A Yoga-Based Program for Regular and Exceptional Student ...

68 INTERNATIONAL JOURNAL OF YOGA THERAPY — No. 14 (2004)

Abstract

School is a stressful place, especially for those with special needs. Sitting still, paying attention, staying ontask are not skills that come easily to anxious learners,yet classroom learning is very difficult without theseconstraints. There are few opportunities in most educa-tional curricula to train students in the skills required forself-control and focusing the mind. Any Yoga teacherknows, however, that control of the body and mind areskills that one can learn with instruction and practice.Creative Relaxation

SMis a Yoga-based program

designed to teach students to strengthen, stretch, andcalm the body, quiet the mind, and control the breathing.The teaching principles of Creative Relaxation are asfollows: make a sacred space, engage the student, pro-vide tools for success, and create opportunities for inde-pendence. This article will demonstrate ways to applythese principles in an educational setting for regular andexceptional student education, based on the experienceof the author as a consultant in the public school systemsince 1981. Anecdotal data and examples will be givenfrom the author’s work with children in regular educa-tion, as well as with those with autism and related dis-abilities, emotional handicaps, ADHD, and learningdisabilities, and with anxious learners. In addition, theauthor collaborated with school professionals in a studyto evaluate the effectiveness of a Yoga-based relaxationprogram for six children with autism over an eight-weekperiod. A summary of the group’s findings is presented.

Introduction

When I first began teaching Yoga in the physicaleducation department at a southern Florida communitycollege in 1980, I was concurrently teaching freshmanEnglish composition. In my English classes, my studentsstrived to complete the perfect sentence, to distinguishbetween subject and object pronouns, and to eliminatepassive voice from their writing. Across campus in thegymnasium, my Yoga students perfected their breathing,distinguished between downward and upward facingdog, and worked to quiet their minds. My Yoga studentsleft class humming and serene; my English studentswere drenched in sweat and growing increasingly tense.It did not seem fair. There had to be some way to makeEnglish composition, a subject nearly as dear to my heartas Yoga, less painful. One test day, I began class by guid-ing my students through simple neck rotations, shouldershrugs, and abdominal breathing exercises. The studentslooked at one another in bewilderment, but I noticed aslight lessening of the tension level in the room. I beganteaching abdominal breathing and progressive musclerelaxation before writing assignments, and I watched mystudents’ faces relax as their breathing deepened. In time,my students regularly began to request these relaxationtechniques at the beginning of class. Bringing Yoga intoa conventional classroom was the beginning of my workin Creative Relaxation.

Since that time, I have taught Yoga-based exercise inscores of classrooms and provided trainings to hundreds

Creative RelaxationSM : A Yoga-Based Program for Regular and Exceptional Student EducationLouise Goldberg, M.A., R.Y.T., L.M.T.

INTERNATIONAL JOURNAL OF YOGA THERAPY — No. 14 (2004) 69

of teachers, therapists, and otherschool staff in varying forms ofYoga-based therapies.

Yoga is a complex and magnifi-cent life study. Its rich and variedpostures, philosophic depths, andcodes of conduct make it an art, ascience, a way of being. Just asteaching Yoga to special needs chil-

dren does not make one an expert onexceptional children, teaching Yoga-based exercise to children does notmake a classroom teacher into aYoga teacher. Teaching Yoga re-quires a lifetime commitment topractice and study. Nonetheless,most of us who do practice and teachYoga while living in this demandingworld have improvised ways toincorporate our practice into unlikelysettings. My teacher recommendspracticing balance poses whilestanding in line at the grocery store.Breathing practices anchor us whilewaiting in a hospital for news abouta loved one. Finding a way to liber-ate one’s spine on an airplane is alesson in adaptability. A yogin can-not always assume sarvângâsana,(shoulder stand), even when heknows it is the posture most neededat a given moment. Instead we findshortcuts and variations that suit theimmediate demands of the moment.

Similarly, Creative Relaxationadapts Yoga exercises, including theelements of body awareness andcontrol, strength, flexibility, balance,breathing, and relaxation, for use inpublic school education. Trainingclassroom teachers who are gener-ally not Yoga teachers to implementthis program has brought the princi-ples of Yoga into a large sector that

might otherwise not have been sodisposed. The components of Cre-ative Relaxation include creating a sacred space, engaging the stu-dent, providing tools for success,and providing opportunities forindependence.

