Promoting self-re gula ti on in stu de nt s w it h es ec Mindfu lP i ng ni ar le e enc f er dif s MARIKO KURODA EMILY CARR UNIVERSITY OF ART AND DESIGN MASTER OF DESIGN THESIS 2019 Mindful Pieces: Promoting self-regulation in students with learning differences By Mariko Kuroda BA, New York University Abu Dhabi, 2016 A CRITICAL AND PROCESS DOCUMENTATION PAPER SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF DESIGN EMILY CARR UNIVERSITY OF ART + DESIGN 2019 © Mariko Kuroda, 2019 3 ACKNOWLEDGMENTS I would like to extend my gratitude to the many people who gave their time and expertise to this thesis project. To begin with, I thank the administration at Thank you to the design faculty at Emily Carr open and enthusiastic about exploring new ways to and encouragements, especially from Laura Kozak, Kenneth Gordon Maplewood School for being so practice mindfulness with their students. Special thanks to Dr. Jim Christopher, Marie Watler, Neil Pinkerton, Amber Hitchen, Jennifer Alexander, Stella Tsiknis, Jennifer Wallis, Ilona Otten, Kinza Pirzada, Tanisha Santino, Colleen McCoach, Louise St. Pierre, Chris Hetherington, Garnet Hertz, Katherine Gillieson, Keith Doyle, Deb Shackleton, Craig Badke, Gillian Russell, and Hélène Day Fraser. Katy Southerland, Cara Koehler, Megan Istvanffy, To mindfulness instructors Shahin Najak and Brett for finding time to speak with me, allowing me this project. Brett Garef, Erika Vieweg, and Rachel Roubini to observe classes, and setting aside class time for Peterson: your knowledge and expertise inspired me to interact with their students. Without your Finally, I thank the MDes 2019 cohort for all possible. I also thank the students for being so conversations in the studios. Special thanks to contributions, this project would not have been curious and excited about mindfulness. I thank my supervisor Cameron Neat, for making time within his busy schedule to read my work and offer his advice. To Caylee Raber, whose thesis project led me to pursue my own thesis at Emily Carr: thank you for being my role model. 4 University for the countless critiques, challenges, the peer reviews, presentations, potlucks, and Sherry Kuo, Alejandro Alarcon, and Michal Cabaj. I could not have done this without you by my side. NOTE TO READER One of the most important concepts within mindfulness is the dichotomy between thinking and feeling. In the frantic hustle and bustle of everyday life McKenna calls upon students to remember an yesterday and prepare for what is coming or friends. where we have to remember what happened tomorrow, we often forget to ask ourselves, “How instance of a good memory shared with family am I feeling?” “That sense of being really really there and really In his online video course for Mindful Schools, an look at those moments and your experience—what organization that trains educators to implement mindfulness into K-12 curriculums, course trainer Chris McKenna criticizes how modern society values thinking over feeling. “We’re thinking all the time and we don’t stop thinking,” McKenna observes. “and the bandwidth in our reality given to other aspects of our experience—our emotional really joyous and really really receptive—if you they have in common is that just in that moment you could feel. That’s why it felt so good,” he says (Mindful Schools, 2017b, 5:51-6:09). By activating our feeling minds, mindfulness allows us to absorb the richness of the present moment without the distraction of thought. experience, our sensory experience, and then this Throughout this document, I have inserted moments (Mindful Schools, 2017b, 1:47-2:08). a break from their thinking minds, and engage quality of awareness itself—gets almost no airtime” In a society where we are locked inside our minds, mindfulness offers a way out by emphasizing “felt sense”, or what we can see, hear, touch, taste, and smell. It recovers an awareness of what is happening inside us and around us, so that we may be truly of mindfulness where readers are invited to take with their feeling minds through exercises such as breathing and body scanning. I hope that through these mindful moments, readers can experience first-handedly the power of feeling, and apply these mindfulness techniques in their daily lives. present with our experiences. To give an example, 5 TABLE OF CONTENTS LIST OF FIGURES 7 ABSTRACT 9 THESIS STATEMENT 10 OBJECTIVES 11 RATIONALE 12 DEFINING TERMS 20 LEARNING DIFFERENCES 22 SELF-REGULATION 24 MINDFULNESS 26 PRECEDENT RESEARCH 28 CONTEXT & FRAMING 38 SCOPE & LIMITATIONS 44 METHODOLOGY 48 PRIMARY RESEARCH 6 EXPLORE 52 DEFINE 70 PROTOTYPE 72 TEST 78 REITERATE 82 FINAL OUTCOME 90 REFLECTIONS & CONCLUSIONS 92 FUTURE DIRECTIONS 96 REFERENCES 102 APPENDICES 106 LIST OF FIGURES Figure 1: Felt puzzles by grade 2 students. Photo: Mariko Kuroda Figure 2: Diagram of types of learning differences (based on Cortiella & Horowitz, 2014). Image: Mariko Kuroda Figure 3: Diagram of the components of self-regulation (based on McClelland & Cameron, 2011). Image: Mariko Kuroda Figure 4: Diagram of the elements of mindfulness. Image: Mariko Kuroda Figure 5: Diagram of the relationship between mindfulness and self-regulation. Image: Mariko Kuroda Figure 6: MDes students take part in an activity to Figure 16: Flamingo Stand. Photo: Mariko Kuroda Figure 17: An MDes student using the Flamingo Stand. Photo: Mariko Kuroda Figure 18: Don’t Wake The Elephant. Photo: Mariko Kuroda Figure 19: Close up of bird in Don’t Wake The Elephant. Photo: Mariko Kuroda Figure 20: Butterfly Balance. Photo: Mariko Kuroda Figure 21: Close up of Butterfly Balance. Photo: Mariko Kuroda Figure 22: Mystery Box. Photo: Mariko Kuroda express music through art as part of a workshop. Photo: Figure 23: Breathing Stone activity from Mindful Crafts. Mariko Kuroda Image: Mariko Kuroda Figure 7: A painted rock by a grade 1 student. Photo: Figures 24 & 25: Swimming Jellyfish activity from Mindful Mariko Kuroda Crafts. Image: Mariko Kuroda Figure 8: A volcano graphic used throughout KGMS to Figures 26 & 27: Magic Wand activity from Mindful Crafts. represent the Zones of Regulation. Image: Mariko Kuroda Image: Mariko Kuroda Figure 9: A speedometer graphic used throughout KGMS Figures 28-40: Watercolor paintings from self-reflective to represent the Zones of Regulation. Image: Mariko practice. Image: Mariko Kuroda Kuroda Figure 41: A wobble stool in the grade 2 classroom. Figure 10: A self-regulation station outside the grade 2 Photo: Mariko Kuroda classroom. Photo: Mariko Kuroda Figure 42: A bucket of fidget tools such as a glitter wand Figure 11: Painted rocks by grade 1 students. Photo: and stress balls from the grade 3 classroom. Photo: Mariko Kuroda Mariko Kuroda Figure 12: A fish made from leaves by a grade 3 student. Figure 43: A basket of fidget tools such as elastic bands Photo: Mariko Kuroda and sponges from the grade 2 classroom. Photo: Mariko Figure 13: Diagram of design process.Image: Mariko Kuroda Figure 14: MDes students take part in an activity to Kuroda Figure 44: A rubik’s cube and squeeze toy used by a student in grade 1. Photo: Mariko Kuroda express music through art as part of a workshop. Photo: Figure 45: Title page of cultural probe activity book. Mariko Kuroda Image: Mariko Kuroda Figure 15: Timeline of research activities. Image: Mariko Figures 46 & 47: Mindfulness Bracelet activity from Kuroda cultural probe. Photo: Mariko Kuroda LIST OF FIGURES 7 Figures 48 & 49: Self-Regulation Tools activity from Figure 92: Second prototype of felt puzzle board. Photo: cultural probe. Image: Mariko Kuroda Mariko Kuroda Figures 50 & 51: SEL Super Student activity from cultural Figures 93-95: Felt puzzles by students in grade 2 from probe. Image: Mariko Kuroda the second user testing. Photo: Mariko Kuroda Figures 52-54: What Do You Say activity from cultural Figures 96-98: Slide to explain how to use the felt puzzle. probe. Image: Mariko Kuroda Image: Mariko Kuroda Figures 55 & 56: It’s Time for Art activity from cultural Figures 99 & 100: Final designs of the felt puzzle board. probe. Image: Mariko Kuroda Photo: Mariko Kuroda Figures 57-60: Response to cultural probe activity book Figure 101: Felt pieces from final design of felt puzzle from grades 1-3 teachers. Image: Mariko Kuroda board. Photo: Mariko Kuroda Figure 61: Initial prototype of felt puzzle board. Photo: Figure 102: Close up of felt puzzle. Photo: Mariko Kuroda Mariko Kuroda Figures 62-65: Watercolor paintings with felt puzzle piece designs. Image: Mariko Kuroda Figure 66: Stack of felt puzzle boards. Photo: Mariko Kuroda Figure 67: Felt puzzle pieces.Photo: Mariko Kuroda Figure 68: Close up of felt puzzle. Photo: Mariko Kuroda Figures 69-77: Slide from the slideshow given to grades 2 and 3 teachers to guide the felt puzzle activity. Image: Mariko Kuroda Figures 78-83: Collage by students in grade 2 from the collage workshop. Photo: Mariko Kuroda Figures 84-87: Felt puzzles by students in grade 2 from the initial user testing. Photo: Mariko Kuroda Figure 88: Felt puzzle by students in grade 3 from the initial user testing. Photo: Mariko Kuroda Figure 89: Felt pieces from second prototype of felt puzzle board. Photo: Mariko Kuroda Figure 90: Second prototype of felt puzzle board. Photo: Mariko Kuroda Figure 91: Second prototype of felt puzzle board. Photo: Mariko Kuroda 8 Figure 103: Felt puzzles by grade 2 students from second user testing. Photo: Mariko Kuroda ABSTRACT In the field of developmental psychology, mindfulness, or the state of present awareness, has shown promising results in enhancing self-regulation abilities in children in classroom settings. Such findings may suggest particular benefits to mindfulness in classroom settings. Specifically, struggle with the ability to control thoughts, mindful art-making as a transitional activity in children with learning differences, who commonly emotions, and behaviours due to neurologically- based challenges. Unfortunately, many mindfulness interventions, which include activities such as yoga and martial arts, require specialized training on behalf of the instructors. Furthermore, formal mindfulness practices (such as meditation) do not suit the limited attentional capacities of young children. A similar intervention that requires introspection, this project introduces a tool that implements grades 1-3 classrooms. The research takes place at Kenneth Gordon Maplewood School (KGMS), an alternative elementary school in North Vancouver for students with learning differences. Through iterative processes of prototyping, user testing, and feedback, this research devises a mindfulness tool that accommodates both for the gifts and challenges of children with learning differences, and the skillsets of their teachers. art therapy has presented art-making as a familiar, non-verbal, engaging, and enjoyable action that “demands presence in body, mind, feelings and, many would say, soul” (Learmonth & Huckvale, 2008, p.11). Borrowing concepts from art therapy, this thesis project explores art-making as a way for children with learning differences to practice LIST OF FIGURES & ABSTRACT 9 THESIS STATEMENT The development of a tool that offers art-making as a mindfulness practice allows mindfulness to be implemented as a transitional activity that promotes self-regulation in the KGMS grades 1-3 classrooms. 10 OBJECTIVES 1. Implement mindfulness as a transitional activity in the KGMS grades 1-3 classrooms in a way that adheres to the school’s unique educational values and culture. 2. Equip teachers, who are not certified mindfulness instructors, with the resources to teach art-making as a mindfulness practice to their students. 