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Conservatoire for Dance and DramaSUPPORT FORDISABLED STUDENTS

Image courtesy of London Contemporary Dance SchoolContentsImage courtesy of Bristol Old Vic Theatre School1 Introduction Page 12 Disclosure of Confidential Information Page 63 Application, Audition and Interview Page 104 Learning Agreements Page 125 Applying for the Disabled Students’ Allowance Page 166 Support for Dyslexic Students Page 227 Mental Health and Counselling Service Page 268 Buildings Page 279 Complaints Page 2710 Useful Contacts Page 281

1. IntroductionThis guide is designed for anyone who isinterested in disability issues at the eightaffiliate schools of the Conservatoire forDance and Drama. It seeks to provide helpfulinformation about the process of applyingfor a place at a Conservatoire school, thesupport that you can expect at your auditionor interview and, for those who are offereda place, during your course.It also provides helpful information for staff,those planning to take a short course at oneof the schools, or for members of the publicwho have an interest in the work of theConservatoire.Of course, if you are a student you wonʼtalways know what you will need before youapply or at the start of your course and theaim of this guide is to try to answer someof your questions. You will find furtherinformation on the Conservatoire websiteand each school has its own prospectusand website.There may also be additionalinformation about one or more of theConservatoire schools in the folderat the back of this guide.Throughout this guide you will findexamples of what disabled students have tosay about their experiences of studying atthe Conservatoire for Dance and Drama.On the Conservatoire website there are filmclips of these students involved in thecreative work that is at the heart of trainingfor a career in the performing arts.What is the Conservatoirefor Dance and Drama?The Conservatoire for Dance and Drama(www.cdd.ac.uk) is one of the newest andmost exciting higher education institutionsin the country. It was established in 2001to secure the future of conservatoire-levelvocational training in dance and drama inEngland. It has a unique structure, madeup of eight affiliate schools. All are small,specialist, vocational training institutionswith international reputations for high qualitytraining in dance, drama, technical theatreor circus arts.Through the Conservatoire, all the affiliateschools receive funding from the HigherEducation Funding Council for England.This helps to ensure that the most talentedstudents benefit from vocational trainingregardless of background or financialcircumstances.The affiliate schools of theConservatoire (referred to as‘schools’ throughout this guide) are:Bristol Old Vic Theatre School:www.oldvic.ac.ukCentral School of Ballet:www.centralschoolofballet.co.ukThe Circus Space:www.thecircusspace.co.ukThe London Academy of Music andDramatic Art: www.lamda.org.ukLondon Contemporary Dance School:www.theplace.org.ukNorthern School of Contemporary Dance:www.nscd.ac.ukRambert School of Ballet andContemporary Dance:www.rambertschool.org.ukRoyal Academy of Dramatic Art:www.rada.orgAll of the affiliate schools are small andthis means that we are able to offer a2

Image courtesy of The Circus Spacesupportive and friendly environmentwhere you will be well known by thestaff. This makes it easier for schoolsto provide support which is designedfor your individual needs.What is the Conservatoire policyon disabled students?The Conservatoire welcomes applicationsfrom disabled people and judges applicantssolely on their talent and potential to developthe skills required for their chosen profession.We are committed to admitting and supportingdisabled students and warmly encourage youto inform the school so that appropriate supportcan be put into place as soon as possible.In the past, disabled people have not alwaysbeen given an equal chance to develop theirtalents and skills in the performing arts and ouraim is to remove any unnecessary barriers toyour teaching and learning.The Disability Discrimination Act means thatHigher Education Institutions are not allowedto treat disabled students ʻless favourablyʼ thantheir non-disabled peers for reasons relatingto their disability without proper justification.You also have the right to expect ʻreasonableadjustmentsʼ to ensure that you do not faceany unfair disadvantages in relation to yourlearning or other aspects of student life.The Disability Equality Duty (2006) requiresus to proactively promote equality fordisabled people.In addition to these legal rights, theConservatoire recognises that everyone isan individual and will do its best to developyour talents and skills. Schools have foundmany imaginative and innovative ways toanticipate and respond to the needs ofdisabled people with the talent andenthusiasm for the highest level oftraining in acting, circus arts, danceand technical theatre.3

Image courtesy of London Contemporary Dance SchoolImage courtesy of The Circus SpaceHow are students selected?It is the Conservatoireʼs policy to inviteall applicants to attend an audition orinterview. In order to make this process asfair as possible, it is important for you to letus know what kind of support you think thatyou might need at this stage. There is aspace on the application form for you to tellthe school of any impairment or condition, forexample dyslexia or other learning difficulty,a physical or sensory impairment or a longterm medical or mental health condition thatmight have an impact on your audition orinterview process, or on subsequent training.It is the schoolʼs responsibility to ensure thatreasonable adjustments are made so thatthere are no unnecessary barriers to youachieving your full potential.Who should I ask if I have an enquiryabout the course or selection process?If you have any concerns or issues youwould like to discuss before you apply, youshould contact the school (or schools) youare considering. We recognise that you maynot know what you will need at this stageand each school has at least one member ofstaff who can discuss the audition/interviewprocess with you so that you can decidetogether what kind of support would behelpful. With your agreement, they will thenpass on this information to the relevantsenior member of staff.You will find the name of the person tocontact either on the schoolʼs website orin its prospectus and there are links to thisinformation on the Conservatoire website.There may also be additional informationfrom individual schools in the folder at theback of this guideHow will this information be treated?We acknowledge that you may wish todiscuss personal matters and anything youraise will be treated in confidence and onlydiscussed with other members of staff withyour permission.Who is included in theterm ‘disabled person’?The Disability Discrimination Act protectsthose people who are defined as disabledaccording to the definition in the Act. Thisdefinition of disability is: ʻa physical or mentalimpairment which has a substantial andlong-term adverse effect on a personʼs abilityto carry out normal day-to-day activities.ʼThis includes people with visual, hearingand mobility impairments, those with learningdifficulties, including specific learningdifficulties such as dyslexia and dyspraxia,4

