Dyslexia and the Studio: Bridging the Gap between Theory and Practice

Abstract

It is generally accepted that art and design related disciplines attract a higher proportion of students with dyslexia than traditional academic counterparts. Combined with this is a prevalent perception that dyslexia predominantly affects students’ writing and linguistic ability and it is this, as well as an increased visual‐spatial sensibility, that attracts students to art and design disciplines. This article examines these ideas through the experience of fine art students on a degree course with a mandatory written element. Drawing on focus groups and interviews with students, it argues that the studio component, in terms of its learning environment and teaching methods, presents an equally challenging context for students with dyslexia and that the written element or lecture‐based studies can provide students with a valuable counterpoint to their studio practice.

The Process, Challenges and Opportunities of Developing a Curriculum in a Creative and Therapeutic Arts Undergraduate Degree Programme

“…For example, students are invited to contribute to universal design for learning through sharing their notes with their learning community, limiting reliance on specialist provision (Bedrossian ; Pickard ). A large percentage of the students identify as experiencing additional or specific learning needs, which is widely yet anecdotally reported in creative courses (Wolff & Lundberg ; Alden & Pollock ; Bacon & Bennett ; Tobias‐Green ), with a need for further empirical research into this phenomenon. Through development of an accessible curriculum, learning environment and culture, reliance on the ableist construct of differentiation (Penketh ) is diminished.…”

“…Year 3 Project The newly validated curriculum for the 'Creative and Therapeutic Arts' degree. iJADE 39.1 (2020) or specific learning needs, which is widely yet anecdotally reported in creative courses (Wolff & Lundberg 2002;Alden & Pollock 2011;Bacon & Bennett 2013;Tobias-Green 2014), with a need for further empirical research into this phenomenon. Through development of an accessible curriculum, learning environment and culture, reliance on the ableist construct of differentiation (Penketh 2016) is diminished.…”

Art, Pedagogy and Dyslexia

“…Considering the deficits identified with dyslexia regarding oral and written language, some students might purposively select a studio-based programme rather than a course based strictly on lectures and note taking. It can also be argued that students with dyslexia in an art and design programme are naturally drawn to creative pursuits (Alden & Pollock 2011). While further empirical research is still needed to establish clear connections between dyslexia and heightened visual-spatial reasoning (Karolyi et al 2003;Wolff & Lundberg 2002;Winner et al 2000), there remains evidence of a kind of compensatory mechanism amongst higher achieving dyslexic adults that facilitates strength in art related area (Everatt et al1999).…”

“…Existing research on teachers in general who have dyslexia has explored their resiliency (Burns et al 2013;Glazzard & Dale 2013), professional identities (Riddick 2003;Burns & Bell 2010; and experiences as trainee teachers (Duquette 2000;Griffiths 2012). Research literature has also examined the potential connection between students with dyslexia and spatial reasoning abilities and enrolment in visual arts courses (Winner et al 2000;Wolff & Lundberg 2002;Alden & Pollock 2011). In view of this existing literature we wanted to understand the role or influence dyslexia has on classroom teachers of art.…”

“…These abilities centre on a potential link between creativity, artistic expression and spatial reasoning. These links are strengthened by research that claims students with dyslexia are more prevalent in disciplines such as art and design, engineering and architecture than in other areas (Alden & Pollock 2011;Wolff & Lundberg 2002;Winner et al2000).…”