3. Identify what mindfulness means in the context of KGMS and children with learning differences. THESIS STATEMENT & OBJECTIVES 11 RATIONALE In 2016, I worked in Tokyo as an instructor at an after school care center for students with learning differences. Working mainly with children from grades 1 to 3, of Personal Awareness and Responsibility, one of in which they reacted to emotionally overwhelming equip students with through grades K-12 (British I observed a range of disruptive and harmful ways events. Situations such as fighting for toys or frustration with homework would lead to displays of aggression, self-injury, and physical harm to others. From this experience, I wondered if I could help these students manage their feelings more constructively, through design. Decades of research in the fields of developmental health and psychology have recognized the benefits of mindfulness in promoting children’s self-regulation skills (Beauchemin, Hutchins, & Columbia Ministry of Education, n.d., p.3). The Ministry of Education describes the following characteristics under the competency profiles for “self-regulation”: “I can sometimes recognize emotions. I can use strategies that help me manage my feelings and emotions.” (p.3). Based on the challenges of students with learning differences and the goals of the BC Curriculum, there is a strong case for practicing mindfulness with children who have learning differences. Patterson, 2008; Schonert-Reichl & Lawlor, 2010; Mindfulness, by inviting us to focus on present positive implications for children with learning with learning differences to identify, understand, Schonert-Reichl et al., 2015). These findings suggest differences who often face greater struggles in selfregulation, or controlling their thoughts, emotions, and behaviours, compared to their counterparts without such diagnoses (Qureshi, 1994, p.25-6). Self-regulation is listed in British Columbia’s school curriculum as a skill within the competency 12 the 6 Core Competencies that BC schools seek to experiences, provides opportunities for students and manage emotions productively instead of coping through meltdowns, aggressions, and self-injury (NICE, 2008, p.6). Many mindfulness interventions, however, require extensive training on behalf of the instructors. For instance, in a study that incorporated mindfulness yoga as part of a preschool curriculum, the teacher in the experimental condition completed a 200-hour certification program prior to the intervention (Razza et al., 2008, p.375). Furthermore, such mindfulness interventions are not suitable for the attentional capacities of younger children who may not be able to sit and focus for extended periods of time (Coholic, 2011, p.314). To make mindfulness accessible, engaging, and meaningful for students with learning differences and their teachers, this project offers art-making as a mode of mindfulness practice. Literature on art therapy reveals similarities between mindfulness and the process of creating art (Freilich & Shechtman, 2010; Dancevic, 2005; Bell & Robbins, 2007; Drake & Winner, 2013). Therapists describe art-making as a whole-body experience that awakens self- awareness and allows for creative explorations of present situations, which parallels the objectives of mindfulness (Learmonth & Huckvale, 2008, p.11). Additionally, the non-textual, participatory, and familiar nature of art may open doors for students with learning differences to become involved in mindfulness practices (Liebmann, 2004, p.8). With this secondary research in mind, the objective of this thesis was to investigate how art-making as a mode of mindfulness could benefit students and teachers at KGMS. Fig. 1: Felt puzzles by grade 2 students. Photo: Mariko Kuroda RATIONALE 13 DEFINING TERMS This section will define the following three terms that are integral to my thesis project: 1. Learning differences 2. Self-regulation 3. Mindfulness 20 DEFINING TERMS 21 DEFINING TERMS: LEARNING DIFFERENCES 1. Learning differences, or learning disabilities, cover a range of disorders that interfere with a way a person acquires, organizes, comprehends, retains, and applies non-verbal or verbal information (British Columbia Ministry of Education, 2008, p.47). They arise from neurological differences in visualspatial processing, processing speed, phonological • processing, and executive functions such as planning word decoding, fluency, writing, and spelling affect one or more of the following skills (p.47): Oral language • Writing • • Reading (Cortiella & Horowitz, 2014, p.3). • are different from intellectual disabilities (Learning Disabilities Association of Canada (n.d.)). Common types of learning differences are the following: 22 difficulties specifically in writing. Common writing within the lines, using correct syntax and grammar, and organizing thoughts on Apart from these challenges, people with learning in thinking and reasoning. Thus, learning differences Dysgraphia: Students with dysgraphia have challenges include forming letter shapes, Mathematics differences display average or above average capacities difficulties in reading, as well as in written and spoken language. Common challenges include and decision-making. Learning differences may • Dyslexia : Students with dyslexia have paper (Cortiella & Horowitz, 2014, p.4). • Dyscalculia: Students with dyscalculia have difficulties in math. Common challenges include counting, calculations, telling time, and numerical estimation (Cortiella & Horowitz, 2014, p.3). Conditions such as attention deficit hyperactivity disorder (ADHD) and autism spectrum disorder (ASD) are not types of learning differences. The former is a mental disorder, and the latter is a developmental disorder. However, students diagnosed with either conditions may also have learning differences. Studies estimate the comorbidity rate of learning differences and ASD to be 25.8-40% (O’Brien & Pearson, 2004, p.127), and 25-50% for ADHD (Hooper & Williams, 2005, p.218). While the terms “learning disabilities” and “learning differences” are interchangeable in the realm of education, many favour the word “difference” over “disability”. The choice comes from the concern that the word “disability” places a greater focus on cognitive deficiencies (Learning Disabilities Association of New York State, n.d.). In an effort to emphasize that students with learning disabilities are capable learners who require different forms of support and assistance, this thesis will also use the term “learning differences”. Fig. 2: Diagram of types of learning differences (based on Cortiella & Horowitz, 2014). Image: Mariko Kuroda DEFINING TERMS: LEARNING DIFFERENCES 23 DEFINING TERMS: SELF-REGULATION 2. Students with learning differences commonly struggle with self-regulation, or the ability to control one’s own thoughts, behaviours, emotions, and actions (McClelland & Cameron, 2011, p.136). Addressed in the BC curriculum as part of a capacity to remember information while processing high self-regulation skill correlates with many mind while playing it. Inhibitory control refers to core competency for students of all abilities, aspects of children’s development such as higher academic performance, better mental health, positive interpersonal relationships, stronger coping resisting impulsive responses, such as waiting for the school bell to be dismissed for recess (p.137). skills, and lower levels of aggression (Galliot et Weaknesses in these three areas of executive information, students with learning differences are with learning differences face in self-regulating. al., 2007, p.325). Due to difficulties in processing more easily overwhelmed by stressful situations, leading to challenging behaviours like aggression, violence, and self-injury (Qureshi, 1994, p.25-6). Self-regulation relies mainly on three cognitive skills: cognitive or attentional flexibility, working memory, and inhibitory control (McClelland & Cameron, 2011, p. 137). Cognitive or attentional flexibility is the ability to sustain focus on tasks while ignoring distractions, and to shift focus to new tasks when needed. Working memory is the 24 it, such as keeping the instructions of a game in functioning account for the challenges that students Limitations in cognitive or attentional flexibility and working memory lead to difficulties in sorting, organizing, and prioritizing information that is necessary for effective decision-making and problem-solving (Meltzer & Krishnan, 2007, p.81). Combined with reduced inhibitory control, these factors may explain why students with learning differences often respond to emotional events through disruptive behaviours (NICE, 2008, p.6). Fig. 3: Diagram of the components of self-regulation (based on McClelland & Cameron, 2011). Image: Mariko Kuroda DEFINING TERMS: SELF-REGULATION 25 DEFINING TERMS: MINDFULNESS 3. As educators seek ways to foster self-regulation skills in children, researchers have found potential in the practice of mindfulness (Beauchemin, Hutchins, & Patterson, 2008; Schonert-Reichl & Lawlor, 2010; SchonertReichl et al., 2015). In the last four decades, mindfulness has evolved religious literature and scientific studies both culture that means a varying blend of equanimity, present-awareness and non-judgmentalness (Bodhi, from a Buddhist concept into a term in popular non-judgement, acceptance, self-awareness, focus, concentration, and more (Haslam & Van Dam, agree that mindfulness must involve two elements: 2010; Young, 2013; Kabat-Zinn, 2003). 2017). Despite its application in fields extending from psychotherapy to neuroscience, education, and even criminal justice, there is still no precise definition of mindfulness (Haslam & Van Dam, 2017). Nick Haslam and Nicholas T. Van Dam from the University of Melbourne illustrate its ambiguity: “A brief exercise in self-reflection prompted by a smart-phone app on your daily Fig. 4: Diagram of the elements of mindfulness. Image: Mariko Kuroda long meditation retreat. Mindfulness can both refer PRESENT-AWARENESS instructor does for five minutes at the start and end The earliest mentions of mindfulness describe it as thesis work, I will seek to define mindfulness as it monk Bhikkhu Bodhi explains the concept: “In commute may be considered the same as a monthsto what Buddhist monks do and what your yoga of a class.” (Haslam & Van Dan, 2017). Through my relates to the context of KGMS. In the meantime, 26 a state of present-awareness. Theravada Buddhist the practice of Right mindfulness the mind is trained to remain in the present, open, quiet, and mindful of our emotions that we would normally 2010, p. 80). Present-awareness can be practiced something that’s just occurring right now” (Mindful alert, contemplating the present event.” (Bodhi, through sensory awareness, or by heightening one’s sensitivity to touch, sound, sight, taste, and smell. Thich Nhat Hanh, a Vietnamese Buddhist monk who was one of the prominent practitioners and teachers of mindfulness in the U.S. during the 60’s, describes how one can experience the sky through identify as ‘wrong’ or ‘bad’ and meet them as just Schools, 2017a, 23:59-24:24). Non-judgmentalness means to accept all experiences—even so-called “negative emotions” such as frustration, anger, fear, and sadness—with an attitude of openness and curiosity, rather than avoiding or resisting them. the awakening the senses: “You can look at the sky While Cowan describes non-judgmentalness aware of the blue sky.’