| Many strategies for dealing effectively
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| | principles, while another shows how
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| with learning disabilities include
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| | acting can enhance students'
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| multi-sensory approaches. The thinking
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| | vocabularies. Clear, detailed
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| behind this is simple: the more ways you
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| | instructions allow readers to put these
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| give a person to remember something, the
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| | techniques to use in their own homes or
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| more chances they have of actually doing
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| | classrooms. Smith makes the important
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| so. One approach that works-particularly
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| | argument that art is not only a fun way
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| for the artistically inclined-is the use
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| | for students to express themselves, but
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| of creative techniques to relay and
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| | also culturally and scholastically
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| interpret academic information.
| |
| | enriching.
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| These techniques may include the
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| | 2. Overcoming Dyslexia: A New and
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| integration of visual art (such as
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| | Complete Science-Based Program for
|
| painting, drawing, or photography),
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| | Reading Problems at Any Level, written by
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| literary art (such as poems, short
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| | Sally Shaywitz
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| stories, or plays), music, or drama. Not
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| | This critically-acclaimed book uses
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| only are these approaches entertaining
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| | science to give evidence that artistic
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| for students, they also make use of
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| | techniques are an effective way to teach
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| different areas of the brain, which
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| | dyslexic students how to read. Shaywitz-a
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| promotes valuable cross-region
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| | Yale neuroscientist-looks at the
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| connections.
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| | structure of the dyslexic brain and how
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| There are two excellent sources on the
| |
| | it functions. Neurotechnology has proven
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| subject, which are profiled below.
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| | that those with dyslexia use a different
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| 1. The Power of the Arts: Creative
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| | part of the brain to read than those
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| Strategies for Teaching Exceptional
| |
| | without dyslexia.
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| Learners, written by Sally L. Smith
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| | Art can be used as a means to create
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| The author of this revolutionary book is
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| | connections between the two areas of the
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| one of the country's foremost experts on
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| | brain, thus enabling the ability to make
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| working with learning disabled students.
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| | sense of written language. Shaywitz makes
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| She's the founder and director of
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| | the compelling argument that dyslexia
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| Washington D.C.'s Lab School, an
| |
| | should be looked at not just as a
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| institution she created specifically for
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| | weakness, but also as a strength. She
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| students with learning differences. Smith
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| | points to the large number of highly
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| is also a professor of education at
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| | successful artists who have struggled
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| American University and the mother of a
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| | with and benefited from their dyslexia,
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| child with scholastic difficulties.
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| | including Pulitzer Prize winning
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| All of these qualifications make her
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| | playwright Wendy Wasserstein and
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| well-suited to providing parents,
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| | bestselling author John Irving.
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| teachers, and other learning disability
| |
| | Shaywitz provides in-depth case studies
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| specialists with information on the best
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| | of these artists to illustrate how
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| techniques for working with special needs
| |
| | dyslexia allows for increased creativity
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| students. This book consists of
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| | and comprehension, while at the same time
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| interviews with faculty members of the
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| | inhibiting the ability to decode letters
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| Lab School, who have found that
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| | and punctuation marks. She indicates that
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| incorporating art into their curriculum
| |
| | art can help to bridge the gap between
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| has made their lessons come alive for
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| | these two types of skills, which can lead
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| their students.
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| | to great personal and professional
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| One example illustrates how sculpture can
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| | achievement.
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| be used to teach students about geometric
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| |
|
