TEACHING WITHIN PROSPECTUS 2017-18
TW // 1
CONTENTS. Essential Information
5
Background 6 Eligibility 8 Programme 10 Process 12 Job Description for Associate Lecturer 14 Timetable 16 Application Process 18 Thinking Teaching 20 GEMS 22
PgCert Information
25
The Postgraduate Certificate in Academic Practice 26 2017/18 ACADEMIC TIMETABLE 32 Mandatory PgCert Units - Cohorts A, B or C: 32 2017/18 ACADEMIC TIMETABLE 34 Elective/StandaloneUnits: 34
Case studies
49
Further Reading
58
References 78
THE DATA:
This statistical report by the Equality Challenge Unit (2015) suggests 5% of the Art and Design institution have academics of colour.
ESSENTIAL INFORMATION:
BACKGROUND:
Shades of Noir’s (SoN) ‘Teaching Within’ (TW) programme is a proactive academic progression intervention that responds directly to the under-representation of academics of colour in the creative arts and design higher education sector. This programme was created in 2016 by Aisha Richards in collaboration with SoN and has been delivered across all 6 different colleges within University of the Arts London (UAL). This programme responds directly to ‘The Research and Teaching Careers Pipeline’, a key strand of the Race Champion Forum project strands for those who are ‘Aspiring Academic Graduates’, and ‘existing staff not in an academic role but have a degree in a related subject’. The aims of this programme are to build on previous and existing programmes that set out to support a full cycle of development, value cultural currency and create opportunities for people of colour. Through this programme we: 1.
Increase the presence of Lectures and Associate Lectures of colour.
2. Build further the relationships with the marginalised community of existing staff of colour. 3. Support alumni and staff of colour to develop and become part of the academic community. 4. Enable non staff of colour to be part of levelling the playing field.
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“
University of the Arts London (UAL), implementing the Shades of Noir’s Teaching Within programme from the most senior level, is something I take pride in, as both an academic within this institution and alumni. This unique programme is transformative, however not without its challenges. Nothing good comes easy. Shades of Noir is committed to social justice and the investment in this programme by UAL will effect not only the Teaching Within participants’ lives and their futures, but also have a long lasting cultural and pedagogical effect on this institution, its staff, students , as well as the sector. Aisha Richards, Shades of Noir Director and Teaching Within Programme Creator
”
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ELIGIBILITY:
Shades of Noir (SoN) Graduates: The successful development and engagement of SoN since its creation in 2009 has meant there are SoN graduates that are UAL alumni currently in the creative industries.
Tell Us About It: ‘Tell Us About It’ was created by Terry Finnigan in 2009 and continues to be archived at the Stanley Kubrick Archive at LCC, as it continues to grow. This programme of work embraces, affirms and presents high-achieving UAL students of colour voices through the creation of artifacts, where they reflect on their learning across their degrees. These artifacts are shared with new staff and new students so they become aware of the importance of difference within the student body and how it can enhance the learning experience.
Group for the Equality of Minority Staff (GEMS): GEMS is the longest standing and largest UAL staff group. The growth, engagement and prominence of the GEMS community contributes to the changes in the UAL culture with regards to diversity, inclusion and equality. Many non-teaching staff are alumni to UAL and/or practicing creative.
BAME Talent Day: The talent programme that was started at LCF by Angela Drisdale Gordon, which has now been rolled out at several colleges across UAL and has contributed to the progression, access and invitation to industry specialists from diverse backgrounds, many who are UAL alumni.
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In addition to being part of one of these 4 communities, to apply for the scheme, the applicant needs to: •
Have been awarded a BA or and MA in art, design, communication or related subjects.
•
Have graduated more than 2 years ago.
•
Have worked more than 2 years at UAL in a non teaching role (GEMS only).
•
Have no teaching qualification.
•
Not be in full time education currently or during the programme duration.
•
Not currently be in a teaching role and not have had a permanent teaching post.
•
Never been part of this programme (Teaching Within) previously.
Teaching Within provides this university with an opportunity to progress the recruitment and added value of marginalized communities of practitioners and to transform the institutional paradigm in a variety of wide-reaching ways.
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PROGRAMME: Bursary: Bursaries for a two day introduction to teaching en3titled ‘ Thinking Teaching’ followed by the Postgraduate Certificate in Academic Practice in Art, Design and Communication (January 2018 - January 2019) are provided for all TW selected academics.
Support: UAL academics (current TW academics and GEMS academics) have put themselves forward to be shadowed by TW academics.
Teaching Experience: Courses have been selected across University of the Arts London to host TW academics. The host course will negotiate space for 36 hours of paid teaching to take place between February and December 2018 with a minimum of 10 hours before the end of May 2018.
Structures: The Shades of Noir team and its founder, GEMS, College Deans, Associate Deans, Course Leaders and TW communities are all within the structures to support the programme and the cohort.
The individuals taking part have confirmed the programme benefits in their own words:
Career progression: ‘The development, progression and support mechanisms that Aisha has created through the SoN Teaching Within programme is like nothing I have ever experienced before, this includes during the several years of working at UAL previously.’ and ‘It ties in all of my experience to date so relevantly. All whilst addressing the development of representation in teaching at HE level for the future. I couldn’t have asked to be part of anything else more exciting’.
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Training: ‘Whilst participating in Teaching Within I have been given the chance to test my experience in an HE learning environment, to observe, shadow and then lead in creative discussions with students. That is a massive learning curve for me. The experience has really allowed me to think critically about my own arts practice, why I want to teach and the benefits of teaching for students and my creative development. Most importantly it has allowed me to reflect on my own experience as a student at UAL at a time where I did (to some extent, but wanted more) to explore creative avenues addressing my own cultural background. I feel I should be seeing significant developments since my student days regarding this, and I’m surprised that I am not.’
Support: ‘The diverse range of support mechanisms and individuals attached to the Teaching Within programme has meant that even when there are difficult situations they are not only managed but you never feel that you are alone’ and ‘Every tutor and peer I have met and had access to learning from during this programme has been so warmly receptive to my questions and fears. I can’t express how much that has made this experience positive and a driving force for both my own arts practice. These experiences are helping me to continue striving to deliver quality teaching, listen actively to my peers, and take part in discussions that are important to keep having in Higher Education.’
Networks: ‘This programme has provided access to many different networks, which I didn’t have previously, including Senior Management, GEMS academics, and course teams’ and ‘I have made so many strong contacts during this course, alliances when discussing teaching, future possible creative collaborators (across different creative platforms), and of course, friends. Long may the programme expand and continue’.
Cultural value: ‘Whilst the course teams didn’t seem to understand the importance of the Teaching Within programme initially, through our content and approach to teaching delivery that we have learned and are developing and the obvious student engagement and curiosity - I think our cultural value has been understood, enhanced and respected’.
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PROCESS:
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TEACHING WITHIN GEMS SHADOWING
THINKING TEACHING
COURSE SHADOWING
The Group for the Equality of Minority Staff (GEMS) Academics have offered to be observed and shadowed for 1 to 2 hours by new participants of on the TW programme.
This is a pre teaching course that all TW participants will take part in. It is a two-day course and is a great first step in thinking about teaching.
You will have up to 4 hours to shadow academics teaching on the course you will be allocated to teach on as part of the programme.
PG CERT
TEACHING
The postgraduate certification in academic practice is a year long course, which offers training in developing understanding and the application of theory and practice as an academic.
All TW participants are expected to teach at the University of the Arts London on allocated courses that have signed up to the programme. The teaching allocated within this programme is 36 hours per course on an Associate Lecturer contract. This means that all participants have the flexibility to be part of the entire process on a course, including assessment.
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JOB DESCRIPTION FOR ASSOCIATE LECTURER: Job Title: Associate Lecturer To deliver high quality learning practice and related support to students on specific programmes or courses, in the context of prevailing policies and procedures, curriculum content, established learning outcomes and teaching methodologies. To provide up-to-date knowledge, expertise and experience of professional practice and/or research in a specific specialist subject area.
Duties and responsibilities
The duties and responsibilities below are the normal expectations associated with the comprehensive hourly rate (CHR) which is payable in respect of each student contact hour (see guidance note for further details): • To prepare for and deliver learning experiences to specified groups of students, by providing structured learning experiences including, induction sessions, classes, tutorials, lectures, seminars, workshops, auditions, rehearsals, studio critiques and student presentations (including degree shows). See guidance note (a) • To ensure studio and teaching spaces are adequately prepared for their teaching session and leave them in similar condition. See guidance note (b) • To work as part of the course team, under the direction of the line manager, participating in the formative and summative assessment. See guidance note (c) • To undertake academic administration in relation to reporting on attendance, completion of tutorial records and progress reports and other tasks associated with course organisation related to their contracted formal teaching and learning delivery. See guidance note (d) • To contribute to course development and quality processes through engagement in course planning meetings, course/Programme committees/ 16 //
Boards, end of unit review and, where appropriate, annual course monitoring. (The extent of attendance at meetings should be proportionate to the number of contact hours being delivered). See guidance note (e) • To maintain reasonable, effective and efficient communication with their line manager, other colleagues and students (including through the use of the University’s email system and student virtual learning environments as appropriate).
Further responsibilities • • •
To have a commitment to continuous professional practice and scholarship in the specialist subject area, and in professional development in learning and teaching. To ensure health and safety procedures are strictly maintained. To have a commitment to the University’s Equal Opportunities Policy.
