Race in the Arts & HE

SoN Website Review

Shades of Noir Resources page. URL: https://shadesofnoir.org.uk/resources/

Shades of Noir (SoN) is an independent program, created by Aisha Richards, that works towards achieving inclusive learning and social justice within higher education (HE) and the arts sector. The abundant body of work that SoN has produced and continues to create is dedicated to supporting marginalised groups and embodies social justice pedagogy to support curriculum design, teaching practices and institutional processes.

The SoN website itself contains a broad and diverse range of content around the art, design and communication disciplines to support students and staff. Because of its broad content, the website is a great reference resource that can be utilised by students across a multitude of art and design subject disciples. The resources are not just for students, however, as there are many published resources available for academic and support staff. For example, a recently published article entitled ‘Supporting Black, Asian Minority Ethnic (BAME) students during the COVID-19 Crisis’ provides a six point inclusive response plan to support students to the current Covid-19 pandemic. This is something I have referenced personally when considering student as UAL shifts to online-learning. It is refreshing to see that content on the site remains relevant and up-to-date to align with continued support of transformational cultures and practices across the HE sector.

Shades of Noir Creative Database Page. URL:
https://www.shadesofnoir.org.uk/creatives/

There are a few resources which can be found on the SoN website which are of particular interest to me and which I can share with my student cohort (which is comprised of a fairly diverse student demographic). The first are the Terms of Reference (ToR) journals which explore concepts and social topics relevant to the development of inclusive practice. I would encourage my students to explore some of the articles within the ToR as I am sure many have had shared or similar experiences.

The second is the page which details the Safe Space Crits workshops. Particularly during the current Covid-19 climate, where we are forced to adapt to a new home-working environment, the new online Safe Space Crits format is particularly helpful and it is reassuring to know that students can still access these valuable sessions as a means of feedback and support in a safe and inclusive environment.

I would also encourage my students to explore the digitised Tell Us About It artefact database, but I would also consider arranging a student visit to explore the artefacts first-hand. As a contributor to this database myself, I think it is an important and influential tool which encourages discourse around diversity amongst the student body and encourages students to think about the ways in which this affects their learning experience.

As a teacher and facilitator of learning in HE, I myself will continue to read and reflect on the resources on the SoN site, particularly relevant to ‘education’ i.e. case studes, ToR Journals and Curriculum Support publications in order to refine my skills as an supporter of social justice and inclusive learning in HE.

Hahn Tapper Review: ‘A pedagogy of social justice education: social identity, theory and intersectionality’

I enjoyed reading the Hahn Tapper review of social justice education, most probably because it draws comparisons between different pedagogic approaches – the Social Identity Theory (and the Contact Theory (Allport, 1954), from which I am in agreement with aspects of both (the Social Identity Theory (SIT) Tajfel 1978, 1982; Tajfel and Turner 1979, 1986) in particular); this will certainly have influence on my future teaching style, particularly in group scenarios.

The first thing I learnt from reading this text was how instrumental identity is in influencing a student’s experience of education. It is necessary to consider the identities of both teacher and student, as the educational experience exists between these two stakeholders. From this text I have formed the opinion that any educational exchange in the HE learning environment should be collaborative and built upon a foundation of trust. When you then begin to explore the relationship between social identity and power (hence authority), we then become engaged in the SIT pedagogic model, where it is assumed that the exchanges between communities in larger society (outside of the learning environment) has influence on the dynamics between the groups during encounters.

The second thing I learnt was an example of how the pillars underpinning pedagogies of social justice education work and what the likely outcome could be when implemented effectively. Ultimately, a Freirean approach to social justice, like the example in this report, would ultimately expect to lead to responsibility and empowerment from the students. The framework in this example considers additional pillars to include an exploration of a) identity (social and individual), b) intersectionality and c) experiential study encounters respectively, each step layered and working in a clockwise motion.

