear Eddie  Past, Present, Future  Resources

       Recreation for Special Populations has been a learning area at ECRS since Lucy Fairbanks and Eddie Moyer, two pioneers in the field of therapeutic recreation, first taught the class in 1961. Unlike any other class at ECRS, this class has moved into the community as part of the ECRS experience. The students developed a program of activities, practicing and discussing, then led this program at a nearby institution, and finally reviewed and evaluated the program in the final days of the class. For many ECRS students, the hour or two spent at a hospital was a first experience with institutionalized elderly, mentally ill or retarded persons. It was a risk-taking, a testing of themselves and the material, a tentative experience with folk material for less able persons.
       Because each group of special populations is unique, with its own limitations and abilities, the elements of risk-taking and testing, and the need for review and evaluation, are always present. Given the premise that all people can delight in dancing, singing and traditional games, the challenge becomes to find the material and the pacing that makes use of the strengths of the participants. Sometimes this requires simplification or modification of materials. For example, persons who don't have the skills to maintain a square formation or do a "grand right and left around the ring" can enjoy square dance music and figures done in a circle. Persons in wheelchairs can do square and folk dances, but a longer sequence of music, a larger space and perhaps (if members of the group are not independently able to move their chairs) a pusher are needed.
       This chapter provides examples of activities that have been used successfully in programs with special populations. Use them as a beginning, a basis for your own learning and experimenting. Then, with sensitivity to the needs and abilities of the group you are leading, branch out.

       Pattern dances work best, with no emphasis on foot or hand movement. Partners stand side by side 15 in. apart to avoid traffic accidents, and maintain this distance when dancing.
       There are 2 beats required for every step: one to grab the wheel and the other to push or pull. "Steps" may be:

• long or short
• forward or backward
• diagonal
• right arm swing or left arm swing
• complete circle, on spot - left or right
• side by side, controlling the chairs, inner one slower (For instance, take a smaller pull on the left hand and push on right hand, gauging the outside partner who has to take longer "steps"). Always keep in time. Man backs up and woman pushes forward.

• To make a complete turn to left, left hand lower on wheel and right hand to back of wheel. Pull left hand and push right hand at the same time. (Reverse to right.)
• Right arm swing chairs wheel toward each other slightly left. Place right hand on arm of partners chair (15" apart). Push with left hand, evenly with partner. To change to left, release partner's chair and with both hands at once, make the complete turn, pulling with left and pushing with right. Partners then join chairs with left hands and push with right. Four beats would do the change.
• Do-si-do - needs room and about 24 beats. Dancers face each other, preferably across set for room, advance to each other slightly left to pass right shoulders (8 counts), pull on left, push on right to be able to back chair (4), pul1 (4) to get chair in position and back up to place, passing partner by left shoulder (8).
• Ladies chain - ladies pass diagonally by the right, then guiding wheel to right so as to meet the opposite gentleman, who has made a partial circle so as to meet the woman on his right. They side by side turn with man backing up and lady going forward. Lady continues forward to pass right shoulders with opposite lady and meet her partner the same as she did the opposite man, man backing into place. (Man is practically making a circle in place.)
• Right and left through - takes room: is done the same as usual, with the man backing up and the lady going forward on the turn.
• Right hand star and left hand star can also be done, using the double hand motion to change from right hand star to left hand star.
• Promenading slows up the dance.

       Ed Moyer taught square dancing for persons in wheelchairs. He would strap himself in a wheelchair so he could not move from the waist down. He would lead from within a set. For many years at the Pennsylvania Therapeutic Recreation Society, teaching one course or another for recreation specialists, Ed would call out, "Don't fool around! Stop popping wheelies! Would you really do that if you were chair-bound!? Stop pretending! BE what you are to be."
       The messages became clear:

• Know your material, lots of it!
• Know your group, what they CAN do, what they CAN'T do.
• Don't talk down to the group. Treat each person with respect. There is an inherent dignity in each of us. These people are your friends.
• Don't minimize the limitations.
• Maximize your effort to be: inclusive, fair, challenging, organized, willing to take risks, willing to fail, willing to have fun.
• YOU ARE THE ROLE MODEL. BE IT!

Formation:

Wheelchairs in a circle facing the center Pusher standing on left side of wheelchair

Calls:

When Captain Jinks comes home at night
He claps his hands with all his might.
(All clap hands four times)
Salute your partner if you're not too green.
For that's the style in the army.
(Bow to your partner)

All join hands and forward all,
Forward all, forward all.
All join hands and backward all
For that's the style in the army.
(Push chairs to center four steps and back four steps)

When Captain Jinks comes home at night
The pusher passes to the right.
(Pusher goes to right to new chair)
Swing that partner so polite.
For that's the style in the army.
(Swing)

Promenade all around the hall.
Around the hall, around the hall,
Promenade all around the hall
For that's the style in the army.
(Push chair in a promenade around the ring)

Repeat until original partners return to each other.

