Examples of reference imagery presented at the bookbinding workshop

I aimed to show alternative examples of hand-made books to encourage students to think broadly about what a ‘book’ is and can be. Next time I need to remember to document student outcomes to help me evaluate and reflect on my teaching and learning experience.

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.

Black and British: A Forgotten History

The BBC series ‘Black and British: A forgotten history’ provided new learning, contexts and background knowledge around the history of people of African descent in Britain, Europe and worldwide. The content challenged me to reconsider the roots from which the cannon of knowledge within Higher Education stems. In this series the notion of ‘race’ is represented as a concept that began during the colonial era, as a weapon of power that enabled the oppression, possession and capitalisation of black people from the Global South. The capitalisation and commodification of the ‘black body’ is explored further in ‘Capitalism and Slavery’ by Eric Williams, first Prime Minister of Trinidad and Tobago, and 20th century scholar of Oxford university. His research further informed my thinking around political, social, cultural and spiritual implications, legacies and debate concerning ‘race’, while providing an insight into how established systems of power have formed over the last 500 years. His writing was banned for 25 years in the UK until finally being recognised as a core text that should be distributed and read by academics to inform contemporary consciousness and debate around social justice within academia.

Olushoga, D. 2023, Black and British: A Forgotten History. Available on BBC iplayer

Williams, E. (2022) ‘Capitalism and Slavery’, London : Penguin. Article at https://www.theguardian.com/books/2022/mar/02/capitalism-and-slavery-eric-williams-back-in-bestsellers-list

I attended this event to help me consider marrying the reading I’ve been doing with my teaching practice, my creative practice and notions of diversity, perceptions, positionality in relation to inclusive practices.

The online format I observed the options we were signposted to, to make the experience more inclusive, eg. closed captioning, option to turn camera off, chat function, etc., a few practical things I can offer with online teaching.

I wanted to learn about Bessa’s practice and how he considers diversity and positionality within his illustrations. Maybe unusual but I don’t any gay illustrators so I was interested to listen to his story. In order to develop inclusive practices within my teaching role it is important for me to hear different stories that I might not necessarily come across in my daily life. Pushing myself outside of comfort zones, hearing new voices, seeing new work and imagery, finding opportunities to ask questions to experts in their field provides fresh insights that informs my approach to teaching and learning.

I have been thinking about what Inclusive Practices actually means. Words like disability, faith, race are central within the IP unit. How do my biases reflect my thinking around inclusivity and diversity?

Bessa – “it’s important to know when your voice is not the voice that’s needed for a project”

Forbes – “who has the right to depict diversity?”

For me being an inclusive practitioner means being mindful that I have limitations, biases, as do my students and colleagues, but that I can be honest and open about these within safe spaces, and to dig deep for the courage to be open outside of safe spaces. Self-awareness around positionality is also crucial. IP also means listening to, opening spaces for, and inviting students to share their experiences to validate their voices.

Reflecting on ‘Interview with Saffron Mustafa’ I am reminded that Britain is a multi-cultural society with a long history of, sometimes forced, migrations across the globe, resulting in diverse groups of people settling in British towns and cities. Generations of people originating from cultures, religions, traditions within the global majority are educated within British educational systems. 

Mustafa’s admission that she found integrating into mainstream schooling as a muslim teenager after being home-schooled speaks of the intersections of race and faith. Although she is a white woman, because of her religion, she experienced difficulties within her peer group. 

Within my teaching practice I need to be completely aware of my positionality and sensitive to that of others, even when my beliefs differ from that of my students. I believe part of my role as a teacher with the Higher Education sector is not only to practice inclusivity, but also to encourage it amongst my students. Where potentially sensitive topics may come up in discussion or within resources I provide, I can give trigger warnings, set out clear ground rules that promote mutual respect of differing beliefs and opinions. 

By reading Calhoun (2015) I learnt that religion is not just about personal faith and spirituality, it is also about community, identity and belonging. Challenges exist for higher education to foreground religion and faith within debates on wider topics. Religion should not only be discussed as an isolated issue but should be considered as central to some student’s university experience. 

I would question whether it is beneficial for students and staff to be involved in public discussion on religion and/or faith, or whether wider discussions on inclusivity (that include faith) might better address the need for mutual respect, acceptance and celebration of diversity. In my practice I feel able to discuss religion with students however, I do not believe it is my role to provide guidance or advice on religious or spiritual matters. I need to be mindful that students will have differing beliefs, values and ethics, therefore design inclusive teaching and learning that respects all faiths as well as non-faith.

References

Appiah, K. A, Mistaken Identities Reith Lecture, BBC

Modood & Calhoun, (2015) Religion in Britain: Challenges for Higher Education

Shades of Noir Terms of Reference, Faith ‘Interview with Saffron Mustafa’, page 28-31

Reflecting on Barokka’s article, issues around disclosure of disability arise. In my practice I find that people are not always comfortable with disclosing ‘disability’, or even aware they may have a ‘disability’. Learning differences and/or hidden ‘disabilities’ may effect a students’ ability to engage/participate in learning or to access meaningful support. Asking students directly whether they have a disability is an intrusion of privacy, perhaps too confrontational, particularly for young adults who may not have the support, language or confidence to express their experiences within academic spaces, that my not feel like ‘safe’ spaces, in particular for marginalised individuals. 

