Teaching Within Prospectus 2018 - 2019

TEACHING WITHIN PROSPECTUS 2018-19

TW // 1

“

I applaud the programme for bringing together all these great academic minds of people of colour!! This usually only occurs in sport and entertainment. I feel the programme will eventually break the mould of peoples thinking that the participants are part of an ‘allowance’ scheme. TW cohorts are amongst the best students the university has produced across all people over the years and we are high achievers internationally.

”

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 The Postgraduate Certificate in Academic Practice 2018/19 ACADEMIC TIMETABLE Mandatory PgCert Units - Cohorts A, B or C 2018/19 ACADEMIC TIMETABLE Elective/Standalone Units

25 26 32 32 34 34

Case Studies

49

Further Reading

58

References 78

THE DATA:

ESSENTIAL INFORMATION

BACKGROUND:

Shades of Noir’s (SoN) ‘Teaching Within’ (TW) programme is a proactive academic progression intervention that responds directly to the underrepresentation 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: • Increase the presence of Lecturers and Associate Lecturers of colour.

• Build further the relationships with the marginalised community of existing staff of colour.

• Support alumni and staff of colour to develop and become part of the academic community.

• Enable non staff of colour to be part of levelling the playing field.

10 //

“

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 of UAL and/or practicing creatives.

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 or have experience in industry and be a graduate for 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: All participants will have the following qualifications paid for as part of the programme bursary scheme. This includes a two day introduction to teaching entitled ‘Thinking Teaching’ (December 2018) and the PgCert in Academic Practice in Art, Design and Communication (January 2019 - January 2020).

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 2019 with a minimum of 10 hours before the end of May 2019.

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: ‘At times I thought I wouldn’t make it onto the course because my managers really didn’t want me to. Shades of Noir supported me and pushed hard for me to join.

I hadn’t studied for a long time, so I was relieved when I learnt more about how the course is structured and assessed. It’s different to any academic course I have done before, and I appreciate the range of ways we are expected to engage.’

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: TEACHING WITHIN GEMS 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 on the TW programme.

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THINKING TEACHING

COURSE SHADOWING

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. This runs over two days in December 2018.

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 certificate in Academic Practice is a year long course, which offers training in developing understanding and the application of theory and practice for academics working in arts higher education.

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.

TW // 17

JOB DESCRIPTION FOR 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/ Boards, end of unit review and, where appropriate, annual course 18 //

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 Moodle 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:

Jun-18

Jul-18

Oct-18

Nov-18

Open Day: 07 June

TW 2018 Meeting:

GEMS Shadowing

GEMS Shadowing

Selection Confirmed: 28 June

12 July

Course Shadowing

Course Shadowing

Application deadline: 21 June

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May-19

Jun-19

Jul-19

Aug-19

Pg Cert

Pg Cert

Pg Cert

Pg Cert

Teach

Teach

Dec-18

Jan-19

Feb-19

Mar-19

Apr-19

Thinking Teaching 11 - 12 Dec

Pg Cert

Pg Cert

Pg Cert

Pg Cert

Teach

Teach

Teach

Course/ GEMS Shadowing

Sep-19

Oct-19

Nov-19

Dec-19

Jan-20

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: education.shadesofnoir.org.uk/tw-application-form-2018/ or scan with your smartphone below.

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: Please submit send a professional profile picture.

Images should be 330dpi and at least 2000px wide.

• CV: this should be submitted in a pdf format.

• Biography: This should be written in third person and reflect on your creative practice (500 word max)

The deadline submission date is 21 June 2018. The selection panel will make decisions and inform the applicants by 28 June 2018.

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.

SCAN ME TO APPLY 22 //

“

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 begin the academic journey in preparation for post graduate certificate in academic practice and teaching practice.

This years workshop will happen in December 2018.

24 //

“

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

“

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

“

This course was comprehensive enough to shape my expectations on what was to come in the PgCert course itself. I feel it was well organised and delivered whilst being ‘full on’. I would recommend this to anyone who would like to do a PgCert as a decision enabler.

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: • 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.

26 //

“

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

“

GEMS academics are out there doing the MOST. There is such a wealth of experience, skill, dynamism and talent and getting to witness first-hand through shadowing on TW was such a boost.

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 practice-based 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-toface interaction with online and work-based 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 work-based 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. // 31

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 10 hours per week for independent study.

• 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.

32 //

“

I LOVED my elective unit. It took me on an intellectual and emotional journey through what inclusive practice means.

There were some challenges where my views bristled against some of my course mates (especially those not on TW) but I was amazed at how my TW colleagues and I really supported each other and had the space to really explore the themes of the unit.