Image courtesy of The Circus SpaceImage courtesy of the London Academy of Music and Dramatic Artthose with enduring mental health conditionssuch as depression and long term disorderedeating (ʻenduringʼ means of at least six monthsduration and likely to continue), long termmedical conditions which may be progressivesuch as cancer and HIV, and conditionswhich affect learning and social skills suchas Aspergerʼs Syndrome or Attention DeficitHyperactive Disorder (ADHD). It also includespeople who may have ʻhiddenʼ impairments ormedical conditions which may fluctuate suchas asthma, epilepsy or diabetes.If you have a condition which you do notconsider to be a disability but which youthink it would be helpful for the schoolto know about, you can discuss this inconfidence with the Registrar, Head ofStudies or your personal tutor before it isdiscussed with anyone else. You do notneed to be ʻregisteredʼ as a disabledperson to be covered by the Act.The social model of disabilityThe Conservatoire uses the Social Model ofDisability and this is the perspective whichhelps us to form our policies. The ʻSocialModelʼ takes the view that society createsbarriers that ʻdisableʼ people from participatingfully and on an equal basis with others andthat wherever possible, these barriers ought tobe removed. Conservatoire schools have acommitment to removing unnecessarybarriers during the application and audition orinterview process and throughout the course,and to providing appropriate support so thatall students can achieve their full potential.What kinds of support will be available to me?The schools that make up the Conservatoireare small. Although this means that we maynot have all of the specialist resourcesavailable in large universities, the advantageis that students are known personally by alltheir teachers and wherever possible we offersupport tailored to your individual needs.The training you will receive is mostly basedon practical and creative work in the studioand theatre environment. There are alsoelements of theoretical or academic workwhere you will need to develop your skills inreading, writing, research and note taking.We will work with you to identify potentialbarriers to developing skills in all aspects ofyour training and do what we can to removethem. Dyslexia is by far the most commonlydisclosed impairment, but we also haveexperience of training students with a widerange of impairments and conditions.Schools can assist UK students in theirapplication for the Disabled StudentsʼAllowance and in finding specialist help.5

2. Disclosure of Confidential InformationImage courtesy of London Contemporary Dance SchoolSharing confidential informationInformation about disability is consideredʻsensitive informationʼ and in order tocomply with both the Data ProtectionAct and the Disability DiscriminationAct, we try our best to:• ask your permission to pass on theinformation in order to make it possiblefor reasonable adjustments to be putinto place• inform you of the procedures that aretaking place• guarantee that sensitive and otherpersonal information is kept confidentialWe understand that you may havereservations about declaring a disabilityor may disclose to one member of staffbut ask them to keep this informationconfidential. However, we aim for an openand honest culture about disability issuesand encourage you to let your school knowof any impairment or condition so thatappropriate support can be put into place.We respect your right to decide not todisclose information, or to discloseinformation to one member of staff and askfor this information to be kept confidential,but you need to recognise that where thisis the case, it may not always be possibleto put full support in place.Disclosure of informationStudents are encouraged to identifythemselves as disabled at any point, forexample, when contacting the school forthe first time, on an application form, ataudition, at enrolment or induction, or atany point during the course. Conservatoirelevel training is rigorous and will placedemands on both your physical and6

Image courtesy of the London Academy of Music and Dramatic Artemotional energy and it may be thatdisability-related issues arise duringthe course that have an impact on yourtraining. You are encouraged to discussthis with your tutor or another appropriatemember of staff.Once you have disclosed information andhave agreed with the school that it wouldbe helpful to inform other staff of this inorder that you receive appropriate supportand ʻreasonable adjustmentsʼ to teachingand learning, you will be asked to sign adisclosure form. This gives permissionfor agreed information to be shared withmembers of staff. In order to respectstudent confidentiality, this information iskept in a locked file and will not be sharedwith members of staff other than those towhom the student has given permission.This procedure can also be used fortemporary conditions that may have animpact on your training such as an accidentor injury and for other fluctuating conditionssuch as asthma or diabetes. It can alsobe used for mental health difficulties suchas the onset of depression, anxiety oreating difficulties.The Learning AgreementAfter you have signed a disclosure form,if this is appropriate, a senior member ofstaff or a dyslexia specialist teacher willmeet with you to draw up a personalLearning Agreement. See page 12 formore information on this.7

Lucy Edwards (known to everyone as Ellie) is studying for herthree year BA in Professional Stage Management at Bristol OldVic Theatre SchoolImages courtesy of Bristol Old Vic Theatre SchoolI describe myself as dyspraxic with a strongelement of dyslexia. The dyspraxic part ofme means that I canʼt write very quickly orfor very long without it becoming extremelypainful and unreadable and there are someco-ordination issues too. The dyslexic partmeans that I have some problems withlanguage, punctuation and vocabulary.I used to get incredibly frustrated in primaryschool. When I tried to read, it just felt likethe words wouldnʼt stay on the page andpeople used to laugh at me because of theway I held my pen – I kind of grab it, a bitlike a chimp.I went into college after secondary schooland did a BTEC in performing arts and fromthere I got interested in back stage work.When I came for my interview I just feltcomfortable straight away. Itʼs a fantasticfeeling to go into a major professionalschool and just feel immediately at home.I must admit that the road that Iʼve beentreading has not exactly been easy. Thebits of the stage management course whichinvolve a lot of paperwork have been quitedifficult for me. The second term of the firstyear you are set projects from everywhere.It feels like the four corners of the earth areclosing in upon you and they are going tocrush you unless you get it all done. But Iʼmmanaging to get through it all. Iʼve gota laptop, a scanner, a printer paid by myDisabled Studentsʼ Allowance and this reallyhelps me. Without these, I would find it veryhard to keep up. Iʼve also got a dictationprogramme which I use for writing reports.If I go home from a long day I can sit atthe computer and dictate it rather haveto physically write it.The teachers are really helpful in thepractical parts of the course. In carpentrylast term we were doing a lot of jigsawingwork, and my teacher got me shockresistant gloves so that I wasnʼt whackingmy wrist out every single time it vibrates.This problem with my wrists is part of beingdyspraxic and itʼs a really nice feeling toknow that you have this problem, but withsupport you can still achieve your goals.When I leave here I would really like tobecome a props maker. Itʼs just one ofthose things that really gives me a buzz,to be able to say “I made that”.I think that no matter what kind of conditionor disability you have, youʼve got to havethe passion to be able to do somethingand to do it well. Itʼs up to you whether ornot you want to change that passion intoa knowledge, or forever to keep it lockedaway in a box.8

