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Talk;Higher Ed

Friday stream 6 Session 16.10 - 17.25 Length 25 minutes

Dyslexia in HE Art and Design: a creative opportunity

Ann Brigden

THE SURREY INSTITUTE OF ART AND DESIGN annbrigden@btinternet.com  

Abstract

The main aim of this Special Initiative at The Surrey Institute of Art & Design was to investigate whether HE Art & Design students who have dyslexia have particular clusters of learning difficulties compared to those studying for non-Art & Design degrees. A second aim was to provide Staff development in dyslexia awareness across the Institute. On completion of the Project the HEFCE Dyslexia Project Report was distributed in December 2000 (1).

This paper will address the following issues:

A Do HE Art & Design dyslexic students have particular learning difficulties and needs?

B Do art and design dyslexic students have particular cognitive strengths, eg. visual-spatial skills? What are their learning strategies? .

C How does dyslexia in HE Art & Design provide a creative opportunity?

a) Dyslexia is an alternative form of cognition.

As a basis to the Project dyslexia is regarded as an alternative form of cognition rather than just as a disability (2). We mainly addressed the difficulties, but were also aware of the strengths dyslexia can bring. We were able to quantify many of the 'learning difficulties ' in the left-hemisphere dominant literacy areas of reading, writing and spelling, also in organisation and time-management, compounded for some by dyscalculia or dyspraxia.

However, dyslexia is not always just a disability. We confirmed from anecdotal evidence that dyslexia can be associated with strengths in creativity, lateral-thinking, visual-spatial awareness and right-hemisphere dominant abilities, (although not all those with dyslexia consider they have these strengths, and do NOT necessarily regard their dyslexia as 'a gift'.) We were unable to quantify these, partly because they are much more elusive, and partly because this was outside the brief, but the strengths of many dyslexic students need to be identified and given due consideration. It is increasingly recognised that many successful people with dyslexia in the art & design sector, as in architecture, engineering, sport, IT, graphics and business etc. succeed not despite their dyslexia, but because of it (3).

b) Generalisations can be useful.

Although dyslexia affects each individual differently to provide each with a unique personal cognitive profile, some useful generalisations can be generated from reviewing a sample of 50 or 100 subjects, as illustrated in the Figures below.

This handout can only give a summary of the findings. Further details are provided in the Dyslexia Project Report and in particular in Appendices 2, 3, 4, 6, 7 and 8. ( Ref. 1).

A Do Art and Design dyslexic students have particular learning difficulties?

For this investigation 250 NFAC (National Federation of Access Centres) Needs Assessment Reports were analysed for students who have dyslexia and who receive the DSA.
a) The main results of the NFAC Analysis are presented in which 200 Needs Assessments were analysed to compare 100 Reports for students on Art & Design courses, with 100 for students on non-Art & Design courses. The NFAC Reports were reviewed anonymously and included students on a wide range of courses at many HEIs to compare three aspects:

• the students' individual difficulties in the main learning areas
• previous learning strategies they had used to be accepted on an HE degree course
• the study aids and strategies recommended by the NFAC Needs Assessors.

b) When this main analysis had been completed 50 NFAC Needs Reports for students at the Surrey Institute were analysed to compare them with the two control groups.

The analysis of the NFAC Reports in 1999 provided the following results:

1 - The 100 A & D students and 100 non A & D students showed the same pattern of difficulties overall, and there were few differences between them ( Figs 1, 2 & 3)

2 - 99% of the students overall had difficulties of some kind with writing assignments; slightly fewer, 96% had difficulties with reading the required texts. This seems to provide support for the syntactic-type of dyslexia as specified by Dr. Beverley Steffert in the Dyslexia Research Project in 1996 at Central Saint Martins CAD (4).

3 - The Needs Assessors recommended very similar study aids and strategies for the two main groups of students, whether on A & D or on non-A & D courses ( Fig 2).

4 - The 50 students at the Surrey Institute showed a similar pattern overall but they had more particular difficulties. This was clearly indicated by the areas in which they were recommended to seek assistance from their 1:1 specialist tutors ( Fig 3)

Other Results

5 - The gender ratio was approx. 1:1 in all three HE groups as well as of 136 identified dyslexic students at the Institute in November 2000. This contrasts with the accepted ratio of 3 or 5 :1 males to females in the school age population. It may be due to girls being able to compensate better so that they are not identified so easily at school (5).