Teaching Within Academic

�

// 33

PgCert in Academic Practice in Art, Design and Communication

PG CERT ELECTIVE UNITS

60 Credits

Teaching and Learning Jan - Jul

Curriculum Design (20)

And

Self-Initiated Project Sept - Jan OR Jan - May

Inclusive Teaching and Learning in Higher Education Technology Enhanced Learning (20)

And One Elective Unit (see list) Feb - May

Academic Leadership Learning for Sustainability (20) Supervising Research Degrees Introduction to Practise as Research

34 //

(20)

(20) (20)

(20) (20)

(20) (20)

“

Joining the PgCert group was daunting on the first day when I encountered new colleagues who had already been teaching, as they all had practical references. It did not take very long to settle in nevertheless. The one element I have found rather challenging is the pace because I still have to work for the sake of income.

GEMS & Teaching Within Academic

�

// 35

2018/19 ACADEMIC TIMETABLE Mandatory PgCert Units - Cohorts A, B or C: A. Teaching & Learning (20 credits) Unit Title PgCert Technical Inductions Partcipants will be contacted in December to find out which one of these sessions they would like to attend.

Date

Time

Session Title

Fri 4 Jan

13.00-15.00

Technical Induction 1

Mon 7 Jan Tue 8 Jan Wed 9 Jan Thur 10 Jan Mon 14 Jan

10.00-12.00 10.00-12.00 10.00-12.00 12.00-14.00 10.00-12.00

Technical Induction 2 Technical Induction 3 Technical Induction 4 Technical Induction 5 Technical Induction 6

Wed 16 Jan

13.00-17.00

Introductory Lecture

Mon 21 Jan Mon 18 Feb Mon 18 Mar Mon 8 Apr Mon 3 Jun Mon 17 Jun Mon 1 July Mon 15 July

09.00-13.00 09.00-13.00 09.00-13.00 09.00-13.00 09.00-13.00 09.00-13.00 09.00-13.00 09.00-17.00

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 Leader: Lindsay Jordan ALL Cohorts (A,B and C)

Cohort A - Mondays Starts January 2019 Unit Leader: Lindsay Jordan

The PgCert consists of 2 mandatory and 1 elective units, each worth 20 credits. The shortest time you can complete the course in is one year (Jan 2019 - Jan 2020). Your enrolment email will confirm which unit cohorts you are in.

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Unit Title Cohort B Wednesdays Starts January 2019 Unit Leader: Lindsay Jordan

Cohort C - Fridays Starts January 2019 Unit Leader: Lindsay Jordan

Date

Time

Session Title

Wed 23 Jan Wed 20 Feb Wed 20 Mar Wed 10 Apr Wed 5 Jun Wed 19 June Wed 3 July Wed 17 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 09.00-17.00

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

Fri 25 Jan Fri 22 Feb Fri 22 Mar Fri 3 May Fri 7 Jun Fri 21 Jun Fri 5 July Fri 19 Jul

09.00-13.00 09.00-13.00 09.00-13.00 09.00-13.00 09.00-13.00 09.00-13.00 09.00-13.00 09.00-17.00

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

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B. Self-Initiated Project (20 credits) You will be automatically enrolled on this unit following successful completion of the Teaching & Learning and Elective units.

Unit Title

Date

Time

Session Title

Cohort B Wednesdays Starts September 2019

25 Sept

10.00-16.00

Workshop 1: Briefing

2 Oct

10.00-16.00

9 Oct 16 Oct 23 Oct 6 Nov 13 Nov 20 Nov 27 Nov 4 Dec

09.00-16.30 14.00-16.00 14.00-16.00 09.30-16.30 14.00-16.00 10.00-12.30 09.30-16.30 09.30-16.30

8 Jan 2020

09.00-17.00

Workshop 2: Methods of Enquiry PBL Group Tutorials Work in Progress Seminar Formative Presentations PBL Group Tutorials Work in Progress Seminar Workshop 3: Anaylsis PBL Group Tutorials Optional Emergency Tutorials Summative Assessment (Cohorts B & C)

27 Sept 4 Oct

10.00-16.00 10.00-16.00

11 Oct 18 Oct 25 Oct 8 Nov 15 Nov 22 Nov 29 Nov 6 Dec

09.00-16.30 14.00-16.00 14.00-16.00 09.30-16.30 14.00-16.00 10.00-12.30 09.30-16.30 09.30-16.30