Most schools are noisy, busy,demanding places—bells ring,walkie-talkies squawk, kids andteachers yell. There is always some-where one is expected to be andsomething one is expected to do.There is little time that belongs to thestudent—the adults around himdetermine his activities. The studentis continually challenged, both intel-lectually and socially. As observedby one school social worker, “All ofthe rules that are necessary to main-tain order in a classroom are contraryto the instincts of children. Kids arenot designed to sit quietly. Theyjump and scream and dance andkick.” Yet there is scarcely a placeinside a school where such activitiesare acceptable or even tolerated.School imposes restraints on chil-dren that are contrary to their nature.The physical environment, lack ofcontrol, and continual demands cre-ate stress.

What is Stress?

Hans Selye described stress asthe “non-specific response of thebody to any demand made upon it.”There are certain alarms that mosthumans respond to consistently, yetwe are all subject to unexpectedreactions that upset the internal equilibrium. “Stress is caused bymany things, both pleasant andunpleasant . . . [Even] such essen-tially different things as cold, heat . .. sorrow and joy . . . provoke an iden-tical biochemical reaction in thebody.”1 Yet not all stress impactsequally on the body: Mental frustra-tion can be destructive and far more

likely to produce disease, whereasthe exertion of physical exercise can “relax and help us withstandmental frustration.”2

Learning, Stress, and the Brain

Research shows that stimulationand exercise enhance learning. Adultmice that are moved from a sterile,simple cage to a larger one with running wheels and toys, for exam-ple, will experience a “significantincrease in neurogenesis,” the pro-duction of new brain cells.3 Experi-ments show that this type of increase“gave rise to enhanced memory andmotor coordination.”4

Learning, exercise, and environ-mental enrichment can all stimulatean increase in brain cells in the hip-pocampus, where the brain storesinformation.5 However, “stress isknown to restrict the number ofnewly generated neurons in the hip-pocampus.”6 This helps explain whyanxious individuals have such difficulty learning and retaininginformation.

Individuals under extreme stressoften become physically aggressive.“Anxiety seems to wreak havoc inthe limbic system, the brain regionconcerned with emotion,” explainsRobert Sapolsky. The amygdala, theportion of the brain that responds tofear, “is also central to aggression,underlying the fact that aggressioncan be rooted in fear.”7

Making sense of the world isoften challenging to those with spe-cial needs. Anxious learners areextremely vulnerable to stress, andthe sources of their stress may beless predictable and less consistentthan those of others. Children withADHD are characterized as im-pulsive, inattentive, and hyperactive8

in varying combinations. Accordingto the National Institute of Mental

I watched my students’faces relax as their breath-ing deepened.


Health (NIMH), they may be “easilydistracted, have difficulties withconcentration . . . [and] have out-bursts of temper . . . due to anxiety ordepression.”9 Those with emotionalhandicaps often exhibit “hostileaggressiveness” and have “shortattention spans and unrealisticfears.”10 Children with learning dis-abilities are often distractible11 and“may vent their frustration by actingout.”12 They often have perceptualproblems, making it difficult to learnby visual and auditory means.13 Chil-dren within the autism spectrum14

may exhibit aggressive and/or self- injurious behavior, resistance tochange, anxiety . . . and over- or under-sensitivity.15 “Most peopleautomatically know when theirstress is so high that they must getout of a situation quickly, . . . butthose with autism must be taught . . .ways to escape overwhelming stressbefore they lose control.”16

As varied as children with spe-cial needs are, they may share com-mon responses to stress. “Symptomsexhibited by an anxious learnerinclude bodily sensations such asirregular breathing, churning stom-ach, sweating, trembling, racingheart, nervousness, sweaty palms,nausea . . . etc.” Anxious learners areencouraged to “[Do] somethingphysical . . . notice body posture and

tense muscles and . . . make an effortto change the posture and relax themuscles by taking deep controlledbreaths, tensing and relaxing neck,arm and back muscles, stretch, bendforward, backward, sideways . . .”17

Why Yoga?

Yoga Calms the Body“Science shows that meditation,

massage, yoga—even laughter—canchange bad habits in the brain.”Methods such as Herbert Benson’s“relaxation response” for controllingthe breath and focusing the mindlower blood pressure, slow breathing,and create an overall calm. However,“if sitting in one position for morethan five minutes sounds impossible,you might try yoga,” suggestsNewsweek. One anxious individualdescribes the stretching and deepbreathing of Yoga as her “tranquilizer.”18

I have observed Yoga’s calmingeffects on hundreds of children withsevere emotional disturbances. Kidswho were so guarded that they woreheavy down vests and flannel shirtseven in the south Florida tropicalheat would begin to soften. Theywould open themselves in mat-syâsana (fish pose) and even allowme, after I asked and they hadlearned to trust me, to lift them bythe torso, to open them more. Theywould peel off their jackets duringbalâsana (child’s pose) so theycould feel a caring hand on theirback, and as soon as that was over, they would put back on all thelayers they had been wearing. Thiswillingness by children—some ofwhom had lived with abuse, andsome of whom had in many casesperpetrated abuse—to be touched, toconnect with another human in a way that could not be miscon-strued, was a vivid lesson in Yoga’srelaxing properties.