An example Social Justice led education framework

One provocation I had about this report is whether a hybrid pedagogic model which incorporates aspects of both theories could be could be researched and developed, despite the conflicts presented in critical research on the Contact Theory in particular. Could aspects of this model be adopted, while the non-ideal outcome in a group encounter (physical violence) is avoided? I assume that so long as the framework of the SIT is the underpinning the Contact Theory led activities which forms a ‘hybrid’ pedagogic approach leading to a) provoked discussion and b) supported development of (habitual) critical thought and reflection, a blended approach might be successful.

Room of Silence

The short film ‘The Room of Silence’ is a film in which students are discussing their experience around race issues within the university learning environment. Some of the students talk about how they have been met with silence when their work, which addresses topics such as race, identity and sexuality, is presented because the students either don’t know how to talk about it, have no experience of it or they don’t want to talk about it.

Room of Silence Film

One thing which shocked me from watching the video was the responses of some of the lecturers and professors. E.g. one teacher didn’t know what to say to a student when critiquing work based on race, while another student was called ‘exotic’ in an attempt to make a compliment. For me, the latter example in particular highlights the institutionalisation of racism within the education system.

This leads me to agree with a comment made in the video about the lack of ‘critical framework’, where pieces of work (which address some arguably uncomfortable issues) can be picked apart and analysed in a group setting. I believe that our role as teachers should be to help facilitate constructive, critical discussions around the topics that the students chose to address regardless of how uncomfortable they may be for others.

Another thing which saddened me about this video was teachers suggesting that a student work on simpler/less complex/less uncomfortable topics, based solely on the inability of the other students in the room being able to engage in the concepts relating to that piece of work. I do not feel that students should mute or censor the work they chose to produce because of a fear of offending or confusing others, particularly when the topics are real, relevant and relatable.

This video, for me, highlights importance of the Safe Space Crits sessions such as those available at UAL. Students in the video described feelings of being scared/sad/angry/isolated and made to feel as though their work or opinions are not valid. Creating a safe space for students to receive crits on their work is essential to help facilitate growth and learning in the classroom and when this is not available students start to censor their work or shy away from addressing such topics – this can only work to mask issues.

Another thing I took from this video is the importance of a diverse reading list and terms of reference for students to refer to ensure an inclusive learning environment and a culture of inclusion. I feel as though this is something that should be embedded within any course curriculum and suggests that work must begin at a senior level to address the issue for example via an inclusive teaching framework which incorporates social justice pedagogy which can be applied into the classroom setting.

I feel as though awareness of white privilege by both teachers and students is also an important influence on the experience of BAME students. This topic usually creates an uncomfortable environment, however awareness and acceptance of this is important to help facilitate in inclusive and safe learning environment for all. I would suggest that teachers and students watch the DiAngelo video on White Privilege which I feel discusses the topic in a clear and digestible manner, before discussing their thoughts.

Faith & Religion in the Arts & HE

  • Visit the Religion, Belief and Faith identities UAL website and answer the questions:
    • How could you apply the resources to your own teaching practice?
    • How could you integrate the research/work your students do on this subject into your teaching/professional practice?
    • Can you cite examples? You will share your thoughts within your groups and comment and share further resources you use in your own context.

I particularly enjoyed reading about Pen Portraits, an icebreaker activity created by Angela Drisdale Gordon, Head of Further Education at UAL. The activity involves the students asking each other a list of questions before sharing the answers to encourage students to open up about their interests. This is a simple yet effective tool that I could utilise in my own teaching practice to encourage students to explore alternative interests and ethical viewpoints.

This activity also encourages the teacher to share their own answers which for me, then adds a ‘trust-building’ element to this exercise, where students get to know the tutor a little better. My belief is that trust between the teacher and student is critical in the teaching-learning environment to help facilitate learning and the objective learning outcomes.

For me, the nature of this activity being a direct way to ask each other their views and opinions is important to encourage the exploration of new and/or unfamiliar cultural practices and belief systems and to inform notions of identity.