Formation:

Circle of partners facing the center

Calls:

All wheelchairs to the center and back.
(Four steps in and four steps out).
Repeat.

Pushers dance to the center and back.
(Four steps in and four steps out).
Repeat.

Pushers dance to the next chair on the right.
Swing that chair once around.
Promenade around the set with your partner (new),
(16 steps).

Repeat whole figure until back to your own partner.

       One day in the "Recreation for Special Groups" course, we were discussing how to reach the most withdrawn of patients. There was a sense in the discussion of the almost insurmountable difficulty of reaching someone who cannot, or will not, communicate. Eddie talked about reaching out to each and every person, and then followed with practical illustrations of things he had clone such as bringing in sensory objects such as a soft scarf to feel or a fresh rose to smell. In this class he also taught us how to dance face-to-face with a person in a wheelchair and other methods of responding to our "clients" in a caring and respectful way. He communicated his sense of the value of each individual and made it clear that he expected us to act in a manner consistent with that sense.

Formation:

Individual chairs and partners anywhere on floor

First Figure:

Couple dance anywhere around the floor, zigging and zagging around to polka music.
(16 polka steps, 32 counts)

Second Figure:

Couples form a circle, marching around counter-clockwise humming la-la-la until the end of the phrase.
(16 steps, 32 counts)

Third Figure:

Chairs pushed to the center of circle so that they can touch hands. Chairs clap hands twice and touch neighbor on each side once, in time with music. Pushers dance around the circle behind chairs, counter- clockwise.
(16 steps, 32 counts)

At end of phrase, choose a chair and repeat dance from the beginning.

       I wish I could capture the feeling and the spirit which came through from Eddie: his respect for people, his belief that everyone had the capacity for joy and play, and his understanding of the elements of each activity that give it value. Ed devoted a lot of energy and thought to making the pleasure of dancing accessible to people restricted to a wheelchair. He provided opportunity to enjoy moving through space to music, singing, turning, forming a variety of patterns: he stressed the joy of interacting with the other participants. In the Recreation for Special Populations class, I was so delighted with Ed's suggestion of the longways dance, "Gallopede," which offered the opportunity to meet one's partner face-to-face. He stressed the importance and value of this to the class, and then we saw it come to life as our class led recreation at a nearby nursing home. As Ed had predicted, this meeting of partners brought forth radiant smiles, often in people who usually sat immobile with sad and vacant faces.

Formation:

Two lines of wheelchairs and pushers facing each other in reel formation Both lines move simultaneously

Calls:

Forward and bow and back to place

First Figure:

Forward again, pass right shoulders with the opposite in line.
Turn single in opposite place
Forward and bow and back to place
Forward again and pass right shoulders with the opposite in line
Turn single in place

Second Figure:

Lines come forward, swing chairs in the middle of the set
Chair backs off to place

Third Figure:

Head couples promenade to the foot; other couples move toward the head
Repeat dance with new head couples.

Formation:

Wheelchairs in a circle facing the center.
Four to six couples numbered one to six.

Introduction:

Into the center four counts and out again.
Swing your partner once around
And promenade around the ring.

Calls:

First couple promenade the middle of the ring.
When you get to your backyard everybody swing.
Everybody promenade and everybody swing
As we go marching through Georgia.

Hip hip! Hooray! You're going the wrong way (or right way)
Hip hip! Hooray! Go back the other way (or go on the right way)
When you get to your backyard
You stop and take a swing
As we go marching through Georgia.

Repeat with #2 couple promenading on the inside, with each couple taking a turn.

Formation:

Chairs in a circle facing the center

Calls:

Wheelchairs into the center and out again
Pushers into the center and out again
Wheelchairs into the center and face out
Pushers promenade the outside ring
Swing any chair once around
Put it back to the center and face out
Pushers promenade the outside ring
Now swing your own
Promenade around the set, just once around

       The one course on "Special Needs" with Eddie showed clearly the difference between sentimental, patronizing attitudes and his work. No wonder he was so successful with special people. One incident of teaching from him stays with me as an example, and one which I have passed on to many others. I don't remember whether it was a severely retarded person or a deeply disturbed person that was involved. It was so clear from Eddie's demonstration that the smallest response (in this case it was the slight movement of a leg in the right place at the right time) was enough to indicate communication and a beginning. All this with respect and attention to the human being involved. He was a master at it.

Formation:

Circle of partners facing center.
Partners numbered off, #1 and #2 around the ring.
An even number of couples is needed.

Calls:

Oh, I come from Alabama with my banjo on my knee
(#1 couples go to the center 4 steps and out 4 steps)

I'm going to Louisiana my true love for to see
(#2 couples to the center 4 steps and out 4 steps)

It rained all night the day I left,
The weather was so dry.
The sun so hot I froze myself.
Susannah, don't you cry.

