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Within the context of the G-sports days at HoGent, special attention is given to the accessibility of sports and physical activity for people with disabilities. In line with this objective, this lesson specifically focuses on inclusive dance education for blind and visually impaired individuals. The Physical Education and Occupational Therapy program prepares future professionals to develop and implement movement activities that are accessible to people with various sensory impairments.
Dance plays a crucial role in the motor, cognitive, and socio-emotional development of individuals, regardless of their visual abilities. However, to make dance education accessible and inclusive, it is essential to apply specialized didactic and pedagogical strategies. This lesson covers scientifically based methodologies, focusing on tactile and verbal instructional techniques, spatial orientation, and sensory compensation.
An important aspect of this lesson is raising awareness about inclusive dance education. Students become aware of the challenges faced by individuals with visual impairments and learn how to adapt their didactic approach to create a safe, supportive, and inclusive learning environment. By combining theoretical insights with practice-oriented applications, students acquire the competencies needed to facilitate inclusive sports and movement activities.
This lesson aligns with the Belgian educational vision and the development goals for teachers and occupational therapists, as established by the Agency for Higher Education and Qualifications (AHOVOKS) and the Flemish Education Inspectorate. Inclusive education is a fundamental right in Belgium, anchored in the M-decree and further developed in the Support Decree. This legal framework states that students with specific educational needs must be supported as much as possible within mainstream education. These principles also apply in higher education and within the broader context of sports and movement education.
The lesson is structured using the principles of Universal Design for Learning (UDL). This educational framework aims for a flexible and responsive didactic approach, integrating various learning styles and needs into the lesson design. The goal is to provide students with insights into how inclusive and evidence-based pedagogical strategies can contribute to dance education that is accessible to people with visual impairments.
Through this approach, future professionals are optimally prepared to implement inclusive sports and movement education in diverse educational and care contexts. The acquired knowledge and skills will contribute to promoting an equitable and accessible sports environment, where people with and without visual impairments can participate together in dance as an expressive and movement-oriented activity.

Lesson Plan: Accessible Didactics and Pedagogy in Dance Education for the Blind and Visually Impaired (Inclusive)
Target Group: College students in Occupational Therapy and Physical Education Teaching
Duration: 1 hour and 15 minutes
Own Annex: Universal Design for Learning

Lesson Structure:
Part 1: Accessible Didactic Methods and Pedagogical Structure.
Accessible didactics and pedagogical principles in inclusive education
The didactic approach described in this lesson plan falls under inclusive didactics. This type of education is accessible and effective for all learners, regardless of their limitations or needs. Below is more information about the applied methods and their underlying principles:

Explanation:

The unique challenges and opportunities of dance education for people with visual impairments. Emphasize inclusion.

Engagement:
Ask students if they have experience guiding people with disabilities and what techniques they already know.

Introduction
Entry (2 students are assigned to welcome a blind dancer with a guide dog and a visually impaired person)
Once the target group is inside, we will ask random questions in the group:

What challenges does a trainer face when teaching a sport discipline to people with a visual impairment?
What could be the advantages of inclusive dancing for sighted and non-sighted participants?

Thanks to the blind and visually impaired, we become better communicative trainers.
Knowledge leads to a mindset shift.
Lesson
Blindfolds on, and dance class is given using ropes. Bachata beginner lesson first on the ropes, then in pairs for 10 minutes.
How does it feel not to see? What were the key tools you used to execute the movements? Which didactic techniques can be used for that?

1. Using senses other than sight for sports participation
Which two main senses can be used?
a. Auditory – subject-matter content / empathy alongside music (important anchor point for the blind, clear instructions – trainer's role is crucial)

Auditory Didactics

What is it?
Auditory didactics use sound, such as spoken instructions, music, rhythm, and other acoustic signals, to convey learning content.
Application in dance:

Music and rhythm help structure movements and develop a sense of timing.
Verbal instructions, such as directional cues (“turn to the right”) or actions (“take a step forward”), support spatial orientation.

Scientific basis:
Research into audio-based learning shows that people with visual impairments often develop their auditory skills better. This makes auditory signals highly effective as learning tools.

b. Haptic – Which tools? Space / objects…

Haptic Didactics

What is it?
Haptic learning focuses on touch and tactile perception to convey movements or concepts.
Application in dance:

Using touch, such as a hand on the shoulder to indicate a turn, enables physical connection between instructor and student.
Movements can be “pre-felt,” so the student learns through physical experience.

Scientific basis:
Haptic guidance is based on principles from kinesitherapy and sensory integration. This type of learning strengthens motor memory and provides a more direct way to understand movements. Can you give us other examples? We also like to learn from you.

Occupational therapy example: A therapist moves an arm together with a client to activate a specific muscle group. Hands-on guidance can be a very powerful tool for this target group (a new type of dance tool that should be documented).
Active involvement: The guide is physically present and works alongside the person.
Practice-oriented: The focus is on “doing” rather than just listening or observing.
Direct feedback: The guide can provide immediate corrections and instructions during the task.

