A Different Voice – Viva Voce
Higher Education Academy Conference 2008
Heather Symonds
London College of Communication
University of the Arts London
Abstract:
Examining the experience of students with dyslexia in delivering a viva voce in
lieu of an extended piece of writing. Case studies are presented with audio
extracts, illustrating the impact of the assessment on student self-esteem and
emotional well being as a transformative process.
‘Finding a voice’ was the title of a work of feminist literature by Amrit Wilson
(1978) which informed my position on the silences and spaces within British
culture in relation to Asian women. Identifying voices and listening to them is
integral to the literature of diversity, assessing the nature of the disadvantage
and redressing the balance. In 1995 (Disability Discrimination Act) there were
2,359 registered individuals with dyslexia in Higher Education (HESA) and given
the current figure of 24,820 (HESA 2007/-7) we can conclude, regardless of
widening participation encouragement, that many students chose in 1995 not to
disclose. They were silenced by the views expressed by many uninformed
school teachers that dyslexia was,
‘a bourgeois word for ‘thick’ used by middle class parents who could not
accept that their child was stupid’. (Riddick 1996 ).
The scars of dyslexia (Edwards,1994) remain; accusations of indolence have
been made for many years at intelligent, hard working pupils, when the barriers
to attainment were based on neurodiversity and ignorance within the education
system. Fortunately, expectations have been raised and students are starting to
engage with their disability and to consider how best to fulfil their potential.
Art and Design (creative arts media) has the highest percentage of students with
dyslexia and the significance of dyslexia is noted within the subject benchmarks
for the discipline (Symonds, 2005). It is within the discipline of the arts that voices
are starting to be raised. My journey not unsurprisingly started by listening to my
students bemoaning the amount of writing involved in their degree work. They
told me this was not what they had expected of an art-led programme. They had
assumed that their art would speak volumes; as art makers, that ‘a picture spoke
a thousand words’. Few had mapped assessments or examined accreditation
and realised that visual cultural theory and personal and professional
development (PDP) would account for probably 25% of their overall mark in the
first two years of their programme, perhaps becoming as much as a third, with 40
credits of 120 in their final year awarded for text. They realised in the second
year of their degree that the barrier to a higher classification may lie not in their
art but in their ability to commit pen to paper. For students with dyslexia the
written word is their disability.
The majority are still nervous of being accused of ‘cheating’ in undertaking large
scale accommodated assessment; it will bring them to the attention of their
tutors, where they may feel uncertainty about the impact of disclosure when
requesting change. They are aware that some members of the academic
community resent and publicly indict the consideration of extra time. They
undertake the struggle to access texts and to produce written assignments and
absorb a view of their disability that proclaims, ‘‘other’ dyslexics have produced
good dissertations and have been so pleased with their achievements’.
Invisible disabilities are often misunderstood; little knowledge is displayed of the
role these disabilities play in organisation, time management, memory, the
production of work and most importantly emotional well-being.
As an assessment vehicle, text-led material does not appear to be fit for purpose
in measuring the abilities of students with dyslexia. My evidence is based on
social action research undertaken at University of the Arts London
and is supported by my professional working life where the experiential has
informed my work (Symonds, 2006 line). Views captured on the painful and futile
nature of text production for individuals with dyslexia appear to be universal.
I can write essays but it is like walking against the wind’. Why do I have to
keep doing this when it just proves that I am dyslexic?
(Student panellist presentation– RMIT/La Trobe (2007)
Doing It Better conference, Melbourne Australia)
We have self –initiated projects, so why not self- initiated assessment? I
want to have a choice in how I am assessed. I am a dyslexic student and
know I can do a better job by talking; it’s what I do.
(BA Graphic Design student, LCC University of the Arts 2008)
I know what I want to say but when I try to write it the words disappear.
My spelling is so bad even the spell check doesn’t get it. When I speak I
feel in control.
(FdA Photojournalism student, LCC University of the Arts 2008)
The students interviewed were loquacious and recognised their strengths were in
orality. My research moved organically from tracing a grievance and
documenting the barriers within programme assessment structures, to
considering viable alternatives that would be quality assured, investigating
alternatives or accommodations to meet the learning outcomes of the
undergraduate programmes.