Unit Leader: Catherine Smith

Cohort C - Fridays Starts September 2018 Unit Leader: Catherine Smith

Wed 8 Jan 19 09.00-17.00

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Workshop 1: Briefing Workshop 2: Methods of Enquiry PBL Group Tutorials Work in Progress Seminar Formative Presentations PBL Group Tutorials Work in Progress Seminar Workshop 3: Anaylsis PBL Group Tutorials Optional Emergency Tutorials Summative Assessment (Cohorts B & C)

Unit Title Cohort A - Mondays Starts January 2020 Unit Leader: Catherine Smith

Date

Time

Session Title

20 Jan 2020 27 Jan 2020

10.00-16.00 10.00-16.00

3 Feb 2020 10 Feb 2020 17 Feb 2020 2 Mar 2020 9 Mar 2020 16 Mar 2020 23 Mar 2020 30 Mar 2020

09.00-16.30 14.00-16.00 14.00-16.00 09.30-16.30 14.00-16.00 10.00-12.30 09.30-16.30 09.30-16.30

27 Apr 2020

09.00-17.00

Workshop 1: Briefing Workshop 2: Methods of Enquiry PBL Group Tutorials Work in Progress Seminar Formative Presentations PBL Group Tutorials Work in Progress Seminar Workshop 3: Anaylsis PBL Group Tutorials Optional Emergency Tutorials Summative Assessment

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2018/19 ACADEMIC TIMETABLE Elective/Standalone Units:

Unit Title

Date Fri 1 Feb

Academic Leadership Unit Leader: Antony Johnston Fri 15 Feb

Time 10.00-16.00

Session Title Workshop 1

14.00-16.00

Fri 1 Mar

14.00-16.00

Fri 15 Mar

14.00-16.00

Fri 12 Apr

14.00-16.00

Action Learning Set 1A & 1B Action Learning Set 2A & 2B Action Learning Set 3A & 3B Workshop 2

Curriculum Design Unit Leader: James Wisdom

Thur 7 Feb Thur 7 Mar Thur 11 Apr Thur 2 May

10.00-16.00 10.00-16.00 10.00-16.00 13.00-16.00

Workshop 1 Workshop 2 Workshop 3 Workshop 4

Inclusive Teaching & Learning in HE* Unit Leaders: Terry Finnigan/ Aisha Richards

Tue 29 Jan Tue 5 Mar Tue 9 Apr

10.00-16.00 10.00-16.00 10.00-16.00

Session 1 Session 2 Session 3

Inclusive Teaching & Fri 1 Feb Learning in HE (A)* Fri 8 Mar Unit Leaders: Fri 12 Apr Terry Finnigan/ Aisha Richards

10.00-16.00 10.00-16.00 10.00-16.00

Session 1 Session 2 Session 3

* There are two cohorts for Inclusive Teaching and Learning in HE. Please check your enrolment email to confirm your group.

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Unit Title Introduction to Practice as Research Unit Leader: James Swinson

Date Wed 13 Feb Wed 6 Mar Mon 8 Apr

Time 10.00-13.00 10.00-13.00 10.00-13.00

Tue 30 Apr 10.00-13.00 Tue 14 May 10.00-13.00

Session Title Introduction Research as Practice Ethics & Impact on Practice Based Research Workshop Writing/Practice Based Research/Tutorial

Learning for Sustainability Unit Leader: Antony Johnston

Mon 28 Jan 09.30-17.00 Mon 25 Feb 09.30-17.00 Mon 25 Mar 09.00-18.00

Session 1 Session 2 Session 3

Supervising Research Degrees

Mon 6 Feb Thur 21 Mar Thur 4 Apr Thur 9 May

10.00-16.30 10.00-12.30 10.00-16.30 10.00-17.00

Introduction Group Bibliography Session Workshop Individual Tutorials

Wed 30 Jan Thur 21 Feb Tue 26 Feb Tue 12 Mar Tue 9 Apr Wed 8 May

09.30-12.30 09.30-12.30 10.30-12.00 09.30-12.30 09.30-15.30 09.30-12.30

Session 1 Session 2 Session 3 (Online) Session 4 Session 5 Session 6

Technology Enhanced Learning Unit Leader: Ruth Powell

Please check your enrolment email to confirm which unit(s) you have selected. Elective units run between January and May // 41

Teaching & Learning Unit - (Jan -July 2019) 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.

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Teaching and Learning Methods The teaching and learning methods used on this unit include: • 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 // 43

Self-Initiated Project Unit - (Sep 2019 - Jan 2020) Location in course: Credit rating: Level of study: Contact hours:

Mandatory unit on PgCert (Sep 2019 - Jan 2020) 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.