In order to encourage student to draw on different cultural references in their work in my own teaching practice,I would encourage students to explore places of cultural reference relevant to their own projects. For example at present, the 3rd year BA Interior Design students are working a project for which the concept of the designs must be based within the King’s Cross area. As a teacher, I have encouraged students to explore places like the Aga Khan Centre (located in King’s Cross) but I could develop this further by encouraging visits to the Black Cultural Archives which is not located in Kings Cross but may still provide significant cultural insight to inform the development of ideas and concepts within their projects.

A particular reference from the Religion, Belief and Faith identities UAL website that interested me was a video entitled ‘A Brief History of Religion in Art’. The video discusses an-iconism (prohibition of the visual depiction of the divine) within art across centuries in history and how in more recent times the modern representation of the ‘divine’ in religion has taken more human-like form. It was interesting to see how depictions of the divine, in Islam for example, came through patterns and symbols and iconographic reference in textile design.

I would encourage my students to visit the Religion, Belief and Faith identities UAL website to cite examples like this and to encourage them to think about how historical practices in art to depict concepts of faith and religion can inform their own work. For example, the Interior Design students who I work with who have chosen to design an interior space which would encourage communication amongst the public could use influence from historical depictions of faith or religion to inform their choices about the interior design – the patterns and symbols that could be utilised on chosen textiles, materials and architectural design could be used to encourage discussion around faith and religion by the users of the space.

● Choose a minimum of 3 headings from the ‘Religion in Britain: Challenges for Higher Education.’ Stimulus paper (Modood & Calhoun, 2015) The PDF can be found on Moodle. Discuss two things you learnt from the text and one question/provocation you have about the text. Write a min. 100 word reflection or no more than 5 minute vlog

The three headings that I reviewed from the Modood & Calhoun (2015) text were Multiculturalism (page 6), Changes in religious demography (page 8) and Minority identities (page 9).

The first heading, Multiculturalism identifies multiculturalism as the ‘institutional accommodation of post immigration ethno-religious minorities’ as a construct of equality. It discusses the global spread of multiculturalist sensibility despite becoming an unpopular construct in the public.

The second heading, Changes in religious demography, discusses the occurrence of secularisation across the 20th century and the rapidly changing religious demographic in Britain as a result of immigration.

The third discusses how minority groups ­define identity according to colour or nationality although religion takes precedence, particularly as faith is expressed on personal beliefs and shared practices such as diet and ­­dress.

One thing I learnt from these readings is what multiculturalism really means as a social construct and vehicle for equality. In defining what multiculturalism looks like in the public sphere, the text suggests the following:

  • anti-discrimination
  • sameness of treatment
  • toleration of ‘difference’ but respect for difference
  • equality as the accommodation of difference in the public space, which comes to be shared rather than dominated by the majority
  • The abandonment of the pretence of ‘difference-blindness’ and allowing others, the marginalised minorities, to be visible and explicitly accommodated in the public sphere.
  • reversal of marginalisation but also a remaking of national citizenship so that all can have a sense of belonging to it

I’ve always thought about multiculturalism in a more simplistic way, as a construct that promotes equality and acceptance of multi-faith/race/colour identities, but as a result of ‘tolerance’ rather than being ‘accommodating’.

What I have become more aware of from this reading, is the depth of what it means to create a true multicultural society, which extends beyond just acceptance, but branches into the application of layers of inclusive practices (for example, the democratisation of rights which have been reserved for privileged, dominant groups); practices which require meaningful reflection, to identify behaviors, attitudes, policies and procedures that have created resistance in achieving of multiculturalism.

The second thing I learnt from the readings is the extent of the change in the religious landscape across Britain and the level at which secularisation has occurred. British Social Attitudes (BSA) surveys have identified a decline in the number of Christians and in the level of church attendance. In turn, it appears that there has been a shift towards ‘spirituality’ or ‘belief without belonging’ where statistics have identified that ‘belief in a spirit or life source has remained steady at around 35%–40%, and belief in the soul has actually increased’ vs. a decline in the belief of a personal god from over 40% to less than 30% in recent years.