Images courtesy of Bristol Old Vic Theatre SchoolPete Wilmott is in the second year of a Diplomain Stage Management at Bristol Old Vic Theatre SchoolIʼve been wearing hearing aids since I wasfour. Iʼve always wanted to come here butthe first time I applied I didnʼt get a place.So I found myself some work experienceon professional shows and then I wasaccepted the second time around.I like to get ahead of myself so that I knowwhatʼs coming up next. I tend to go to thecourse leaders. They know the issues thatmight come up for me, what to expect, andthey can pass on this information to otherteachers. In the carpentry and constructionworkshop for example, itʼs very noisy inthere and consequently I turn my hearingaids off. So if my tutor needs to get hold ofme weʼve worked out a way for him to giveme a visual sign or make a physical contact.Iʼd like to be a lighting designer becausewith lighting designing youʼre very visualand Iʼm really good at putting a visualimage on to stages. I love trying to workout what sort of surroundings, what sortof effects I could use.Iʼm learning such a lot on this course andI think itʼs going to set me up very well forthe future.Another example is in the sounddepartment. In the past Iʼve used oneearpiece to listen to the person cueing me,but there are occasions where itʼs mucheasier to concentrate on whatʼs going onif I have two earpieces. We talked about itand did some research and the school gotsome dual muff headsets for me.9

3. Application, Audition and InterviewImages courtesy of London Contemporary Dance SchoolBefore you apply:If you wish to apply to a Conservatoireschool you will need to apply directly to theschool you have chosen. There is spaceon the application form for you to discloseinformation about your impairment orcondition and it is helpful to give as muchinformation as you can. This informationwill be used to help the school to decide thebest way to support you during the audition/interview process, and if your applicationis successful, throughout your course.If you have any questions or concerns aboutthe course, or if there are any disabilityrelatedissues you would like to discussbefore applying, you are welcome to contactthe school. There is always someone whois able to give you information about theaudition process and the kind of adjustmentsthat might be appropriate for you. The detailsof who you should contact may be in thefolder at the back of this guide, or you cancheck in the schoolʼs prospectus or website.Once the school has receivedyour application form:If you tell us about a disability, medicalcondition or specific learning difficulty onyour application form, someone from theschool will contact you to discuss anyadjustments or support you might need.With your permission, these adjustmentswill be shared with members of theaudition panel. In cases where yourimpairment or condition is unlikely tohave an impact on the first stage ofthe audition or interview process, thisdiscussion will take place later, eitherwhen arrangements are made for arecall audition, or once you have beenoffered and accepted a place at theschool. At any stage of this process,disabled applicants are welcome tocontact the school, (ideally by letteror email) to discuss any concerns.10

What happens in anaudition or interview?All applicants who wish to train as anactor, dancer or circus artist in any of theConservatoire schools will be offered anaudition, and those who wish to undergotraining in stage management and technicaltheatre will be invited to attend an interview.Once you have applied, schools will sendyou information about what will happenat your audition or interview, but theinformation below will give you someidea of this process:Audition at dance schools:This will include technique classes in eitherballet, contemporary dance or both, andan interview. In some schools you willbe asked to present a prepared soloperformance piece. If you are successfulat the first stage you will be invited backto attend one or more further workshops.Audition for acting courses at dramaschools or for circus arts courses:At the first audition for a place on an actingcourse you will be asked to perform twoprepared pieces, followed by a shortinterview. Candidates who are successfulat this stage will usually be asked to attendone or more follow up auditions and thesemight include: movement, singing, workingin groups and sight reading.For The Circus Space, the initial auditionincludes all aspects of the training:movement, theatre, acrobatics, technicalskills a prepared solo performancepiece and an interview.Interviews for Stage Managementor Technical Theatre Courses:For a place on these courses, all applicantswill be invited to attend an interview andmight also be asked to fill out aquestionnaire or other forms. There isusually only one interview for a placeon a stage management or technicaltheatre course.Applications from overseas students:All of the procedures described abovemay be adjusted for applications fromoverseas students. You will find thisinformation on the schoolʼs websiteand in its prospectus.Some examples of support that hasbeen offered to disabled candidates(including those with dyslexia) ataudition and interview are:• arranging for sign language interpretersto be present;• extra time for completing questionnairesor other written material (for stagemanagement courses);• written material made available ina different format or larger font size;• a tour of the building prior to audition;• arrangements made for candidates tobe in a particular position during aworkshop, or to have instructionsrepeated.Medical informationAt some point during this process, youwill be asked to fill in a medical form.This is usually done after you havebeen offered and have accepted a place.Because many of the courses atConservatoire schools are physicallydemanding, it is helpful for the school toknow of any medical condition or previousperformance-related injury. This informationwill be used to support you in your trainingand will not be used in a prejudicial way.Medical information falls into the categoryof personal and sensitive information andis regarded as confidential.11