....It may be that you have neuroscience research consultant Shizen Young and breath in, and you can say ‘Breathing in, I am lived 30 or 40 years but you have never seen and touched the blue sky that deeply” (Mindfulness Extended, 2011, 0:00-1:01). Mindfulness involves purposefully focusing on the present, both with the body and mind. NON-JUDGMENTALNESS Equally important to present-awareness is the role of non-judgmentalness. Megan Cowan, co-founder of Mindful Schools, explains non-judgmentalness as “normalizing” the spectrum of experiences instead of labeling them as “good” or “bad” (Mindful Schools, 2017a). In her online course for K-12 educators she says, “The ultimate goal of mindfulness is introducing us to our entire spectrum of experience and learning how to recognize that as a form of acceptance, ordained monk and equates it with a state of “release”. In his essay “What is Mindfulness?” he writes, “Let visual, auditory, or somatic experiences come and go.... As soon as something wants to arise, let it. As long as something wants to last, let it. As soon as something wants to pass, let it” (Young, 2010, p.26). Although Cowan and Young’s definitions of non- judgmentalness appear contradictory at first glance, they in fact illustrate two stages of emotional “flow” where one allows emotions to enter and leave them. No longer enslaved by concepts of “bad” or “wrong” experiences, mindfulness practitioners are able to acknowledge their emotions and ultimately let them go without feeling the urge to fight or react against them (Bodhi, 2010, p.82). and be with it. And that means that we want to be able to be aware of, or be present with, or be DEFINING TERMS: MINDFULNESS 27 PRECEDENT RESEARCH The explicit training of presentawareness and attitude of nonjudgmentalness that mindfulness offers have gripped the attention of educators who teach self-regulation (Meiklejohn et al., 2012; Rempel, 2012; Saltzman & Golding, 2008). Of special interest to K-12 educators is how thus creates a “pause” where the child meets their Chris McKenna of Mindful Schools understands to the situation, such as taping the drawing back mindfulness brings attention to sensory experiences. present-awareness as recovering “felt sense”, or sensory awareness (Mindful Schools, 2017b, 3:594:24). In his online course, he raises an important question: “If you don’t know where an emotion starts, how well can you manage it?” (Mindful Schools, 2017b, 4:56-5:01). For example, imagine that a child tears a favorite together. As this example illustrates, mindfulness interrupts impulsive behaviour by introducing an opportunity for self-awareness and decisionmaking, thereby nurturing self-regulation. EXISTING MINDFULNESS INTERVENTIONS IN SCHOOLS drawing by accident. Before any emotions arise, that Several studies on mindfulness interventions in as a faster heart rate or a warming face. When such of mindfulness practices on children’s self-regulation child may experience physiological responses such bodily responses go unacknowledged, the child may react impulsively, perhaps through yelling or crying. By tuning into their “felt sense”, however, the child can recognize present physiological sensations and capture emotions such as “I’m feeling angry,” or “I’m feeling sad”. This moment of self-awareness 28 emotions and decides on a productive response classroom settings have demonstrated the benefits skills. In a study that conducted a yearlong mindful yoga intervention on 29 preschool children, Rachel A. Razza, Dessa Bergen-Cico and Kimberly Raymond (2015) from the department of Human Development and Family Science at Syracuse University found that children in the experimental Fig. 5: Diagram of the relationship between mindfulness and selfregulation. Image: Mariko Kuroda group scored higher on all three subscales of and their parents reported increased calmness, impulse delayed gratification) compared to those in the tolerance (Milligan et al., 2015, p.569). self-regulation (attention, inhibitory control, and control group (Razza et al., 2015, p.380). Karen Milligan and Flavia Spiroiu from the Department of Psychology at Ryerson University, together with Child and Family Therapist Paul Badali (2015) studied the effect of Integra mindfulness martial arts on 29 youths with learning differences aged 12-17. The program involved martial arts training in addition to sitting meditations. The results showed that both youths control, self-understanding, communication ability, and Findings from these studies suggest that students with learning differences, who have more difficulty with self- regulation compared to students without such diagnoses, may also benefit greatly from classroom mindfulness activities. However, mindfulness interventions such as yoga and martial arts require specialized training on behalf of the instructors. For example, of the three Mindfulness Martial Arts leaders of Milligan et al.’s study (2015), the first had 39 years of martial arts training, the second had 2 years of PRECEDENT RESEARCH 29 Fig. 6: MDes students take part in an activity to express music through art as part of a workshop. Photo: Mariko Kuroda practice in Brazilian Jiu Jitsu, and the third had 10 years of Aikido practice (p.566). Furthermore, mindfulness activities like sitting meditation demand high attentional capacities that younger students with learning differences struggle with. In sitting or breathing meditations, children are often not able to close their eyes or stay physically still for extended periods of time, and may repeatedly interrupt the session (Coholic, 2011, p.314). There remains a need for mindfulness practices that accommodate for the gifts and challenges of students with learning differences. ART AND MINDFULNESS This thesis project looks at art-making as a mode for mindfulness practice. Literature on art therapy reveals parallels between art-making and mindfulness, namely in their capacities to promote self- awareness and emotional understanding (Freilich & Shechtman, 2010; Dancevic, 2005; Bell & Robbins, 2007; Drake & Winner, 2013) . Art psychotherapists Malcolm Learmonth and Karen Huckvale (2008) from the NHS Trust elaborate, “Art-making demands presence in body, mind, feelings and, many would say, soul. It engages the whole person. Art making moves in and out of words, the thing made and our stories about what is made and how it came to be (p.11).” In the context of therapy, art is a means to explore present situations creatively and bring new perceptions to light (p.13). 30 Art therapist Marian Liebmann, who is known oneself as a tree to exercise self-awareness, and advantages of using art in therapy—three of which & Eys, 2016, p.7). Coholic and Eys (2016) reviewed for her work with marginalized groups, lists many build a case specifically for using art to teach mindfulness to students with learning differences (Liebmann, 2004, p.8). Firstly, art is familiar. Almost all children have participated in art-making before, perhaps through drawing or painting. Secondly, art is a form of non-verbal and non- textual communication. As children with learning differences commonly struggle with spoken and drawing feelings while listening to music (Coholic studies on 77 vulnerable children (children who have been part of child welfare or mental health systems) who participated in 25 different HAP groups (p.3) and found that HAP leads to improved emotional regulation, mood, coping and social skills, confidence and self esteem, empathy, and ability to pay attention and focus (p.8). written language, art provides a way for them to express and explore emotions that are not easily put into words. Lastly, art requires active participation (Liebmann, 2004, p.8). For students who have difficulty with attentional control, art-making is an engaging, enjoyable, and pleasurable way to focus on present experiences. Studies in child development have researched the use of art as a mindfulness practice, namely through Holistic Arts-Based Programs (HAP). HAP refers to a series of arts-based mindfulness activities that teach children how to focus, be imaginative, recognize and understand their feelings, and nurture their strengths (Coholic, Eys & Lougheed, 2012, p.838). They are especially effective for young children and adolescents who may not have the abilities to participate in mindfulness practices that emphasize sitting and breathing meditation (Coholic, 2011, p.314). Art activities in HAP include drawing PRECEDENT RESEARCH 31 CONTEXT & FRAMING “What does this say?” Squatting by a boy’s desk, the grade 1 teacher points to the word “bat” on a spelling worksheet. The boy tilts his head, rocking back and forth in his chair with his hands beneath his thighs. “Look. Do this.” The teacher stretches out her left arm. With her other hand, she touches her wrist. The boy pulls out his hands and mimics her. The teacher purses her lips tightly, then releases them. “B-” she pronounces. She moves her hand up, touching her elbow. She opens her mouth wide. “A-” she says. Her hands climb to her shoulder. “T” she finishes, touching her front teeth with her tongue. “B-A-T. B-A-T.” Together, they repeat the movements and sounds. “What does it say?” “Bat,” the boy answers. “Good job!” The teacher rubs the boy’s back as he copies the letters, planting them carefully onto the dotted lines. 38 KGMS is a “school of second choice” for students whose educational needs could not be met at their first choice of school. All students at KGMS possess average to superior intelligence, and meet the school’s criteria for recognition of a learning difference (KGMS, (n.d.-a)). While the range of learning differences represented at KGMS vary widely, common struggles include reading, spelling, and writing. To accommodate for the diverse abilities of these students, KGMS adopts the Orton Gillingham Method of teaching (KGMS, (n.d.-b)). The Orton Gillingham Method, an educational approach developed specifically for the needs of students with dyslexia, takes a multi-sensory approach to learning. Teachers at KGMS use kinesthetic, visual, and auditory modes to engage students in subject material. Fig. 7: A painted rock by a grade 1 student. Students painted rocks to build their own bugs and to learn about insect anatomy. Photo: Mariko Kuroda CONTEXT & FRAMING: ABOUT KGMS 39 When I enter the grade 2 classroom, it is time for spelling. Rocking back and forth on their wobble stools, a class of about ten students cut and glue rhyming words. The blank rectangles on the worksheet reminds me of cribs in an empty hospital nursery. A boy bounces his feet on an elastic band tied tautly to the front legs of his desk. His brows squeeze together, then spring apart suddenly as a timer goes off. “Okay class, it’s time for a body break!” I watch from the back of the room as the grade 2 students rise from their desks. Typing just two letters into the search bar of her browser, the teacher swiftly pulls up a dance video from Youtube onto the whiteboard. As the music begins, a herd of galloping students surrounds me. Giggles and smiles circle the room. The spelling worksheets flap gently in the spiraling breeze. After two minute, the teachers pauses the video. The breeze comes to a rest as the children skip back to their desks, ready to lay each word into the right rectangle crib. 40 KGMS is also committed to whole-child exercises that promote self-regulation. For example, Emotional Learning (SEL). SEL is the process of on a trampoline, or do jumping jacks to energize development, and balances academics with Social acquiring social and emotional skills ranging from empathy, managing emotions, building positive relationships, making responsible decisions, and setting goals (CASEL, 2019). KGMS places a great focus on self-regulation as a core competency within SEL (KGMS, (n.d.