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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 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 - (February - May 2019) Location in course: Credit rating: Level of study: Contact Hours:

Elective unit on PgCert/PgDip stage of MA 20 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 - (February - May 2019) 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 researchindustry-teaching 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

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Teaching and Learning Methods The teaching and learning methods used on this unit include: • Independent study • Seminars • Peer and team-working • Work-based learning Assessment Requirements The unit will be assessed holistically through the following components: • Annotated curriculum specification for a proposed whole curriculum or part-curriculum 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 curriculum-making, 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).

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Technology Enhanced Learning Unit - (February - May 2019) Location in course Credit Rating Level of Study Contact hours

Elective unit on PgCert/PgDip stage of MA 20 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.

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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 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. // 51

Learning for Sustainability Unit - (February - May 2019) 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.

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Teaching and Learning Methods The teaching and learning methods used on this unit include: • Seminars • Tutor-led workshops • 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 fazed by the prospect of teaching or being placed on a course that doesn’t directly relate to her particular 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.

56 //

“

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.

� // 57

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: Despite this negative experience 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 elective unit was very challenging in that both the teaching team and the predominantly monocultured 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: 64 //

WHITE ACADEMIA: DOES THIS AFFECT YOU? Aisha Richards, Founder of Shades of Noir.

We at Shades of Noir continuously encourage discourse between all people. We do this as a form of resistance, which aims to support understanding and acknowledge difference. We believe this is a positive step towards social justice and cultural competency.

SoN: Don’t worry this will be anonymised. It’s really important that you don’t over think these questions and offer your truth.

There is no judgment, nothing to be caught out on...it’s going to be fine and I will show you the piece before it gets shared too.

The following text reflects an interview in the form of a conversation with a senior academic (SA) within a specialist institution with Shades of Noir (SoN). The key topics within this dialogue are around diversity and social justice within a Higher Education context.

SA: I’m not sure I want it anonymised? Is that worse if I don’t put my name by it?

This interview has been anonymised in order to protect the identity of the participants. This is a rare opportunity to have this type of honest conversation shared. All parties hope that this dialogue will be a catalyst for further discussions to take place to support change.

SA: Hi SoN: Hi. You look a little nervous.

SA: I wasn’t but now I am.

SoN: It’s interesting that you used the word ‘worse’, it will be fab. It will be. Sorry on this occasion it will definitely be anonymised.

I think it will be stronger with people not knowing who you are.

I know a lot of people...you could be anyone and that is the point.

SA: Can I ask why you have asked me to do this?

SoN: I don’t really know you, which is a plus so I don’t know what to expect. I’ve seen you in action saying what is on your mind even when it might make others uncomfortable but never heard your views on the topics I’m interviewing // 65

you on. I need this honesty for this piece so please please relax.

SA: I will try.

SoN: Ready? Ok, first question: As a person would you say that you have a diverse pool of friends outside of work?

SA: I’d never thought about this.

Ok, politics, gender, yes. Mmm sexuality and religion are pretty diverse. Have I gone red? I have...I’ve gone red because I have very very few black (can I say black), or Asian friends. What does this say?

SoN: It’s fine for you to use whatever terms you deem appropriate to make your point. It is absolutely fine to 66 //

use the words Black, Brown, Asian, People of Colour, BAME, BAM. Ok relax, remember just be you.

So, you are in quite a Senior role. In your team and the people in your direct reporting line, what do they look like?

SA: Predominantly White middle classed, women in my team and white men, middle classed as well above me mainly.

SoN: What about religion or any other intersections?

SA: I don’t know, I guess that is personal stuff, if they wanted to say...I don’t know. I feel a little bit bad that I don’t know - should I?

SoN: I don’t know. So with the predominantly white community surrounding you in all areas of your life does race, ethnicity or whiteness ever come up in discussion?

SA: Not really. Well, it does but in relation to students numbers and experience. This does come up very often.

SoN: How much time do you spend with students? I don’t mean Student Union or course reps. I mean students?

SA: Since being in this post, I spend most of my time in meetings and doing administration. I do present to Students within their courses, I have chats at lunch and around the college. I guess that is a yes?

SoN: So of the students you come into contact with, who are they?

SA: What do you mean?

SoN: What do you know of and or about these students?

SA: Ok, they are quite diverse, is that what you want to know?

SoN: I am...I’m aiming to understand and share what you define as knowing somebody in the broadest terms.

SA: Ok so with the students I guess I only really know a very small amount about them in real terms. But I don’t think that is unusual in this job.

How can we know many (shaking head), I think that is impossible to do and do all of the other things the job requires. The voice of the students comes through the union and reps.