This change can be attributed somewhat to immigration, particularly considering that figures suggest that in 10 years’ time, around one in eight new adults will be of a minority faith, but that the figure for London (a hub for migration) is double the English average.

In my opinion, this change can also be attributed in small part to the rise of the more conscious movement for beliefs and practices e.g. veganism, spirituality, sustainable living etc. and a greater acceptance of what might normally be described as ‘alternative’.

Disability in the Arts & HE

Article for Deaf-Accessibility for Spoonies: Lessons learned from touring Eve and Mary Are Having Coffee while chronically ill (Khairani Barokka)

This written piece by Barokka powerfully depicts the (often covert) bouts of pain she experienced while touring her performance piece, to illustrate the very nature of that same pain as a result of chronic illness. In her own words, she created the tour to ‘illuminate the pain where the sighted saw none’.

Barokka has approached the production of her work holistically in the context of accessibility for the disabled by making it accessible to all including those with verbal or hearing impairments. In my own teaching practice, adopt some of the elements of Barokka’s approach to the delivery of her production, including:

  • Performing in wheelchair accessible venues
    • Although my teaching practice does not involve performance, it is possible for me to consider the use of wheelchair accessible rooms for teaching or ensure places visited/recommended to visit for assignment-related tasks are wheelchair accessible for those with physically disabilities
  • Provided the script via a Google document and link provided for the deaf/hearing impaired audience members, who were also given iPads/phones to read the poetry
    • I will consider providing teaching materials/session resources via early digital access for those who are hearing impaired. Although it is most likely that any teaching budget provided may not include the provision of iPads/iPhones, I can seek to incorporate the students own digital devices into the teaching session content to improve engagement of those with specific learning requirements.

Other small but crucial changes that I can implement in my own teaching include:

  • Not making assumptions about a person’s illness just because their pain does not physically present itself to the eye
  • Being empathetic to those who are experiencing chronic pain or any other disability-related pain (physical, emotional or psychological) and acknowledging the mental health issues of those

Nowness: A film by Todd Selby interviewing Christine Sun-Kim

In the short film ‘Nowness’ by Sun-Kim, she explains how she was confused about the ownership of sound growing up, describing how it ‘belonged’ to those who could hear and not herself as a deaf person. For me, this provokes thoughts around perception within the teacher/student relationship; as the teacher, am I aware of how those with visual/hearing impairments perceive my teaching content? How can I adapt my work to ensure that it can be interpreted comfortably by those with visual or hearing impairments?

Sun-Kim goes on to explain how she wanted to ‘explore sound without a mediated interpretation of what sound is’. Immediately, this draws my attention to the historical pedagogic practices and narratives around disability that have been exclusive and oppressive of disabled students. Why have those who are not hearing-impaired assumed ‘ownership’ of the perception of their own sounds and other senses? In order to challenge this and take a step towards dismantling socio-economically constructed relationships between the perhaps dominant (able-bodied) and the dominated (disabled), a more inclusive learning environment for both teacher and students must be created in the classroom. This could be done by introducing more inclusive teaching practices, for example:

  • Introduce the works of critical pedagogy academics (e.g. Paulo Freire (1968). Pedagogy of the Oppressed ) to dismantle oppressive perceptions around disability
  • Referencing work of artists/academics who are considered disabled for an alternative narrative and encouraging students to do the same in their own work
  • Varying teaching methods to include ways of learning through visualising, listening and/or doing

Interview with Vilissa Thompson, creater of #DisabilityTooWhite

The viral hashtag #DisabilityTooWhite was created by Vilissa Thompson. Thompson calls out the lack of representation for disabled people of colour from the ‘organisations that are supposed to empower us’. This is a very impactful statement, because it begins to put into perspective the scale of social injustice experienced by disabled POC – the organisations that are supposed to empower us are most certainly those within large organisations such as education systems and media outlets for example.