-b)). The school teaches “Zones of Regulations”, a curriculum developed by occupational therapist Leah Kuypers, that categorizes emotions and levels of alertness into students in the “blue zone” can drink water, jump themselves and get to the “green zone.” As students can get fatigued and lose focus during continuous seat work, teachers also schedule frequent “body breaks”, or short sessions of physical activity during class time to raise students’ energy levels and improve concentration. At their desks, many students carry fidget tools, or small handheld objects that support focus and attention. four colour categories (Kuypers, n.d.): • Red describes extremely high levels of alertness, • Yellow describes elevated levels of alertness and such as explosive rage, anger, or terror. emotion, such as frustration, anxiety, silliness, and nervousness. • Green describes a state of calmness, where • Blue describes low levels of alertness, such as students are happy, focused, and ready to learn. feeling sick, tired, or bored. Most classrooms at KGMS have a “self-regulation area”, or a separated area for students to self- regulate. Walls in these spaces are covered with pictograms called “Zone Pics” that suggest various Fig. 8: A volcano graphic used throughout KGMS to represent the Zones of Regulation. Image: Mariko Kuroda CONTEXT & FRAMING 41 Fig. 9: A speedometer graphic used throughout KGMS to represent the Zones of Regulation. Image: Mariko Kuroda KGMS students, especially in grades 1 to 7, look mindfulness does not require special considerations mainstream school system. Unlike KGMS, these which may interrupt class schedules or require room forward to eventually re-integrating into the curriculums may not place equivalent emphasis on self-regulation. Through these many tactics, teachers aim to ultimately equip students with the ability to self-regulate without the guidance of an adult. Of the various strategies that KGMS employs to facilitate self-regulation, however, mindfulness has not yet been explored as a potential tool. Teachers occasionally employ mindfulness-based techniques such as breathing exercises, but mindfulness as a concept is currently not taught. This thesis therefore looks at introducing mindfulness as a tool for selfregulation that students can continue to employ after they switch into mainstream schools. Mindfulness carries certain benefits compared to other self-regulation taught at KGMS. For instance, 42 of time, space, or equipment—unlike body breaks and tools. Furthermore, while students may grow out of fidget tools and body breaks, mindfulness is a lifelong practice that students can carry on even after they complete school. By familiarizing students to mindfulness practices in their early years, this thesis aims to embed mindfulness into their lives as a tool for self-regulation. Fig. 10: A self-regulation station outside the grade 2 classroom. Students use the self-regulation to do various physical activities when they need a break from class work. Photo: Mariko Kuroda CONTEXT & FRAMING 43 SCOPE & LIMITATIONS The present research is a case study aimed to develop tools for teaching mindfulness at KGMS. Therefore, the outcomes of this research are specifically tailored to the needs, desires, and values of students and teachers at KGMS. The purpose of this research is not to support the strategy within the research, this thesis does not improves self-regulation skills. While questionnaires Co-creational methods were determined to be claim that art-making as a form of mindfulness and scales exist to measure self-regulation skills in the field of developmental psychology, I possess neither the knowledge nor expertise to use these instruments. Rather than the influence of art-making on self-regulation, however, of greater interest is the viability of art-making as a method for teaching mindfulness to KGMS students in grades 1-3. As a designer, I possess an understanding of the design process which allows me to generate a mindfulness tool that fits within the unique academic environment of KGMS. In the next section about methodology, I will expand on the strengths of the design process. The success of the thesis project will therefore be measured qualitatively through exit surveys with teachers. While some co-creative methods were used as a 44 seek to contribute new knowledge on co-creation. unrealistic due to the limitations of working in school settings. For instance, scheduling co-creation workshops with students is difficult as workshops generally takes over entire class periods. Co- creation with teachers is equally challenging, as monthly professional development days are the only opportunities to organize workshops of substantial length with faculty. Furthermore, since this project aims to develop a mindfulness tool, students and teachers must hold some knowledge of mindfulness in order to hold meaningful co-creation workshops. While introductory sessions could have been held prior to co-creation workshops to familiarize participants with mindfulness, such sessions would again face constraints of time, and would also counter my objective to implement mindfulness through a specifically designed tool. 11 Despite these limitations, my research may offer insight to teachers seeking to teach self-regulation or mindfulness in the classrooms. The outcomes of my research may also offer insight to those studying art-making as a mindfulness practice outside the context of education and students with learning differences. The contributions of my research may extend to other designers working in school settings as well. I will elaborate further on these points in my conclusion. 12 Fig. 11: Painted rocks by grade 1 students. Photo: Mariko Kuroda Fig 12: A fish made from leaves by a grade 3 student. Grade 3 students learned about how nature can be used in different ways. Photo: Mariko Kuroda SCOPE & LIMITATIONS 45 METHODOLOGY This thesis employed the design process, a problem-solving method used by designers to break down complex issues into smaller and manageable problems that can be addressed (Engholm & Norup, 2017, p.17). The design process involves five-steps (Hasso Plattner Institute of Design, 2010): 1. Empathize: The first stage is to gain a comprehensive and empathic knowledge of the problem to be solved. The designer observes and engages with people who are related to the problem to develop a deep understanding of the area of concern. 2. Define: The designer analyzes and synthesizes findings from the first stage to identify the core problems to be solved. 3. Ideate: Based on the defined problems, the designer generates ideas of possible solutions and products. 4. Prototype: The designer creates low-fidelity versions, or prototypes, of possible products 48 devised in the Ideate stage. Prototypes reveal possible problems within products, and give designers a better idea of how users may engage with them. 5. Test: The product is tested by users or other evaluators to assess its efficacy in solving the defined problem. Based on the results of the testing, the product can be refined further in an iterative process. Fig. 13: Diagram of design process. Image: Mariko Kuroda To parallel the progress of my secondary research, 3. PROTOTYPE follow these five steps: Reflecting on the prototypes generated in the first 1. EXPLORE mindfulness tool for KGMS students. my thesis adapted the general design process to stage and the defined design criteria, I prototyped a In this stage, I explored and investigated the 4. TEST on mindfulness, I generated various prototypes Prototypes of the mindfulness tool were user tested problem space. In tandem to my secondary research of mindfulness tools to explore the concept of mindfulness and how it could be practiced in a by KGMS students. classroom setting. I employed autoethnographic 5. REITERATE practice of mindfulness. To gain an empathic Based on teacher feedback from the initial user at KGMS, I interacted with teachers and students second round of user testing. research methods to immerse myself in a personal understanding about the educational environment through ethnographic and participatory design testing, I refined the design of the prototype for a research methods. 2. DEFINE Based on findings from the first stage, I identified the design criteria for a mindfulness tool for KGMS students. METHODOLOGY 49 Fig. 14: MDes students take part in an activity to express music through art as part of a workshop. Photo: Mariko Kuroda The value of the design process in this project was threefold. Firstly, the exploratory aspect of the process offered a platform for me to creatively investigate the topic of mindfulness. To supplement my secondary research on mindfulness, I designed numerous prototypes of mindfulness tools to research the diverse ways to understand and engage in mindfulness practice. The process encouraged me to explore beyond orthodox educational tools such as worksheets and posters. Secondly, the design process’ emphasis on empathy allowed me to gain a comprehensive perspective of the academic culture at KGMS. I used participatory design research methods to actively engage with KGMS teachers and students, and gain a deep knowledge of their needs, wants, and values. The focus on empathy also motivated me to begin a personal mindfulness routine, so that I would have first-hand experience of the benefits and challenges of practicing mindfulness. Thirdly, the cyclical nature of the process validated the design of the final product. Iterative testing and refinements allowed me to deliver a final product that effectively addressed the needs of KGMS students and teachers. 50 Fig. 15: Timeline of research activities. Image: Mariko Kuroda METHODOLOGY 51 PRIMARY RESEARCH 1. Explore In the first phase of my research, I explored two topics: 1. Mindfulness 2. The academic environment of KGMS EXPLORING MINDFULNESS: GENERATIVE DESIGN RESEARCH While conducting secondary research on mindfulness, I explored multiple ways of engaging young students in mindfulness practice by generating many prototypes of mindfulness tools. At the beginning of this stage, I did not specifically focus on art-making as a mode of mindfulness practice. I decided to take this approach towards through the body-awareness, or an intentional focus on body sensations. As a communication designer working mainly in print, I developed an interest in laser cutting technology, which outputs two- dimensional designs into three dimensional objects. Using laser cutting, I designed a series of tools for children to practice present-awareness with their bodies. the end of this exploration and through my self- Flamingo Stand section. The objective of this stage was to propose My secondary research on mindfulness led me to the classroom. that promotes body awareness through a series of reflective study, which I will explain in a following diverse ways for students to practice mindfulness in From my experience as an instructor for students with learning differences, I observed that young students enjoy physical activity. Therefore, my studio work through September to December 2018 52 investigated ways to practice present-awareness the topic of yoga, a traditional meditative exercise poses. Maintaining balance in yoga poses requires focus on body alignment. From this, I explored relationship between mindfulness and balance by designing the Flamingo Stand. This was a set of circular platforms for students to balance on with 17 Fig. 16: Flamingo Stand. Photo: Mariko Kuroda Fig. 17: An MDes student using the Flamingo Stand. Photo: Mariko Kuroda 16 PRIMARY RESEARCH: EXPLORE 53 Fig. 18: Don’t Wake The Elephant. Photo: Mariko Kuroda Fig. 19: Close up of bird in Don’t Wake The Elephant. Photo: Mariko Kuroda 19 18 one leg, like a flamingo. The purpose of the tool students to pay attention to body parts — such orientation. I imagined this tool to be used in self- movement. was to challenge students to focus on their body regulation areas at KGMS. Don’t Wake the Elephant After this, I developed interest in practicing mindfulness through the individual senses, beginning with hearing. I designed Don’t Wake the Elephant, a game that features a sleeping elephant and a bird attached to a bell. The objective of the game is to move the bird along a rail without making sound, or “waking the elephant”. I envisioned this tool to be another addition to the self-regulation area. The exercise stimulates auditory awareness, as well as body-awareness by pushing 54 as their fingers, arms, and legs — through slow Mystery Box Continuing my exploration with the senses, I built the Mystery Box as a investigation into tactility. The Mystery Box contains 14 laser cut pieces shaped as animals including a kangaroo, mouse, fish, camel, and horse. The game challenges students to pick a piece from the box and guess the animal without looking. Through this tool, I hoped to draw students’ attention to their sense of touch. This box could be used as both a group or individual activity for self-regulation. 