Shades of Noir – The Artefacts ‘Tell Us About It’ site is a meaningful resource that students and staff can access in order to gain a deeper understanding of the journeys of students of colour at UAL. Objects, blogs and written reflections are presented in a clear format that allows viewers to select individual students’ work and creative disciplines according to specific interests and enquiries. The physical objects are an exciting aspect of the site because they hold memories and tell individual stories in a very personal way. By viewing these works audiences are encouraged to develop a sense of the nuances present within diverse identities and cultures. The objects are fascinating and require close analysis that challenge one’s personal perceptions. This fosters self-reflection that can inform my creative practice and pedagogy through the integration of discourse around intersectionality.

A pedagogy of social justice education: social identity, theory and intersectionality – The contact hypothesis is a new concept to me and I agree that breaking down prejudice and unconscious bias through group work and collaboration is a valuable tool that I could incorporate into my contact with students. Social identity theory states humans are part of groups and sub-groups, we naturally gravitate towards people we feel the most familiar with. In art school (CSM) this can be seen in the canteen, racial groups sitting together, this feels safe. In the classroom or lecture theatre, people also sit in groups, some solo. When teaching creative practice it is important to encourage both a sense of developing self-identity (positionality) as well as social identity, which can be achieved through collaboration and group projects, that bring different groups together. In white dominated environments, to serve towards reducing the retention and attainment gap it would seem that resources, examples, references should overly include those of non-western cultures, in a respectful and positive light, for two reasons: to help BAME students to feel included and valued; and to give their white counterparts exposure to other influences and cultures. In my presentations I can include examples from countries in the global south, from artists and designers with disabilities, and from different religions. 

Josephine Kwhali – I agree that with developments within university policy, debate and growing awareness of social justice surrounding the protected characteristics set out in the Equality Act 2010, the notion of unconscious bias seems like a safe haven for those who wish to maintain established power structures, rather than to challenge them. 

Retention and attainment in the disciplines: Art and design – The recommendations are ambitious but much needed in Higher Education. One way that we might address the problem of the retention and attainment gap between BAME and white students might be to include compulsory learning into all courses and deliver regular staff training opportunities. 

Jon Straker ‘Shedding Whiteness’ – For me the illustrations speak clearly about the notion of ‘whiteness’. The pain, anguish and confusion Straker experienced on discovering the fact he is not white might resonate with students who may be going through some form of identity exploration, conflicts and confusion, both internally as individuals and also within their social groups amongst peers. Self-realisation impacts learning and engagement in Higher Education because it is part of self-growth, which is the purpose of Higher Education. This is particularly the case for art and design students, whom I encourage to consider their positionality as a starting point for any given project. 

As I read and write I am aware that I am looking for ideas and theories that align with my values and experiences that somehow prove or validate my sense of self. Reflecting on this, as a participant on the PgCert, as a black student and lecturer simultaneously, I want to be challenged by what I discover, how can my thinking be informed by the theory and resources? Shades of Noir is a crucial resource that I can share with students, drawing examples of excellent creative practitioners of colour. This inspiration was something that was missing in my experience as an art student, and it would positively influence all students and their understanding of the creative industries where people of colour are visible and influential.

I feel somewhat limited in my current role, although I have started conversations with colleagues about the potential to deliver teaching and learning, particularly on ‘positionality’ within my host course. I have strived to communicate the importance of this subject for all students and I hope it will trickle down to staff CPD, planning and course design. For this to happen I need to find allies, safe spaces to explore ‘difficult’ conversations, and strive to make change, however small might influence might be.