Oratory is central to the doctoral argument (Murray, 2002). A vital mode of
persuasion, it is possible to ape but impossible to plagiarise. It is located in the
public arena. The original viva voce, an examination by ‘living voice’ was devised
and delivered by students in Padua as a means of assessment in the 1400s.
(Perreiah, 1984). The viva voce was an opportunity to verify the work of a student
by cross-examination in public and for the student to practise the skills of oratory.
Today Italian universities still insist on every student having a short five minute
viva voce with a university professor to complete their degrees. (Wooldridge,
2008) This may be perceived as time-intensive in an era of student massification,
however, it takes much longer than five minutes to scan each dissertation
through software for plagiarism.
Oral assessment has a positive role for contemporary assessment, validating any
original work and providing students with opportunities to express themselves in
a mode that is a dominant mode of communication in creative arts. It was with
both exclusive (medical model) and inclusive (social) agendas that I surveyed
oral assessment and examinations from ESOL interpretations to English
Language and drama performances and mapped them across to the traditional
viva voce. In locating a different voice for students with dyslexia, I considered a
rubric of assessment which gave ownership to the course teams and direction of
the oral performance for the student delivering. (Symonds, Handbooks 2006).
In investigating the feasibility of a newly formed viva voce, the University of the
Arts colleges were examined for existing formal and approved oral assessments
in lieu of written work. It transpired that although there had been instances of oral
delivery for students with disabilities, the assessment had not had a consistent
format, was driven by compassion rather than quality assurance, and had not
been fully documented. (Symonds, 2006). Students had oral presentations and
crits, but coaching to undertake these pitches or oral engagements with creative
disciplines seemed a little obscure. Handbooks did not indicate orality as a
notable vehicle of assessment.
The new University of the Arts London handbooks for staff and students were
designed for viva voce as accommodated assessment as part of a Teaching and
Learning Fellowship (Symonds, 2006). They addressed topics such as the
suitability of the student for a viva (for example, possible dysfluency), consent,
instruction on planning, interpreting and delivering a viva within real time.
Specialist issues such as those of narration versus analysis were included; nonverbal communication and connoisseurship of the discipline. The rubric of
assessment incorporated useful material from other professionals working within
the field of media presentation. Ownership of the learning outcomes for the
discipline remained constant and were merely adapted where a course
requirement asked for a written response. The majority of learning outcomes
within the handbooks was based on the common pedagogic themes of
knowledge, interpretation and evaluation. In order to be dyslexia friendly, the
material was printed on recycled, non-gloss paper with numerous clip-art images
and was also produced as a CD-room and podcast.
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ess_01.mp3>.
Students with dyslexia now had an opportunity to express themselves differently;
they had a different voice and a new relationship to academic discourse. The first
remodelled viva voce took place in tandem with the research and the emergence
of the handbook at the end of the academic year 2006. I have since tried to raise
awareness of the accommodation and observed adaptations of the handbook for
shorter assignments and considerations being applied for Master's awards. Staff
development is ongoing in presenting this different voice. The positive status of
the assessment is acknowledged by academic affairs and gradually the offer and
the take-up of the offer will increase. Nationally and internationally the ‘dyslexia’
viva voce has gained credence but again the effects will not be immediate.
Demand will rise with achievability as students with dyslexia start to engage with
competing voices and find their own. The impact of oral assessment as a
validated vehicle has led to the initiation of a cross college elective which has
been very successful and is being rolled out across the University for all. The
notion of oral presentations will grow as it a key graduate skill and one valued
within creative media, where Bayley says (Bayley & Mavitt, 2007) 'life is a pitch'.
Gathering information on the impact of oral assessment has been multi-faceted,
ranging from the emotional response of students achieving within a medium they
feel comfortable in, to the effects on staff of undertaking this vehicle and
alterations to meet criticism.
The case studies below illustrate progress to date and the potential to offer
choice across the curriculum - perhaps not just for students with dyslexia but for
all students.
Case studies:* these case studies are presented with audio extracts as part
of the presentation at the HEA academy 2008.