22 Butterfly Balance In this stage of my secondary research, I learned about body scanning, a traditional mindfulness exercise that brings awareness to physical sensations 20 in different body parts. Typically, a body scan starts from one end, such as the head, and progressively moves to throughout the rest of the body. While the Flamingo Stand and Don’t Wake the Elephant stimulated awareness of the whole body through balance and movement, I became interested in designing a tool that focused on specific body parts. To reflect this, I designed the Butterfly Balance tool. Each butterfly names a body part that the child should balance it on. The tool intended to help children focus on various body parts that they may not pay attention to regularly, such as the elbow, knees, toes, and heel. Similar to the Mystery Box, this could be used as both a group or individual 21 Fig. 20: Butterfly Balance. Photo: Mariko Kuroda Fig. 21: Close up of Butterfly Balance. Photo: Mariko Kuroda Fig. 22: Mystery Box. Photo: Mariko Kuroda activity for self-regulation. PRIMARY RESEARCH: EXPLORE 55 Fig. 23: Breathing Stone activity from Mindful Crafts. Image: Mariko Kuroda Craftbook • While designing the Butterfly Balance tool, I recognized a possibility to translate it into a paper craft activity for students to color and cut out their own butterflies. This led to an idea for Mindful Crafts, a mindfulness activity crafts book containing crafts of mindfulness tools. Such a book could open paint rocks to place on their stomachs during a breathing exercise. • Magic Wand: In this craft activity, students build wands to use to point to different body parts during a body scanning exercise. the possibility of integrating mindfulness with the Upon inviting several classmates to participate ideas based on traditional mindfulness exercises that the activity of craft making itself fostered arts education curriculum at KGMS. I devised craft such as breathing and body scanning. Some included crafts were: • Swimming Jellyfish: In this craft activity, students craft jellyfish with dangling legs that move with the breath. Provided with an illustration of the jellyfish’s body, students can use ribbons and ropes to create its legs. 56 Breathing Stone: In this craft activity, students in the craft activities from the book, I recognized moments of mindfulness. Colleagues commented that the act of making with their hands helped them focus on what was happening in the present, and offered a sense of calmness. Their remarks inspired me to further examine the relationship between art-making and mindfulness through a personal practice. Fig. 24 & 25: Swimming Jellyfish activity from Mindful Crafts. Image: Mariko Kuroda Fig. 26 & 27: Magic Wand activity from Mindful Crafts. Image: Mariko Kuroda 24 26 25 27 PRIMARY RESEARCH: EXPLORE 57 28 EXPLORING MINDFULNESS: SELFREFLECTIVE STUDIES To gain understanding of the relationship between art-making and mindfulness, I engaged in daily sitting meditation practice for one month in June 2018. The practice involved two parts. Firstly, I conducted a 3-minute breathing exercise using Headspace, a mobile application offering audio of guided meditation sessions. Secondly, I painted an artwork using watercolour paints that reflected on the day’s meditation. Findings from Self-Reflective Studies My own experience with mindfulness using Headspace revealed the importance of consistency in practice. Throughout my breathing exercises and paintings, I encountered a spectrum of bodily sensations and emotions: from contentment, to 58 29 30 anger, to exhaustion, to frustration. The act of visually expressing my own mindfulness experience opened my eyes to the vast range of feelings my body contained. Meeting each emotion with non-judgmentalness was a challenge. However, I learned to welcome and appreciate these feelings as inspiration for my paintings, and let them go with each new blank paper in my sketchbook. Ultimately, the daily “practice”, or repeated exercise of mindfulness, helped me cultivate an attitude of equanimity towards my emotions. While I initially doubted my own commitment to a month-long daily mindfulness practice, the ease and pleasure of watercolour painting motivated me to continue it every day. Through this experience, I recognized the value of short and easy art-making activities that can be practiced on a daily basis. Fig. 28 to 35: Watercolor paintings from self-reflective practice. Image: Mariko Kuroda 33 31 34 32 35 PRIMARY RESEARCH: EXPLORE 59 36 37 38 60 Fig 36 to 40: Watercolor paintings from my own mindfulness practice. Image by Mariko Kuroda 39 40 PRIMARY RESEARCH: EXPLORE 61 To understand the academic environment at stations, teachers pointed out that visual aids such activities: vital for students who have difficulties with textual KGMS, I conducted the following research 1. Classroom observations 2. Cultural probes EXPLORING KGMS: CLASSROOM OBSERVATIONS Through October 2017 to December 2018, I visited the grades 1-3 classrooms for half-day observations. I carried out a total of nine observations (five with grade 1, and two each for grades 2 and 3). The objective of the classroom observations was to learn as the Zones of Regulation and Zone Pics are information. These observations suggested that tools that are used on individual need-basis are not needed in an environment that is already saturated with self-regulation tools. Proposing tools such as the Flamingo Stand, Don’t Wake the Elephant, Mystery Box, and Butterfly Balance, which were mainly designed for individual students to use in self-regulation areas, would create redundancy. how self-regulation was currently taught in these classrooms. Findings from classroom observations The observations revealed the many tactics that are put into place to help students regulate their energy to be “ready to learn”. During the school day, teachers constantly revise class plans to meet their students’ energy levels, inserting frequent body breaks throughout the day. Classrooms are equipped with fidget tools such as putty, elastic bands, glitter bottles, chewellery (chewable jewellery), and fidget spinners for students to use at their desks when they need to release excess energy. A variety of seating types, such as wobble stools and yoga balls, are also provided. In the classrooms’ self-regulation 41 Fig. 41: A wobble stool in the grade 2 classroom. Photo: Mariko Kuroda 62 42 44 43 Fig. 42: A bucket of fidget tools such as a glitter wand and stress balls from the grade 3 classroom. Photo: Mariko Kuroda Fig. 43: A basket of fidget tools such as elastic bands and sponges from the grade 2 classroom. Photo: Mariko Kuroda Fig. 44: A rubik’s cube and squeeze toy used by a student in grade 1. Photo: Mariko Kuroda PRIMARY RESEARCH: EXPLORE 63 EXPLORING KGMS: CULTURAL PROBES In April 2018, I delivered a culture probe to each of the grades 1-3 teachers. Cultural probes are tools designed to elicit responses from participants that help researchers understand their cultural environment (Gaver, Dunne, & Pacenti, 1999, p. 22). Designers use cultural probes to facilitate conversations with participants and gain valuable insight into their needs and values (Crabtree et al., 2003, p.8). While cultural probes may come in many forms, examples include (Gaver, Dunne, & Pacenti, 1999, p. 23): • Postcards where participants answer questions on their attitudes towards their cultural environment • • Maps where participants mark important areas in their cultural environment Photo albums for participants to collect memorable objects that tell narratives of their lives Although classroom observations offered valuable information on how teachers assist their students with self-regulation in reality, my cultural probes were designed to learn more about the values and ideals teachers hold in teaching self-regulation. At KGMS, each grade is taught by two co-teachers, so a 64 45 Fig. 45: Title page of cultural probe activity book. Image: Mariko Kuroda total of six probes were delivered. Four were returned in June 2018 (Two from grade 2, and one each from grade 1 and 3). The probes included five activities: 1. Mindfulness Bracelet: Teachers were asked to wear a bracelet made of two rows of bubble wrap for one school day. Teachers popped the bubbles on one row when they felt negative emotions, and popped the bubbles the other row when they felt positive emotions. The role of the bracelet was to help teachers be mindful of their highs and lows throughout the day. At the end of the school day, teachers wrote down as many instances as they could remember of when they popped their bubble wrap bracelets. 2. SEL Super Student: Teachers named the three top “superpowers” or skills of an SEL Super Student, or a model student who exemplifies high social-emotional competence. activities they have done with their class as part of arts education. 3. Self-Regulation Tools: Teachers listed resources and tools they used inside the classroom to help students self-regulate. 4. What Do You Say?: Teachers were given four scenarios of students in different emotional states (angry, sad, distracted, and tired). Teachers filled in empty speech bubbles with responses they would give to help each student be ready to learn. 5. It’s Time for Art: Teachers listed topics and 47 46 Fig. 46 & 47: Mindfulness Bracelet activity from cultural probe. Photo: Mariko Kuroda PRIMARY RESEARCH: EXPLORE 65 48 50 49 Fig. 48 & 49: Self-Regulation Tools activity from cultural probe. Images: Mariko Kuroda Fig. 50 & 51: SEL Super Student activity from cultural probe. Images: Mariko Kuroda 66 51 52 53 54 55 Fig. 52 to 54: What Do You Say activity from cultural probe. Images: Mariko Kuroda Fig. 55 & 56: It’s Time for Art activity from cultural probe. Images: Mariko Kuroda 56 PRIMARY RESEARCH: EXPLORE 67 Findings from Cultural Probes In the probes, teachers expressed how self- regulation is vital for students to follow the “group plan”, or class instructions. In the Mindfulness Bracelet activity, two teachers reported that one of the “lows” during their days was when students showed unexpected and impulsive behaviour that did not follow the group plan. One teacher listed the ability to “show flexible thinking, especially when it comes to unpreferred activities”, 57 as one of the top three skills of an SEL Super Student. Teachers desire for students to be able to identify and regulate their emotions through In terms of arts education in grades 1-3, teachers following their “own plans” to engaging in planned areas. For instance, teachers had students create taught strategies, so that they can shift from class activities. The probes showed that the two main roles of the teacher in teaching self-regulation were to help students identify and label their emotions, and family totem poles as a lesson on the significance of First Nations Art. Other activities involved making shadow puppets to learn how light can be manipulated. to propose strategies for self-regulation. Many of Through my self-reflective studies, I learned that began with the phrase “I can see that you are…”, regular practice. While a mindfulness craftbook may the responses to the “What Do You Say” activity which named the students’ emotional state, and a suggestion of an activity. For example, in a scenario with a tired student, a teacher wrote “I can see you’re tired. What does your body need right now? Go have a drink of water and I’ll meet you at the Regulation Station to wake your body up.” 68 utilized art to further learning in other subject the benefits of mindfulness are experienced from offer lesson ideas for some weeks, most lesson plans will parallel with topics from other class subjects. Because art classes are also taught only once a week, I decided that arts education would not be the best channel by which to introduce a consistent mindfulness practice to grades 1 to 3. 