In my own experience, during 18 years of UK state funded education, I would say I know how it feels to have no representation as a POC within the learning/teaching environment and also within employment settings. I have been conscious of this for as long as I can remember and I would say from experience it has moulded some of my expectations and perceptions of the world and certainly my personal identity. I feel as though I can connect in some way to Thompson and her concerns. However, this is exacerbated, as there are people who are black AND disabled and are experiencing another layer of intersectional marginalisation beyond what I have experienced – that’s two fundamental pillars of the equation of identity to be overlooked and undervalued.

Thompson goes on to say ‘We feel isolated and outcast when you don’t see people who look like you, not just racially but disability-wise’. The fact that her hashtag went viral with much support but also with many critiques shows that there are a silenced, but wide-spread group of people who feel marginalized, but then there also exists a group of people who have institutionalized narratives engrained into their core and wrongly disagree with another person’s (subjective) feelings. Furthermore, the disparities between being black and being disabled are highlighted as Thompson discusses the gap in ‘minority’ communities when it comes to representation of disabilities; she calls out African American organisations in particular.

In reflecting on some of the advice that Thompson offers, I can apply some of these suggesting to my personal character, but also myself as a teaching in the learning environment:

  • Understanding my able-bodied privilege or encouraging others to acknowledge their white and/or able-bodied privileges
  • Speaking up when I see things that aren’t ok or perhaps could better represent disabled POC
  • Become allies for disabled POC by acknowledging and taking the time to understand their truths

UAL Disability Webpages

The UAL disability service provides support those who are considered disabled or with specific learning differences e.g. dyslexia. As someone who is entitled to the help that this service provides myself, I find these pages to be very useful.

One thing that has made my experience of this service easier, is the complete lack of judgement or bias from the support team. Those who provide the support service are understanding, compassionate and accommodating to your needs and I did not feel ashamed to discuss my support requirements. This is important as I do not feel like I could be so open and honest with perhaps a tutor or teacher who may not be so experienced in dealing with someone with specific learning requirements.

Moving forward, I will be encouraging all of my own students to explore the UAL disability pages and/or actually visit the office for face-to-face discussions. I feel as though it is important to offer this to all students and not just those who are knowingly disabled or with specific learning requirements as there may be someone who is not aware that they could be entitled to support that hasn’t had this realised yet.

I would also consider explaining to my students my own experiences with the UAL disability support team to show that like them, I am human and I do need to make adjustments in the learning space – this may then be less daunting and could encourage students to seek advice.

To conclude on summarising all reference material discussed above, an awareness campaign on dominance vs. marginalisation of those that have disabilities is needed to progress past the marginalisation that disabled POC experience today (Applebaum 2001).Ultimately, I feel as though as a teacher, more exploration is needed on my behalf to grasp a better understanding of the experiences of disabled POC. As a teacher, it is important that I can model the correct behaviours that improve accessibility and encourage inclusivity and diversity and dismantle the institutionalised concepts that innately exclude and oppress marginalised groups. In doing this, I would expect a trickle-down effect on my students, which I hope can encourage them to adopt similar behaviours which they can also apply beyond education and into the creative work field.

References

  • ‘Deaf Accessibility for Spoonies: Lessons from touring Eve and Mary Are Having coffee while chronically ill’ – Khairani Barokka (PDF on Moodle in ‘Blogging Tasks’ Reading materials’)
  • Nowness: A film by Todd Selby interviewing Christine Sun-Kim
  • #DisabilityTooWhite article / interview with Vilissa Thompson
  • UAL Disability Service Webpages

Additional references:

  • Applebaum, B, 2001. Raising awareness of dominance: Does recognising dominance mean one has to dismiss the values of the dominant group? Journal of moral education. Vol. 30, No. 1.
  • Anthony J. Nocella, 2008. Emergence of Disability Pedagogy. Journal For Critical Education Policy Studies, 6, (2), pp. 77 – 94. DOI: http://www.jceps.com/wp-content/uploads/PDFs/6-2-05.pdf
  • Beckett, A.E., 2015. Anti-oppressive pedagogy and disability: possibilities and challenges. Scandinavian Journal of Disability Research, 17(1), pp.76–94. DOI: http://doi.org/10.1080/15017419.2013.835278