Costas BA Sound Arts Design
Costas felt that he could perform within writing but it was so arduous for him that
it detracted from his learning. He wanted to enjoy the development and
refinement of his work, not be obsessed with misinterpreting material and
expressing himself clumsily; he felt frustrated and angry about writing. Dyslexia
pedagogy also supported him in this endeavour as it spoke to developing
mastery- and not performance-orientated goals and would raise his self-esteem
(Riddick 1991). Gregarious and articulate, he was the first to undertake a viva at
LCC. His undergraduate programme had provided him with three other
opportunities to deliver presentations, albeit shorter pieces, and he felt that ‘the
performance element’ would be welcome.
As the handbook suggests, the second term of the third year is a little late in
dissertation terms to decide on a viva voce (Symonds 2005), however, Costas
was supported with his work and there was an established tutorial relationship
which would allow him to progress quite quickly. He had already recorded
interviews for his dissertation and the music/sound arts materials lent themselves
to an oral recording. Costas was happy to sign consent forms and be pro-active
in ensuring his viva was funded and smooth running. He had the support of the
Disability Office in requesting additional funds to maximise his capabilities.
Additionally, Hertfordshire Local Education Authority gladly recognised that he
was undertaking a new form of assessment that was ‘fit for purpose’.
This student had a familiarity with Protools and using sound, which was helpful,
although not essential. He had previously intended to transcribe his interviews,
which he dreaded and knew would take him a long time; now he submitted the
work as part of a discography and was free to edit and select appropriate
sections. He was able to do this quickly and effectively compared to his struggle
with texts.
Defending my work orally was a joy. The written word has let me down
before; I am always anxious interpreting written questions. Answering
direct questions from staff allowed me to explain and unpack my work…
My viva voce for my dissertation was the most interesting, challenging and
rewarding educational experience of my life.
(Costas Kontos LCC graduate, Writing PAD Conference, Goldsmiths
2006)
Case study 2 - Zena
Zena (a pseudonym) had to undertake a viva voce owing to disabilities other than
dyslexia for her final year award. Her issues of confidence were health related
and affected her ability to research and to be able to write at length. Prior to her
accommodation she could not envisage how she might present her work.
The texts are complex and I get very tired and frustrated as it takes me so
long to physically absorb the material. Using the dictaphone allowed me
to produce a lengthy piece of work that flowed and contained all the key
ideas. Without this oral assessment I could not have passed my degree.
(University of the Arts graduate)
Staff were very committed to finding and/or creating audio texts to be supportive
and to ensure a strong student was not failed because of her disability.
Case study 3 – Patch
Patch, a first year FdA Photojournalism student, came to UAL with a full dyslexia
report from school. He was diagnosed when very young and is quite comfortable
with his disability. Although he is of solid average cognitive ability, his encoding
scores remain at (primary) Year 1. This prohibits him from undertaking written
tasks with any level of confidence. The example below illustrates the enormous
mountain he would need to scale to meet his non-dyslexic peers.
i will get there urly to set up and will mack shore that i have all the things i
need.
also this persontashon is not as comlpicated as the last
thank
PatCH
(Patrick has given full consent for the above message to his dyslexia tutor to be
reproduced as he feels this demonstrates the constraints he experiences when
writing and the need for a quality assured alternative to text.)
He is an articulate and enthusiastic young man and although initially quite
nervous when presenting, has already greatly improved since his first oral
examination at the end of his first term and has learnt how to use his PowerPoint
presentation slides as prompts.
‘Since I started presenting my work as short vivas I have gained
confidence and felt free to express myself. I have had years of struggling
to write when it’s my worst nightmare.’ (Patch, UAL, 2007)
The above is a recorded extract from an interview with Patch related to his
ongoing work at the University
All the material above signifies changes in self-esteem and presents a hopeful
and cheerful face of education for a diverse student body.
Research undertaken in the last two years into student self-esteem and
responses to written and other modes of assessment, has left me in no doubt as
to the efficacy of oral assessments for students within art and design with the
specific learning difficulty, dyslexia. (Symonds, 2007).