4. Learning AgreementsImage courtesy of Bristol Old Vic Theatre SchoolWhat is a Learning Agreement?The small and friendly nature of trainingat Conservatoire schools means that a highlevel of support is available to all studentsand there is more individual contact withstaff than you would find at a largeuniversity. However, it is often helpfulfor specific guidance to be given to staffabout the support needed by individualdisabled students.If you have disclosed a support need,you will be offered a Learning Agreement(some schools refer to this as the IndividualExtended Learning Agreement or PersonalLearning Plan).This is an agreementbetween a disabled student and the school.It is a written statement which describes thetype of support that is required and the wayin which it will be provided. It is a practicaland positive way of informing thoseteaching and working with you (and thisincludes visiting professional directorsor choreographers and other part timeteachers)of these decisions.A senior member of staff or a dyslexiaspecialist teacher will arrange a meetingbefore or as near to the start of the courseas possible, to draw up a LearningAgreement. With your signed permission,copies are circulated to the members ofstaff who are named on the Agreement.There will be regular meetings to review thisplan and to make adjustments if needed.If you feel that there are any difficulties withcarrying out the support agreed, or if thesupport is not sufficient or appropriate foryour needs, we encourage you to makean appointment to review the adjustments.Although we understand that you may feelreluctant to do this, it is in everyoneʼsinterest to ensure that your needs arebeing met as far as is reasonably possible.12

Image courtesy of the Royal Academy of Dramatic ArtA Learning Agreement can be put into placeat any time during the course. Studentswith specific learning difficulties such asdyslexia are often identified later in thecourse as they begin to face newchallenges in both the practical aspectsof their training and (in the courses wherewritten work is part of the assessment)when dealing with more advancedcontextual or academic work.Examples of Learning AgreementsIn the following list there are someexamples of support included in LearningAgreements at Conservatoire schools.(Support designed specifically for dyslexicstudents is described on page 22.)• communication support workers fora deaf student;• asking the teacher to remind groups tospeak one at a time; not speaking withtheir hands over their mouths;• reminder to give both verbal andvisual instructions;• allocating a few minutes at the end ofclass to go over material when possible;• for students who might find it difficult toread information on notice boards,making provision for them to receiveinformation about meetings, roomchanges etc in a different way, e.g.via their pigeon hole, email or phone;• arranging for the student to be in aparticular position during technique class;• giving out teaching material in advanceand in a particular format;• arranging for singing classes to bein an echo-free room.13

Who has responsibility for my learning and teaching?Your school has responsibility for ensuring that reasonable adjustmentsare in place so that you are not put at any unfair disadvantage. However,students have responsibilities too.Your school has responsibility for:• providing you with the opportunity todisclose information relating to yourdisability or condition in a confidentialsetting• giving you information about what kindof support you can expect• your teaching• your welfare• if appropriate, working with you to drawup a Learning Agreement• making sure that all relevant membersof staff (including part time and visitingstaff) are informed of the support thathas been agreed• arranging regular meetings with you toreview and update the Learning Agreement• informing staff of any new adjustments tothe Agreement• guiding you through your applicationfor the Disabled Studentsʼ Allowance• giving you the support you need inorganising both the Psychological(diagnostic) and Needs Assessments• helping to provide financial support fordyslexic students who require diagnosticassessment• organising 1-1 specialist support fordyslexic students or providing contactsfor you to arrange this yourselfYou have responsibility for:• explaining your needs to theschool both at the start of thecourse, and throughout the courseas the requirements and demandsbecome clearer• your learning• looking after yourself and seekinghelp when needed• thinking about the kind of support thatwould help your learning and progress• being proactive in seeking help –not leaving it until too late• requesting review meetings if thereis anything that isnʼt working for you• attending any meetings that havebeen arranged• applying for the Disabled StudentsʼAllowance• taking advantage of, and making timefor the IT training recommended in yourNeeds Assessment• providing the school with evidenceof any previous diagnosticassessments• using your support appropriately,for example by turning up for any studysupport sessions arranged for you• organising staff training on disabilityissues, both general and specific14

Images courtesy of the London Academy of Music and Dramatic ArtNadia Albina is a recent graduate of theLondon Academy of Music and Dramatic ArtIʼm an actress. I graduated last year fromLAMDA and now Iʼm in the big wide worldtrying to get jobs. I was born without myright forearm – itʼs a congenital thing.I always felt that it was going to be difficultbecause I have never been to the theatreand seen an actor onstage who has adisability but is playing a part thatdoesnʼt call for it.When I auditioned for LAMDA I did disclosethat I had a congenital disability but I didnʼtfeel like they were looking at that at all.I felt comfortable that the audition panelwere judging me on my acting.The parts of the course that I felt might bevery challenging were the physical sides.When I first saw the fighting, I did have abit of a moment of thinking ʻhow am I goingto do this?ʼ because I wanted to be involvedwith everything that the school offers. Butas soon as we started I found that thesupport was there. Teachers werenʼtthinking about what I couldnʼt do, theywere thinking, weʼll find a way of makingthat move work – weʼll find a way ofchoreographing that. I never felt that therewas any pressure to do it a certain way.At one point in my training I had aprosthesis – I suggested it myself becauseI was in the frame of mind where I thoughtthat if I covered up my arm, I would bemore acceptable to an agent or a castingdirector. But in my final show I did aproduction where the director encouragedme not to wear it because she made merealise I wasnʼt myself with it on, I didnʼthave as much freedom in myself or mybody. Since then Iʼve gone for auditionsas myself and it hasnʼt been a problem.Iʼm beginning to get work.The best advice I could ever give someone is just to follow a dream that theyʼvehad. It shouldnʼt matter what you look like.You will always surprise yourself, and youwill always surprise others by just beingwho you are.15