CHECK SEATED POSTURE:Form as many right angles as possible. Breathe softlythrough the nose, keepingbelly relaxed.

3 HUH BREATHS: Shrugshoulders (both or one at atime) up to ears with inhala-tion; release with exhalation.

1.

2.

BUTTERFLY HANDS: Shakearms and wiggle hands all around your body as if theywere butterflies. (Good alter-native to hand flapping orstraying hands.)

SILENT SCREAM: Openmouth, yawn, and stretch eyesopen wide. Exhale with gush.

NECK ROLLS: Sitting straight,lower chin to chest. Inhale.With exhalation, roll headright, keeping chin low.Inhale. With exhalation, rollhead left. Repeat.

SEATED FOLD: Hang forwardin chair. Drop arms toward thefloor. Roll up slowly.

SUPPORTED BACKBEND:Reach each arm around backof chair. Lean back and stretchchest.

TWIST: Reach across right sideof your body with both hands.Hold onto back or sides ofchair and twist upper bodytoward the right, keeping yourseat. Reverse.

PUMPING BREATH: Interlacefingers. Bend elbows andplace palms behind head.With inhalation, open elbows.With exhalation, close elbows.

SEATED RELAXATION: Tenseand relax hands, arms.Tenseand relax feet and legs. Tenseand relax face. Yawn, stretchface, soften face. Take slow,soft breaths. Feel the abdomeninflate with inhalation, deflatewith exhalation.

3 HUH BREATHS

© 2004 Louise Goldberg

3.

4.

5.

6.

7.

8.

9.

10.

11.

CHAIR SERIES


Yoga Quiets the Mind

Drugs such as tranquilizers workin part by relaxing muscles, as wellas by curbing the stress reactions ofthe brain. “The result is a calm body—and a less anxious body means a lessanxious brain.” The challenge is toachieve this state of release withoutrisking the “sedating and addictive”properties of medications.19 Sinceancient times, Yoga scholars havebeen keenly aware of the intercon-nection of body and mind. Patanjali,the sage who is believed to have cod-ified the system of Yoga in the secondcentury20 identified this corollary:“(Mental) pain, despair, nervous-ness, and hard breathing are thesymptoms of a distracted conditionof mind.” 21 Patanjali’s instructionsfor stilling the mind include âsana(Yoga posture) and prânâyâma(breath control).22 This is the reasonyogins and yoginîs work so hard tohone the body, making it pliable andstrong, to do the more demandingwork of sitting and quieting the mind.23

Yoga Increases Strength, Flex-ibility, Balance

B. K. S. Iyengar reports, “Yoga,unlike other forms of exercise,keeps the nervous system elastic andcapable of bearing stress . . . Yogainvolves the equal exertion of allparts of the body and does not over-strain any one part.” 24 According toThe Anatomy of Hatha Yoga, “Stand-ing postures develop overall strengthand flexibility . . .”25 Backbending is“invigorating . . . stimulating thesympathetic nervous system . . .”26

“Forward bending . . . tends to quietrather than stimulate . . . enhancingdigestion . . . [and providing] train-ing for meditation.”27 Twisting helpsin “improving circulation in the great supportive systems of the body . . .”28 Iyengar believes that

inversions “simultaneously calm andstimulate the brain . . . activateglands and vital organs for supplyingfresh blood to the brain, making it alert but calm.”29

Yoga Breathing Fosters Self-Control

Anxious students often breatheshallowly, heaving the chest. This isfunctional for short-term responsesto stress, but habitually breathing inthis manner predisposes the bodytoward an activated sympatheticnervous system. In fact, chest (tho-racic) breathing is directly related tothe activation of the fight or flightsyndrome. However, “the workloadof the cardio-respiratory system maybe reduced by as much as 50% bychanging from thoracic to diaphrag-matic breathing.”30 With coaching,students can learn to observe andgradually deepen their breathing.

As one is able to change thebreath, often the mind will followinto a more relaxed state.

Early in my teaching career, Ihad a Yoga student who had severeasthma. At the end of the semester,she approached me nearly in tears.All her life, she explained, peoplehad been telling her to relax. “Try torelax when you can’t breathe,” shelaughed. “And the more I panickedbecause I couldn’t calm down, themore breathless I became. In my 19years of struggling with this condi-tion, it wasn’t until now, throughYoga, that anyone ever taught mehow to relax.”