The aim of hands-on guidance is not only to make someone understand how to do something but also to build confidence and skill through direct experience.

Occupational Therapy: Students learn techniques to help clients with disabilities in physical rehabilitation and daily movement.
Physical Education: Students are prepared for inclusive teaching, learning to respond to the diverse needs of students.

Also concerning spatial awareness and coordination? (Annex)

This is also NEW: Break down movement patterns into step-by-step actions.
Example: Learning a turn in three parts: start with a step forward, turn the upper body, push off with the back foot.

Value Reflection Survey?

2. How to pedagogically engage with a blind or visually impaired athlete in an inclusive context and what values do we want to instill?
a. empathy
b. adaptability
c. respect for their autonomy
d. building appreciation, safety, confidence, perseverance, joy, connection, and respect

Examples of values to instill:
Inclusive sports education should focus on more than just physical performance. Conveying core values enhances the sports experience and the personal development of blind and visually impaired athletes.
A. Self-confidence
Sports give athletes the chance to discover what they are capable of. Celebrating success helps build confidence.
B. Independence
Encourage athletes to make decisions and take action within their abilities. This strengthens their sense of autonomy.
C. Cooperation and Respect

For themselves: Teach athletes how to ask for help and communicate effectively.
For the group: Inclusive sports foster mutual respect and teach that everyone can make a valuable contribution. How?
Build respect for helpers (inclusion goes both ways).

D. Perseverance

Sport teaches blind and visually impaired athletes to face and overcome challenges.
This skill is transferable to everyday life or work.

E. Joy and Connection
Sport should be fun above all! Experiencing joy and being part of a group enhances social connections and mental health.
Student division into groups with two objectives:
Didactics
Each group gets two assignments

Auditory: 1 student asks others to perform movements while they are blindfolded.
Haptic: each student uses a provided object (balls, stretch bands, magnet boards...) or a space marker (wall, floor...)

Pedagogy
Division of questions per group
Group 1 (4 students): Challenges and obstacles

What specific challenges have you experienced over the past five years in an inclusive dance school?
How did you handle the differences in learning methods between yourself and your sighted peers?
Were there moments when you doubted your place in the dance school? If so, what caused these doubts?
Which adjustments or support did you find most effective in overcoming these challenges?

Group 2 (4 students): Impact on personal growth and quality of life

How have these experiences shaped you, both personally and professionally?
What skills or insights have you developed through dancing in an inclusive environment?
How has dancing contributed to your physical well-being, such as balance, coordination, or strength?
What impact has dancing had on your mental health, such as motivation, perseverance, or social connections?

Group 3 (4 students): Perception, mindset, and burdens

Has dancing in an inclusive environment changed the way you view yourself and your disability?
How has this experience influenced your thinking about inclusion and accessibility?
What mental, social, or physical burdens have you experienced due to participating in an inclusive dance school?
How have you overcome or mitigated these burdens?

Group 4 (3 students): Positive developments and general reflection

What do you see as the greatest positive development you have experienced through dancing?
What changes have you observed in the attitude or approach of others in the dance school because of your presence?
What would you like others to know about your experience as a blind person dancing in an inclusive setting?
Which adjustments or approaches do you consider essential for an inclusive dance environment?

Conclusion

Integration of didactic and pedagogical objectives:
Auditory and haptic didactics are powerful tools within inclusive education. They not only stimulate students' physical skills, but also their confidence and sense of autonomy. Combined with empathetic and ethical guidance, a learning environment emerges that is both accessible and respectful.
Demonstration by Michèle and Manuel

Group discussion on insights and challenges.
2. Interactive activity (20 minutes)

Assignment:

Students guide the blind dancer in a simple dance activity.
Focus on empathy, clear instructions, and haptic support.
Guest speaker provides feedback on how the guidance feels.

Reflection during activity:

Teacher observes and gives targeted tips on communication and pedagogical approach.

3. Reflection and closing (10 minutes)

Short group discussion:

What have the students learned about guiding people with visual impairments?
How can they apply these insights in their future practice?

Personal reflection:

Students write down what touched or inspired them the most.

Pedagogical References
Principles: Ethics, Empathy, and Safety

Empathy: Students develop awareness of the impact of their communication and guidance. By being blindfolded during the exercise, they experience what it means to rely on a guide. This increases their empathetic capacity. Empathy helps students put themselves in others’ situations. This is crucial in inclusive education, as it fosters understanding of the unique challenges of students with disabilities.
Practice-based learning: Experiencing both roles (guide and blind participant) enhances insight and understanding.
Safety: Creating a safe space, both physically and emotionally, is essential when working with vulnerable groups.