Additional duties
The duties below are additional to those included in the comprehensive hourly rate. Where these duties are agreed, they will be paid as additional remuneration at the basic hourly rate (BHR): • •
Revalidation meetings. Participating in staff development and training activities in relation to priorities set by the College and/or Line Manager. • Additional assessment beyond that expected as part of the contracted teaching activity. • Extensive contributions to Blackboard materials (beyond teaching plans, timetables, notifications to students, project briefs). • Participation in forward-looking curriculum development meetings. • Contribute to recruitment, open days, student interviews/auditions and portfolio review. • To organise non-standard student learning activities, including those personally delivered or on behalf of colleagues, such as study trips, external projects and placements.
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TIMETABLE:
Jul-17
Aug-17
Sep-17
Oct-17
Nov-17
Open day 13/7/2017
Selection Confirmed 07/08/2018
TW 2018 Meeting
GEMS Shadowing
GEMS Shadowing
Course Shadowing
Course Shadowing
Application deadline 24/7/2017
Apr-18
May-18
Jun-18
Jul-18
Aug-18
Pg Cert
Pg Cert
Pg Cert
Pg Cert
Pg Cert
Teach
Teach
Teach
TW 2018 Meeting TBC
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Dec-17
Jan-18
Feb-18
Mar-18
Thinking Teaching 12/12/17 Â & 13/12/17
Pg Cert
Pg Cert
Pg Cert
Teach
Teach
Course/ GEMS Shadowing
Sep-18
Oct-18
Nov-18
Dec-18
Jan-19
Pg Cert
Pg Cert
Pg Cert
Pg Cert
Pg Cert
Teach
Teach
Teach
Teach
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APPLICATION PROCESS: In order to apply for the Teaching Within programme you will need to complete the online application which can be found at: shadesofnoir.org.uk/tw-application-2017-18/ Please note that you have to be part of an eligible community to apply to Teaching Within. Information on this can be found on p. 8. The application includes supplying the following: •
Photo (This will be used for online profiles upon sucessfull entry to the programme) • CV • Biography (500 word max) In addition to filling in the form please send your bibliography in the following format alongside your picture and CV. Formatting for the biography is as follows: • Font: Arial 12 point • Page orientation: A4 portrait only • Line spacing: 1.5 lines • Margins: 2cm minimum (not including footers) • Headers: Should contain the nominee’s full name and nominating institution only • Footer: Should indicate “page x of y” only. • Footnotes: should not be used. • References should be included in the body text or put as endnotes, which should be added to the final word count. • Pictures: the biography should not contain any pictures or logos; please however do send a professional profile picture alongside the bio. The deadline submission date is 24th July 2017. The selection panel will make decisions and inform the applicants by 7th August 2017. Once the selection process has taken place and if you are successful on this occasion there is one more application that will be provided as part of the confirmation. This will be presented on confirmation on to the programme. 20 //
“
I was sceptical about the programme in the first instance and it has been tricky to implement from the course structure end. However, it became very clear really early on, that the monoculture and approach that currently exists has not benefited and challenged all our students positively. The very presence of difference is powerful, let alone the knowledge and impactful contributions our teaching within academic brought to the studio, curriculum and my team’s personal pedagogic reflection. UAL Course Leader (2017)
”
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THINKING TEACHING: An introduction to teaching in Higher Education. This two day workshop is designed to orient participants to the purpose and practice of teaching in higher education. It will situate participants’ teaching in a meaningful context of practice and pedagogic theory. The workshops will be a blend of theoretical input and practical activity. You will: • • • • • •
Reflect on your own teaching practice and learning experiences Gain an understanding of key pedagogic ideas Explore basic techniques for designing teaching sessions Co-design and deliver a micro-teaching activity Learn to consider learners Explore potential barriers to learning.
This course is a great way to being the academic journey in preparation for post graduate certificate in academic practice and teaching practice. This years workshop will happen in December 2017.
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“
This taster course gently sets the scene of key issues in university teaching and learning for those new to it. We intend it to whet the appetite for the PgCert that follows. Catherine Smith, Programme Director, PgCert/MA Academic Practice in Art, Design and Communication
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It is great to have been a part of the creation of a course that supports the early stages of a teaching career and wonderful that I also get to deliver it too. Terry Finnigan, National Teaching Fellow
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The Thinking Teaching course was a great start to the TW Programme. Terry and the team that delivered this course gave us some useful theories, reading and exercises that helped prepare us for the rest of the programme. Teaching Within Academic
”
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GEMS: Group for the Equality of Minority Staff Our Mission
To collate the Voice and Perspective of Black Asian and Minority Ethnic (BAME) staff for Strategic Progress of all UAL Staff and Students.
Our Vision
The [be the] voice of BAME staff, to impact the development in all corners of UAL with equality at its heart.
Terms of Reference 2014
The group will endeavour to promote the personal development of BAME staff by contributing to the discussions, and monitoring the progress of the University’s published objectives, including UAL’s Equality & Diversity Framework 2010-2015. To support the University in meeting its legal obligations under The Equality Act 2010, in particular its duties in relation to employment training, consultation and monitoring. GEMS will: • • • • • • •
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Develop and implement programmes for development and progression. Highlight issues of concern from the BAME staff perspective in order to assist in improving organisational practices, policies and procedures within the University. Support the development of existing and proposed policies, practices and procedures and their impact upon BAME staff and communities. Review, advise and support implementation of UAL policies, practices and service delivery; in particular the University’s Public Sector Equality Duty Objectives and UAL’s Strategy 2010-15. Create avenues and guidance for BAME staff in relation to work related issues. Raise issues affecting the personal and professional development of BAME staff within the university. Steer the collation of data to evaluate and monitor the development and progress above.
“
Being observed by the Teaching Within participants this year felt empowering. I felt privileged to act as a model for a new generation of educators. I was observed teaching in various teaching events: one to one tutorials, a group seminar and a studio group crit. It made me realise how diverse my teaching practice is as it’s easy to forget sometimes! The feedback from the Teaching Within participants was generous and inspiring. GEMS & UAL Academic
“
”
Being a part of Teaching Within gave me a whole new community at UAL, despite already working here before I started. It has made an invaluable difference to have so many friendly faces to talk to and smile at as we pass in the corridors! The demands of the course are both rigorous and transformative, as we learn to teach students and learn from them simultaneously. I have never been more aware of my own power and purpose as an educational practitioner. Being a member of this cohort has given me extra motivation, despite the demands on my time and energy, because I don’t just want to do this for me. I want to do this for us. GEMS & UAL Academic
”
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PgCERT INFORMATION:
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THE POSTGRADUATE CERTIFICATE IN ACADEMIC PRACTICE The Postgraduate Certificate Academic Practice in Art, Design and Communication (PgCert) is a key qualification for those who teach or support learning in arts higher education. It’s aimed at a wide range of graduate staff with academic or academic-related roles and is open to both UAL and external applicants. The course takes a comprehensive view of academic practice by offering opportunities for you to develop as a researcher and an academic leader as well as a higher education teacher. The course also encourages you to explore your academic practice through a disciplinary lens, which means you will be given options to learn through practicebased as well as written and verbal means.
What are the benefits of the PgCert Academic Practice? • • • • • •
Develop as a teacher in higher education Learn in a specialist arts university context Benefit from flexible and blended modes of learning Engage critically with policy, practice, research and scholarship linked to aspects of academic practice that matter to you Learn alongside like-minded professionals Progress onto the MA Academic Practice, building on the units you’ve already completed on the PgCert.
Completing the PgCert will also enable you to attain professional recognition with the Higher Education Academy (HEA) as either Associate Fellow or Fellow, depending on the amount and type of teaching and learning support associated with your role.
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What does the course involve? The course has been designed for part-time and flexible study by practising professionals. You will learn through a blend of working with peers and working individually. You will also combine face-to-face interaction with online and workbased learning activity. You will be encouraged to focus on developing one of 3 areas of academic practice: education, academic leadership or researcher development depending on your job role, stage of career and career trajectory. All participants take two mandatory units and 1 elective unit, each worth 20 credits. Mandatory units: Teaching and Learning and Self-initiated Project. Elective units include: • • • •
Learning for Sustainability Inclusive Teaching and Learning in Higher Education Curriculum Design Technology Enhanced Learning
How much work is involved? Each 20 credits equals 200 notional learning hours. This includes between 15 and 30 hours of taught time per unit, alongside independent, collaborative or workbased study. We require you to complete the PgCert (60 credits) within one year unless you are a GEMS member who has the option of a 2 year programme.
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Advice: •
The advice from previous Teaching Within academics with regards to the PgCert include:
•
Only do this programme if you are hoping to be a teacher and/or are willing to put the time in
•
Remember that every teacher, lecturer, course director had to start somewhere. As soon as you join the programme remind yourself that all of these individuals are your peers.