5. The Disabled Students’ Allowance (DSA)Images courtesy of the Royal Academy of Dramatic ArtWho is eligible to apply for theDisabled Students’ Allowance?If you have been a resident of the UnitedKingdom (UK) and will face costs in yourstudies because you are disabled, youmay be eligible to apply for the DisabledStudentsʼ Allowance (DSA). This can coverthe cost of special equipment that isnecessary for your studies such ascomputers and software, non-medical helpsuch as study skills tuition, sign languageinterpreters, readers or note takers, andancillary costs such as photocopying.Applications for this allowance are madethrough Student Finance England (SFE).Once you have contacted them, theywill supply you with information onhow to apply.Applying for the Disabled StudentsʼAllowance can be a time consumingprocess and it is important that you beginthis process as soon as possible. If you area UK student and know that you have acondition or disability that requires support,it is very helpful to start this process assoon as you have accepted a place.To be eligible for a DSA, you need todemonstrate to SFE that you:• can provide evidence that you have beena resident of the United Kingdom for atleast three years before the start ofyour course;• have been offered a place at, or arecurrently attending, a Conservatoirefor Dance and Drama school;• have evidence that you are disabled.For dyslexic and/or dyspraxic studentsthis means a recent report from aneducational psychologist or similarlyqualified professional. For other disabledstudents it usually means some kind ofmedical evidence.Unlike a student loan, the DSA does not haveto be repaid. The Student Loans Companyhas a very helpful website with all theinformation you will need to apply. To findthe Disabled Studentsʼ Allowance (DSA)application forms, go to: www.directgov.ukand follow the links to Disabled Peoplethen to Education and Learning, thento Support at College or University.16

When you apply for the DSA, there isan extra procedure required for dyslexicstudents and those with other specificlearning difficulties. Dyslexic studentswho are eligible for the DSA will needan assessment that has been carriedout by an appropriately qualifiedpsychologist (or other approvedprofessional). If your school believesthat you need this assessment, they willhelp you to organise an appointment.The psychologist will produce a writtenreport and will send you a copy whichyou need to forward to SFE.How do I pay for theDiagnostic Assessment?For students who are being diagnosed asdyslexic for the first time, or whose diagnosticreport is out of date, your Conservatoireschool will help you to obtain funding fora new or updated report. Funding may beprovided from the schoolʼs Accessto Learning or other Hardship Funds.The Registrar, Head of Studies or Head ofStudent Support will talk you through theprocess of applying for a diagnosticassessment and put you in touch withrecommended psychologists. They canalso help you with the sections of theAccess to Learning Fund application formthat you need to complete.What is a Needs Assessment Report?All students applying for the DisabledStudentsʼ Allowance (that is, not justdyslexic students) require a NeedsAssessment Report. If SFE has advisedyou to contact a specific centre, the contactdetails can be found on the website of theNational Network of Assessment Centres(www.nnac.org). You can also ask yourConservatoire school to help to organisethis appointment at an Assessment Centrenear to the school. The assessor will thenwrite a report which gives very detailedinformation about the equipment andother support you require.For example, they may recommend:– a computer,– assistive IT software or other equipment,– specialist one to one tuition,– camcorder,– support workers such as sign languageinterpreters, readers or note takers.This report is sent to SFE for authorisation.Once SFE approves this report, you mayorder the recommended equipment. You donot have to return any equipment suppliedas part of your DSA but you will need to getit properly insured.Because conservatoire training is differentfrom conventional academic degreecourses, it is often helpful for both theeducational psychologist and the needsassessor to know something about thepractical and vocational demands of yourcourse. A sample letter for assessors isavailable from your school or from theConservatoire website.The DSA and EU orInternational Students:Unfortunately, non-UK students arenot eligible for the Disabled StudentsʼAllowance. If you are in this position,you should contact your own governmentto find out whether they provide fundingto support the study needs of disabledstudents who are studying abroad.Specific funds:Some schools have specific funds to assiststudents in financial difficulties and disabledstudents who are not eligible for the DSA.For information about this, you should talkto the Registrar, Student Support Officeror Head of Studies in your school.17

The chart below illustrates the process of applying for DisabledStudents’ Allowance if you are a UK student and are, or think youmight be, dyslexic:Do you have a post 16 report from either a chartered psychologist or a specialistteacher holding a Practising Certificate awarded by either Dyslexia Action orPATOSS (Professional Association of Teachers of Students with SpLDs)?YESNO• Contact the Registrar or Head ofLearning support who will refer youfor an assessment.• After the assessment you will besent a report.Go to www.directgov.uk and follow the links to Disabled People thento Education and Learning, then to Support at College or Universityto find the Disabled Studentsʼ Allowance (DSA) application forms.Complete and submit the relevant application form.Send the requested evidence (your report) toStudent Finance England (SFE).• SFE will then decide if you are eligible for assistance.• If you are eligible, SFE will contact you asking you to attend a NeedsAssessment interview.• This interview is to work out exactly what you need in terms of equipment etc.• The interview venue will be either near your home or near your school.• After this interview, a report will be sent to SFE.• SFE will then contact you giving details on what you may purchase and howto claim back the money spent on the recommended equipment etc.• Any recommended extra teaching will be put in place in discussion with yourselfand your school.• The equipment will be yours to keep and is not just for the duration of the course.You should therefore to take out insurance to cover any expensive items.18

