I was recently ‘diagnosed’, ‘labelled’ as dyslexic. This means I have (been living for 49 years with) a ‘disability’. To say this is a shock would be an understatement. On one hand it doesn’t change anything because I have got to middle-age and managed fine, arguably. On the other hand it changes everything potentially. To be honest, and true to myself the latter is most applicable. I have always been a day-dreamer, struggled with reading and remembering things. Apparently dyslexic brain types live in some kind of alternative reality where “all the senses are altered. The brain is no longer seeing what the eyes are seeing, but an altered perception of images”. (Davis, 2000, p.17)

The ideas presented by Davis (2000) on ‘orientation’, ‘perception’ and ‘reality’ provide research based explanations for how I experience the world, people, learning, teaching, relationships and all that I know. Discovering I am dyslexic explains many anomalies, contradictions, dilemmas, differences I have always had a sense of. It also explains my interest and confusion with linguistics, semiotics, palaeography, visual communication. I also reconsider the ways (my) neuro-divergent brain type inform, limit, shape creative practice and my personal interest in Drawing as an essential skill.

Research by Qona Ranking on links between drawing and dyslexia prompted me to consider how my, and others’, neuro diverse brain type impact creative practice, teaching and learning.

“The overall aim of the research is to deepen our understanding of dyslexia as a complex phenomenon which can affect a wide range of abilities, positively or negatively, and to understand more about the psychological, physiological and neurological processes which are the origin of these differences. Through this understanding we will learn more in general about the relationship between dyslexia and art and design and specifically about the relationship between dyslexia, perception and drawing. This knowledge may tell us if there are real advantages, such as enhanced ability in art and design, as well as disadvantages to being dyslexic. It may help us in the future to identify, support and nurture more effectively the specific abilities of art and design students.” (Rankin, 2007)

Her works’ focus on drawing presents insights on how creative subjects are taught, and how I have learnt to be a creative practitioner. I know I learn best when I am ‘doing’ rather than reading, listening or watching, this was evident in the Object based learning seminar. 1 in 5 people are dyslexic. This figure is larger in creative fields. Therefore it seems that one of the most effective ways of learning creative skills and knowledge is through an inclusive, kinaesthetic approach to learning, drawing on current and emerging research that foregrounds ways of harnessing and developing the strengths of neurodivergent thinkers.

References

Davis, R.D. (2000), The Gift of Dyslexia. London: Souvenir Press Ltd.

Dyslexia Explored Podcast, available at https://podcasts.apple.com/gb/podcast/dyslexia-explored/id1387645599

Rankin, Q. (2007) ‘Exploring the links between drawing and dyslexia’, Teachers’ Academy Papers. Available at https://www.academia.edu/32424343/ExPLORING_THE_LINKS?email_work_card=view-paper. Accessed 14.3.23

Rankin, Q. (2019) ‘Drawing Inclusions: Strategies for teaching dyslexics and non-dyslexics’. IJade Conference, February 2019.

Researching the Shades of Noir resources over the last few months I had read about POC’s experiences of ‘silence’. It was an abstract concept to me at the time, not having known, acknowledged, or recognised what it was, in retrospect being blissfully ignorant of it.

I experienced that ‘silence’ today.

Working with two white peers, sharing our learning journeys, our approaches, teaching and professional practice experiences, the discussion came round to the subject of individual tutorials. My peer shared their experience of an international student who ‘didn’t speak’. This lead me to reflect, openly, on the pastoral aspect of our role as teachers working with young, international students, and how non-interaction presents a problem for us in terms of providing feedback (to feed forward). I raised the issue of inclusion, diversity, equality, sharing a story I had heard from another peer, that foregrounded an explicit racist situation with a black student, in an organisation who’s very existence claims to address these issues.

Then the silence came.

There was no further comment from my peers on the issue of racism, inclusivity or diversity…only silence. And a jaw dropping expression.

I reflect on why this silence happens, and why my own silence occurs with the topic of racism although I am becoming braver.

Toni Morrison provides an explanation:

https://www.instagram.com/p/CDtwLHlCwiI/?igshid=MDJmNzVkMjY%3D