•
Although you are part of the Teaching Within programme you are joining the University of the Arts London as an Associate Lecturer
•
Remember why this programme was created, our experience and contribution is invaluable to the institutional transformation and not just visually but throughout the teaching and learning cycle
•
Try to allocate at least 1 hour per week for just reading
•
If you have ANY issues talk with other Teaching Within academics or the Shades of Noir team, this has proved to be really supportive and there is always a form of solution
•
If you suffer from any difficulties that may cause any element of the engagement and participation tell somebody sooner rather than later
•
It’s really important to attend all sessions as you really do miss out if you are not present
•
Start reading blogs as soon as you can as you will be expected to write your own
•
Have a look at different forms of reflective writing as this will come in very handy
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“
I dreaded the workload expected prior to beginning, i.e. reading and writing, BUT the topics covered on the Inclusive Teaching and Learning in Higher Education unit, were so interesting and somewhat therapeutic, I found myself doing more work than needed. This Teaching Within program definitely has me seriously think about wanting to pursue further academic studies (both an MA and PhD) as Its probably the first time ever, I felt so invincible and in control of my destiny, especially within an educational environment. Teaching Within Academic
�
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PG Cert / MAPractice Academic cademic Practice PgCert in Academic in Art, DesignPractice and Communication in Art, Design and Communication nd Communication Course Diagram PG Cert MA 60 credits 180 credits
MA Elective Units 180 credits (Including 60 PG Cert credits)
(Including 60 PG Cert credits) Teachingthrough & Learning Research Practice January-July January-November
Research through Curriculum Design Practice January-November
Curricu
(20) (40)
(40) (20)
(20) (40)
Or Inclusive Teaching & Learning in Research Methods for Arts Higher Education Higher Education (20) January-November Technology Enhanced Learning (40)
And Or Self-initiated Project Research Methods for Arts September-January or Higher Education January-May January-November And And OneElective ElectiveUnit Unit(See (Seelist) list) One February-May February-May
Electi
And One Elective Unit (See list) Academic Leadership February-May (20) (20) And Learning for Sustainability Dissertation January-January
And Dissertation January-January (60)
Inclusiv Higher
Techno
(20)
Academ (20) (20)
Learnin
(20) (60) Supervising Research Degrees
Superv
(20)
Introdu Researc
Introduction to Practice as Research (20) Writing for Publication (Elective Unit for the MA only) (20)
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Writing (Electiv
“
Teaching Within has provided me with the opportunity to combine my work experience in a meaningful way. This is a big turning point in my career. This programme recognises there are many like me who have long been lacking such opportunities. GEMS & Teaching Within Academic
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2017/18 ACADEMIC TIMETABLE Mandatory PgCert Units - Cohorts A, B or C: Unit Title
Date
Time
Teaching & Learning Cohorts A,B and C Teaching & Learning (20 Credits)
Wed 17 Jan
13.00-17.00 Introductory Lectures
Mon 22 Jan Mon 19 Feb Mon 19 Mar Mon 23 Apr Mon 4 Jun Mon 18 Jun Mon 2 July Mon 16 July
9.00-13.00 9.00-13.00 9.00-13.00 9.00-13.00 9.00-13.00 9.00-13.00 9.00-13.00 9.00-17.00
Cohort A - Mondays (January 2018 Start) Unit Leader: Lindsay Jordan
Teaching & Learning (20 Credits)
Wed 24 Jan Wed 21 Feb Wed 21 Mar Cohort B - Wednesdays Wed 25 Apr (January 2018 Start) Wed 6 Jun Wed 20 June Unit Leader: Lindsay Wed 4 July Jordan Wed 18 July
13.00-17.00 13.00-17.00 13.00-17.00 13.00-17.00 13.00-17.00 13.00-17.00 13.00-17.00 9.00-17.00
Teaching & Learning (20 Credits)
9.00-13.00 9.00-13.00 9.00-13.00 9.00-13.00 9.00-13.00 9.00-13.00 9.00-13.00 9.00-17.00
Cohort C - Fridays (January 2018 Start) Unit Leader: Lindsay Jordan
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Fri 26 Jan Fri 23 Feb Fri 23 Mar Fri 27 Apr Fri 8 Jun Fri 22 Jun Fri 6 July Fri 20 Jul
Session Title 1. Discussion GP 1, 2 & 3: Seminar 1 Discussion Gp 1, 2 & 3 Seminar 2: Seminar 3 & Discussion Discussion Gp 1, 2 & 3 Presentations Gp 1, 2 & 3 Seminar 4 & Feedback Tutorials 1. Discussion GP 1, 2 and 3: Seminar 1 Discussion Gp 1, 2 & 3 Seminar 2: Seminar 3 & Discussion Discussion Gp 1, 2 & 3 Presentations Gp 1, 2 & 3 Seminar 4 & Feedback Tutorials Discussion GP 1, 2 and 3: Seminar 1 Discussion Gp 1, 2 & 3 Seminar 2: Seminar 3 & Discussion Discussion Gp 1, 2 & 3 Presentations Gp 1, 2 & 3 Seminar 4 & Feedback Tutorials
Unit Title
Date
Self-initiated Project (20 26 Sept Credits) 3 Oct NOTE: Starts in 10 Oct Academic Year 2018-19 17 Oct Cohort B - Wednesdays (September 2018 Start) 24 Oct 7 Nov 14 Nov Unit Leader: Catherine 21 Nov Smith 28 Nov 5 Dec 09 Jan Cohorts B & C Self-initiated Project (20 28 Sept Credits) 5 Oct NOTE: Starts in 12 Oct Academic Year 2018-19 19 Oct 26 Oct Cohort C - Fridays (September 2018 Start) 9 Nov 16 Nov 23 Nov Unit Leader: T/C/B 30 Nov 7 Dec Cohorts B & C Wed 9 Jan 2018 Self-initiated Project (20 21 Jan 2019 Credits) 28 Jan 2019 NOTE: Starts in 4 Feb 2019 Academic Year 2018-19 11 Feb 2019 18 Feb 2019 Cohort A - Mondays 4 Mar 2019 (January 2019 Start) 11 Mar 2019 Unit Leader: Catherine 18 Mar 2019 Smith 25 Mar 2019 1 Apr 2019 29 Apr 2019
Time
Session Title
10.00-16.00 Workshop 1: Briefing 10.00-16.00 Workshop 2: Methods of Enquiry 9.00-16.30 PBL Group Tutorials 14.00-16.00 Work in Progress Seminar 14.00-16.00 Formative Presentations 9.30-16.30 PBL Group Tutorials 14.00-16.00 Work in Progress Seminar 10.00-12.30 Workshop 3: Anaylsis 9.30-16.30 PBL Group Tutorials 9.30-16.30 Optional Emergency Tutorials 9.00-17.00 Summative Assessment 10.00-16.00 Workshop 1: Briefing 10.00-16.00 Workshop 2: Methods of Enquiry 9.00-16.30 PBL Group Tutorials 14.00-16.00 Work in Progress Seminar 14.00-16.00 Formative Presentations 9.30-16.30 PBL Group Tutorials 14.00-16.00 Work in Progress Seminar 10.00-12.30 Workshop 3: Anaylsis 9.30-16.30 PBL Group Tutorials 9.30-16.30 Optional Emergency Turorials 9.00-17.00 Summative Assessment 10.00-16.00 Workshop 1: Briefing 10.00-16.00 Workshop 2: Methods of Enquiry 9.00-16.30 PBL Group Tutorials 14.00-16.00 Work in Progress Seminar 14.00-16.00 Formative Presentations 9.30-16.30 PBL Group Tutorials 14.00-16.00 Work in Progress Seminar 10.00-12.30 Workshop 3: Anaylsis 9.30-16.30 PBL Group Tutorials 9.30-16.30 Optional Emergency Turorials 9.00-17.00 Summative Assessment // 35
2017/18 ACADEMIC TIMETABLE Elective/StandaloneUnits: Unit Title
Date
Time
Session Title
Learning for Sustainability (20 Credits) Unit Leader: Antony Johnston Inclusive Teaching & Learning in Higher Education (20 Credits)
Mon 29 Jan
9.30-17.00
Session 1
Mon 26 Feb Mon 19 Mar
9.30-17.00 9.00-18.00
Session 2 Session 3
Tue 30 Jan Tue 6 Mar Tue 10 Apr
10.00-16.00 10.00-16.00 10.00-16.00
Session 1 Session 2 Session 3
Fri 2 Feb 2017 10.00-16.00 Fri 9 Mar 2017 10.00-16.00 Fri 13 Apr 2017 10.00-16.00
Session 1 Session 2 Session 3
Unit Leader: Terry Finnigan/ Aisha Richards Inclusive Teaching & Learning in Higher Education (20 Credits) Unit Leader: Terry Finnigan/ Aisha Richards Curiculum Design (20 Credits) Unit Leader: James Wisdom
Thur 8 Feb Thur 8 Mar Thur 12 Apr Thur 26 Apr Technology Enhanced Wed 31 Jan Learning (20 Credits) Tue 13 Feb Unit Leader: Ruth Powell Thur 22 Feb Tue 13 Mar Tue 10 Apr Wed 9 May
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10.00-16.00 10.00-16.00 10.00-16.00 13.00-16.00 9.30-12.30 14.00-15.30 9.30-12.30 9.30-12.30 9.30-15.30 9.30-12.30
Workshop 1 Workshop 2 Workshop 3 Workshop 4 Session 1 Session 2 (Online) Session 3 Session 4 Session 5 Session 6
Unit Title
Date
Time
Session Title
Academic Leadership (20 Credits) Unit Leader: Antony Johnston
Fri 2 Feb Fri 16 Feb
10.00-16.00 14.00-16.00
Fri 2 Mar
14.00-16.00
Fri 16 Mar
14.00-16.00
Fri 13 Apr Mon 5 Feb Tue 3 Apr Mon 23 Apr
14.00-16.00 10.00-16.30 10.00-16.30 14.00-16.00
Workshop 1 Action Learning Set 1A & 1B Action Learning Set 2A & 2B Action Learning Set 3A & 3B Workshop 2 Introduction Workshop Tutorials
Wed 14 Feb Wed 7 Mar Mon 9 Apr
10.00-13.00 10.00-13.00 10.00-13.00
Tue 24 Apr Mon 30 Apr
10.00-13.00 10.00-13.00
Supervising Research Degrees (20 Credits) Unit Leader: James Swinson Introduction to Practice as Research (20 Credits) Unit Leader: James Swinson
Introduction Research as Practice Ethics & Impact on Practice Based Research Workshop Writing/Practice Based Research/Tutorial
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Teaching & Learning Unit Location in course Credit rating Level of Study Contact Hours
Mandatory unit on PGCert 20 7 30 hours
Learning Outcomes
Upon successful completion of this unit you will be able to: 1.