Student’s own photographStacey Abalogun is in her final year of the BPA (Hons) Degree inContemporary Dance at Northern School of Contemporary Dance.I wasnʼt diagnosed as being dyslexic untilI was in the first year of the degree coursehere. I got referred by the Learning SupportTutor because my written work wasnʼt up tostandard. Iʼd always struggled at school.I worked really hard, much harder thanother people and I was always disappointedwith my results. After all the tests, it cameback that I was severely dyslexic.The equipment I got with the DisabledStudentsʼ Allowance really has helped me.ʻInspirationʼ is a computer programme thathelps you break down information. Say forinstance, if I have to write an essay andhave no idea where to start, Iʼll type in somekey words and this will show me how to putthis into a mind map to organise my ideasand help me structure my essay or plan apiece of writing. Also Iʼve got ʻRead andWrite Goldʼ, which is another programmewhere when Iʼm actually typing it will readit back to me.Probably the biggest help of all is thecamcorder. When Iʼm in technique classIʼm able to record my movement or whenIʼm choreographing my own works, then Ican look back on it and work on it at a laterstage, because everything takes longer.I have a Learning Agreement which Iʼvesigned. It highlights the positive points andthe negative points about my learning andall my teachers get a copy of it. So forinstance, in my case, if I need to be shownthe movement more than once – becausedyslexia does affect my memory ofmovement – I can ask my teachersto repeat a movement.The course here – I couldnʼt ask foranything more. The teachers are all reallygood and really supportive so you knowif youʼve got any problems or you donʼtunderstand anything at the end of class,you can always go and ask.Once you find something in life that cantake a hold of and you can devote yourselfto it 100% it gives you something to live for.I wake up every morning and I get out ofbed, I come and dance. I go home Iʼm stilldancing. I work at weekends, Iʼm dancing.You know, itʼs my life. I couldnʼt see myselfdoing any other profession.19

Ira Siobhan, pictured above, is in his final year of a PerformingArts degree at the Northern School of Contemporary DanceImages courtesy of Northern School of Contemporary DanceIʼve known that Iʼve had dyslexia since I wasabout seven years old. Iʼve always foundacademic work difficult and I just started touse my motivation and energy in differentways – sport and physical things becausethat was where I could be at my best.I was worried about doing a degree coursebecause of all the written work, but theyreassured me that thereʼd be a lot ofsupport and ways we can work around it.On the open day I asked the tutor in chargeof dyslexia support and she was reallyreassuring – she told me that a lot of peoplewho are dyslexic go into dance like I have,so that gave me a bit of confidence. Weʼveworked out ways for me to present myessays in a spoken form. Itʼs not an easyoption but it works for me.It felt mathematical, thatʼs the only wayI can describe it – kind of like a grid or likelearning numbers. But I just knew if I couldget it, learn it piece by piece, add on eachnew movement to what I already knew,then I would improve so much more.I love ballet now.Sometimes I have to sit back and look atwhatʼs happened over the past few years.Itʼs gone so fast. I look back and see whereI was and the changes are just crazy –physically, mentally, every way. Itʼs not justbeing seen as a dancer, Iʼve grown as aperson as well. Really it couldnʼt have beena better environment for me – the mix ofthe people from all over the world, differentnationalities and different races. Itʼs beenan eye opener.At first I found it hard to keep up with ballet.I didnʼt have any kind of ballet backgroundand I felt like it was holding me back.20

Image courtesy of Royal Academy of Dramatic ArtAidan O’Reilly, pictured left, is in his second year of the BA inActing Degree at the Royal Academy of Dramatic ArtIʼm an actor or trying to be an actor. Thenature of my disability is that I only haveone eye and in technical terms what mostpeople see at 200 feet, I see at 20 feet,so details and things are gone.Iʼm American and I auditioned at the topof the UN building in New York on my 19thbirthday. Then I came to London to do thebig audition workshop. When I arrived,RADA had sent out a letter with a list of allthe things I needed, so everyone knew thatI had a visual impairment. I think itʼs goodthat people knew what to expect and then Iwas able to go up to the teacher myself andlet them know how comfortable I am with it.It was fun. It was a lovely day and Iremember thinking at the end of the day,I donʼt even care if I get in at this point,Iʼve had such a wonderful time.When I started the course one of my bigworries was getting around the schooland not getting lost. The school asked twostudents in my year whether they would bewilling to keep an eye out for me and theypicked two very different kinds of peopleto do it, one whoʼs a very sharp guy, andone whoʼs very laid back. It was reassuringto have this at the beginning and actuallyit was nice to get to know two people inthat way.I met up with the Dean of Studies a weekbefore classes and we talked about whatkind of support I might need. It was writtenup and I signed it, and this was the LearningAgreement that was passed out to theteachers before they met me. Iʼd never hadanything like this before and it seemed avery good idea, ʼcause teaching is a veryvulnerable thing to do anyway and ifsomeone kind of jumps in and goes “ohby the way, Iʼm half blind”, theyʼll wannaknow what to do.I think whatʼs wonderful about studying atRADA is that they expose you to so manydifferent ways of working from all over theplace. And you realise there is no one wayof working, and that each production youdo is going to be a new challenge andeveryone has to go about coping in a newway. And so you just have to consistentlyrise to whatever the bizarre challenge isput in front of you.I just love being with a bunch of intenselycreative young people, whose energyis contagious and who are inspiring tobe around.21