Creative Relaxation: Bringing Yoga into theSchool Setting

Creative Relaxation adapts Yogaâsanas and prânâyama to suit thespecial needs of children and thephysical environment of the class-

room. The author has conductedtrainings for hundreds of educatorssince 1981, helping them implementthese techniques into their own livesand their curricula. The teachingprinciples of Creative Relaxation areas follows: create a sacred space,engage the student, provide tools forsuccess, and provide opportunitiesfor independence.

Creating Sacred Space

Feeling safe is essential to relax-ation. Rules must be clear andenforced without judgment. Mats,carpet samples, or masking tape helpchildren identify their personalspace. Start with individual studentsor small groups of two or three inbrief sessions to assure safety andquiet. To make Creative Relaxation aquiet time, ask students to hold ques-tions and comments until a desig-nated time in the session; let themspeak with permission before theylose control. By carefully observingthe students, the teacher can extendthe periods between talk at a pacethat is tolerable for them.

Soft music, soft lights, quietvoices can change the atmosphere ofeven the most ordinary room. Anattitude of ahimsâ (do no harm) onthe part of the teacher creates a moodwithin the classroom as well. Aslong as a child is not hurting himselfor another, his efforts are acceptable.Creative Relaxation is NEVER apunishment. If a child is noncompli-ant, he may be asked to sit out so thathis actions do not prevent othersfrom participating. Praise quiet inthe room, and include those whoappear not to be participating when

Soft music, soft lights,quiet voices can changethe atmosphere of eventhe most ordinary room.


they are quiet too. While working with a class of

middle school children with varyingexceptionalities, I noticed a subtleform of participation among one ofthe children with autism. He hadvery limited oral language andneeded lots of coaching to stay on

his mat and within his personalspace. The other students in the classwere able to enjoy a five-minuteshavâsana (corpse pose), but thisstudent never actually lay down.During this portion of class, he waswelcome to sit in a chair close to me,as long as he was quiet. He often

began pacing, but could usually becoaxed into sitting again. This student, a heavy mouth breather,

frequently panted with mountingfrustration throughout the day. I noticed that while I guided theother students through shavâsana,his breathing became slower and qui-eter. Although it might appear that hewas not participating in the activity,the audible change in his breathingsuggested otherwise.

Engaging the Student

Providing motivation

Noting improved flexibility canbe motivating for some. High schoolaged students at a center for severelyemotionally disturbed children weresometimes reluctant to participate inYoga practice.31 My colleague and Iengaged them by measuring wheretheir hands touched their bodies inuttanâsana (“weeping willow” pose)or pascimottânâsana (“folded leaf”pose) on the first day of class. Wait-ing for us to come around the room,students held this stretch and theirhamstrings lengthened. As theybecame more comfortable in thepose, the hold became self-reward-ing. Periodically, we would remea-sure, especially when we notedsignificant increases in flexibilityamong reluctant participants. Soonstudents began to point out and sharetheir own “landmarks” of progress intheir postures.

Multi-modal learning

Engaging students is facilitatedby speaking the language of thechild—adapting the teaching style to

Yoga is ideal for visuallearners.

CREATE A SACRED SPACE

• Soften the lights (provide a lamp if needed)• Play relaxing music• Shoes off, comfortable clothing• Extra towels if needed for warmth• Use your quiet voice

RULES FOR CLASS

• Stay in your personal space—on your own mat or towel or at your seat

• Keep your arms and legs within your personal space• Listen to and watch your teacher• Notice how you are breathing • Notice your body

RELAXATION BREATHING

Inhalation• Breathe in quietly through the nose• Feel the belly inflate like a balloon filling with air

Exhalation• Breathe out quietly through the nose• Feel the belly deflate like a balloon letting the air out

TEACHER GUIDELINES

• Keep it safe: use exercises you are comfortable doingand teaching

• Keep it positive: allow students to feel successful by startingwith the simplest routines

• Keep it brief: gradually lengthen sessions if desirable • Model: let students see you using relaxation techniques

during stressful moments in the classroom


that which most closely matches thechild’s learning style. In schools,most information is presented orally.Children with autism, however, tendto be visual learners,32 and those with learning disabilities and at-tention deficits are often kines-thetic/tactile learners.33 In CreativeRelaxation, as in Yoga, we combinelearning modes.

Yoga is ideal for visual learnersbecause the teacher positions herself“on the student’s eye level,” usingthe “body as a visual tool.” 34 Visualaids such as drawings of poses areespecially helpful for children withautism.