Demonstrate critical, open engagement with policy, practices and scholarship relating to teaching and learning. [subject knowledge; analysis] 2. Critically evaluate your professional practice and plan for further development with reference to the dimensions of the UK Professional Standards Framework. [personal and professional development] 3. Communicate effectively with peers to support professional development. [collaborative and/or independent professional working; communication and presentation]
Indicative Content
Through this unit you will encounter a range of theoretical, political and practical perspectives and apply them in your particular context. Themes will include inclusive approaches to learning and teaching, internationalisation and the changing higher education landscape, models of learning design, assessment and feedback, and the history and context of arts education. Your own experience of learning and teaching will be of interest and value to other participants, and you will share this and receive feedback through presentation, discussion, micro-teaching and peer observation. You will also reflect on your own practice, values and development with relation to the UK Professional Standards Framework, taking into account circles of influence and control and how these affect the decisions you make as an educator both now and in the future.
Teaching and Learning Methods The teaching and learning methods used on this unit include: • • 38 //
Seminars Group tutorials
• • • • •
Journaling Micro-teaching Presentation Observations of teaching Independent study
Assessment Requirements The unit is assessed holistically through the following: Evaluation of professional practice against Descriptor 1 of the UK Professional Standards Framework, with reference to: An online reading journal documenting responses to literature and other sources. Reports and reflections on observations of teaching practice. Opportunities for future development.
Essential Reading Biggs, J. and Tang, C. (2011) Teaching for Quality Learning at University. 4th edition. Maidenhead: Society for Research into Higher Education and Open University Press. Collini, S. (2012) What are Universities For? Penguin. Fry, H., Ketteridge, S. and Marshall, S. (Eds.) (2015) A Handbook for Teaching & Learning in Higher Education: Enhancing academic practice. 4th edition. Routledge. James, A. and Brookfield, S. (2014) Engaging Imagination: Helping Students Become Creative and Reflective Thinkers. Jossey-Bass. Ramsden, P. (2003) Learning to Teach in Higher Education. Routledge. Further recommended reading and resources are provided in the course reading list
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Self-initiated Project Unit Location in course: Credit rating: Level of study: Contact hours:
Mandatory unit on PGCert 20 7 23
Learning outcomes: Upon successful completion of this unit you will be able to: 1. Identify a topic for enquiry, justifying its professional significance. [analysis] 2. Investigate methods of enquiry appropriate to the specific contexts of the topic. [experimentation] 3. Conduct a scholarly enquiry. [research] 4. Present project findings in a coherent, context-sensitive manner. [communication and presentation]
Indicative content In this unit, you will be introduced to a variety of methods of enquiry relevant to your selected project focus, and will experiment with those most appropriate to your content and context. You will work in small, problem-based learning (PBL) peer groups as you design, develop, conduct and analyse your enquiry. Regular work-in-progress critiques will provide key formative assessment points, leading to final presentation of your project findings to peers and tutors at the course’s Academic Practice Conference. This conference will give you an opportunity to develop your peer-to-peer presentation skills, while at the same time disseminating educational research, scholarship and enhancement work across the programme.
Teaching and Learning methods The teaching and learning methods used on this unit include: • Interactive workshops • Project work • Seminars • Group tutorials • Problem-based learning peer-groups • Formative presentations 40 //
Assessment requirements The unit will be assessed holistically though the following components: • •
Oral presentation of project findings. Accompanying presentation materials, to include visuals and/or script.
Essential Reading Bell, J. and Waters, S. (2014) Doing your research project: A guide for first-time researchers. 6th edition. Maidenhead: Open University Press. Gray, C. and Malins, J. (2004) Visualising Research: A guide to the research process in art and design. Aldershot: Ashgate. EduTechWiki, Problem-based learning. Accessed at: http://edutechwiki.unige.ch/ en/Problem-based_learning Further recommended reading and resources are provided in the course reading list.
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Inclusive Teaching & Learning in Higher Education Location in course: Credit rating: Level of study: Contact Hours:
Elective unit on PGCert/PGDip stage of MA 20 credits 7 24 hours
Learning Outcomes Upon successful completion of this unit you will be able to: 1.
Demonstrate understanding of ideas about diversity and its impact in social and educational contexts. [research; analysis] 2. Critically evaluate wider institutional perspectives on equality and diversity as they relate to learning, teaching and assessment. [subject knowledge; collaborative and/or independent learning] 3. Address an aspect of academic practice to promote inclusive learning and teaching. [communication and presentation; personal and professional development]
Indicative Content In this unit, you will critically explore current debates in the literature, policy and practice relating to inclusive curriculum design and assessment, teaching and supporting learning, and the wider institutional perspectives of an increasingly diverse population of students. You will engage with aspects of equality and diversity such as class, disability, internationalisation, and race and ethnicity, and consider theoretical models of diversity and social justice in higher education with a special focus on the integrated theme of pedagogies for social justice in Art, Design and Communication. You will reflect on your own position and assumptions about diversity and inclusivity, and devise creative ways in which you might contribute towards building a diverse and inclusive learning environment. Scholarly input will be included from sections of the University where key contributions to its diversity work are made in order to offer the widest range of perspectives for you to investigate.
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Assessment Requirements The unit is assessed holistically through the following components: • • •
Completion of online activities addressing dimensions of inclusivity. Production of an artefact that promotes inclusivity in learning and teaching. A written reflection on the artefact which links the inclusive learning theory to practice. (1500 words).
Essential Reading Bhagat, D. and O’Neill, P. (2011) Inclusive Practices, Inclusive pedagogies; Learning from Widening Participation Research in Art and Design Higher Education. Croydon: CHEAD. Burke, P. and McManus, J. (2009) Art for a Few. Available from: http://ukadia.ac.uk/ en/naln-migrate/projects-research/admissions-research.cfm Friere, P. (1970) Pedagogy of the Oppressed. London: Continuum. Hatton, K. (2015) Towards an Inclusive Arts Education. London: Trentham. hooks, b. (1994) Teaching to Transgress: Education as the Practice of Freedom. London: Routledge. Morgan, M. (Ed.) (2013) Supporting Student Diversity in Higher Education: A practical guide. Oxford: Routledge Richards, A. and Finnigan, T. (2015) Embedding Equality and Diversity in the Curriculum: An Art and Design Practitioner’s Guide. York: Higher Education Academy Scotland. Further recommended reading and resources are provided in the course reading list.
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Curriculum Design Unit Location in course Credit rating Level of Study Contact Hours
Elective unit on PGCert/PGDip stage of MA 20 7 15 hours
Learning Outcomes Upon successful completion of this unit you will be able to: 1.
Critically evaluate different curriculum models in relation to the discipline, level and institutional context. [subject knowledge] 2. Analyse the impact of a significant curriculum issue in your discipline and institution. [analysis] 3. Plan, justify and evaluate the design or redesign of a part or whole inclusive curriculum. [experimentation] 4. Create a strategy for implementing effective curriculum change in an inclusive professional context. [collaborative and/or independent professional working; communication]
Indicative Content In this unit you will examine critically how the curriculum aligns to sector and institutional frameworks and how we design and develop curricula that respond to a diverse student cohort and a range of priorities including research-industryteaching links, internationalisation, digitally-enhanced learning and student engagement in the context of art and design education. The unit will enable you to develop your capacity to critically appraise a curriculum as well as design and lead the implementation of curriculum innovation in practice. The unit can be undertaken by individuals with a range of roles in relation to curriculum development as well as a curriculum team working together to design a new unit or course. Peer and group working provide opportunities for peer review and feedback and formative tutor feedback is provided as part of the curriculum development planning or practice. Teaching and Learning Methods The teaching and learning methods used on this unit include: • Independent study • Seminars • Peer and team-working • Work-based learning 44 //
Assessment Requirements The unit will be assessed holistically through the following components: • •
Annotated curriculum specification for a proposed whole curriculum or partcurriculum modification. (2000 words) Curriculum development plan or documentation of a curriculum planning meeting. (2000 words)
Essential Reading Barnett, R. and Coate, K. (2005) Engaging the Curriculum in Higher Education. Maidenhead: Open University Press. Biggs, J. and Tang, C. (2011) Teaching for Quality Learning at University. 4th edition. Maidenhead: Open University Press. Blackmore, P. and Kandiko, C. B. (Eds.) (2012) Strategic Curriculum Change: Global Trends in Universities. Abingdon: Routledge. Fraser, S. and Bosanquet, A. (2006) The curriculum? That’s just a unit outline, isn’t it? Studies in Higher Education, 31(3): 269−284. Hatton, K. (Ed.) (2015) Towards an Inclusive Arts Education. London: Trentham Books. Knight, P. (2001) Complexity and Curriculum: A process approach to curriculummaking, Teaching in Higher Education, 6(3): 369−381. Richards, A. and Finnigan, T. (2015) Embedding Equality and Diversity in the Curriculum: An Art and Design Practitioners Guide. York: Higher Education Academy (http://www.heacademy.ac.uk/sites/default/files/resources/eedc_art_ and_design_online.pdf). Further recommended reading and resources are provided in the course reading list.
