Teaching Within: Prospectus 2021

2021-22.

Teaching Within .

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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.

About Shades of Noir: The Centre for Race and Practice Based Social Justice.

6 About Teaching Within.

12 Teaching Within: A case study.

14 Teaching Within: Timeline. 16 Teaching Within: Data.

18 Higher Education Data.

20 Key Terms.

24 A Note from The Lead. Montana Williamson.

27 In Conversation with Demelza Woodbridge.

30 A Note from Jhinuk Sakar.

34 Essential Information.

41 The Programme.

The Programme Overview.

42 Programme Timetable. 48 GEMS. 50 Fact Not Fiction (FnF).

52 Workshops & Digital Learning.

54 Eligibility. 56 Application Process. 58 Interview Process. 60 FAQs for Applicants. 64 FAQs for Course leaders.

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T The Postgraduate Certificate in Academic Practice.

The Pgcert Element. 76 Teaching & Learning Unit. 80 Inclusive Practices Unit. 82 Self-Initiated Project Unit. 86 Case Studies.

Teaching Within Academic: Jessica.

Teaching Within Academic: Marvin.

Teaching Within Academic: Lisa.

Teaching Within Academic: Mark.

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Further Reading.

White Academia: Does this Affect You? 99 The Struggle is Real.

103 Brown Girl Not in the Ring.

106 Reflecting on the ‘Inclusive Teaching and Learning’ Unit.

108 An Act of Radical Compassion. 110 // 3

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Creating Context.

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Shades of Noir: The Centre for Race and Practice Based Social Justice.

About Shades of Noir: In 2009 Shades of Noir (SoN) was created by Aisha Richards. Shades of Noir as of September 2020 joined the University of The Arts London as a Knowledge Exchange Center. The centre’s full title is Shades of Noir: The Centre for Race & Practice-Based Social Justice, University of the Arts London (UAL). This transition is important for sustainability of the concentrated evolving practises to support cultural change and embeddedness across this institution.

Shades of Noir’s more than a decade of delivery continues to evolve thinking, support conscious intentions and cultivate expertise within organisations or institutions.

Additionally, this centre continues to develop, deconstruct and reconstruct practices which inform policy, develop people and evolve practices towards intersectional social justice.

Shades of Noir’s approach is rooted in cultural change, which means not doing anything the way it was done before, but instead picking practises apart to support different outcomes.

The Shades of Noir recruitment drive is primarily based on 3 key components : 1. what people know, what is it that they do 3. demonstration of thoughtfulness. This nurtures and creates the conditions for building a high-performance culture of genuine change-making.

The ability to create innovative and adaptable approaches is why Shades of Noir continues to be the specialist for practice-based social 6 //

justice in the UK and why our delivery is constantly described as uniquely meaningful, purposeful and transformational.

SoN is one of the few international programmes that have physical and virtual platforms dedicated to pedagogies of social justice through the lens of intersectionality (Crenshaw 1991). SoN reaches over 1 million people globally each year and continuously delivers cutting edge modes of transformation through Richard’s leadership and vision. SoN cohesively embeds identity and belonging as one of the most important aspects of creative education that is meaningful and relevant to students’ engagement, progression, and personal development. Shades of Noir has developed physical ‘safer’ spaces through trust building that offer opportunities to have critical and interdisciplinary discussions about the world around and one’s positionality as we navigate it.

It should be noted that safe and safety in this context means space to build capacities to share, consider and develop understandings towards anti-racism work that can be a practice and praxis of intersectional social justice. In many ways Shades of Noir can feel unsafe in the first instance, however, through continuous dialogic engagement, the exploration of contested key terms and undertaking of problem-solving activities; inspires a level of trust which is built for the safety of all.

The interventions that SoN has developed and continues to design, inform policy, develop people, and evolve practices in the widest sense.

These innovations support purposeful delivery for the SoN team of students and creative academics to learn and build on. As well as providing a variety of engagements that affect

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a wider community. SoN is now established as a leading programme, which centres antiracism towards intersectional social justice.

Shades of Noir has worked with institutions and organisations including Higher Education Academy, Craft Council UK, Portsmouth University, and the British Broadcast Corporation.