SoN: Ok so what does diversity and social justice mean to you?

SA: Well Diversity I believe means difference, different races, genders, religions, politics, sexuality...oh and I think ages too. Social justice is making changes to support equality of all the differences that may not be being treated equally or rightly.

SoN: Ok, so where do you think both diversity and social justice sit currently in Higher Education?

SA: It’s really top of the list, I think the student population has changed and this has meant that equality of experience of all students is driving change.

SoN: If you don’t have a diverse pool of friends, your team is fairly monocultured and you do not have time to get know students, how do you personally support meaningful change?

SA: Wow, me. When you put it like that it sounds pretty bad. This is a difficult question because I’m thinking now, I guess I can’t. The word ‘meaningful’ is a hard one to assess. I suppose I do mention Shades of Noir a lot, I do encourage diversifying recruitment panels, diversifying reading lists, and // 67

definitely engage in any discussions with my colleagues that come up. I suppose what makes this ‘meaningful’ is, what it means to me? Maybe I haven’t been black or Asian, or really been disadvantaged so talking about it and encouraging others like me is what makes it meaningful?

SoN: Do you think that there is a need for you to spend time with your students and staff from different communities? Why and how could you go about this?

SA: Yes I do need to find time to do this. I think it could help me know how ‘meaningful’ the activities are to students and staff. What was the last bit?

SoN: How could you go about this?

SA: Maybe invite people to lunch with me, maybe a group lunch once a month or term, with a mix of students and staff. I suppose this is why you asked me to do this interview, to acknowledge that I am not doing enough?

SoN: No, definitely not. I asked you because, like many, this is an area that seems to be difficult to grapple with.

As someone that I don’t work with often, who is not necessarily present at events and meetings I attend, in a position of power, I thought I would reach out to spend some time understanding who you are.

SA: Ok. 68 //

SoN: Ok that’s great, can I go back to something you mentioned earlier. You suggested that you have mentioned Shades to peers, can you provide an example of why and how this would or could happen?

SA: Mmmm well just last week, a course leader was saying that they were working on bringing in creatives from a diverse community to enrich the the curriculum. I suggested that they have a look at the site for inspiration.

SoN: Ok, so if you were to explain what Shades does what would you say?

SA: Right, so Shades of Noir is an external programme to University of the Arts London, but works with them predominantly as well as other institutions to embed social justice in all aspects of an organisation. It also has a fabulous online presence where it shares information, articles, research and creatives of or by BBBBlack and Asian people. I’ve been following you and refreshed last night on the website to get ready for today. There is so much online now. Very very useful. To be honest, I hadn’t looked in a while and to see all of the new bits in the education part, this is really going to be useful.

SoN: We have another 40 minutes allocated as was stated earlier, do you fancy going out for lunch and calling this a rap?

SA: That sounds perfect, lunch is on

me...have I really provided enough?

SoN: Let’s call it a work in progress.

I would love to interview you again in 18 months to see and hear of any changes? But I have one last question, this is a tricky question. Why don’t you attend the meetings specifically around attainment and or inclusion?

SA: Ok, I’m really feeling hot now.

SoN: Remember whatever you choose to say, there is no judgment and there will be others who feel the same as you.

SA: Ok, well...I don’t feel comfortable talking about race. I don’t really know if I should be saying anything.

I am a little worried that I may say something to offend someone. I know this maybe seems like a cop out but I suppose what can I really bring to the table.(?) I haven’t really experienced prejudice I don’t know what it’s like to be a black female like you and you will know more about this stuff than me.

community at the types of meetings that make you uncomfortable (who don’t always agree, in fact I’d say mostly don’t agree at times) to be part of the change?

SA: Well, to be honest this interview has helped. I think I’ve realised that you do have to start somewhere.

Continuing to have discussions with the majority of white staff, students and my friends doesn’t necessarily help. Ok...I didn’t acknowledge ‘this’ before, that I have things to do and maybe this is part of the change. This type of subject really didn’t seem to include me, but maybe actually it really does?

Anyway thank you for this….was this ok? I have learned a lot about myself which I didn’t expect. Am I done? Gosh, I’m hungry and tired.

SoN: Thank you for taking time out to meet with me.

SoN: I know I said that was the last question but I want us to build or expand on your response. Look, I understand how difficult this must feel to say this out loud but it is important that you do. Prejudice affects everyone, it’s not good for society so to reach people like yourself (as you are included in the everyone) is super important. Ok... so how do you think you could overcome all the things that currently prevent you from joining the collective // 69

MY SHADES EXSPERIENCE Words by Mica Schlosser.