By breaking the process intosteps that address each modality, theteacher engages diverse learners. Inteaching pascimottânâsana (“foldedleaf” pose), for example, the studentfirst learns to sweep the arms up anddown while sitting in dandâsana(staff pose). The teacher may tap thehands to cue the motion or move thechild’s arm. This kinesthetic/tactileexperience helps clarify “up” and“down,” challenging concepts forsome children. To help the childcoordinate the upward movementwith the inhalation and the down-ward with the exhalation, the teachersits alongside the child and breathesaudibly. Next add the chant “handsgo up, hands go down” in rhythmwith the motion and breath. As thechild follows the movement of hisbody, the feeling of his breath, thesound of his own voice guiding him,and the teacher’s visual instructions,he is learning with all his senses. Ihave seen many “distracted” learnerstotally absorbed in this manner.

Making it fun

Making Yoga fun is even moreimportant than form in CreativeRelaxation. “Shared laughter,” ac-cording to Steven Gutstein, “becomes

a motivating factor” in early child-hood development. He believes thatthis skill can be taught through“experience sharing.” 35 In marjar-iâsana (cat pose), for example, movefrom happy cat—look up, smile, andsay “meow”—to angry cat—lookdown, round up your back, and don’tsay a word. By switching from noisyto quiet and back, the teacher main-tains control, yet students still have a chance to play. Simhâsana (lionpose, or facial stretch) can be done with a roar or silently. Insarvângâsana (shoulder stand orcandle), the teacher “lights” eachcandle and then gently blows themout. Children may do the candle bylying on their backs, raising one legat a time. All effort is praised—as theBhagavad-Gîtâ (2:50) says, “Thewise man lets go of all results,whether good or bad, and is focusedon the action alone . . .”36

Providing Tools for Success

Structure

Providing stimulation and chal-lenge within the framework of thefamiliar is helpful for anxious chi-ldren, who often dislike change.“Organization and structure reduceanxiety from distractions and overwhelming sensory stimulation,”writes Janice Janzen. To help learn-ers “gain control . . . include frequentopportunities to move about andengage in strenuous exercise” and a “balance of activities that are . . . familiar and new, . . . active andquiet.”37 Gutstein suggests working“within expandable, evolving frame-works.”38 In Yoga we build on basicstructures. Vîrabhadrâsana (warriorpose) is the starting point for manystanding poses, just as sukhâsana(easy pose) is when seated. Whenworking with children with anxiety, keep to a routine. I begin and end

every class with the HUH breath(inhale, raise shoulders; exhale, dropshoulders). Simple, systematic repe-tition enables students to feel suc-cessful and comfortable.

Simplify steps

Providing students with tools forsuccess requires simplifying theprocess so that they lose neitherenthusiasm nor self-esteem duringthe learning process. Break eachposture into its smallest steps, andprovide practice until each step ismastered. Coordinating the motionof the eyes and head as in neck rota-tion provides practice with maintain-ing equilibrium during slow, steadymotion. Before balancing, practicetraining the eyes to stay focused onan object such as a focus circle39 orcolored paper on the floor. Beforeraising the foot even an inch off theground, help the children identify thecorrect foot by wiggling the toes onthat side. Students may use a wall forsecurity and are encouraged to touchdown at any point. Part of theteacher’s ability to maintain a sacredspace is to inform the students thateach variation is a “correct” form ofthe posture. With this sequentialapproach, students become profi-cient with each phase of an âsanaand have the choice to further chal-lenge themselves or not.

For many children, there is aphysiological reward for furtherchallenge. “Stress affects dopamine,the main currency of the pleasurepathway . . . Moderate and transientamounts of stress . . . increasedopamine release in the pleasurepathways.”40 Finding the balancebetween acceptable and unaccept-able amounts of stress requires vigi-lant observation on the part of theteacher. It has been my experiencethat quitting while the student is feel-ing successful increases willingness


to return to the activity and attemptfurther challenges in the future.Robert Sapolsky’s findings offer anexplanation for that pattern: “Moredopamine can lead to a feeling ofwell-being in a situation of mod-erate . . . stress during which a sub-ject is challenged briefly and not tooseverely . . .” When the challengebecomes too taxing, however, thereis an excess of the stress hormone.Then “dopamine production is curb-ed and the feelings of pleasure fade.” 41