The work external to the University of the Arts London has included consultancy and delivering support of curriculum design, policy reviews as well as recruitment, retention and attainment processes and practices. Richards has built a recognisable brand with integrity through her impactful leadership globally and supported by the many contributors.

All Shades of Noir ‘work’ is significant and multifaceted. We centre all activities for marginalised groups to fulfil their need for safer spaces. To articulate self-determination and liberate their struggles from oppressive structures in education and society at large. Additionally, we present spaces for all communities actively working towards antiracism as a practice.

Our Mission: Shades of Noir undertakes practice-based social justice through the context of creativity in partnership with international educational and cultural institutions as well as creative practitioners and a broad spectrum of organisations. We aim to evolve behaviour, practice and cultural value to support a variety of audiences through a broad range of discursive and proactive interventions.

We seek to engage and support individuals who make up the sectors through a combination of activities, commissions and resources. We centre the histories/ herstories, voices, and experiences of marginalised communities as a catalyst for the transformation of people, processes, and policies. This is all in support of our mission to: • Centre the voices, experiences, and perspectives of marginalised communities to evolve thinking • Create platforms to engage with intersectional experience, understanding, and perspectives • Support knowledge exchange within a social justice pedagogical context • Transform behaviours through 8 //

proactive interventions within a creative educational cannon • Build social justice communities of changemakers across sectors and countries.

Our Intersections: Shades of Noir take an inherently intersectional approach to our training packages and consultancy programmes.

Our team members can collectively offer personal narratives for all of the protected characteristics of the Equality Act 2010. This offers a unique approach to our delivery and content.

Our Partners: Shades of Noir’s unique place in Higher Education and the creative sector has enabled us to forge partnerships with leading art and design institutions around the UK. We facilitate events, workshops and curriculum reviews around the country, as well as share our digital resources at conferences around the world.

We also pride ourselves in supporting independent collectives who provide safe spaces for People of Colour.

Our partners include: • Advanced HE • Black Blossoms • Bournemouth University • CHEAD • The Craft Council • Kingston University • Ravensbourne • University College London • The University of Portsmouth

Watch the narrative video here or scan the QR code.

Richards concluded that the root of exclusion and inequality within higher education and the creative industry was affected by raced and gendered identities, when at the time, it was mistaken as solely a socio-economic issue.

Shades of Noir, 2019

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As a community, we centre the voices and lived experiences of students and staff of colour within the focus of social justice. We offer accessible knowledge and visible testimonies that we hope will further inform the evolutions of cultures and practices across the sector (and beyond).

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Shades of Noir’s ‘Streams of Work’ are broad-reaching and multifaceted, supporting the purposeful transformation of people, policy and process.

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For over a decade, the programme has reached huge success thanks to our intersectional team of award-winning staff and students. This allows us to shape our proactive interventions to be purposeful, relevant and effective. As creatives, we take an inherently intersectional and holistic approach, aligning everything that we deliver within the framework of people, policy and process.

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The following diagram contextualises some of our endeavours. Each line represents the intersection between activities and collective responsibilities, which support meaningful change towards antiracism as a practice that requires never-ending work // 11

About Teaching Within.

Shades of Noir (SoN) ‘Teaching Within’ TW programme is a proactive academic progression intervention that aims to support a diverse group of change-makers who continue to demonstrate that they place social justice at the heart of their teaching practice. This programme evolves recruitment, attainment and progression of under-represented people of colour as well as non academics of colour who have successfully completed and are furthering their knowledge in anti-racism and social justice training. This programme was created in 2015 by Aisha Richards in collaboration with SoN and has been delivered across all 6 different colleges within the 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 programme which has been successfully running for 3 years is currently preparing to welcome its 4th cohort this year.

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 non white academics and for white academics who have successfully completed Shades of Noir specialist in house training in anti racism, allyship, mentoring and wish to continue to improve their skills in social justice.

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.

• Support white Shades of Noir graduates in developing further their commitment to anti racism and social justice activities.

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“

University of the Arts London (UAL), implementing the Shades of Noir’s Teaching Within programme from the most senior level, is something I take pride in, as both an academic within this institution and alumni. This unique programme is transformative, however not without its challenges. Nothing good comes easy. Shades of Noir is committed to social justice and anti racism.