58 Fig. 57 to 60: Responses to cultural probe activity book from grades 1-3 teachers. Images: Mariko Kuroda 59 60 * All responses to cultural probes can be seen in Appendix 1. PRIMARY RESEARCH: EXPLORE 69 2. Define In this stage, I analyzed the data from my primary research to identify the criteria for a successful design intervention that will engage KGMS students in mindfulness practice. 70 The data collected through my primary research on the academic culture at KGMS reflects a clear value in teaching mindfulness to grades 1 to 3 on how to use the tool should be communicated in simple language. students, as teachers seek to train students to SAFETY OF MATERIAL explorations on mindfulness proposed art-making Students who will be using the mindfulness art- practice. Based on this, I identified the five criteria the tool should be made of materials that are not identify and regulate their emotions. My generative as a way to engage young students in mindfulness for a successful art-making tool that introduces mindfulness to KGMS students: GROUP-BASED ACTIVITY The tool should be used as a whole-class activity, making tool are between the ages 5 to 10. Therefore, hazardous if a student were to attempt to eat it. Parts of the tool should not be too small to pose a choking hazard. To avoid injuries, the tool should not carry any sharp, heavy, or hard features in case it is thrown or misused by students. since classrooms are already saturated with self- MENDABLE opportunity to practice abiding by the “group plan”. As the tool is projected to be used by students over FLEXIBILITY or teacher in the event that it breaks. regulation tools for individual use. It will also be an several years, it should be easily fixable by a student For mindfulness to be adopted as a consistent practice in the classroom, it should work flexibly with regular curricular programs. This means that it should not disrupt already existing curricular plans or require additional preparation from teachers. EASE OF USE Ease of implementation is also key for teachers without formal training in mindfulness to be able to lead the practice with confidence. Instructions PRIMARY RESEARCH: DEFINE 71 3. Prototype In this stage of my research, I worked to develop a prototype of a mindfulness artmaking tool based on the design criteria identified from the previous stage. In this stage of my research, I worked to develop a (Buck, 1999, p.224). They may have difficulties on the design criteria identified from the previous a non-preferred activity (Olive, 2004, p.11). In prototype of a mindfulness art-making tool based stage. To avoid interfering with existing curricular plans, I identified “flexible” periods during the school day where teachers did not have lesson plans. Transition times, such as before the first morning bell, after recess, and after lunch, were gaps during the day where teachers gave students free time to cool-down. Teachers often dedicated this time to silent reading. some instances, transitions provoke challenging behaviours such as aggression, self-injury, physical harm to others, and damage to physical surroundings (p.11). Structured transition times can decrease challenging behaviours and lead to improved academic performance (Buck, 1999, p.235). I saw an opportunity to use mindfulness as a way to utilize these transition times more effectively. Researchers in the field of special education To adapt my own mindfulness watercolour painting between classroom activities (Olive, 2004; Buck, within these transition times, I designed a felt advocate for the practice of transitional routines 1999). While children in general may not have the skills to switch from one activity to another, students with learning and attention-related challenges have a harder time with transitions due to poor attention, impulsivity, and hyperactivity 72 finishing up a preferred activity, or refuse to start exercise into an engaging activity that could fit puzzle set based on the formal elements of my own watercolour paintings. Generally, the term “puzzle” implies that the pieces only fit together to create a single image. I use the term only to suggest that the pieces are to be combined, without imposing a single solution. As a mindfulness exercise, students could position the felt pieces on a board to create collage-like images that express their present emotions and experiences. Because felt puzzles do not require extensive clean up, it can be implemented without significantly interfering with other scheduled classroom plans. In terms of material, felt is safer compared to other harder materials such as wood or metal, which can be dangerous if thrown and misused. By proposing a simpler mode of art-making, the felt puzzle could offer an opportunity for grade 1-3 students to practice mindfulness regularly during the school day. Fig. 61: Initial prototype of felt puzzle board. Photo: Mariko Kuroda 61 PRIMARY RESEARCH: PROTOTYPE 73 Fig. 62 to 65: Watercolor paintings with felt puzzle piece designs. Images: Mariko Kuroda 62 63 74 64 65 PRIMARY RESEARCH: PROTOTYPE 75 66 Fig. 66: Stack of felt puzzle boards. Photo: Mariko Kuroda Fig. 67: Felt puzzle pieces. Photo: Mariko Kuroda Fig. 68: Close up of felt puzzle. Photo: Mariko Kuroda 67 76 68 PRIMARY RESEARCH: PROTOTYPE 77 4. Test User testing was conducted to understand the viability of the puzzle activity, appropriateness of the puzzle’s design, and its influence on students’ self-regulation skills. Before bringing the puzzle to the classrooms, I The user testing was divided into two one-week involved in building the SEL curriculum at KGMS. condition. In the first week, students created pitched the idea to three school counselors who are The counselors showed excitement towards the puzzle, and provided insights on how to implement the activity, such as using music to inspire emotions from students. Following this meeting I introduced the thesis project to the grades 1-3 teachers at KGMS on a professional development day in September 2018. During this time, teachers had the opportunity to use the felt puzzles. Many teachers received the project with enthusiasm, commenting on the tactility of the activity. Afterwards, they were recruited via a survey to test out the puzzle with their students. Teachers from grades 2 and 3 expressed interest in participating. The testing included a total of 26 students in grades 2 and 3 (13 students in each grade), and four teachers (2 teachers in each grade). Each student received a felt board and a set of 21 felt puzzle pieces. 78 conditions: a music condition, and a body scanning artwork with the puzzles as a response to a piece of music. I provided teachers with a total of five royalty-free instrumental pieces of different moods (uplifting, happy, calm, mysterious, scary)—one for each day of the week. Songs were between 1 to 2 minutes long. Students listened to the song, and were prompted with questions such as “How does this music make you feel? What does it remind you of ?” They then used the puzzle to respond to the song. This first week was intended to ease students into the practice of paying attention to their feelings. Rather than asking students to identify existing feelings within themselves, I first challenged them with the task of identifying feelings evoked by a song. In the second week, students performed body scanning, and used the puzzle to represent their 69 bodily sensations. Each day, students exercised body scanning on different parts of the body (head and face, shoulders, arms, stomach, and legs). On the first days of both conditions, I visited the 70 classes to introduce and facilitate the puzzle activity as an example to the teachers. On subsequent days, the teachers led the activity with their students. I provided teachers with a slideshow containing instructions and visuals for the activities (Figures 69-77). Teachers photographed students’ puzzles everyday as a record of the activity. 71 Fig. 69 to 72: Slides from the slideshow given to grades 2 and 3 teachers to guide the felt puzzle activity. Images: Mariko Kuroda 72 PRIMARY RESEARCH: TEST 79 73 74 80 75 76 77 Fig. 73 to 77: Slides from the slideshow given to grades 2 and 3 teachers to guide the felt puzzle activity. Images: Mariko Kuroda PRIMARY RESEARCH: TEST 81 5. Reiterate Results from the initial user testing were analyzed to revise the design of the prototype for a second round of user testing. COLLAGE WORKSHOP Following the initial user testing, I led a collagemaking workshop with grade 2, where students responded to a piece of music using various art materials such as construction paper, sequins, feathers, and wood. The purpose of the workshop was to understand how students express emotions when provided with a larger selection of craft supplies. Fig. 78 to 83: Collages by students in grade 2 from the co-creation activity. Photos: Mariko Kuroda 82 78 79 80 81 82 83 PRIMARY RESEARCH: REITERATE 83 DATA COLLECTION & ANALYSIS Analysis of the puzzles and collages from both grades showed that students relied on pictorial representations when describing their feelings. Faces, plants, and animals were some of the most with body scanning, teachers had to guide the body scan by referring to the prompts provided on the slideshow. They found that connecting the body scan to the puzzle was difficult for the students. recurrent designs. In the collages, many students Grade 2 teachers noticed that the puzzles helped squares, rectangles, triangles, and ellipses. In both a state where they were ready to learn. The grade 3 depicted straight lines and regular shapes such as the felt puzzles and the collages, several students built three dimensionally, demonstrating divergent thinking. Many puzzles appeared “crowded”, with students attempting to fit as many pieces as they could within the frame. In the two weeks, students had also lost several puzzle pieces. EXIT SURVEY Following the user testing, I conducted exit survey interviews with the grade 2 and 3 teachers to receive feedback on the mindfulness puzzle activity. Teachers were encouraged to provide both positive and negative comments, as both would be integral to improving the puzzle. In both grades, teachers observed differences in class dynamics when the puzzle was used with the music compared to the body scanning. When the puzzle was used to respond to music, the activity was largely self-directed as students didn’t require further instructions. Once the music started, the students “concentrated on creating”, as one of the teachers 84 described. In contrast, when the puzzle was used students transition from a high level of alertness to teachers observed that the puzzle was not effective in helping students shift from recess to class, as their energy levels would be too high. However, they saw that it worked better in the morning as a way for students to begin the school day. Grade 2 teachers wished that the musical pieces would be longer, as they often had to replay the music several times while the students completed their puzzles. Grade 3 teachers commented that they would like to see more variety in shapes, as their students eventually got bored with the given set and were not actively participating in the activity. 