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Technology Enhanced Learning Unit Location in course Credit Rating Level of Study Contact hours
Elective unit on PGCert/PGDip stage of MA 20 credits 7 24
Learning Outcomes Upon successful completion of this unit you will be able to: 1.
Critically evaluate uses of digital spaces with relation to pedagogic theory. [analysis] 2. Discuss examples and experiences of digital spaces with others. [subject knowledge; collaborative and/or independent professional working] 3. Experiment with digital spaces within defined learning contexts. [experimentation] 4. Reflect on opportunities and challenges in your own practice for enhancing inclusive learning through use of technologies. [personal and professional development]
Indicative Content In this unit, you will engage with relevant theory to reflect on the design and support for learning within digital spaces, discuss opportunities for enhancing learning in relation to your own practice, and experiment with a range of technologies. Contributions from colleagues across the University will provide a wide perspective on current practice and enable you to investigate the integrated themes of knowledge building, inclusivity, sharing of practice, reflection, digital identity and literacy, and collaboration in digital spaces. You will formulate and refine your ideas through online peer and tutor discussions that will enable you to develop your own use of digital spaces for teaching and learning.
Teaching and Learning Methods The teaching and learning methods used on this unit include: • Interactive workshops • Structured online learning activities • Online seminars • Peer assessment tasks 46 //
Assessment Requirements This unit will be assessed holistically through the following components: • • •
Appraisal of opportunities and challenges of using selected digital spaces in your own teaching practice with reference to relevant theory. (2000 words) Evidence of engagement in online discussions and activities. Documentation of experimentation with a digital space that has either enhanced your perspective of its value to teaching and learning, or may be of value in the future.
Essential Reading Beetham, H. and Sharpe, R. (2007) Rethinking Pedagogy for a Digital age: Designing and delivering e-learning. Routledge. Brewer, G. and Hogarth, R. (Eds.) (2014) Creative Education, Teaching and Learning. Palgrave Macmillan. Gordon, N. (2014) Flexible pedagogies: technology- enhanced learning, Higher Education Academy. Available online at https://www.heacademy.ac.uk/sites/ default/files/resources/tel_report_0.pdf Morris, M. and Stommel, J. (2014) Why Online Programs Fail, and 5 Things We Can Do About It. Available online at http://www.digitalpedagogylab.com/hybridped/ why-online-programs-fail-and-5-things-we-can-do-about-it/ Siemens, G. (2014) Connectivism: A Learning Theory for the Digital Age. Available online at: http://www.elearnspace.org/Articles/connectivism.htm Further recommended reading and resources are provided in the course reading list.
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Learning for Sustainability Unit Location in course: Credit rating: Level of study: Contact hours:
Elective unit on PGCert/PGDip stage of MA 20 7 23 hours
Learning Outcomes Upon successful completion of this unit you will be able to: 1.
Demonstrate a conceptual understanding of the relationship between education, sustainability and your discipline. [analysis] 2. Design and evaluate a workshop that raises sustainable issues within a professional education context. [collaborative and/or independent professional working] 3. Evaluate sustainability in relation to your current academic practice. [subject knowledge]
Indicative Content This unit will encourage you to reflect on issues of sustainability in your current academic practice and undertake an investigation that will form the basis of a sustainability workshop to be delivered to a wider audience of University staff. You will then devise an evaluative report on the development and outcomes. The unit draws upon a participative pedagogy to illustrate one way of designing curriculum and teaching to promote sustainability literacy, and consequently provides scope for participants to raise their own concerns and interests in order to shape the particular ways in which unit themes are considered and addressed. You will be encouraged to collaborate with peers and to negotiate the curriculum through teaching and learning activities that will gradually shift from teacher-led to participant-led workshops. Themes will include: defining sustainability, developing students’ sustainability literacy, education for sustainability, and design for sustainability.
Teaching and Learning Methods The teaching and learning methods used on this unit include: • Seminars • Tutor-led workshops 48 //
• • •
Participant-led workshops Independent Study Guided Reading
Assessment Requirements The unit will be assessed holistically through the following components: • A portfolio of materials related to the design, delivery and evaluation of a workshop that promotes sustainability literacy. • An evaluative report. (2500 words)
Essential Reading Jucker, R. (2014) Do We Know What We Are Doing? Reflections on Learning, Knowledge, Economics, Community and Sustainability. Cambridge: Cambridge Scholars Publishing. Parker, J., and Wade, R. (Eds.) (2008) Journeys around Education for Sustainability. London: London South Bank University. Available at: http://www.brighton.ac.uk/ sustainability/index.php/download_file/view/172/90/ (downloaded 03 March 2016) Sterling, S. (2013) Future Fit Framework: An introductory guide to teaching and learning for sustainability in HE. Available at: http://www.eauc.org.uk/the_future_fit_framework_an_introductory_guide_ Stibbe, A. (Ed.) (2009) The Handbook of Sustainability Literacy: Skills for a Changing World. Totnes, UK: Green Books Vezzoli, C. and Manzini, E. (2008) Design for Environmental Sustainability. Italy: Springer. Further recommended reading and resources are provided in the course reading list.
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CASE STUDIES:
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TEACHING WITHIN ACADEMIC: HOLLY Individual Context: Holly has worked in the creative industries for several years and has great knowledge of the advancements in technology for the commercial market. Holly feels that she has some useful information and experience to pass on from industry to students in higher education. Additionally, Holly has a pet project that brings together subjects around diversity including faith, in an online format which she hopes to develop further from an educational perspective. . Holly has delivered some workshops in her area of expertise and hopes to develop her teaching practice and prospects for the future.
Teaching Within Programme: Holly is not fased by the prospect of teaching or being placed on a course that doesn’t directly relate to her direct subject area. She is passionate about her new role as she sees as an opportunity to offer and develop interventions regarding the curriculum to improve students knowledge of industry. She hopes to contribute to enhancing inclusive and current resources.
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“
The programme is a great opportunity, not without its challenges. The largest one for me was the lack of support from the course leader although it didn’t seem like this in our first meeting where we talked about my knowledge. I was very surprised that the students did not have access to some materials or a commercial offer and was happy to try and fill this gap. However, this was not welcomed by the course leader and has meant that I do not feel valued and instead feel that some actions by this course leader have been obstructive. I do however believe that with the formal teaching qualification, teaching experience and the networks I have gained through the programme will be invaluable to my future choices.
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TEACHING WITHIN ACADEMIC: STEVEN Individual Context: Steven is an established fashion designer who has his own international fashion label and has worked with some very high profile figures. Steven graduated several years ago from the university, however whilst they have a successful career in industry they do not attribute this to the educational experience thus far and this is the reason for their application to the Teaching Within programme. From Steven’s point of view there were very few individuals that they felt supported them whilst studying on their degree. They remember one member of staff suggesting that their work related to the Caribbean diaspora and they were told the urban market was so small so they shouldn’t develop work like this. Additionally, Steven has dyslexia and at the time of studying on his degree this was not supported. Despite this negative reaction, Steven continued to create work that was meaningful to him and passed his degree even though he felt his style of practice was not valued.
Teaching Within Programme: Steven joined the programme as he has a passion to be part of change and reduce the kind of experiences he received as a student. However, he was sceptical in the beginning about what the driving forces were for the university to invest in such a programme. Additionally, he had some anxiety around what course he was going to be placed on to teach as this could be a field of practice that may not directly relate to his practice. Steven also was very worried about the expectations and deliverables of the Postgraduate Certification as he disliked reading as well as his previous experience in education as a student with dyslexia.
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“
The PgCert unit Inclusive Teaching and Learning has changed the way I think and feel about research, teaching and my own experience in education. It has brought understanding and provided me with an inspired teaching style. The fact that I am now teaching on a course subject that is not my direct field doesn’t faze me. I see now that I have transferable skills and knowledge, that can be transcended by an inclusive pedagogical practice that is meaningful to a range of students. Through the Teaching Within programme I now know that I really can make a difference and irrespective of the institutions reasons for supporting this it has already made some impact for me personally and the students I teach. I can now confidently call myself an academic.
”
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TEACHING WITHIN ACADEMIC: NIMAH Individual Context: Nimah is a practising artist and her work is related to topics of racism, sexism and islamophobia activism primarily. Nimah has herself experienced and witnessed direct and indirect prejudice within her education and within the creative industry. Nimah has extensive knowledge and research of women of colour in the creative sector and feels that this and her experience would be valuable to the teaching environment. Due to Nimah’s personal experience she is hopeful that this will arm her for embedding a critical approach to creative education which includes critical race theory and intersectionality. Added to this, Nimah will challenge all students and support meaningful understanding and engagement. Nimah’s expertise has meant that whilst she had not been in a formal teaching post previously she has experience in delivering workshops in a variety of higher education institutions and art and design organisations.