Opportunities for Independence

Relief through touch pressure

The “modality of touch, . . .along with . . . vision and thevestibular sense, make it possible forus to maintain our balance and equi-librium.”42 As mentioned, childrenwith special needs often have sen-sory challenges, including extremesin their sensitivity to touch and poor body awareness. Interestingly, “the autistic child senses input from his muscles and joints betterthan he does through his eyes andears . . . ,” according to Jane Ayres.“Very heavy touch-pressure is thekind of tactile stimulation that often produces a positive response in the autistic child . . . He wants tofeel something, but perhaps onlyvery strong sensations register in his brain. Some of these childrenact as though their . . . [body] feltuncomfortable much of the time, and the hard pressure made them feel better.”43

This characteristic may suitthem to Hatha-Yoga. In shalab-hâsana (locust pose or “prone boat”pose), one can “feel the contact ofthe skin on the floor, deep pressurein the abdomen, and awareness of

extension in the . . . extremities,”explains David Coulter. Thus strenu-ous postures enhance an individual’sbody awareness through his or hersense of touch. Further, Yoga offers amotivation for stillness because itmay offer a respite from sensoryinput. “Touch receptors adapt evenmore rapidly than receptors in the

vestibular system, which means thatthey stop sending signals to the CNS after a few seconds of stillness . . . Ifyour posture is stable, the receptorsfor touch stop sending signals backto the brain . . .”44

I have observed that some of thestudents with autism prefer to doadho-mukha-shvanâsana (downwardfacing dog pose) with their head onthe floor, in a variation of sha-shankâsana (hare pose) with the legsextended and significant weightplaced on the top of the head, and Iencourage teachers to cue their stu-dents to assume this pose as an alter-native to head banging. Perhapsself-injury is the only method somechildren have to distract themselvesfrom their constant state of hyper-sensitivity. Yoga postures could pro-vide an independent opportunity forchildren with extreme tactile sensi-tivity to experience a reprieve, evenif just for a moment.

Sense of control

Early researchers discoveredthat “stress is exacerbated if there isno outlet for frustration, no sense ofcontrol . . .”45 Among the aims ofCreative Relaxation is to give chil-dren some experience of control. By

associating an action that relievesstress with a particular signal, teach-ers can cue students as soon as theyobserve their tension escalate. Ateacher may say, “Take five slowdeep breaths,”46 for example, as soonas she sees a student exhibiting signsof frustration. In that way, the stu-dent begins the process of releasingtension rather than increasing it. Bygiving the student a picture descrip-tive of those directions, combiningvisual and verbal cues, and lots ofpractice in the stress relieving activ-ity when the student is comfortable,the teacher begins to create an asso-ciation for the child between theprompt and the calming feelings. In1978, Cautela and Groden “devel-oped a relaxation program for per-sons with special needs” to be usedat the Groden Center. Their goal wasto increase “self-control” by substi-tuting a “relaxation response in placeof the typical maladaptive behav-iors” exhibited during high stress,such as acting out or aggressiveness.In 1988 Groden and Prince reported“44% of the clients are able to relaxwhen given a verbal cue by theirteacher . . ., and another 31% were ableto use the procedure independently.” 47

Training for the SpecialNeeds of Children

The following pilot project wasconducted in spring 2001 by LouiseGoldberg, Sally Miller, Debra Col-lins, and Daniela Morales.

The purpose was to teach relax-ation skills to students with autismso that they could function more pro-ductively in stressful situations.

Participants were upper elemen-tary school children with autismfrom self-contained classes and reg-ular education with support. The sixstudents were chosen because theirteachers and parents documentedovert signs of anxiety and dysfunc-

Strenuous postures en-hance an individual’sbody awareness throughhis or her sense of touch.


tion under stress. They would soonmake the transition to middle school,and they lacked some or many of the skills needed to cope withchanges in their routine. One ormore of them were prone to violentoutbursts. Students were divided into two groups, and they partici-pated in 30-minute sessions threetimes a week for approximately eight weeks.

The relaxation program48 in-cluded Yoga exercises and breathing,role-playing, guided imagery, dis-cussion, visual aids, music and softlighting, stories, and mnemonics. Itaught each class with the assistanceof at least one of the pro-fessional team. Each class consistedof exercises to 1) strengthen posturalmuscles, 2) increase flexibility, 3)improve balance, 4) practice abdom-inal breathing, and 5) quiet the mindthrough progressive muscle relax-ation, imagery, and periods ofsilence, as well as 6) generaliza-tion—learning to use these skills inother settings, including the class-room and home.

The school staff and I made pre-sentations to parents and teachers sothey would be able to reinforce therelaxation skills the children werelearning. I taught a relaxation ses-sion comparable to the ones the chil-dren did in school to interestedparents in an evening presentation,and also held trainings for teachersand support staff. I instructed mem-bers of the research team in hands-oncorrection techniques and suitableYoga exercises. They coached me inapproaches specific to the needs ofchildren with autism.