Ethics: This means that guides only use touch with consent and give clear explanations for every step, so the student feels safe and valued.
Safety and trust

Importance in pedagogy:
Safety forms the foundation of every learning experience. Physical safety (obstacle-free space) and emotional safety (room for mistakes and questions) are essential.
In practice:

Create an environment in which blind or visually impaired individuals can move without fear.
Clearly define boundaries, such as where the student can walk or dance, and guide them step by step.

3. Experiential learning for young and old as a key ingredient for inclusion!
Lesson objectives:

Students develop insight into didactic methods focused on dance education for the blind and visually impaired (auditory and haptic).
Students practice applying pedagogical skills such as empathy, clear communication, safety, and trust.
Students reflect on the ethical and emotional aspects of working with people with visual impairments.
Consistent focus on the inclusive nature of a lesson.

Various exercises are introduced.
Auditory: All students are blindfolded to learn to dance bachata to an eight-count rhythm. They learn the basic steps and how to connect with one another. This requires them to listen very carefully to the instructions and the music’s rhythm. In doing so, they sharpen their auditory perception. They thoroughly enjoy the experience and bond through a sense of camaraderie.
Haptic: Students receive different tactile objects, referred to as “dance tools.” Each group is given a different object.

A stretch band
The magnetic footboard
Magic balls
And each other (as a partner)

A stretch band:
Students use the stretch band in various ways. They help fellow students cross over it by giving auditory instructions to lift their legs high. Another use is to form a connection between each other, and finally, to stretch muscles. We personally use the band for performing “jimmys” in dance. Two people stand opposite each other holding the band tight at shoulder height, while a third blind participant taps the band with their shoulder. This is done independently and can vary from slow to fast.
The magnetic footboard is used similarly by students as we do.
For the magic balls, students sit on the ground in a circle with their legs spread and feet touching. They pass balls by tapping feet and simultaneously roll another ball into the circle, which must be caught by another person.
Using each other: This one’s especially funny—one student wants to stand up from the floor back-to-back with Manuel, and Manuel gives it his all. The result is hilarious.

Dance as an Inclusive Movement Form for the Blind and Visually Impaired
Within the context of the G-sports days at HoGent, special attention is given to accessibility of sports and movement for people with disabilities. In line with this goal, this lesson specifically focuses on inclusive dance education for the blind and visually impaired. The Physical Education and Occupational Therapy program prepares future professionals to develop and implement movement activities that are accessible to people with diverse sensory impairments.
Dance plays a crucial role in the motor, cognitive, and socio-emotional development of individuals, regardless of their visual abilities. To make dance education accessible and inclusive, it is essential to apply specialized didactic and pedagogical strategies. This lesson addresses scientifically supported methods, with a focus on tactile and verbal instruction techniques, spatial orientation, and sensory compensation.
Exercises and Methodologies
Auditory: Students experience dance from an auditory perspective by wearing a blindfold while learning bachata to an eight-count rhythm. They concentrate fully on verbal instructions and the musical accompaniment, sharpening their auditory perception. Additionally, this exercise fosters a strong sense of group cohesion and camaraderie.
Haptic: To enhance body awareness and spatial orientation, students use various tactile tools known as “dance tools.” Each group receives a different object:

Stretch band

The stretch band is used in diverse ways. Students guide fellow dancers over the band using auditory instructions, emphasizing high leg lifting.
The band also serves as a connection between dance partners, strengthening contact and coordination.
Additionally, the band is used for muscle activation and stretching.
We use it specifically for the shimmy exercise (shoulder movement), where two students hold the band taut at shoulder height, and a third, blind or visually impaired participant, independently taps it with their shoulder. The intensity can gradually increase.

Magnetic footboard

This tool is used as a spatial orientation instrument. Students use it to simulate positions and movement directions, helping them understand dance pattern structures.

Magic balls

Students chose to sit in a circle with legs spread and feet touching. They pass balls by tapping the foot with one ball while simultaneously rolling another into the circle. This exercise trains quick reactions.
We use these balls to determine finger positions in hand styling within a dance choreography—not just the position of the fingers relative to the hand, but also in relation to the whole body.

Using one’s own body and each other

This final experiment mixed challenge with hilarity. Manuel and a student attempted to stand up back-to-back from the floor—an exercise requiring strength and coordination. Manuel, determined to defy gravity, gave his all, while the student valiantly tried to match the upward motion. The result was a comical yet educational moment, demonstrating the power of collaboration and perseverance in a playful way.

By combining these methodologies, students gain a deeper understanding of how dance can be made accessible to the blind and visually impaired. The exercises not only enhance motor and sensory skills but also contribute to an inclusive and joyful learning experience. Danceorientation sincerely thanks the students for their participation, enthusiasm, and creativity. We also thank HoGent for this awareness campaign and for providing students the opportunity to gain hands-on experience in combining sports and disability.