Can a neurodiverse-affirming show teach inclusion, life skills, and social-emotional learning while fostering mutual understanding among children with and without disabilities? This question shapes “The Wildflower Garden”, a children’s television show designed to bridge the gap between children with disabilities and their typically-developing peers. Featuring a puppet — an autistic African-American girl who communicates using an AAC (Augmentative and Alternative Communication) device, sign language, and gestalt phrases — the show models inclusion, self-regulation, and social-emotional skills. By normalizing differences and validating diverse forms of communication, The Wildflower Garden aims to foster mutual understanding, acceptance, and respect. This project draws on extensive research in creative and innovative education, integrating current studies on pacing, sensory-friendly design, and representation. Inspired by classics like Mister Rogers’ Neighborhood and Sesame Street, the show employs a multi-modal format of puppetry, live-action, and music. Each episode incorporates consistent elements such as a “Game of the Day,” “Sign of the Episode,” and a “Gestalt Phrase of the Day” to support language development and emotional expression. Social adventures set in accessible environments, such as parks or libraries, demonstrate inclusion and problem-solving strategies. “The Wildflower Garden” aims to inspire a future where diverse voices and creative minds thrive. By fostering empathy, understanding, and collaboration in young learners, this show envisions a generation equipped to build a more inclusive, equitable, and imaginative society. Together, we can create a better world where every form of communicating and connecting is celebrated and respected.

I have created a wind band transcription of Samuel Coleridge-Taylor’s 1909 orchestral work Othello Suite. The Othello Suite is a five-movement work comprising incidental music for the Shakespeare play of the same name. A transcription is defined as a unique piece of music in which the notes, rhythms, and other elements of the music have been transferred from one performance medium to another. For example, one could make a transcription for orchestra of a piece originally written for cello and piano. Composer Samuel Coleridge-Taylor was born in England in 1875 and died in 1912. His music has historically been underperformed due to his African heritage. There is an ongoing movement in classical music to share the music of such overlooked composers, which often includes creating updated versions of their works for the ensembles of today. By creating and performing this transcription, I am part of this movement which is amplifying the voices of minority composers. Additionally, Coleridge-Taylor did not write any original works for winds, so this piece provides the opportunity for a wider array of musicians to perform and study the music of this magnificent composer.

Running time 4 minutes Simultaneous Communication (SimCom) often presents more challenges than opportunities in fostering meaningful learning for Deaf and hard-of-hearing students (Scott & Henner, 2021). By attempting to combine spoken language and sign language simultaneously, SimCom compromises language quality, prioritizing spoken language over proper sign language (Marmor & Pettito, 1979). This fragmented approach impedes comprehension and linguistic development while marginalizing Deaf culture and reinforcing systemic inequalities that favor hearing individuals. This presentation will describe the research that exists on SimCom and its use in Deaf Education classrooms. Allen and Karchmer (1990) reported that 63% of educators in Deaf Education relied on SimCom, a trend that persists today as mainstream classrooms increasingly adopt this method. Research highlights the detrimental impact of SimCom on language acquisition. However, there is minimal evidence supporting SimCom’s benefits for Deaf learners (Scott & Dostal, 2019). Early studies, such as Maxwell (1983), lacked controls for the effects of adding sign language in general versus the specific impacts of SimCom. Moreover, as Rozen, Novogrodsky, and Degani (2022) note, the distinct grammars of spoken and signed languages make SimCom an ineffective communication strategy. To better support students’ linguistic and academic success, educators should adopt a multimodal, multicultural approach centered on American Sign Language (ASL) (Henner et al., 2016). Fully integrating ASL fosters language fluency, enhances reading and standardized test performance, and provides a more equitable foundation for Deaf Education. This approach ensures that Deaf and hard-of-hearing students can achieve their full potential. Citation Henner, J., Caldwell-Harris, C. L., Novogrodsky, R., & Hoffmeister, R. (2016). American Sign Language syntax and analogical reasoning skills are influenced by early acquisition and age of entry to signing schools for the deaf. Frontiers in Psychology, 7, 1982. https://www.frontiersin.org/journals/psychology/articles/10.3389/fpsyg.2016.01982/full Marmor, G. S., & Petitto, L. (1979). Simultaneous communication in the classroom: How well is English grammar represented? Sign Language Studies, 23, 99–136. https://muse.jhu.edu/article/507241 Rozen-Blay, O., Novogrodsky, R., & Degani, T. (2022). Talking while signing: The influence of simultaneous communication on the spoken language of bimodal bilinguals. Journal of Speech, Language, and Hearing Research, 65(2), 785–796. https://doi.org/10.1044/2021_JSLHR-21-00326 Scott, J. A., & Henner, J. (2021). Second verse, same as the first: On the use of signing systems in modern interventions for deaf and hard of hearing children in the USA. Deafness & Education International, 23(2), 123–141. https://scholar.google.com/citations?view_op=view_citation&hl=en&user=OvMbxDYAAAAJ&citation_for_view=OvMbxDYAAAAJ:7PzlFSSx8tAC Tevenal, S., & Villanueva, M. (2009). Are You Getting The Message? The effects of SimCom on the message received by deaf, hard of hearing, and hearing students. Sign Language Studies, 9(3), 266–286. https://www.jstor.org/stable/pdf/26190556.pdf?refreqid=fastly-default%3A153b078a0c958824f4b0745b66398f61&ab_segments=&initiator=&acceptTC=1

With a multicultural background, Olivia's work delves into the complexities of identity, heritage, personal and collective narratives. These fabric prints featured on her short film are one of the things that connect to her West African heritage and motherland. Each fabric tells a story, of love, celebration, laughter but also pain. Some of these fabrics were given to her for «her future first child », her 21st birthday and also her father’s funeral. This project seeks to illuminate the multifaceted nature of human existence, showcasing how our inner worlds and external surroundings intertwine to form a rich tapestry of life. Through the deliberate layering of diverse fabrics—each chosen for its unique texture, color, and cultural significance— the artist aims to represent the complex, often unseen dimensions of individual and collective identities. The interplay between the subject and these layers of fabric symbolizes the convergence of personal history, cultural heritage, and emotional depth, inviting viewers to reflect on their own layered experiences. By placing the person at the heart of this visual narrative, we emphasize the inherent beauty and diversity that define us all. This project celebrates the richness of these layers, encouraging a deeper appreciation for the complexities and beauties that exist within each of us and the world we inhabit. The running time is 2min 21 sec.