70 //

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 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 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 // 71

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 72 //

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, 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.

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SUARTS TEACHING AWARDS 2017.

Words by Tiffany Webster (Shades of Noir 2016-17)

The SUARTS Teaching Awards serves as a time to highlight, recognise and celebrate the efforts, contributions the achievements of outstanding teachers, technicians, researchers, student reps, etc throughout University of the Arts London (UAL). It was an evening for all to gather and to celebrate one another. This event took place on the evening of Thursday 25th at London College of Fashion. The room was packed full of teachers, technicians, librarians, all staff that are the driving force to deliver the best education 74 //

possible to the students of UAL. This year the 2017 UAL Teaching Scholars received their awards from Professor Simon Ofield-Kerr at the annual Learning and Teaching Day. Speeches were given by both Professor Simon Ofield-Keer and by the SUARTS Educations Officer Hansika Jethnani.

Aisha Richards, an academic, creative practitioner, lecturer on MA Applied Imagination in the Creative Industries

at Central Saint Martins (CSM), the founder and director of Shades of Noir, amongst a multiple of other hats that she wears won the award for Cross University Teaching Award 2017. I assumed this meant students from cross-wide UAL colleges had voted for her, meaning she hasn’t just influenced her students at CSM but students all over UAL; this is very hard to achieve when only positioned within one college of UAL. The Shades of Noir team are from diverse Colleges of UAL, including London College of Communication, Camberwell and CSM and she has been a teacher/mentor and inspiration to each and everyone of us. She has also become well known within all colleges of UAL because of this. ‘[..] She is a teacher, a mentor, a role-model and above all has been that teacher that comes at that right time in a student’s life to consistently remind them that they are enough [..]’

Unable to attend on the night, I was asked to represent her on the night of the Awards. Naturally, when I was asked to receive the award and attend on her behalf I was extremely humbled but also overwhelmed. I had a 2 minute slot to express from a student’s perspective and as a content developer at Shades of Noir, how important teachers/mentors and academics, such as Aisha Richards, are within higher education in whatever field that may be. In this case, within the arts and creative industries.

2 minutes would never be enough, and words could never really express the importance of teachers that change lives or even save lives in some cases.

‘She has inspired, supported and unlocked the potential in all of us. Potential we had all along but never recognised.’

I spoke of this well known saying/ phrase: ‘Those who know do, those who cannot, teach’. I find this one of the most untruthful phrases to exist.

I personally view teaching as one of the most important and influential roles on this planet. I also spoke of teaching not being for everyone.

I personally view teaching as a calling, it’s a role and skill destined for some. Being able to recognise potential, to listen, to have patience, to take risks, to endure, to sacrifice.. aren’t attributes that many have.

Aisha Richards has all of these attributes and much more; she is a teacher, a mentor, a role-model and above all has been that teacher that comes at that right time in a student’s life to consistently remind them that they are enough, especially when they feel like they aren’t, or when they forget that they are and doubt ourselves. Because they are enough, we are enough and you are enough.

Congratulations Aisha Richards, and thank you for your dedication and your inspirational labour in all aspects of your practice.

Shades of Noir Salutes You! // 75

THE INCLUSIVE TEACHING AND LEARNING UNIT. Words by Terry Finnigan.

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A reflective journey from the focus on problematic students, to disruptive and transformative pedagogies.

I have been teaching on the Postgraduate Certificate (PgCert) 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 twohour 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 // 77

workshop and the lecture theatre.

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 78 //

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 naĂŻve 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 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 // 79

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 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 80 //

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.

A REVIEW OF ‘OPEN DIALOGUES’ Aisha Richards, Founder of Shades of Noir.

A Review of ‘Open Dialogues: Artists + Designers of Afro-Caribbean Descent’ by Kelly Walters, in collaboration with UAL, CSM and the Offices of the Graphic Communication Design Department.

What a time to be alive. There was never really a time throughout my education in which I thought that as a young, black, female artist I would be in a position to educate, to inform, and most importantly to elevate.

And then I met Kelly Walters.

Assistant Professor of Graphic Design from The University of Connecticut, she is a multimedia designer and curator whose artistic practice investigates the intersections of black cultural identity, representation and language in mainstream media.

Currently she is teaching on the Graphic Communication Design course at Central Saint Martins and what I would eventually learn, is the host and curator of the Open Dialogue Presentation + Exhibition // 81

that opened on the 7th March 2018.