84 85 86 88 Fig. 84 to 87: Felt puzzles by students in grade 2 from the initial user testing. Photos: Mariko Kuroda Fig. 88: Felt puzzles by students in grade 2 from the initial user testing. 87 PRIMARY RESEARCH: REITERATE 85 SECOND USER TESTING Following the initial user testing, I revised the design of both the felt board and puzzle pieces. To prevent user testing, the activity was led by the teachers for the entire duration of the testing. Puzzles were photographed daily after each session. students from losing the puzzle pieces, I integrated a felt board onto a lid of a box where students could store unused pieces. The dimensions of the board were expanded, and the frame removed to offer students more space. Since the white felt boards got dirty, I changed its color to black, which also made Fig. 89: Felt pieces from second prototype of felt puzzle board. Photo: Mariko Kuroda the color of puzzle pieces appear brighter. In contrast to the abstract shapes of the initial puzzle pieces, the new puzzle set included regular shapes such as squares, rectangles, and triangles to make it easier for students to envision feelings through concrete representations. Some pieces featured slits that made it easier for them to stretch, fold, stand upright, or be combined with other pieces. In terms of the mindfulness activity, I removed the body scan condition which was not working well with either classes, and framed the activity as a musical response activity. The slideshow was amended with visuals to reflect these changes. The revised puzzle was user tested by the grades 2 class for one week. Rather than providing five individual musical pieces for each day, I selected five playlists of different moods (happy, mysterious, relaxing, uplifting, peaceful) that ranged from 20 minutes to three hours long. Unlike the initial 86 89 90 92 Fig. 90 to 92: Second prototype of felt puzzle board. Photo: Mariko Kuroda 91 PRIMARY RESEARCH: REITERATE 87 DATA COLLECTION & ANALYSIS Compared to the puzzles from the first user testing, few students created pictorial representations. While it was expected that the more regular-shaped would encourage students to make recognizable objects, the added slits led them to build more three dimensional forms. Students experimented with layering, folding, stretching, and standing pieces, as well as inserting pieces through other pieces. EXIT SURVEY Grade 2 teachers observed that the students were more engaged while using the revised puzzles, as the slits in the puzzle pieces multiplied the number of ways the pieces could be combined, and inspired them to build more three dimensionally. Students did not lose any pieces as they were able to store extra pieces inside the box. The teachers favoured using playlists over playing individual songs as it allowed them to be more flexible with the length of the activity. For the students, the longer duration of the playlists allowed them to take their time and listen to the music, rather than feeling pressured to finish the puzzle with the end of the song. 93 88 94 Fig. 93 to 95: Felt puzzles by students in grade 2 from the second user testing. Photo: Mariko Kuroda 95 PRIMARY RESEARCH: REITERATE 89 FINAL OUTCOME The final design outcome of the thesis project included two elements: 1. Felt puzzle board 2. Slideshow FELT PUZZLE BOARD 96 The final version of the mindfulness puzzle included 24 felt pieces. Several pieces featured multiple slits that could be used to combine shapes three dimensionally. The felt board was integrated into a lid of a wooden box that also served as a container for the pieces. Both the felt pieces and the box were built using laser cutting technology. SLIDESHOW 97 Teachers received a Powerpoint slideshow to use to explain to their students the concept of mindfulness and how to use the felt puzzle. The slideshow also contained links to music playlists that teachers could play while conducting the felt puzzle activity. 98 90 Fig. 96 to 98: Slides to explain how to use the felt puzzle. Images: Mariko Kuroda 99 100 Fig. 99 & 100: Final designs of the felt puzzle board. Photo: Mariko Kuroda Fig. 101: Felt pieces from final design of felt puzzle board. Photo: Mariko Kuroda 101 FINAL OUTCOME 91 REFLECTIONS & CONCLUSIONS This research studied the use of artmaking as a mode of mindfulness practice for students with learning differences in grades 1-3. This research studied the use of art-making as a an exercise to visually express music. learning differences in grades 1-3. The first two The outcomes of this thesis have contributed mindfulness as a transitional activity in the KGMS working in school settings. For the teachers, this mode of mindfulness practice for students with objectives of this research were to introduce grades 1-3 classes in a way that fit the school’s unique academic culture, and to equip teachers who were not certified mindfulness instructors with the resources to teach art-making as a form of mindfulness practice. Using data collected from ethnographic, autoethnographic, and participatory research methods, I designed a resource to implement mindfulness as a transitional activity in the grades 1-3 classrooms (Figures 102 & 103). The resource included a mindfulness felt puzzle, and a slideshow of visuals explaining how to use the felt puzzle. Two rounds of user testing involving the grades 2 and 3 classes demonstrated that the activity helped promote self-regulation among students during classroom transition times, and that teachers felt most confident in guiding the felt puzzle activity when it was used as 92 knowledge both to teachers at KGMS and designers project has offered mindfulness as another tool for them to use with their students in teaching self- regulation. Through my felt puzzle activity, teachers without formal training in mindfulness are able to teach mindfulness as a self-regulation technique that students can carry on into mainstream schools and throughout their lives. The teachers’ participation in the research, namely through the user testing and reiteration phases, has also given them an understanding of design process and its impact in educational settings. Through the collage workshop and multiple user testings, teachers witnessed the cyclical nature of design that accepts failure as inspiration for better outcomes. I hope that by taking part in this research, teachers will be encouraged to offer their own solutions to other problems in the classroom without fearing failure. 102 Fig. 102: Close up of felt puzzle. Photo: Mariko Kuroda REFLECTIONS & CONCLUSIONS 93 For designers, I hope my thesis offers them the connect to new solutions. I hope that my thesis and spend more time in the exploratory phase of explorations. courage to think divergently about ways of learning, design. While many teaching resources take the form of books, worksheets, or online resources, the The last objective of this research was to identify as the exploratory phase of my research pushed me Findings from two rounds of user testing raised unique educational environment at KGMS as well to consider other modes of teaching mindfulness, such as through tactile tools. A majority of the mindfulness tools that I prototyped during the exploratory phase, like the Flamingo Stand and the Butterfly Balance, were determined as non-viable in the classroom through my primary research at KGMS. However, my own self-reflective studies with watercolor painting revealed a new approach to use art-making as a mindfulness practice. This realization would not have been possible had I not been actively what mindfulness means in the context of KGMS. speculations on the role of intuition and creativity in practicing mindfulness with children who have learning differences. In the music condition, students used the puzzle with ease. Teachers described the students as “calm” and “concentrating on creating.” In the body scan condition, however, students required more prompting and guidance to visually represent physical sensations. The connection between the body scan and the puzzle was not clear. generating prototypes and looking at alternative ways These observations suggest that using the puzzle an opportunity to draw paths from a problem to a cognitive load that disrupted the students’ present- of practicing mindfulness. The exploratory phase is solution. More paths create more intersections that 94 encourages other designers to hold faith in their with a body scanning exercise may have placed a awareness. The dual difficulty of recognizing bodily “I therefore propose the following definition of mindfulness for KGMS: a consistent, creative, and intuitive process that sharpens present awareness and generates artistic output.” sensations and visually expressing them hindered case study with KGMS, it could offer suggestions on piece of music, however, the puzzle aided present- education and learning differences. their mindfulness experience. When listening to a awareness. The process of capturing emotions in a ways to practice mindfulness outside the context of song and translating them into artwork was intuitive. This creative output is even comparable to a form of non-judgmentalness or “release”: students welcomed the feelings in a song to enter their minds and let them flow out as a piece of art. The lack of an operational definition of mindfulness gives me the freedom to define mindfulness in the unique academic setting of KGMS. I therefore propose the following definition of mindfulness for KGMS: a consistent, creative, and intuitive process that sharpens present awareness and generates artistic output. This definition weaves together the core aspects of mindfulness as they have traveled through contexts of religion and science, while highlighting the findings of my own research. While this working definition of mindfulness was constructed through a REFLECTIONS & CONCLUSIONS 95 FUTURE DIRECTIONS Classroom observations and conversations with teachers from grade 1 revealed that the design of the mindfulness puzzle did not suit the cognitive capacities of students in this age group. Common difficulties of grade 1 students include On the other end of the age spectrum, research interpreting emotions—all of which are important to fit the abilities of older students above grade 3. identifying, understanding, expressing, and in identifying the feelings in a piece of music. As grade 1 teachers expressed concern that the felt puzzle activity would be too complicated for their students, they were not included in the user testing. However, the original intent of the project was to implement mindfulness as transitional activity in the grades 1-3 classrooms. There remains a need to make mindfulness accessible to the grade 1 students and teachers. One solution could be to adapt the mindfulness puzzle into a tactile activity that trains sensory awareness. Further research could look into the design of a mindfulness puzzle activity that exercises present-awareness and artistic expression through the sense of touch. Puzzle pieces could perhaps incorporate materials other than felt to present varied sensory stimuli. 