6 - Identification: Between 50% to 91% were identified with dyslexia during their degree course, which contrasts with the estimated 43% in 1996/7 quoted in the National Working Party Report (6). This means many students are NOT identified at school.

7 - The incidence of dyslexia at the Surrey Institute of Art & Design was estimated at 3% in 1998 and 9% in November 2000, and is now 10%+ of f/t home students. This differs from the National Working Party estimated incidence of 1.35% (based on 1996/7 figures of students with dyslexia as a percentage of all undergraduates.)

B Do art and design dyslexic students have particular cognitive strengths, eg. visual-spatial skills? What are their learning strategies?

In-depth interviews were conducted with 20 dyslexic students on a range of Programmes, from which The Profile of a typical dyslexic student at The Surrey Institute of Art & Design was prepared. ( see Appendix 4 in the Project Report.) These interviews provide insights into the learning difficulties Art & Design students have. They also give us some glimpses into the learning strategies they used e.g.

For writing assignments

• I ask someone else to do my proof reading (mentioned by 50% of these 20 students)
• The dyslexia 1:1 tutor helps here, and others e.g. family and friends
• I need to limit my ideas otherwise I would have thousands of sheets of paper
• I photocopy from texts and highlight relevant sections to refer to later. I use bullet points.
• The computer is a great help: I can write notes straight on to the PC - it makes it much easier to decipher them.
• I speak it to my Grandad, and he writes it out in capitals.
• I need peace and quiet
• (For form filling) I get someone to watch me e.g. parents or friends
• Forms often don't ask the questions I expect, and ask things that are not relevant

For Reading

• I use a scanner. I scan it into my computer and it reads it back to me ( mentioned by 3 of the 20)
• Access to the Listening Library helped me listen to tapes of the texts
• I usually get someone to read with me and check I am reading accurately - they stop me if I start to make things up - which happens when I'm tired
• I photocopy texts, and highlight important areas, and key points.
• I use images and create paintings to grasp the knowledge
• I need quiet, with no background music. I read in the evening, in a quiet place - the library is too noisy
• I read for ½ an hour and then concentration is difficult after that, particularly on white paper - it starts to blur and it's difficult to take it in. I read for ½ an hour, then take a break and do something on the computer etc. and then go back to it later.

For Spelling

• I make my own dictionary
• I talk about new words - verbalising helps to stick it in the memory
• I just try to remember the meaning and the spelling comes later
• Trying to understand why it's spelt that way - I break down words into sounds
• Repetition of words helps me to remember the spelling
• I ask someone how to spell words I can't remember. I try (to memorise new words) but it never works
• I live with it, and see my 1:1 dyslexia tutor once a week, and use the computer spell check
• I use strategies to memorise/recall a list of essential technical terms

For Lectures

• · When I can associate the lecture with prior learning it's OK, otherwise I tend to be lost
• It's easier to remember if it's amusing
• I talk to fellow students (the lecturer is quite good)
• I practised my dictation skills at school
• I have developed my own shorthand
• I record lectures on tape
• Sitting close to the front and getting eye contact helps me
• I get here on time and sit at the front
• I follow it up after and research it myself
• I make a list of key words, look them up in a dictionary and write them in my own words
• I nod off.

Visual-spatial skills: Here are the dyslexic students' answers to certain questions:

These replies indicate a propensity towards visual thinking, and the common strategy of preparing 'working drawings' retrospectively to ostensibly demonstrate the steps required.

The students referred to these visual-spatial strategies:

• I am able to see the wider picture. I'm good at predicting the outcomes of what could happen and how I would react to those. I'm a good listener - and have good empathy
• I visualise things more easily, and see how they fit together.
• I know how to put an image together. I'm visually aware
• I have visions - ideas not often related. I visualise things e.g. inventing 'what ifs'
• Other people come to me for help - I can call up the problem visually and provide the solutions. A lot of it is common sense. We aren't weighed down by all the rules and long words - we have a clarity and see things more easily
• I'm changing this - seeing the final answer first - to try and expand my final vision, and add more into it
• I'm good at the making side - practically constructing garments

(NB. Only dyslexic students were interviewed, it would have been instructive to have interviewed non-dyslexic Art & Design students to gain a control group for comparison purposes.)