We developed stories based onthe concept by Carol Gray49 to helpease anxiety by preparing childrenfor a change in the curriculum or any unfamiliar event. We devisedvisual cues with words like QUIET ZONE and S.T.O.P.50 (see

S.T.O.P.S - Soft face, soft shoulders

T- Take 5 deepSlow Breaths

O- Open my chest

P- Posture check

GRAPHS OF STUDENTS’ PULSE RATES: PILOT PROGRAM, 2001The left axis of each graph shows the number of pulses counted per 10 seconds. The bottom axis shows the sessions attended.The diamond-marked line indicates the pulse count on entry to the session.The square-marked line indicates the pulse count at the end of the session.


diagram) to help create an atmos-phere conducive to relaxation.

Evaluation was by pre- and post-rating scales from teachers and par-ents; measurement of pulse ratesbefore and after sessions; observa-tion of students’ breathing patternsand muscle tone before, during, andafter exercises; teachers’ observa-tions of overt signs of stress vs.relaxation in target situations; andanecdotal reports from teachers, par-ents, and children who participated.Students were videotaped early andlate in the training.

Evaluation results: Rating scalescompleted by parents and teachersdemonstrated lower stress levels. Inalmost every session, pulse ratestaken at the end of relaxation classwere lower than they were at thebeginning of the sessions.51 The meanpulse rate (based on a 10-secondreading) before class was 17.577,and the mean pulse rate after classwas 14.954. Using the two-sample-t-test, the difference was found to

Table 1: Pulse Counts for Relaxation Pilot Study


be statistically significant (p < 0.01)(see Table 1).

In addition, students demonstrateddeeper breathing and increased still-ness, as evidenced by video clipsfrom early and late in the training.Improved muscle tone enabled stu-dents to do more challenging pos-

tures and sit straighter. They weresuccessful at following more com-plex instructions. Students demon-strated increased awareness of theparts of their body and how to movethem. Their ability to fix the eyes onone point and balance on one footincreased significantly. Studentslearned to respond to verbal cuessuch as “relax” and “breathe.” Class-room teachers reported increasedalertness after sessions and moreself-monitoring; teachers were ableto use the relaxation cues to helpchildren de-escalate in volatile situations.

Parents observed children usingrelaxation techniques during stress-ful situations and before bed. Stu-dents shared scenarios of usingrelaxation techniques and mnemon-ics to help calm themselves. Oneparent reported that her daughter washaving a very difficult time when her dentist attempted to take impres-sions of her teeth. After severalunsuccessful tries, she independ-ently went through the S.T.O.P.mnemonic; she was then able to sitcalmly while the dentist completedthe impressions.

What’s Happening Today

In schools I have conductedtraining programs for over one hun-dred staff members that include avideo for classroom use. Most

recently, the autism specialists and I have led higher-level trainings,preparing autism coaches to trainone another. Relaxation programsare taking place in dozens of centersand schools, and S.T.O.P. posters are used in classrooms across the county at students’ desks and ontheir schedules.

Conclusion

School is a demanding place,and learning is stressful, especiallyfor anxious learners or students withspecial needs. Yoga enhances learn-ing and self-control by strengthen-ing, stretching, and calming thebody, quieting the mind, and control-ling the breath. The principles ofCreative Relaxation enable class-room teachers to implement aspectsof Yoga into their students’ day andturn the classroom into a quiet, |safe place, if even just for a fewmoments. By engaging students,providing tools for success, and cre-ating opportunities for independ-ence, teachers help students lessentheir stress levels. Including Yoga-based Creative Relaxation in schoolcurricula offers students proventechniques to calm down, focus,attend, and experience self-control.

Endnotes

1. Selye, Hans. Stress Without Distress.New York: New American Library, 1974, p. 16.

2. Ibid., pp. 73–74.

3. Gage, Fred. Brain, repair yourself. Scientific American, Sep 2003, p. 52.

4. Halloway, Marguerite. The mutablebrain. Scientific American, Sep 2003, p. 81.

5. Sapolsky, Robert. Taming stress. Scientific American, Sep 2003, p. 93.

6. Gage, op. cit., p. 50.

7. Sapolsky, op. cit., pp. 87–90.

8. American Psychiatric Association.Diagnostic and Statistical Manual ofMental Disorders (DSM-IV-TR). 4th ed.

Text revision. Washington, D.C.: Ameri-can Psychiatric Association, 2000, p. 78.