I aim to design and deliver teaching through reflexivity, with the knowledge that there is likely to be hidden ‘disabilities’ within any group. I encourage students to consider ‘difference’ among their peers and allow time and space for ‘points of rupture’ that are not planned, but that allow for students to work at their own pace, to offer support to each other thus reducing the teacher/student gap, and the traditional, hierarchical dynamic that my be expected or desired. This promotes critical thinking, ownership and student autonomy. Sun Kim’s film prompted me to reflect on possible ways that a multi-sensory approach to creative teaching and learning might support students who may not disclose or be aware of (their) disability.

Teaching and supporting learning through a lens of critical pedagogy (Friere, 1970) is to consider diverse needs, abilities, difference, to include all students. New strategies informed by inclusive practices and awareness of difference, ‘disability’ and hidden ‘disability’ include: checking that I can be heard and seen with my delivery/demonstration; repeating instruction of practical tasks; reading the room, ie. observing and listening to student activity, body language, non-verbal communication; seeking out student voice and feedback during activities; showing empathy; encouraging peer-to-peer communication and sharing of resources and new knowledge; communication – engaging with all individuals, offering equal attention and making space for each voice, including those who are less vocal or forthcoming in offering their thoughts, considering that some students may be more comfortable with quiet exchange rather than open and audible conversation within a group dynamic.

Recently ‘diagnosed’ as dyslexic, with the knowledge that dyslexia is a protected characteristic in the Disability Act 2010 I question what ‘disability’ means to me and how it is perceived by others. My experience as a mature student accessing UAL’s Disability Service was straightforward however, I imagine this may not be the case for many young people on undergraduate courses, who may lack the confidence, safety and/or support to disclose; again, particularly marginalised individuals. 

People with differences, to me that is mostly all people!,  are sometimes labelled as ‘disabled’. This does not mean they are lacking in any way, but that our societal and educational structures are ‘ableist’, designed to ‘dis-able’ and disadvantage people with differences. This labelling intersects race, class, gender, faith, etc, and can compound the marginalisation of certain groups and communities. ‘Disability’ is a political word. Reflecting on #disabilitytoowhite article and Shades of Noir Disability resources my pedagogy is newly informed by a deeper understanding of inclusive practices and my positionality as a woman of colour, that intersects ‘disability’, race, gender, class. All the articles raise the issue of ableism and the importance of addressing unconscious bias within myself and during interaction with my students and colleagues. 

If, as a community within the art school, we are to develop inclusive practice around ‘disability’ we must begin to develop exposure to Krip theory, intersectionality and critical race theory, new language and debates among all stakeholders to promote Art and Design as a vehicle for freedom of expression, activism and social justice. Maybe this is a utopian dream. Small changes by a few might lead to big changes for many.

References

UAL Disability Service Webpages
Christine Sun Kim (2012) A Selby film

Thompson, V. (2017) Confronting the Whitewashing of Disability: Interview with #DisabilityTooWhite creator

Barokka, K. (2017) Deaf Accessibility for Spoonies: Lessons from Touring Eve and Mary Are Having Coffee
Shades of Noir Terms of Reference (2020) Disabled People: The Voice of Many

Friere, Paulo, 1970, Pedagogy of the Oppressed 

The language we use around disability determines how disability is perceived and mis-understood. The prefix ‘dis’ suggests something is wrong. Other words like ‘disorder’, ‘dysfunction’, ‘difference’ when used in conversation or debate centre one type of experience, that has historically and is still today, considered the ‘norm’, ie. able bodied, neuro-typical, white, masculine. Ableism thrives as a result of societal systems being designed in such a way as to maintain power and control over marginalised groups.

Have a moan – the digital format of this unit feels very impersonal at a time when personal reflection is crucial to getting the most out of the learning on this unit. This seems illogical to me. Tutors gave an explanation for this, ie. their safety, which I understand however it seems counterproductive to what we are being taught relating to inclusive practices and critical pedagogy. I (and others) made a suggestion that we use breakout rooms in order to provide a more intimate space that might encourage pgcert students to feel able to talk honestly and safely on sensitive issues. I was however told that this is not something that will be happening on the unit. It seems then that counter to critical pedagogy theory we are required to stick to the format prescribed, no autonomy allowed on how we engage with our peers and/or unit content. We are to sit with our screens, digest information and feedback through our screens. This is also seems counter to inclusive practice theory. As a person with a dyslexia diagnosis I find digital formats difficult to engage with, long periods on the screen are tiring, typing responses is difficult and the discussion has often moved on before I have had chance to write my thoughts (as I was told during seminar 1 ‘I have spoken’ and should therefore not speak anymore to allow others to speak :-o). I feel there could be alternative ways to engage within this unit and we may be missing out on opportunities to meet with peers and tutors in person to have those ‘difficult conversations’ that necessarily arise from the content.

Positives – the content is very thought provoking and I feel I am learning new ways of thinking around critical pedagogy, disability, diversity, inclusion and equity. The fact there are a variety of resources, from text to visual and image based, is great and I am much more able to process information when there are visuals included. Thank you for this.