Six dyslexia specialists were interviewed by telephone.

They were asked if they had found any particular cognitive strengths in the Art & Design dyslexic students they had worked with. Their comments included:

• 'Some dyslexic Art & Design students demonstrate unusual powers of visualisation in 3D, lateral connections and a holistic view that provides unexpected applications and links. They are placed in an environment that encourages new and innovative ways to solving problems, and often demonstrate a fresh originality not limited by preconceptions. This free-thinking can provide an unexpected advantage over non-dyslexics whose specialisation precludes their seeing wider implications.
• They may process complex information simultaneously with creative thinking and lateral problem-solving skills to arrive at startling new conclusions.
• Some have an intuitive understanding of how things work, and even an uncanny awareness of potential problems - to demonstrate the 'greatest understanding with the least knowledge'.
• They may have creative strategies with which to approach their work and to compensate for their difficulties, e.g. the use of visualisation to compensate for a weak short-term memory when trying to complete revision.
• However, some dyslexics on non A & D courses often have good visual spatial skills, but have chosen to study in another discipline, so this ability is not limited to A & D dyslexics.

These answers indicate some correlation between Art & Design dyslexic students and visual strengths which remains unquantified.. One cannot assume an Art & Design student with dyslexia necessarily has visual-spatial strengths, although many seem to indicate they have. The dyslexia specialists referred to a paradox they had observed in their experience of working with Art & Design dyslexic students. They have found there to be a small minority who demonstrate highly original ideas, creativity and visual conceptualisation, but who often demonstrate the most severe difficulties with their written expression, and literacy skills.

C How is dyslexia in HE Art & Design a creative opportunity?

The Project Report details a comprehensive set of Recommendations. Here is a summary of the four main ways dyslexia provides a creative opportunity in Higher Education generally, and especially in Art & Design where the incidence may be 10%+.

1. to provide a learning environment in which dyslexia is acknowledged as an alternative form of cognition with perceptual strengths and weaknesses, rather than just as a disability; to remove the stigma associated with dyslexia; to promote a 'culture-shift' and change the attitudes of some staff, and engage academics in the process of support. (7)
2. to establish a policy and dyslexia action plan that is resourced to implement good practice based on the QAA 'whole-institute' approach (8). This will embed good practice in all areas from Induction to Signage and the Corporate style ( for Student Regulations, Module Handbooks, Disability Statement, Dyslexia Policy etc.) academic and IT support. (Appendix 7 in the Project Report provides Good Practice Guidelines based on the 'whole-institute approach for The Surrey Institute of Art & Design.) The provision of effective Course delivery provides academics with the creative opportunity of strengthening Learning & Teaching strategies to ensure Course delivery links to prior knowledge, is structured, and multi-sensory. ( Appendix 6 in the Report summarises good practice for Course delivery based on the Project's findings.)
3. to provide dyslexia learning support within a general Study Support facility, with access for all FE and HE students. This will encourage take-up of the DSA 1:1 dyslexia study support, alongside students who have study needs but who do not have dyslexia. This will enable them to also gain study support (and will fulfil the recommendation of the 1997 Dearing Report, for Study Support provision to underpin Widening Participation.)
4. to collaborate with other HEIs to share good practice and consider issues arising e.g. to explore 'reasonable alternatives' in assessment; to consider initiatives in testing FE and HE intakes, and general Study Support provision within Widening Participation.

Some practical examples include:

1. An extra Module in the First semester could present historical theories, and provide a gentle introduction to the Critical and Theoretical Studies Modules. Dyslexic students often lack general knowledge that can be assumed for their peers, because their background reading has been limited. The analysis of 'meaning systems', codes, myths, discourse and ideology is not intrinsically difficult, but needs careful delivery to be effective.
2. For inclusive and effective Course delivery all Art & Design lecturers and tutors need dyslexia-awareness training. It is especially needed for those who teach in the theoretical areas e.g. Critical and Theoretical Studies, Cultural Studies and Philosophy.
3. The bunching of several hand-in dates for Module assignments often disadvantages the dyslexic students and may need to be reviewed.
4. The good practice in Course delivery that will assist students with dyslexia is 90% good practice for all students, and 10% particular provisions for those with dyslexia. (The clarity and structure achieved will assist students who do not have dyslexia but do have weak study skills, as well as the EU and international students who are studying in a second or third language, and may not have an advanced level of proficiency in English.)
5. The special requirements for students with dyslexia include:
   - A clear assignment brief, and early announcement of the date it is due
   - A Glossary of the main terms used in that Module, studio or workshop
   - Reading lists that are prioritised, and ideally include the Dewey numbers
   - Summary lecture notes before a lecture starts, that can be annotated
   - Permission to use tape recorders in lectures for those who find it useful
   - Provision of handouts on coloured paper, e.g. cream or off-white, font size 12
   - Provision of short breaks in a long lecture ( that is over 1 or 2 hours long )
   - New words spelled slowly twice, and displayed in writing on a poster or w/board
   - Regular liaison between the academic staff with the specialist dyslexia tutors
   - Provision of adequate time to complete proof reading before the hand-in dates
   - More audio tapes of texts, and video recordings of lectures available as Library resources.
6. One creative opportunity is to teach all Art & Design students as though they have dyslexia, and teach to their strengths. This has worked well in other Art & Design HEIs (9)
7. Academic staff and the specialist dyslexia tutors could both gain from strengthening the partnership to better meet the learning requirements of all students with disabilities including those with dyslexia. E.g. lecturers would be better advised about the specific needs of individual students, and the specialist tutors could contribute to the provision of mainstream academic modules as well as in supplementary group Study Support.
8. Art & Design HEIs and Faculties may need to review Course design and assessments e.g. to explore 'reasonable adjustments' to assessing students' outcomes. Recognising how the literacy difficulties of dyslexia disadvantage students with reading and research may lead HEIs to explore innovative forms of assessments that rely more on oral and visual presentation and less on written assignments, without losing academic rigour.

* * * * *

References

1. The HEFCE SpLD ( Dyslexia) Special Initiative 1996-9 Project Report 'Dyslexia in HE Art & Design.' Copies are available from the Academic Registrar, Surrey Institute of Art & Design.
2. Dr Margaret NEWTON in a summary paper prepared for the Aston House Dyslexia Trust, Worcester. Date not known.
3. Thomas WEST "In the Minds' Eye" Prometheus Books 1997, p 19.
4. Ian PADGETT (Ed.) and Dr. B. STEFFERT ( main researcher) 'Visual spatial ability and dyslexia: A Research Project at Central Saint Martins CAD 1996" London Institute 1999
5. SHAYWITZ "..In men phonological processing engages the left inferior frontal gyrus, whereas in women it activates not only the left but the right inferior frontal gyrus as well. The fact that women's brains tend to have bilateral representation for phonological processing explains several formerly puzzling observations: why, for example, after a stroke involving the left side of the brain, women are less likely than men to have significant decrements in their language skills, and why women tend more often than men to compensate for dyslexia." Scientific American November 1996
6. The National Working Party Report on Dyslexia in HE 1999 estimated 57% of HE undergraduates had their dyslexia identified prior to starting on their degree course, ( p 42 par 1- 3.2.3 ) and 43% were identified during their course ( p 42 par 2 - 3.2.3 )
7. Richard TOWENEND " It would still be fair to say that the average academic does not see disability as an issue of relevance to them… The real issue of accessibility is not about students services but a partnership with academic staff. The real issue is about our learning and teaching environments - about curriculum content, design and delivery.' Mainstreamed or Marginalised: real advances for students with disabilities. A view from the Learning & Teaching Network. NDT ( National Disability Team ) Digest of Information November 2000 ( p 20. par 1. )
8. QAA Code of practice for the assurance of quality and educational standards in Higher Education. Section 3: For students with disabilities. QAA December 1999
9. As reported at Central Saint Martins College of Art & Design. Ref: Workshop F in the Dyslexia Conference held at The Surrey Institute of Art & Design on 7 April 2000. Free copies of the Conference Report are available from the Academic Registrar at The Surrey Institute of Art & Design, University College, Falkner Road, Farnham, Surrey GU9 7DS. Tel: 01252 892606.