96 could also be done on how to modify the activity Of special interest would be to evaluate the success of combining the felt puzzle activity with the body scanning exercise, which did not work in grades 2 and 3. Results from this research could suggest a modification on the definition of mindfulness that I proposed in the previous section. Another direction for future research would be to integrate mindfulness into mainstream school curriculums. This thesis project was a case study at KGMS, where social-emotional learning is taught regularly and self-regulation is a familiar practice. Research could be done on how to introduce concepts of self-regulation and mindfulness to mainstream school teachers, and assess the viability of the felt puzzle activity in other academic environments. As mentioned previously, one goal of KGMS students is to re-integrate into the mainstream school system. A follow-up research project would be to study whether students who participated in the felt puzzle activity are able to carry on their mindfulness practices in a mainstream school environment. It would be interesting to see if students choose to practice mindfulness through other creative means, such as doodling or origami, that are more discrete and accessible in a mainstream school setting. Such research could further support the definition of mindfulness as an activity that generates “release”, or creative output. Fig. 103: Felt puzzles by grade 2 students from second user testing. Photo: Mariko Kuroda 103 FUTURE DIRECTIONS 97 REFERENCES Beauchemin, J., Hutchins, T. L., & Patterson, F. (2008). Mindfulness Meditation May Lessen Anxiety, Promote Social Skills, and Improve Academic Performance Among Adolescents With Learning Disabilities. Complementary Health Practice Review, 13(1), 34–45. https://doi.org/10.1177/1533210107311624 Bell, C. E., & Robbins, S. J. (2007). Effect of art production on negative mood: A randomized, controlled trial. Art Therapy, 24(2), 71-75. Bodhi, B. (2010). The Noble Eightfold Path: The Way to the End of Suffering. Kandy, Sri Lanka: Buddhist Publication Society. Buck, G. H. (1999). Smoothing the rough edges of classroom transitions. Intervention in School and Clinic, 34(4), 224-235. British Columbia Ministry of Education (2008). Special Education Services: A Manual of Policies, Procedures and Guidelines. Retrieved from the Province of British Columbia website: https://www2.gov.bc.ca/assets/gov/ education/administration/kindergarten-to-grade-12/ inclusive/special_ed_policy_manual.pdf British Columbia Ministry of Education. (n.d.) Personal Awareness and Responsibility Competency Profiles [Brochure]. Retrieved from https://curriculum.gov.bc.ca/ sites/curriculum.gov.bc.ca/files/pdf/PersonalAwarenessResponsibilityCompetencyProfiles.pdf. Collaborative for Academic, Social, and Emotional Learning (CASEL). (2019). What is SEL? Retrieved from https://casel.org/what-is-sel/ Coholic, D. A. (2011). Exploring the feasibility and benefits of arts-based mindfulness-based practices with young people in need: Aiming to improve aspects of self-awareness and resilience. In Child & Youth Care Forum (Vol. 40, No. 4, pp. 303-317). Springer US. 102 Coholic, D. A., & Eys, M. (2016). Benefits of an ArtsBased Mindfulness Group Intervention for Vulnerable Children. Child and Adolescent Social Work Journal, 33(1), 1–13. https://doi.org/10.1007/s10560-0150431-3 Coholic, D.A.., Eys, M., & Lougheed, S. (2012). Investigating the effectiveness of an arts-based and mindfulness-based group program for the improvement of resilience in children in need. Journal of Child and Family Studies, 21(5), 833-844. Cortiella, C., & Horowitz, S.H. (2014). The State of Learning Disabilities: Facts, Trends and Emerging Issues. New York, NY: National Center for Learning Disabilities. Dancevic, M. T. (2005). Communicating feelings through visual language. My visual art diary: how I am feeling today. International Journal of Education through Art, 1(1), 85-92. Drake, J. E., & Winner, E. (2013). How children use drawing to regulate their emotions. Cognition & Emotion, 27(3), 512-520. Engholm, I., & Norup, N. (2017). Design what ?#%!. Copenhagen, Denmark: Strandberg. Freilich, R., & Shechtman, Z. (2010). The contribution of art therapy to the social, emotional, and academic adjustment of children with learning disabilities. The Arts in psychotherapy, 37(2), 97-105. Gailliot, M. T., Baumeister, R. F., DeWall, C. N., Maner, J. K., Plant, E. A., Tice, D. M., Brewer, L.E., Schmeichel, B. J. (2007). Self-control relies on glucose as a limited energy source: Willpower is more than a metaphor. Journal of Personality and Social Psychology, 92(2), 325-336. http://dx.doi.org/10.1037/00223514.92.2.325 Gaver, B., Dunne, T., & Pacenti, E. (1999). Design: cultural probes. Interactions, 6(1), 21-29 Haslam, N. and Van Dam, N. (2017). What is mindfulness? Nobody really knows, and that’s a problem. Retrieved November 29, 2018, from https://pursuit. unimelb.edu.au/articles/what-is-mindfulness-nobodyreally-knows-and-that-s-a-problem Hasso Plattner Institute of Design. (2010). An introduction to design thinking process guide [Pamphlet]. Stanford, CA: Hasso Plattner Institute of Design. Hooper S.R. & Williams E.A. (2005). Attention Deficit Hyperactivity Disorder and Learning Disabilities. In Gozal D. & Molfese D.L. (Eds), Attention Deficit Hyperactivity Disorder: From Genes to Patients (pp.215254). Totowa, NJ: Humana Press. Kabat-Zinn, J. (2003). Mindfulness-Based Interventions in Context: Past, Present, and Future. Clinical Psychology: Science and Practice, 10(2), 144–156. https://doi. org/10.1093/clipsy.bpg016 KGMS. (n.d.-a). Admissions. Retrieved January 11, 2019, from http://kgms.kgms.ca/admissions/ KGMS. (n.d.-b). Academics. Retrieved January 11, 2019, from http://kgms.kgms.ca/academics/ Kuypers, L. (n.d.). What are the Zones? Retrieved January 15, 2019, from http://www.zonesofregulation.com/ learn-more-about-the-zones.html Learmonth, M. & Huckvale, K. (2008). Art psychotherapy: the wood in between the worlds. New Therapists, 53, pp. 11-19. Learning Disabilities Association of Canada (n.d.). Official Definition of Learning Disabilities. Retrieved November 26, 2018, from https://www.ldac-acta.ca/ official-definition-of-learning-disabilities/ Learning Disabilities Association of New York State (n.d.). Learning Disabilities vs. Differences. Retrieved November 26, 2018, from http://www.ldanys.org/ index.php?s=2&b=25 Liebmann, M. (2004). Art Therapy for Groups: A Handbook of Themes and Exercises. New York, NY: Psychology Press. Meiklejohn, J., Phillips, C., Freedman, M. L., Griffin, M. L., Biegel, G., Roach, A., … Saltzman, A. (2012). Integrating Mindfulness Training into K-12 Education: Fostering the Resilience of Teachers and Students. Mindfulness, 3(4), 291–307. https://doi.org/10.1007/ s12671-012-0094-5 Meltzer, L. & Krishnan, K. (2007). Executive Function Difficulties and Learning Disabilities: Understandings and Misunderstandings. In Meltzer, L. (Ed.), Executive Function in Education (pp. 77-105). New York, NY: The Guilford Press. McClelland, M.M., Cameron, C.E. (2011). Self-Regulation Early Childhood: Improving Conceptual Clarity and Developing Ecologically Valid Measures. Child Development Perspectives 6(2):136 - 142. http://dx.doi. org/10.1111/j.1750-8606.2011.00191.x Milligan, K., Badali, P., & Spiroiu, F. (2015). Using Integra Mindfulness Martial Arts to Address Self-regulation Challenges in Youth with Learning Disabilities: A Qualitative Exploration. Journal of Child & Family Studies, 24(3), 562–575. https://doi.org/10.1007/ s10826-013-9868-1 Mindfulness Extended (2011 September 28). Thich Nhat Hanh What is Mindfulness [Video file]. Retrieved from https://www.youtube.com/watch?v=xD7i6VUOriI&t=137s. REFERENCES 103 Mindful Schools (2017a). What is Mindfulness? [Video file]. Retrieved from https://www.mindfulschools.org/ courses/mod/page/view.php?id=12237. Mindful Schools (2017b). The Importance of Feeling the Body [Video file]. Retrieved from https://vimeo. com/208705188. National Institute for Health and Care Excellence. (2008). Challenging behaviour and learning disabilities: prevention and interventions for people with learning disabilities whose behaviour challenges [PDF file]. Retrieved from https://www.nice.org.uk/guidance/ng11/ resources/challenging-behaviour-and-learning-disabilities-prevention-and-interventions-for-people-with-learning-disabilities-whose-behaviour-challenges-1837266392005. O’Brien, G., & Pearson, J. (2004). Autism and learning disability. Autism, 8(2), 125-140. Olive, M. L. (2004). Transitioning Children Between Activities: Effective Strategies for Decreasing Challenging Behavior. Beyond Behavior 14(1), 11–16. Retrieved from http://ezproxy.ecuad.ca/login?url=http:// search.ebscohost.com/login.aspx?direct=true&db=a9h &AN=16429458&site=eds-live. Razza, R. A., Bergen-Cico, D., & Raymond, K. (2015). Enhancing Preschoolers’ Self-Regulation Via Mindful Yoga. Journal of Child and Family Studies, 24(2), 372– 385. https://doi.org/10.1007/s10826-013-9847-6 Rempel, K. (2012). Mindfulness for Children and Youth: A Review of the Literature with an Argument for School-Based Implementation. Canadian Journal of Counselling and Psychotherapy / Revue canadienne de counseling et de psychothérapie, 46(3).Retrieved from https://mindfulnessinschools.org/wp-content/uploads/2013/09/remple.pdf. 104 Saltzman, A., & Goldin, P. (2008). Mindfulness-based stress reduction for school-age children. In L. A. Greco & S. C. Hayes (Eds.), Acceptance and mindfulness treatments for children and adolescents: A practitioner’s guide (pp. 139-161). Oakland, California: New Harbinger Publications. Schonert-Reichl, K. A., & Lawlor, M. S. (2010). The effects of a mindfulness-based education program on pre-and early adolescents’ well-being and social and emotional competence. Mindfulness, 1(3), 137-151. Schonert-Reichl, K. A., Oberle, E., Lawlor, M. S., Abbott, D., Thomson, K., Oberlander, T. F., & Diamond, A. (2015). Enhancing Cognitive and Social–Emotional Development Through a Simple-to-Administer Mindfulness-Based School Program for Elementary School Children: A Randomized Controlled Trial. Developmental Psychology, 51(1), 52–66. http://doi. org/10.1037/a0038454 Qureshi, H. (1994). The Size of the Problem. In Emerson, E., McGill, P. and Mansell, J. (Eds.), Severe Learning Disabilities and Challenging Behaviours. London, UK: Chapman and Hall. Tang, Y.Y., Hölzel, B. K., & Posner, M. I. (2015). The neuroscience of mindfulness meditation. Nature Reviews Neuroscience, 16(4), 213-225.http://dx.doi. org/10.1038/nrn3916 Young, S (2013). What is Mindfulness? Retrieved from https://www.shinzen.org/wp-content/uploads/2016/08/WhatIsMindfulness_SY_Public_ ver1.5.pdf. REFERENCES 105 APPENDICES Appendix 1 Responses to Cultural Probes Responses to the Mindful Bracelet activity from Division 2 teachers. Division 1 and 3 teachers did not respond to this activity. 106 Response to the “What Do You Say” activity from Division 1 teacher APPENDICES 107 Response to the “What Do You Say” activity from Division 2 teacher 108 Response to the “What Do You Say” activity from Division 2 teacher APPENDICES 109 Response to the “What Do You Say” activity from Division 3 teacher 110 Response to the “SEL Super Student” activity from Division 1-3 teachers APPENDICES 111 Response to the “SelfRegulation Tools” activity from Division 1 teacher 112 Response to the “SelfRegulation Tools” activity from Division 2 teacher APPENDICES 113 Response to the “SelfRegulation Tools” activity from Division 2 teacher 114 Response to the “SelfRegulation Tools” activity from Division 3 teacher APPENDICES 115 Response to the “It’s Time for Art” activity from Division 1 teacher 116 Response to the “It’s Time for Art” activity from Division 2 teacher. The co-teacher did not respond to this activity. Response to the “It’s Time for Art” activity from Division 3 teacher APPENDICES 117 Appendix 2 Slideshow for teachers to introduce the felt puzzle to their students 118 APPENDICES 119 120 APPENDICES 121 Appendix 3 TCPS 2 Core Certificate of Completion 122