6. Dyslexic StudentsWhat is dyslexia?Dyslexia is a difficulty caused by subtleproblems with language processing whichare independent of intelligence, schoolexperience, social, economic or emotionalfactors. Dyslexia is the most commonlydisclosed impairment at the Conservatoirefor Dance and Drama, as it is in otherperforming arts schools. Dyslexic studentsare often highly creative and imaginativepeople and with the right support they canachieve very high standards in their training.How does this affect learning?The implications of dyslexia on reading andwriting are now well known. They include:• persistent, severe problems with spelling,even with easy or common words;• problems with ordering thingssequentially, such as letters, numbers,words or ideas;• taking longer to read texts and scripts;• needing more time to produce writtenwork such as essays, reports, researchnotes and portfolios;• misreading or miscopying;• difficulty with multiple activities such aslistening and taking notes in lectures;• persistent problems with sentencestructure, punctuation and organisationof written work;• prone to forgetting dates, times andplaces of meetings and other problemswith organisation and memory;Less well known are the ways in which dyslexiacan have an impact on the practical andcreative side of your training. Dyslexic studentsstudying at Conservatoire schools have spokenabout their difficulty with such things as:• remembering dance and movementsequences and routines;• learning lines;• making the link between seeing anddoing – for example students findingthemselves moving off on the wrongleg in technique or movement lessons;• some of the practical aspects of stagemanagement courses – for example,working with measurements, ratios ornumber sequences for lighting.What kind of support is availablefor dyslexic students?Most of your assessments at Conservatoireschools are based on technique,performance or practical theatre skills.In some schools, academic or contextualessays form part of the assessmentprocess, but students are not required totake written examinations in any of theundergraduate or postgraduate degrees.However all courses require high levelsof skill in reading, writing and note-takingand schools are able to provide learningsupport in these areas. This support canbe offered in the following ways.Specialist dyslexia tutors:Dyslexic students who receive the DSA(see page 16) are usually also entitledto one to one support from a specialistteacher. This can be organised by yourschool and is paid for by SFE. Thespecialist tutor will help you to developyour skills in such areas as writing,organisation and memory.Library, learning resources,IT facilities, assistive software:As all of the Conservatoire schools aresmall, they are unlikely to have the fullrange of assistive software in the libraries.Dyslexic students with the DSA will havereceived assistive technology and thetraining to use it, and some libraries haveequipment that can be loaned to students.22

Images courtesy of the Rambert School of Ballet and Contemporary DanceThe following software programmes areavailable in some school libraries and thereare members of staff who are happy to helpyou with these:• Inspiration: This is a mind mappingprogramme which helps plan andstructure written work.• TextHelp! Read and Write: This is a textto speech programme that listens to theuserʼs written work to check for grammarand spelling or to listen to long writtenpassages viewed on the screen.Tutors and Learning Support Teachers:Schools have well developed tutorialsystems and all students have regularopportunities to discuss any learningdifficulties (both practical and academic)with their teachers as they arise. Someschools also employ a learning supporttutor who can offer individual help withplanning, re-drafting and writing taskssuch as essays, reports and portfolios.made as and when they arise to meetproblems that have not been anticipated.For example, students in stagemanagement courses might be showna different way to use measuring devicesor record lighting sequences and teachersoften invent ways to assist students whofind it difficult to learn dance notation,lines or dialect.Some examples of adjustments that arefrequently made for dyslexic/ dyspraxicstudents include:• help with ʻover learningʼ (i.e. by constantrepetition) for students who take longerto learn routines, sequences and lines;• presenting academic work in a differentformat, for example, an oral presentation;• extended deadlines with written workand allowances made for grammarand spelling;• longer lending times in the library;• one to one study skills support.Adjustments made for dyslexicstudents in conservatoire training:As students spend a large part of each daydeveloping their practical and performanceskills in the workshop, studio and theatre,it is often possible for adjustments to be23

Nick Lawson, pictured above, has completed his BA Hons Degree inContemporary Dance at London Contemporary Dance School and isnow in EDge, the school’s postgraduate dance company.Images courtesy of London Contemporary Dance SchoolI have been dance training for seven years.Iʼm now dancing for EDge which is a semiprofessionalcompany. Itʼs like the next stepup and this yearʼs really been about findingwho I am as a dancer.I was very into sport at school and then Isaw a professional dance company perform,and I thought, okay, somethingʼs kind ofmissing in the sports. Itʼs very physical butthereʼs also like another element to beingphysical, like the softness and also a wayof expression.I have been aware of being dyslexic fromthe age of seven. Itʼs been a long journeyto try and understand how dyslexia worksin my learning process. Being dyslexic I findit hard to kind of express myself, especiallyin writing and sometimes in words as well –finding the right words. I find that in danceI can express myself through movement,so this is like another way of communicating– a way of understanding my mind andbody and expressing who I am as aperson. Itʼs fun as well.tell all the teachers and I thought thatʼs fine,because itʼs best for them to be aware, tounderstand that dyslexia actually affects notjust your writing, it affects every single partof your life.The teachers have been very supportiveand very kind of strict with me. Theyʼre like“Nick, do you know what you are doing?”Iʼm like “Yes”. And they say, “Nick, do itagain.” And forcing me to repeat and repeatand repeat, which then lets the material sinkinto my body rather that my brain.Sequences that take other people a matterof minutes, can take me days to learn. Iʼvelearned to not panic in the class situationand just to say to myself, “itʼs okay that itʼstaking me a long time to learn this routine”.Iʼll kind of take it down to the very basicsand break it down movement by movement.So itʼs being very patient with myself.There were quite a few dyslexic studentsin my year and we took our problems tothe school and said. “Okay, being dyslexicwe find it hard to pick up and remembermaterial.” Then they asked permission to24