Teaching Within Programme: Nimah joins the programme and is very excited to be part of the change she wants to see. However, Nimah is unclear about how she may be received by the less knowledgeable academics regarding her specialism and or her critical approaches. Nimah was very excited to be able to have as part of the bursary for the Pg Cert, access to self selecting units and wanted to choose a unit that some may not see as directly related to social justice.
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“
The integration into the course teaching team through this programme was quite straightforward and I felt valued for my contribution in both the delivery and my suggested additions to enhance to current courses activities. However the PgCert selective unit was very challenging in that both the teaching team and the predominantly mono-cultured cohort struggled to engage with my view, interpretations of the unit and context. Whilst this was upsetting, the Teaching Within programme’s additional support structure was useful, as it allowed a safe space for critical reflection and shared ideas.
”
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TEACHING WITHIN ACADEMIC: JANE Individual Context: Jane has worked in some of the most high profile fashion design companies worldwide. Jane has delivered numerous workshops to a variety of audiences about the skills necessary for working in the fashion industry. Whilst Jane’s career on paper sounds fantastic there have been some challenges, which is why she is applying for the Teaching Within programme. These challenges have taken the form of bullying and appropriation of her work by others within the companies she has worked for. Jane hopes that building a teaching career will support her wish to prepare the next generation of creative practitioners with the expertise and knowledge to navigate and flourish within the creative industries. Jane hopes to offer the kind of support that she never had.
Teaching Within Programme: Jane was very excited about being given the opportunity to pass on her knowledge and experience to students through the programme . However, she had anxiety about being able to fit the programme around her current industry work. Additionally, Jane was very uncomfortable about the possibility that she would be assigned a course that in her mind, did not fit directly with her area of expertise.
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“
It was great to be placed on a course that directly relates to my practice. However I have felt there has been some resistance from the course leader and others as to my presence through both actions and words. The students’ feedback on my teaching content and delivery has been extremely encouraging which they have recorded in written feedback. The students, Shades of Noir team and Deans have been so supportive and encouraging that I was not just able to stand up for myself with the course leader, who has now apologised for both themselves and colleagues but I have grown in confidence beyond what I thought possible and found out that I love teaching.
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FURTHER READING:
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Critical mass- Illustration by Daniel Holliday
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CRITICAL MASS. Over the past 5 years I have noticed a growing presence of focus on the underrepresented voices in Higher Education. Within University of the Arts London, I don’t think this is new. This institution have for many years engaged with collectives of the marginalised but what has changed are these voices visibility. Some of the activities, collaborations and or supporting organisations this particular institution has engaged in includes:
BAME Talent Day Careers and networking event for all undergraduate and postgraduate graduates, as well as industry representatives that are interested in entering the teaching profession. The talent programme that was started at LCF by Angela Drisdale Gordon, which has now been rolled out at several colleges across UAL and has contributed to the progression, access and invitation to industry specialists from diverse backgrounds, many who are UAL alumni.
Black Art & Modernism www.blackartistsmodernism.co.uk Launched in 2015, a three-year research project in collaboration with Middlesex University exploring the question: “How do artists of African and Asian descent in Britain feature in the story of twentieth century art?”. The project is being led by Professor Sonia Boyce, Chair in Black Art and Design at UAL who will produce a range of materials based on the research findings.
Black Blossom
www.blackblossomsexhibition.tumblr.com This exhibition was curated by the then Arts Student Union Education Officer (2015/16) Bee Tajudeen, supported by UAL and Shades of Noir. It ran from July to October 2016 and celebrated the voices of black women. It included paintings, photography and illustrations from recent UAL graduates predominantly exploring the intersections of gender, race and identity. Around 800 people attended the exhibition, making it one of UAL’s busiest Showroom events. This organisation has now grown beyond this institution.
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Diversity Matters www.diversity-matters.org.uk In April 2016, UAL alumna Kai Lutterodt ran a Diversity Matters Awareness Week in collaboration with the Diversity team, Teaching and Learning Exchange, and Shades of Noir. The aim was to highlight the relevance of diversity within arts, media and education. The initial successful collaborative intervention propelled Diversity Matters to continue to develop and live beyond the institution.
Group for the Equality of Minority Staff (GEMS) This group was established in the mid 1990s and was then chaired by Avril Horsford, who is no longer with the institution, however GEMS continues. GEMS endeavours to promote the personal development and create a network of Black Asian and Minority Ethnic (BAME) staff. GEMS has a membership of over 100 BAME staff across all departments and levels. We are the largest and longest standing staff network at UAL. This community of members contribute to discussions, and monitoring the progress of the University’s published objectives, including the Equality & Diversity Strategy. Additionally it is a forum to meet and develop friendships and support beyond your department and or college via face to face or virtual interactions.
International Curators Forum www.internationalcuratorsforum.org A network that meets to discuss emerging issues of curatorial practice in the context of key events in the international arts calendar. It offers bursaries and professional development opportunities to curators and works in partnership with key national and international bodies. This program has been conceived to promote opportunities for curators to visit and participate in several major international art events to enable them to network and gain experience for their career development.
Transnational Art, Identity and Nation (TrAIN) www.transnational.org.uk/about The University of the Arts Research Centre for Transnational Art, Identity and Nation is a forum for historical, theoretical and practice-based research in architecture, art, communication, craft and design. Central to the Centre’s activities is a consideration of the impact of identity and nation on the production and consumption of artworks and artefacts in this new global context. Transnational relationships are explored // 63
through crossings that traverse different media including fine art, design, craft, curation, performance and popular art forms.
Shades of Noir www.shadesofnoir.org.uk Shades of Noir (SoN) is an independent organisation, created in 2009 by Aisha Richards and delivered by evolving groups of students, graduates and academics to inform teaching and learning within Art, Design and Communication Higher Education (HE). Its aims are to enhance the practice, process and experiences of students and HE staff. SoN do this by placing marginalised communities at the centre of HE and embedding social justice in all aspects of curriculum design, teaching practices and institutional processes. Additionally, SoN provides space, knowledge, expertise and a visible intersectional presence for students, graduates, HE staff and creative practitioners both virtually and physically.
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MY SHADES EXSPERIENCE. Words by Mica Schlosser.
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I’ve never had a stranger just starting touching my hair on the subway. Or my skin. No one’s ever asked me why my art is about my whiteness. Or to justify why I’m concerned with my family history. A fellow student has never said she can’t look at me while I’m talking because of my white face. I don’t get called thuggish or intimidating for sitting in the corner of the cafeteria with with friends. When I travel, I don’t get chosen by security. My country isn’t banned, but bans others. People don’t stare at me when I walk into a faculty room, or an office, or a classroom because I’m the only one with white skin. My parents have never denied the legitimacy of my sexual orientation. Or called it a phase. Or attention seeking. Or refused to call me by the pronouns I identify with, instead of by those I was born into. In ten, twenty, thirty years—I’ll be called auntie, mother, grandma. And it won’t cause any discomfort. Any awkwardness. Any dialogue, really. *** These are everyday, lived realities, that have been described to me since I started working at Shades of Noir. In interviews or more casual conversations. And with story, I was shocked. That these things still happen—and happen every day. And that, fundamentally, reveals my privilege. Privilege is a fluid thing, I think. Our relationship with our own privileges, our understanding, is one that I imagine will continue to shift. Growing up, I’ve always been uncomfortable with the randomness of privilege. Why should I have benefited from such a good education, a home, a loving family, a system of support, because of my birth? Something I had no control over. But the privileges I’ve experienced due to my white race, and even my American nationality, I’ve only fully started to understand since working for Shades of Noir. And this is not because people made me feel my white western privileges. Because I’ve been somehow excluded or a minority for the first time. No. I’ve long felt complicit to systematic forms of oppression—oppression that I’m 66 //
just starting to understand the scale of. But this year, the lived experience of these oppressions has come into sharper focus. And within myself, I’ve been trying to find the ways in which I can be an ally. One of the things I find trickiest is when to be vocal, and when to be silent. When standing aside, and listening is the most important thing for a person in my position as a white woman. Yes I am more than my race, gender, and class. But the realities are that white American women have a complicated relationship with intersectional feminism—something I think Shades of Noir represents at its core. How do we make amends and reparations? How do we hear criticism without closing up? Without counter attacking? Without falling back on our own forms of oppression? Our definitive mechanisms? I don’t have the answers. But I think being better listeners is a start. Criticism of ‘white feminism’, for example, is not a critique of all white feminists. It’s an attempt to unpack the ways in which feminism that does not explicitly consider the impacts of race, or sexuality, is failing to represent a huge proportion of women. From my own perspective, I think prejudice is often rooted in ignorance. But unlearning assumptions, confronting bias, hearing criticisms of how your own progressive stance is limited or even hurtful—can be a difficult process. But this makes sense. Inequality is so pervasive. It has been so divisive. It has (and still does) enabled some human beings to strip others of their humanity. Remedying this reality was never going to be a simple process united under a banner of solidarity for women. It was never going to ‘work’ by ignoring different experiences. These divides existed at the very inception of the Women’s Movement over 200 years ago. The damage that has been caused is too complex, and too deep rooted, for the ‘solutions’ to be simple and painless. But what I think women who are threatened by intersectionality fail to see is that this form of feminism is not ultimately trying to break the movement apart through internal criticism. Intersectional feminism aims to include. And in order for this process of inclusion to occur, criticism must be viewed as an aspect of progress--not as an obstacle. My time with Shades of Noir has taught me that it is better to be trying to change, learn, grow, speak out, or listen as an ally—than it is to stay silent. Afraid of causing offense. Of saying something ignorant, hurtful or damaging. Do I still worry about doing this? Yes. This is my third attempt at this reflection because I don’t want to proselytize, claim to have the answers, come across the wrong way, say the wrong thing. But it’s a work in progress. And despite the complexities and nuances of our intersecting identities—some things are very simple. The words that come to mind are focused on womanhood, // 67
but it is relevant irrespective of gender: “I am not free while any other woman is unfree, even when her shackles are very different from my own� (Audre Lorde) The last 8 months have shown me that these shackles, in their various forms, are often ignored. Undermined. Dismissed. Or, once called attention to, quickly denounced as paranoia, weakness, or sensitivity. As a white woman, I may have not only ignored these chains, but benefitted from their grip. Shades of Noir has given me a clearer lens through which I can see both the oppression of others, my own complicity and privileges, and the channels through which I can make reparations as an ally or activist. 68 //
INTERSECTIONAL SAFETY IN THE CLASSROOM.