9. Neuwirth, Sharyn. Attention DeficitHyperactivity Disorder. National Instituteof Mental Health, 1996. URL:http://www.nimh.nih.gov/publicat/adhd.cfm.

10. Seefeldt, Carol, and Nita Barbour.Early Childhood Education. New York:Macmillan, 1990, p. 91.

11. Ibid., pp. 84–85.

12. Gorman, Christine. The new scienceof dyslexia. Time Magazine, 28 Jul 2003,p. 54.

13. Hall, Nancy. RESCUE, a Handbook ofRemedial Reading Techniques. Steven-shill, Mich.: Educational Services, 1969, p. 4.

14. For more information, see MollyKenny, “Integrated Movement TherapyTM:Yoga-based therapy as a viable and effec-tive intervention for autism spectrum andrelated disorders,” International Journalof Yoga Therapy, 2002, no. 12, pp. 71–72.

15. Autism Society of America. Common characteristics of autism. URL: http://www.autismsocieyt.org/site/PageServer.

16. Janzen, Janice. Understanding theNature of Autism. San Antonio, Tex.:Therapy Skill Builders, 1996, pp.358–359.

17. Child Guidance Clinic, School BasedSupport Services, Winnepeg, Manitoba,Canada. URL: http://www.childguidance-clinic.ca/parents_anxiety.htm.

18. Kalb, Claudia. Coping with anxiety.Newsweek, 24 Feb 2002, p. 54.

19. Sapolsky, op. cit., p. 91.

20. Feuerstein, Georg. The Yoga Tradition. Prescott, Ariz.: Hohm Press,1998, p. 284.

21. Taimni, I. K. The Science of Breath.Wheaton, Ill.: The Theosophical Publish-ing House, 1975, p. 82.

22. Feuerstein, op. cit., p. 299.

23. Taimni, op. cit., pp. 252–253.

24. Iyengar, B. K. S. Yoga: The Path toHolistic Health. London: Dorling Kindersley, 2001, p. 19.

25. Coulter, H. David. The Anatomy of Hatha Yoga. Honesdale, Pa.: Body andBreath, 2001, p. 272.

26. Ibid., p. 324.

27. Ibid., p. 381.

28. Ibid., p. 435.

Students were success-ful at following more com-plex instructions.


29. Iyengar, op. cit., p. 11.

30. Nuernberger, Phil. Freedom fromStress: A Holistic Approach. Honesdale,Pa.: The Himalayan International Insti-tute, 1981, pp. 173–178.

31. For more information, see LibbyRobold, “Yoga and emotional healing foraggressive youth,” International Journalof Yoga Therapy, 2002, no. 12, p. 83.

32. Hodgdon, Linda. Ten Keys to Becoming a Better Educator: SolvingBehavioral Problems in Autism. Troy,Mich.: QuickRoberts Publishing, 1999,pp. 8–9.

33. Hall, op. cit. pp. 9–10.

34. Hodgdon, op. cit., pp. 8–9.

35. Gutstein, Steve, and Rachelle Sheely.Relationship Development Intervention.URL: http://www.connectionscenter.com.

36. Mitchell, Stephen. Bhagavad Gita, a New Translation. New York: ThreeRivers Press, 2000, p. 55.

37. Janzen, op. cit., p. 152.

38. Gutstein, op. cit.

39. Goldberg, L., S. Miller, D. Collins,and D. Morales. S.T.O.P. and RELAX, a Visual Curriculum. Shawnee Mission,Kan.: Autism Asperger Publishing Com-pany, 2004.


41. Ibid.

42. Coulter, op. cit., p. 51.

43. Ayres, A. J. Sensory Integration and the Child. Los Angeles: Western Psychological Services, 1995, p. 125.

44. Coulter, op. cit., p. 51.


46. Goldberg, Miller, Collins andMorales, op. cit.

47. Groden, J., J. R. Cautela, S. Prince,and J. Berryman. The impact of stress andanxiety on individuals with autism anddevelopmental disabilities. In E. Schopler

and G. B. Mesibov, eds., Behavioral Issues in Autism (New York: PlenumPress, 1994), p. 186.

48. Goldberg, Miller, Collins, andMorales, op. cit.

49. Gray, Carol. The Gray Center forSocial Learning and Understanding. URL:http://www.thegraycenter.

50. Goldberg, Miller, Collins, andMorales, op. cit.

51. Ibid.

© Louise Goldberg 2004

Louise Goldberg, M.A.Relaxation Now LLCP.O. Box 93-6123Margate, FL 33093Email: [email protected]

A Yoga-Based Program for Regular and Exceptional Student ...

Documents

Transcript of A Yoga-Based Program for Regular and Exceptional Student ...