Images courtesy of the Royal Academy of Dramatic ArtSophie Stone is in her first year of an actingdegree at the Royal Academy of Dramatic ArtI wrote that I was severely deaf on myapplication form. The form said, ʻdo youhave a disability, what kind of help do yourequire?ʼ and nobodyʼs ever really askedme this before. And I just thought, okay,I need to put something down and so Iwrote down ʻyes, somebody who signs forme and maybe a note taker.ʼ I didnʼt needthem for the initial, individual auditions, butwhen I got a place on the final workshopthere were two interpreters there. It reallyhelped. I still maintained my independencebut I was able to show myself at my best.And then I got in. I was so excited, it waslike, little old me in this great place.When I started my training I didnʼt know howI would cope because I hadnʼt had a greatdeal of support before coming to RADA withinterpreters or communication supportworkers or anything like that and I wasnʼtreally sure what to expect. There was alsothe feeling that there might be a stigmaattached, that other students might see meas ʻthe deaf person,ʼ and Iʼd really stand out.But if anything, the opposite has happened.Everybody has been extremely supportive,very accommodating of my interpreters.I had communicators full time for the firsttwo weeks and then I felt confident aboutbeing able to pick and choose the lessonswhere I needed help. I realised that I needsomeone who is flexible, who can writenotes for me, tell me where to be. Itʼsgood if they know something aboutacting training.My acting teachers are all aware of myneeds. Before I started the course, theteachers attended a talk where a trainerwhoʼs deaf herself came in and explainedthe doʼs and donʼts of teaching a classwith a deaf student.Itʼs taken a while, but over time all theteachers are starting to click and rememberthe simple things, like turning round toface me, keeping their hands away fromtheir faces, stepping a foot away fromthe window. And then it becomes sonatural that itʼs an unconscious decision– to do something to accommodate mein the lesson.Iʼm not naïve. I do know that when Iʼm goingout there looking for work, Iʼm going to beseen as a deaf actress. But my sole aimis to fight that. I do not want to be SophieStone, the deaf actress. Itʼs not me beingashamed of my deafness, itʼs me saying“okay, Iʼm deaf. Now can I be an actress?”25

7. Mental Health and Counselling ServiceImage courtesy of Bristol Old Vic Theatre SchoolThe term ʻmental healthʼ describes a senseof well being, the capacity to live in aresourceful and fulfilling manner andto have the resilience to deal with thechallenges and obstacles which lifepresents. Those who experience ʻmentalhealth difficultiesʼ may be very successfulas students studying for a career in theperforming arts, but they may also requiresupport to enable them to participate fully ina training that places great demands onboth physical and emotional energy.This service is offered free of charge.You can also self refer and this informationis usually provided in your studenthandbook. Seeing a counsellor willgive you the opportunity to work throughdifficult issues in some depth.The counsellor operates a code ofconfidentiality set out by her or hisprofessional body.Leaving home for the first time, studyingabroad, making new friends can all have aneffect on your mental health and this cansometimes affect your ability to fully engagein your training.Some students will have experiencedmental health difficulties before startingtheir training and others will find that theyare beginning to have difficulties with suchthings as concentration, motivation,stamina, creativity, attendance, eatingregularly, managing anxiety or mood swingsand sleep patterns. In these circumstancesit is important that you seek help. Talking toyour Tutor, Course Leader, Registrar orHead of Student Support is the first step.All schools can help you to makearrangements to see a counsellor.26

Images courtesy of the Northern School of Contemporary Dance8. Buildings 9. ComplaintsConservatoire schools are housed ina variety of buildings and use differentperformance spaces. Whilst all schools arefully committed to improving access, somehave been newly refurbished and are nowfully accessible, whilst others are still in theprocess of finding funding for new premisesor improvements to their existing buildings.Information about school buildings canbe found in the information at the backof this pack or on the schoolʼs websiteand prospectus.There are a number of formal and informalways in which students can bring a rangeof disability related issues to the attentionof the managers at Conservatoire schools.Our aim is to react positively to criticismand to improve the quality of our services.Details of the complaints procedure canbe found in the Student Handbooks ofindividual schools.Applicants with any kind of access issuesare welcome to call the school and ask fora tour of the buildings.27

10. Useful ContactsImages courtesy of the Central School of BalletSkill: National Bureau forStudents with DisabilitiesGeneral advice, information and guidanceabout being a disabled studentFreephone: 0800 328 5050 – InformationService (13.30 to 1630 Monday to Friday)Textphone: 0800 068 2422Fax: 020 7450 0650Email: info@skill.org.ukWebsite: www.skill.org.ukDisability Rights CommissionGeneral information and advice onyour rights as a disabled personTel: 0845 7 622 633Fax: 0845 7 778 878Website: www.drc.org.ukDepartment for Educationand Skills (DfES)Up to date information from theGovernment about disability supportin higher eductionTel: 0870 000 2288 Information linefor publicationsTel: 0800 731 9133Website: www.dfes.gov.uk/studentsupportBelow are two dyslexia centresin the London area. For schoolsin other areas, see the informationat the back of this guide or lookon your school’s website.Adult Dyslexia & Skills DevelopmentCentre (London, Euston area)For dyslexia assessments and studyskills tuition2nd Floor1-7 Woburn WalkLondon WC1H 0JJTel: 0207 388 8744Fax: 0207 387 7062website: www.adultdyslexiacentre.co.ukDyslexia Action(London, Victoria area)Dyslexia reports, study skills tuition andinformation about dyslexia and dyspraxiaTel: 020 7730 8890Fax: 020 7730 0273Email: london@dyslexiaaction.org.ukWebsite: www.dyslexiaaction.org.ukPhotographers: Patrick Baldwin, Graham Burke, Tony Coe, Toby Farrow, Dennis Gilbert,Hugo Glendinning, John Haynes, Mick Hurdiss, Benedict Johnson, Roderik Longhurst, Mike Massingham,Patricia Myers, Chris Nash, John Pridmore, Brian Slater, Richard H. Smith, Karen Wilkinson.28

www.cdd.ac.ukwww.nscd.ac.ukwww.oldvic.ac.ukwww.centralschoolofballet.co.ukThe Circus Spacewww.thecircusspace.co.ukwww.theplace.org.ukwww.lamda.org.ukwww.rambertschool.org.ukConservatoire for Dance and Dramawww.rada.orgTavistock House, Tavistock Square, London, WC1H 9JPTel: +44 (0)20 7387 5101Fax: +44 (0)20 7387 5103Email: info@cdd.ac.uk