Words by Katayoun Jalili.
The importance of safety goes underestimated in the art class where being radical is encouraged. In university, especially in a place like CSM, we are encouraged to challenge our thought processes, but not so much that the institution feels challenged and under attack. There have been several incidences that I have personally experienced in the classroom where I felt unsafe, and I would call this nothing but intersectional failure. Intersectional failure means when systematic oppression fails a person who is a part of several marginalised groups including sex, gender, class and race. For example, I am a woman, I identify as queer, I am working class and brown. And the system in which we live in (heteropatriarchal white supremacy and capitalist) is not in my favour because of the marginalised groups I am a part of. But how can a classroom setting be set up as a safe space of learning for people of intersections? These past two years at university, I have had several experiences that proved to me this failure exists. Incidences where I felt unsafe in terms of my gender, sexuality, race and even class. In these incidences, none of my peers stood up for me, neither did the tutors. I had to defend myself and my community, which is not a situation I should have been in as a student. I am here to study, not to educate. // 69
I have felt that there’s a failure on the part of tutors/lecturers to create a safe space. Certain discussions can trigger deep emotions for some students and tutors sometimes fail to acknowledge this fact and encourage these discussions. For example recently, we had a discussion in class that led to discussing sexual abuse, which for me personally is a triggering subject. I felt unsafe and attacked by several peers, which led me to think that it was the tutor’s responsibility to create a safe space. But when these safe spaces don’t exist, how does it affect our education as folk who experience intersections. Racism has a been a big part of my experience at university this past year. It has been brought up in class discussions which again were not handled well by the tutors, but also there have been incidences where a racist comment was made and no one stood up for people of colour, and again it was my responsibility to stand up for myself and my community, which I can argue is not my responsibility. It is an experienced fact that white folk take criticism about political incorrectness from fellow white folk and not people of colour. Because if we stand up for ourselves it looks like : “ an over reaction” and we “need to calm down”. I am not suggesting we shouldn’t defend ourselves and communities, but what I’m trying to explain is that when in a learning environment, especially a creative learning environment which can leave many feeling vulnerable, it is more difficult to defend your rights when no one else is standing up for you. The perception might be that art schools are queer friendly. However, in reality, it only seems to be the “mainstream gay culture” that is praised. Queer politics and trans rights are ignored most of the time as they are about real people’s day to day life, and not just glamorous fashionable lifestyles advertised in the mainstream gay culture. In art University, there sometimes feels like there’s a separation between the art University and outside world politics. However, this is not true, the political failures that exist outside of a University, very much exist inside the classrooms. These failures are not to be discussed as if they only exist outside, which is what tends to happen. These failures are failing us every day when they are being treated as myths. Where intersectional failures have not been addressed, it has created feelings of frustration and hopelessness for many students, which in turn, leads to them leaving university or leaving the course in general. We easily talk about the lack of diversity on the teaching level, but if the institution is failing to take care of students who are in the minority, the institution will become even more exclusive, and only a place for those who can survive in a society that works in their favour. 70 //
THE INCLUSIVE TEACHING AND LEARNING UNIT. Words by Terry Finnigan. // 71
A reflective journey from the focus on problematic students, to disruptive and transformative pedagogies. I have been teaching on the Postgraduate Certificate (PG Cert) at the Teaching and Learning Exchange at University of the Arts London for over 9 years in the area of equality and diversity and so I feel it is time to reflect on how it has changed me as a teacher and as a human being. I have learnt so much during this time, sometimes through specific academic readings, blog posts and videos but often through difficult and challenging dialogues within the classroom and conversations with the other tutors after the students have gone. As a white member of staff I want to consider what the opportunity of working so closely with a black academic has given me and continues to give me, I acknowledge that I am further privileged by this insight. I know I have developed and changed because of this. I have always considered myself to be open, accepting and keen to learn from others. I see myself as a reflective practitioner and a good teacher. I relish being in the classroom, working alongside both students and staff. When I first started teaching about diversity all went well. I was first asked to deliver one session across the whole of the course about diversity within art and design teaching with a colleague, where mainly issues around disability and class were discussed. These always seemed to be the most palatable subjects for staff to consider under the banner of equality at that time. We would present a number of student case studies within a two-hour session and there was time for discussion and sharing of how the students could be supported. Looking back this was a very individualised model and in some ways was very comfortable and comforting for the participants. All their students needed was access to support, often from outside agencies, and their concerns and challenges would be met. Leaflets for counseling, housing, study support were duly distributed and that box was ticked. It was not their problem but just a problem of access to the right information, not taxing at all. We also would show the university stats around student achievement each year and how there were clear gaps between students from working class and middle class backgrounds and home black students and home white students. After the presentation staff would often question the data and its validity and sit silently and then find ways to understand it, which did not always impinge on their own teaching of course. Some staff would attempt to problematise the students who had not been taught well enough at school or whose language level was not appropriate for the course. However, other staff over the lunchtime would often want to discuss in more detail their students’ needs and the data around achievement and how they could meet the students needs in the studio, the workshop and the lecture theatre. 72 //
Let me make it very cIear, I am not in any way criticising the staff who were on the Pg Cert. They were there to learn how to be better teachers and how to support their students through their learning and their assessment. The course needed to radically change its approach, its focus and there was a growing need to consider inclusive pedagogies and curriculum. From this, working with Aisha Richards and Ellen Sims we developed a unit that provides staff the opportunity to study and reflect in more detail on inclusive teaching and learning in art and design was born. To be inclusive we had to consult in an inclusive way. We discussed this development with the Disability unit, the WP unit, the Language Centre within the university. We wanted it to be transformative for staff who studied the unit so we taught it through the frame of critical pedagogy using the writings of Friere (1970) and hooks (1994). We also made sure it was linked to the Art and design curriculum and so Burke and McManus (2009) and Bhagat and O’Neil (2011) were part of the key reading list. The Shades of Noir interventions, the Tell us about it artifacts and the Common Place UAL website were (and still are) key parts of the unit. It was essentially about staff understanding that diversity starts with themselves, it is not about the ‘others over there’. They also were encouraged to make changes to their teaching and the support students received within their own context. We also made sure we discussed the UAL achievement data and disparities in degree classification with the cohort and asked them how they could start to make some changes to the curriculum and the pedagogy, consulting with students along the way. The unit was validated in 2011 and was taught by three tutors, which is part of its strength; Aisha Richards, Siobhan Clay and Terry Finnigan. Having diversity within the staff team was essential to make this work effectively, although in the first couple of years this was, at times, an uncomfortable place for Aisha to be. I learnt a great deal during this period about myself but also to some level of the experience of being a Black teacher in a sea full of white faces. This was not a safe place to be in, not only did I witness this but she shared this with me after the classes. She was very upset about the questioning and defensiveness around the attainment figures for students of colour as well as the very aggressive questioning she received. I must admit that in the moment I wasn’t prepared for how the cohort behaved. She told me this was so very hard and next time could I present it and she would observe. I was concerned about her wellbeing and the emotional pain she was experiencing in this space so agreed. I was very shocked and it made me realise that this work was very complex and that I came from a position of white privilege as a teacher which I had never truly considered before. I had just thought that there were good teachers and not so good teachers and we needed to find ways to support students and facilitate their learning within a creative context. How naïve on my part! Suddenly I saw there were other layers to this which were to do with how people were perceived and their positions were validated or devalued even in a position of power as a black female academic by our peer students. In the first couple of years // 73
we always had a debrief after the sessions (which has continued) and rethought how to present this data in the context that it was a reflective space, rather than aggression, we encourage consideration and understanding supported by case studies. I only delivered the data in the second year of delivering as Aisha built her own techniques to manage the environment and support the transformation of our cohorts. Additionally we brought other staff of colour in to run certain workshops which helped and the student attainment was discussed in small groups and fed back. The work of Sabri, (2014) who embarked on a longitudinal institutional research study at the university, helped with this as, using research data, was able to take the questioning around where the disparity came from out of the discussion. We moved straight onto, so what can we do about this then? Using the Frierian concepts of social justice and critical pedagogy, coupled with the involvement of students and educators engaging in dialogue to create change as the backbone of the unit and continues to be very powerful. Questioning the context on the course or workshop where the participants find themselves, as well as identifying a small change that can be implemented and evaluated is often transformational. We also, as unit tutors mirror inclusive practices within our own pedagogies and our own curriculum so that the sessions become safe and supportive spaces. Participants on the unit would feedback that it had changed the way they saw their role as teachers and had transformed their teaching and their overall approach with students. Sometimes students suggest this unit has changed their lives. We had moved a long way from reflecting on the individual problems of the students to a more systematic approach to change. This was in its own way at times disruptive and difficult for staff. Some course teams and line managers are very supportive while others feel at times threatened by the interventions staff bring to their area. This was all about change and there is still so much more to unpack and transform. In recent years it has been extremely important to create safe and supportive spaces on the unit so the participants can share their own diverse perspectives whilst receiving feedback and support from each other. The face-to-face sessions provide this but also the blogging spaces are really valued by most staff as it provides a place to reflect and share experiences, challenges and resources. Over the years the cohort has become more diverse (particularly since the creation of Shades of Noirs Teaching Within Programme) which is so positive and it enriches the dialogue and communication throughout the unit. We have been discussing inclusive curriculum, inclusive pedagogies and assessment for many years on the unit but now we are also talking about 74 //