The show itself having recently just ended, the exhibition which formed a vital part of the collaborative effort of all the artists, designers and creatives that took part within the show being taken down from the GCD offices as of the 16th March, for all those who remain unaware of the importance and overwhelming success of the show, it is safe to say you missed a truly inspiring event.

Walters – as a multimedia designer, research and curator, and holder of a dual degree in Communication Design and Communication Sciences, as well as a MFA in Graphic Design from Rhode Island School of Design - is inspired by the power of graphic design to affect people on a local and global scale. Founder of Bright Polka Dot (http://www. brightpolkadot.com) which represents an independent design practice focusing on print, digital pattern and textile design, Kelly has a number of credits to her name, including her work for Alexander Isley Inc., the RISD Museum and the SOMArts Cultural Centre to name a few.

Safe to say the event could be in no better hands than with Kelly; warm and enthusiastic, she was a pillar of strength throughout the showcase as the Graphic Design Communication Office/Studio space within Central Saint Martins was full to the brim with artists, practitioner and designers from across UAL, as staff and student alike came together for a night of truth telling and examination as 82 //

many of the artists within the show recounted their academic backgrounds and experiences in Pecha Kucha stylepresentations to a hungry audience of which the majority were black.

Open Dialogues is very much an intermediary exercise – with the potential to becoming a much larger series of events - in the ongoing conversations that continue to places across UAL in regards to Decolonising the Curriculum which covers increased levels diversity across the board to issues of inequality and ‘The Attainment Gap’ as the UAL ‘So White’ Campaign seems to have manifested itself in a myriad of ways.

Thus, by building upon existing initiatives including those propelled

by Shades of Noir - who are now on Stage Four of their initiatives to bring increased participation into the equality conversation - this exhibition unashamedly seeks to highlight the diversity of the work of Afro-Caribbean artists and designers through the shared complexities of race, identity, politics, gender stereotypes, sexuality and religious views not only present within the diaspora, but alongside the community of art-making practices that binds all the participants of the show. In many ways Kelly Walters has enabled another platform for students to connect from across art and design disciplines, uniting the several college that make up UAL for an inspirational night of celebration of the richness of the many cultural affiliations within the African Diaspora.

Very much following in the initiatives that are transforming UAL, under the stewardship of Dean of Students Mark Crawley and his senior team, UAL is paving the way in publically addressing race inequalities in the treatment and assessment of black students and is also engaged in comprehensive studies and public debates about how best to tackle this particular challenge. It is clear that whilst the issues of equality within the arts sector still needs further discussion, it should not be denied that UAL is a forerunner in dealing with the discrepancies between black and minority ethnic students and their white counterparts in the creative educational process that should be ‘devoid of any race connotations’ as described in the 2012 Times higher Education article discussing the ongoing racial divide in Higher Education.

Of course it can seldom be denied that racism in academia has been welldocumented in a succession of studies that span well over two decades.

With clear evidence that suggest an aggressive form of institutionalised racism rampant within the arts sector despite the implementation of robust legislation to encourage race equality across the sector, it is clear that until serious efforts are made to challenge not on the individuals but the structures, systems and attitudes that feed it, as considered in (Black British Academics) BBA founder Deborah Gabriel’s 2013 Independent article discussing Racial

Inequality in the Academia, the pace of progress will remain slow. She reports that a remedy may be strict policy development from the entirety of BME staff representatives working alongside university leaders in what can be considered as a collective, consultative process as the first steps in comprehensively tackling issues of inequality across the board. However, she similarly notes the unmistakable irony in the absence of BME staff in management positions which often results in an inability to influence decision making on race equality practice; a fact that is similarly acknowledged by the chair of UAL’s Equality and Diversity Leadership Group Stephen Reid as a ‘huge disappointment’, especially when considering the scale and coverage of most higher education institutions.

Nonetheless, at least the discussion is being had in the wider public arena.

In my opinion, it all comes down to who leads the agenda as well as their understanding of the myriad of factors that contribute the pervasivity of institutional racism within academia in which it appears that racial stereotyping forms one of the major facets that drives discrimination.

Here the many ‘hierarchies of race’ and issues of cultural bias are commonplace in recent studies that recognise differential treatment directed towards black students even after graduation. It is clear that we are still very much at the inception in terms of race equality policy and that the same vigour that drove gender equality policy now needs to be similar directed towards race equality. // 83

84 //

As one of the shows presenters, I will admit for the first time in many years I was nervous. I for the first time was confronted with an audience who understood my perspective. Who had some experience of what the many microaggressions of academia feels like. Of knowing that it is to still be exploring oneself through their work and navigating a predominantly white network who in one breath celebrates your work and at the other end of the spectrum has no clear understanding of the many intricacies that my work seeks to comment on. It was strange to me to be surrounded by so many talented creatives/designers/artists who were unashamedly united in the celebration of black creativity and rarely have I felt such a wealth of love and creative energy under one roof.