All dyslexia reports make reference to students with dyslexia having ‘low selfesteem’ and to the need to find strategies for minimising this emotional difficulty.
At the launch of Achievability for Higher Education (House of Commons
06.12.07), every speaker (MPs, awareness campaigners, university
representatives and tutors) stressed self-esteem as integral to educational
achievement. Steve Chinn, headmaster of a successful, leading independent
school for boys with dyslexia, declared that improving self-esteem was the
cornerstone of his strategy rather than employing literacy programmes to redress
the balance.
The last two years have seen a transition for creative arts students undertaking
this process from frustration with standard assessment to enjoyment of a new
learning and evaluation process. As the model has cascaded, through
implementation and reputation, the expression of interest has continued to rise.
To date, invitations to present papers, deliver staff development and contribute to
disability awareness include; Writing Pad (Goldsmiths, October 2006); Doing It
Better (Melbourne, Australia, 2007); National Arts Learning Network, 2007;
Norwich School of Art & Design, 2008; University of Gwent, 2008; British
Dyslexia Association, 2008; Centre for Learning & Teaching in Art & Design
(New York, 2008); International Society for Education through Art (Japan, 2008).
As an assessment model for undergraduates, the viva voce model offers an
informed choice. It requires the students to deliver a high quality oral
performance with accompanying portfolio which together meet the learning
outcomes of their undergraduate programmes. It enables students with dyslexia
to make a creative response, producing and amassing audio and visual material
to support their orality. The viva is documented, discussed and validated as a
choice for students with dyslexia who wish to demonstrate strengths beyond text.
Current initiatives in Higher Education are aimed at students with disabilities
achieving through an inclusive curriculum. Reasonable adjustments translate
into teaching, learning and assessment being adapted wherever possible, but
self-evidently there remain examples within the curriculum where orality as an
assessment would cause difficulties, for example print journalism. The viva voce
is both portable and transferable as a choice for the whole student body.
The model of the viva voce has been well received in higher education and I
hope as a member of the HE Achievability project (inclusive education) that it
becomes a logical choice for students. A menu of alternative assessments had
existed on University web sites but the ‘real politik’ of measuring impact
assessment must be to examine the number of staff and students aware of these
arrangements and those considering or better accessing these alternatives. In
practice few institutions, including the University of the Arts before 2006 were
implementing a full menu of accommodations. The Disability Equality Duty 6th
December 2006 (http://www.dotheduty.org) [accessed 28.05.08] has gone
beyond advocating the legal obligations of the principles of equality and
demanded pro-active responses for students with disabilities. Equipped with
alternatives for students with diverse needs, the pedagogic community needs to
support the voices that are changing the hymn sheet from which we have all
been singing.
References:
Bayley, S. and Mavity, R. (2007) Life’s a Pitch, Bantam Press
Edwardes, J (1994) The Scars of Dyslexia London, Cassell
Fraser, J (2002) Challenges to design educators lie in negotiating multiple
discourses (Richmond, American International University in London) in
Goldsmiths Journal of Education Vol 5. No.1
Herrington, M and Simpson, D June (2002) Making Reasonable Adjustments
with Disabled Students in Higher Education; HEFCE project
Murray, R (2002)How to survive your viva Open University Press
Riddick, B (2001) Dyslexia and Inclusion : Time for a social model of disability
perspective in: International Studies Sociology of Education Vol 11, No.3
Riddick, B. (1996) Living with Dyslexia- The Social and Emotional Consequences
of Specific Learning Difficulties (London) Routledge
Symonds, H I (2006) Accommodated Assessment for Dyslexic Students in Art
and Design < HYPERLINK "http://www.writing-pad.ac.uk" www.writingpad.ac.uk>
Symonds, H, The role of emotions in learning situations: How does it feel? (LCC
Unspoken Interactions Symposium LCF 10 December 2007)
Symonds, H (2006) Teaching & Learning Fellowship Report ‘Structured vivas as
accommodated assessment for dyslexic students’, University of the Arts London
intranet.arts.ac.uk
Wilson, A (1978) Finding A Voice, London, Virago
Wooldridge, A (8.09.08) ‘The Brains’ Business- The Economist
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