perspective on terms such as Black, Asian and Minority Ethnic, theories around white privilege, white discomfort, white fragilities, micro agressions and micro affirmations, islamophobia, the social model of disability and the use of pronouns for LGBTQI students and staff. It is not only about the strategies you can apply within the classroom such as group work and glossaries but also about the one to one communication between students and staff and students and students and staff and staff. I myself am thinking more and more about this now as language is key and an open and reflective response is necessary to truly move forward. Sometimes I still get it wrong. I use inappropriate language and get corrected and I am asked to think again which I am happy to do. I ask what words would be better here then? I still have a lot to learn but we have produced this space where I am willing to learn and do not feel in any way defensive. The space is now a space of mutual respect and learning and it has made me develop into a better teacher and a better person I think. This has taken years of delivery, practice and most importantly evolution through reflection to create a space that feels safe for all. Once you start talking about difference and inequalities in a safe space, provide students with the chance to read, reflect and share their experiences you also need to be ready to respond to what happens when silence is no longer a strategy to hold in injustices that some people have been holding for so long. As Lorde (1984: 44) comments ‘It is not difference that immobilizes us, but silence. And there are so many silences to be broken. The Inclusive Teaching and Learning unit then becomes a place of challenge and disruption. I have developed as a teacher and also as a person. I am much more aware of so many layers that exist around this work and of my contributions as an ally, both in the teaching setting and as the learner. I am constantly learning and am so thankful to have worked so closely with an academic of colour on this unit. Part of its success is that I was never a saviour but listened and always took on board Aisha’s view as an ally and together we found solutions that worked.
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MY SHADES EXPERIENCE. Words by Andrew Illman.
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I applied for the job at Shades empathising but not completely understanding the core reasons behind why it was an essential platform to have at UAL. I realised, through the process of preparation for the interview, how little I knew about the issues people of colour face not only within our institution but also in our society. It was fair to say that I was still living in my White Privileged bubble, slightly oblivious to what was going on around me. This realisation was a huge part of my drive to apply and subsequently to be hired, thankfully! I acknowledged that I needed (and wanted) to learn, I knew that I wanted to facilitate change in any way I could, but above all, I found it problematic that I wasn’t aware of the problems students of colour faced. These issues are happening in the same space where I work and create with such ease. I tentatively took on the role, hoping that my inexperience wouldn’t show. I set about working, as far in the background as possible, focussing on keeping the momentum and cogs that push shades moving forward. It was behind these cogs, that I was in a place where I could listen and learn as much as I could from those around me; the knowledgeable content developers, editors, contributors, and director, all of whom have such important voices that speak for the many and that need to be shared. Through them, I have also had the opportunity to grow my understanding of my own identity. My BA years at Chelsea gave me space to explore my own progression of thought about which gender, sexuality, and sex I related to most, and how this will continue to evolve; a painful minefield of its own. I rarely talk about my own challenges, but it is so so important to recognise that it continues to be Shades who gives me the tools to build within that space in a meaningful and calming way. The events that we run have been an enlightening opportunity; the speakers, who are invited by the CDs have given me food for thought each and every time. The most impactful event to-date being the beyond gender event last year at LCF, where a beautiful group of people came to share their own journeys’ and how they relate to their experiences so far. This was the first time where I had experienced what a safe space felt like. Being involved with shades continues to be a humbling experience for me, each week with new content and discussion I learn a little more, and certainly over the past 18 months I would like to think I have grown in awareness, although there is of course certainly a lot more to learn. I’m looking forward to having that opportunity.
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THE INSTITUTE: NINA’S STORY.
Words by Michael Ukaegbu.
An anonymous retelling of a real student’s experience at university where they feel they have experienced cultural or racial ignorance whilst studying. Written in an effort to raise awareness of this recurring issues that students are facing. Told in the format of a short story with fictional characters and locations. Character: Nina Location: Fictional Art College called ‘The Institute’ Freedom: “The power or right to act, speak, or think as one wants”. This had always been a factor in Nina’s life. At the age of 18 when University was on the horizon, all she really wanted was a place where she felt she could be free. From a young age, Nina had been a very vocal wordsmith. People often referenced Edward BulwerLyttons famous quote “The pen is mightier than the sword” when Nina would voice her passionate opinions, however, she felt she had yet to find her true vocation. As humans we naturally try to better ourselves, others found her writing spectacular but she herself found it inept and in need of refinement. The Institute advertised a solution to both of these factors in their Journalism course, so naturally, Nina applied. Fast forward two years, Nina is now in her second year. Her first year at The institute was mainly made up of going through the basics. The second year arguably was 78 //
the year in which she finally had a chance to really write, and so write she did. The first proper task they were given gave Nina exactly what she wanted; freedom. Her lecturers simply told her to choose an idea, choose her audience, pitch that idea and then write it. It sounded easy enough to her. After a week or so of thinking, she finally came up with a pitch. As a young black woman who grew up as a fan of hip hop culture, she decided that her piece would focus on the nuances of community. She drew up her pitch and submitted it, awaiting feedback in the following week. A week passed quickly, and her pitch feedback had arrived. She knew her lecturer wasn’t a part of the demographic she was writing for, so she expected him to give her the all clear immediately and let her start writing away. However, upon opening her response, she was made aware that that would not be her reality. His lack of knowledge of the culture led him to disregard her piece, simply labelling it as incorrect due to his ignorance of the community. Labelling a lot of topics and even album names in the culture i.e. ‘Yeezus’ as jargon that the reader wouldn’t understand, simply because he didn’t understand. Whenever he would encounter a word or a phrase he didn’t quite identify with he would label it as incorrect instead of taking the time to research and find out its meaning for himself. Most of what Nina was saying in her pitch was lost in translation, it was simply marked as incorrect and she was told to think up something new. Reading his response, Nina was frustrated and confused. As a student, work is meant to be produced and the lecturer is meant to take their time in giving feedback; especially in a case like this where the student has the option to choose whom their target audience is. She felt her skills were discredited and her voice was being ignored. She was flat out rejected instead of being given back something she felt she could build on. Being quite a prideful person Nina went on to write her piece regardless of what was said, however, the road became a lot more stressful, difficult and lonely for her, as she felt she didn’t have any academic support along the way. End. Nina’s opinions on how this should be dealt with: “The staff that are hired to teach and to assist students need to be more diverse. People from different cultural backgrounds that can understand what others wouldn’t. People who have been through different walks of life and in this case write about different genres; this way our work wouldn’t all be one dimensional and we are able to cultivate our own individual writing styles. Having lecturers who are all similar isn’t progressive in regards to the arts; art is meant to constantly move forward and evolve.”
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REFERENCES Bhagat, D. and O’Neill, P. (eds) (2011) Inclusive Practices, Inclusive Pedagogies: Learning from Widening Participation Research in Art and Design Higher Education. Council for Higher Education in Art and Design. Equality Challenge Unit (2015). Equality in Higher Education: Statistical Report 2015. Equality Challenge Unit Equality Challenge Unit (2009). The experience of black and minority ethnic staff working in higher education. Equality Challenge Unit Finnigan, T. (2009) Tell Us about It: Diverse student voices in creative practice. Art, Design and Communication in Higher Education. 8 (2), 135-150. Freire, P. (1968) Pedagogy of the oppressed. Continuum. Lorde, A., (2012). Sister outsider: Essays and speeches. Crossing Press. National Union of Students (2011) Liberation, Equality, and Diversity in the Curriculum. National Union of Students. Richards, A., & Finnigan, T. (2015). Embedding equality and diversity in the curriculum: an art and design practitioner’s guide. Higher Education Academy and University of the Arts London. University of the Arts London (2105). 2015 - 22 Strategy University of the Arts London Black Art & Modernism: www.blackartistsmodernism.co.uk Black Blossom: www.blackblossomsexhibition.tumblr.com Diversity Matters: www.diversity-matters.org.uk International Curators Forum: www.internationalcuratorsforum.org Transnational Art, Identity and Nation (TrAIN): www.transnational.org.uk
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