‘Black Magic’ is real and powerful.

Facing my own fears and opening myself up to the 100 plus guests of the Open Dialogue Presentation about my own experience within UAL was undeniably useful in unburdening myself of the many anxieties of study that have plagued my university experience; no longer was it a chain cast around my neck, shackling me to the space I currently occupy.

As I gaze outwards onto a sea of expectant guests all of whom I feel are waiting for me to say something inspirational, the floodgates open because here’s the thing: I wasn’t there to wow the audience with my academic achievement or to amuse them with the many anecdotal lessons that play out as careful examples of

institutional aggression within my chosen art-field, I was there to simply share. To uplift, and be uplifted, and through an exercise such as this Kelly has achieved something very special.

She reaffirmed and strengthened our community spirit. She provided a space in which to continue the ongoing dialog and collaboration between artists and designers from culturally diverse backgrounds, many of whom still report feelings of isolation in the current system. Here to, even as a member of the audience the feeling of inclusivity that is conveyed from the speaker is of great importance. To unearth the many creative decisions behind the diverse body of works that is propelling many of the exhibiting artists to great places, it is in my opinion very useful every now and then to come away from the seclusion of our own creative practices and to invest in creative dynamism of the diaspora.

To harness the power of collaboration is to draw upon the many avenues and wealth of black creativity that informs our everyday. Collaboration is the key to our success. A collective voice. To understand that is to realise the value of interdependency in a market that relies upon the animalistic concepts of competitiveness that in some ways can be damaging to creative practice.

‘Natural Progression’, as Chila Burman declared back in the 80s in response to the art-school aesthetic of conditioning and training students ‘until the artist within shrivels up and is forgotten’ (Burman, 1985).

Remember that the black community // 85

is strong and dynamic, and we alone must stand up for our rights. It isn’t easy but remain strong. “We are beyond two cultures… Challenge and transcend, transform and reveal these issues” (ibid.). The Open Dialogues teaches us that a key to understanding and challenging current academic thought, practice and policy is through new collaborations that will help to document, safeguard and enhance the life of our community and idea sharing.

The conversation remains very much alive. Supported by phenomenal set of photographs documenting the night, many produced by the many talented artists who participated in the show, perhaps the success of the Open Dialog lies in its simplicity.

But why you ask are these experiences so great? What is an experience?

What do they mean? Clearly a lofty line of questioning, but there should be a clear understanding that events such as Open Dialogues move from the realm of a shared experience to a transformative one.

Being able to understand its value could not only be advantageous in your ongoing creative practice, but in your life in general. While this may sound incredibly overdramatic, it is something worth exploring as the kind of togetherness that was on display during the Open Dialog has tremendous binding power.

Safe to say that it was a truly magical night.

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Special thanks to Kelly Walters and the Technicians of the Graphic Communication Design Offices at CSM for your unrelenting resolve in organising and facilitating The Open Dialogues Presentation + Exhibition.

More images are available at: https://opendialogue-photos. tumblr.com [Tumblr] Photos by Anoushka Khandwala, Dami Vaughn and Moyosore Briggs Exhibiting Artists: Jawara Alleyne, Carianne Annan, Ashton Attzs, Damilola Ayo-Vaughan, Rebecca Bellantoni, Shannon Bono, Moyosore Iyanalu Briggs, Terrayne Brown, Alicia-Pearl Cato, Daniel Chapman, Gabriel Choto, Nas Connie, Inês Barbosa da Costa, Rayvenn Shaleigha D’Clark, Imann Gaye, Madelynn Mae Green, Andrew Hart, Favour Jonathan, Indiana Lawrence, Olivia Mathurin-Essandoh, Roseanne Ofori-Darkwah, Victoria Ohuruogu, Ella Okoromadu, Uzoma Orji, Tyler Prior, Glory Samjolly, Fadzayi Sango and Julie Wright

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Gabriel, D. (2013). Race equality in academia: We’ve got a huge way to go. [online] The Independent. Available at: https://www. independent.co.uk/student/istudents/race-equality-in-academia-wevegot-a-huge-way-to-go-8746877.html [Accessed 25 Mar. 2018].

Shadesofnoir.org.uk. (n.d.). SoN Events. [online] Available at: http://shadesofnoir.org.uk/son-events/ [Accessed 26 Mar. 2018]. // 87

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