Oh Susannah, oh don't you cry for me
For I come from Alabama with my banjo on my knee (repeat)
(Grand right and left on above four lines, until you get home; if there is music left, swing partners.)

(To grand right and left:
#1 couple face counterclockwise.
#2 couple face clockwise.
Pass each other by the right.
Pass next couple by the left.
Next by the right, etc.)

Formation:

Square with four couples
Pusher standing on left side of chair partner

Calls:

Honor your partner (bow to partner)
Honor your corner (bow to corner)
Do si do your partner
(Back to back and return to place)
Do si do your corner (same with corner)

Swing your partner once around and promenade the set. Wheelchair to the center and back to the bar.
(Push to center and back)
Pushers to the center with a right hand star,
(Join right hands in the center)
Back by the left hand.
(Change directions, left hands joined in center)
Pass your partner and pick up the next.
Promenade to the pusher's home place.

Repeat: Wheelchair to the center and back--, until you get back to original partner.

Closing Call:

Do si do your partner
Do si do your corner
Swing your partner
Promenade your partner
You know where.
Take her out and give her air.

       When Eddie led a group, he had to be wearing a shirt with a pocket on the left side, because that's where he always kept a 3x5 card with the program plan on it. During the one or two hour time, he would select, rearrange, omit, perhaps add to, but always refer to his plan. Here are some sample plans of programs Eddie did with special populations. Some of the same activities appear on each list, but he might vary the length of a dance, or leave out a figure, or simplify a game, to accommodate to the particular group he was leading. Items marked * can be found in this book: others are available in one or more of the books in the reference list at the end of this volume.

Special social time for a group of hospitalized adults with mental disabilities:

• Spiral Walk*
• Captain Jinks*
• Bow Belinda
• Mountain Square Dance* (Bird in a Cage, Dig for the Oyster)
• Shoo Fly*
• Oh, Susannah*
• Patti Cake Polka
• Alabama Girl*
• Circassian Circle*
• Green Sleeves*
• Doudlebska Polka
• Teton Mountain Stomp
• 'Simmons*
• I Want to Be a Farmer

• Spiral Walk*
• Patti Cake Polka
• Captain Jinks*
• Tante Hessie
• Southern Mountain Dance* (Right Hand Star, Bird in a Cage)
• Gallopede*
• Bow Belinda
• Oh Susannah*
• Alabama Girl*
• Bingo*
• Patch Tanz
• Gustav's Toast*
• Grapevine Twist*

• Spiral Walk*
• Shoo Fly*
• Face to Face*
• Spin the Platter
• Last Couple Stoop
• Gustav's Toast*
• Circle Round the Zero*
• Big Wind Blows*
• Balloon Batting*
• Captain Jinks*
• Caima Rusa
• Down in the Valley
• Fire on the Mountain
• Southern Mountain Dance* (Right Hand Star, Bird in a Cage, Step Right Back and Watch Her Smile)

• Ach Ya
• Alabama Gal
• Bingo
• Bow Belinda
• Circle Round the Zero
• Divide the Ring
• Gustaf's Skoal
• Noble Duke of York
• Paw Paw Patch
• Promenade the Outside
• Spiral Walk
• Take a Peek
• Tante Hessie

       The basic philosophy of ECRS has become part of my life, both professionally and personally, enabling me, I hope, to grow and become a better person. Eddie's influence and example has had a profound place in this process.
       Eddie would be exasperating to me many times when he would do things or teach something "all wrong." I never knew whether he deliberately did those things, didn't care or had a larger goal than sticking to the rules. Of course if I asked him, he would turn the whole thing around so that the process was enlarged. As I tend to be rigid about principles, such interaction with him was wonderful for me to maintain a balance. Exasperated with Eddie, yes: angry with him, never. I loved that man.

• Animal Signs
• Bat the Balloon
• Bumpity Bump Bump
• Dance Freeze
• Dollar, Dollar
• Down in the Valley, Two by Two
• Earth Ball
• Electric Spark
• Face to Face
• Find the Leader
• Gossip
• Jerusalem and Jericho
• Last Man Out
• Magic Music
• Man, Tiger, Gun
• Orchestra
• Peteca
• Poison Circle
• Rhythm Categories
• Rhythm Story
• Who Started the Motion?

• Painting
• Storytelling
• Records, music: waltz, folk, polka, western, classical
• Puzzles - large pieces
• Rhythm instruments
• Blockhead
• Pick-up-sticks
• Booby trap
• Skittle ball
• Ring toss
• Dance freeze
• Push ball
• Creative dramatics
• Parachute play
• Obstacle course
• Dominoes
• Balloon volley ball
• Nature boxes
• Card games
• Singing
• Colored slides - Film strips
  • nature - animals, birds, flowers
  • places
  • people
• Seasonal parties