The investment in this programme by UAL has already affected 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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Teaching Within: A case study.

Shades of Noir (SoN) was established in 2009 by Aisha Richards after discovering some startling statistics relating to the attainment figures of students of colour within Higher Education.

In response, the organisation was developed to ‘provoke, challenge and encourage dialogue and cultural value on the subjects of race within Higher Education, the creative and cultural sectors’, through digital content, events, advocacy and support networks. Richards is the Director of Shades of Noir, managing a team of academics and students at the University of the Arts London in initiating and supporting activities around social justice, inclusion and representation that affect policies, processes and people.

What challenge did you want to address?

‘Teaching Within’ seeks to address the underrepresentation of people of colour as academics within the University, and wider cultural and creative sector, and the knock-on impact this has on BAME students’ attainment and career opportunities. Richards found through research that People of Colour (PoC) were overrepresented in administrative roles within the institution but seldom found in academic ones. In a bid to change this she developed the programme.

‘Teaching Within’ is a development programme for aspiring teachers of colour in creative arts and design in Higher Education. The programme was designed by Richards and is delivered by SoN within the university to address the low employment rates of academics of colour in elite staff categories within higher education institutions (Adams, 2017). SoNs works supported by, but independent from, the University.

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What did you do?

Teaching Within provides paid teaching placements with a comprehensive and layered support package, including a Postgraduate Certificate (PgCert) in Academic Practice and access to networks of academics of colour. A key characteristic of this programme is it not based on a deficit model – most participants are alumni of the University and are successful in their creative careers and high achievers academically.

All participants have found that while they successfully completed degrees, they were unable to transition into sustainable teaching posts.

Richards negotiated host courses with the University and pulled together existing training and support mechanisms, which includes bursaries.

Now onto its 4th cohort, the programme takes in 20 new academics a year and lasts 18 months.

What barriers did you face?

The main barrier faced in establishing the programme was the pre-existing culture of the university (and sector, and society), i.e. low awareness of the barriers faced by people of colour, and a lack of understanding about why an intervention was needed. Some participants faced challenges in engaging with, and being valued by, the wider team.

This was explored through a workshop developed by Richards and based on the accounts of participants, 60 university staff attended and were able to work through issues without personal judgments. The event proved to be a learning experience for all at which unconscious/conscious biases were challenged,

microaggressions (Gabriel & Tate, 2017) unpacked and white fragility (DiAngelo, 2011), managed, as well as the affirmations as to the importance of the positive experience and retention of programme participants reinforced by both Richards and senior members of staff for the changes in culture to take place.

What were your measures of success?

The main goal was that course participants completed their teaching hours and PG Certificate, and are retained as academic staff in UAL or another university. Over the first two completed cohorts 33 out of 40 completed the PgCert successfully and 29 of the of 33 have been retained as lecturers at UAL. The positive impact on participants’ careers in teaching is evident, and increased diversity within the University has taken place. As the programme continues further impacts will be measured over time, but the feedback from programme members speaks of an enriching experience that is radically improving the prospects of minority groups and attitudes towards diversity within the University.

Additionally areas of research, curriculums and teaching practices are evolving around social justice which can in part be attributed to the Teaching Within programme and its participants.

What advice would you give to organisations wanting to do this themselves?

point introducing diverse initiatives without at the same time looking at the broader culture which is in play. Additionally, it is important not to underestimate the need to train the existing staff who will also need support with any initiatives in diversity.

With adequate training that is fit for purpose in inclusive practice, issues around subconscious or conscious bias can be effectively dealt with over time with existing staff, which will create necessary space to introduce new measures to combat pre-existing biases as a collective community. Organisations that attempt to deal with the complexities surrounding barriers faced by minority groups are making an investment for the future that will be of benefit to everyone especially as society continues to evolve.

References: Adams, R. (2017). British universities employ no black academics in top roles, figures show. The Guardian. [online] Available at: https://www. theguardian.com/education/2017/jan/19/britishuniversities-employ-no-black-academics-in-toproles-figures-show [Accessed 14 Aug. 2018].

DiAngelo, R. (2011). White fragility. The International Journal of Critical Pedagogy, 3(3).

Gabriel, D., & Tate, S. A. (2017). Inside the Ivory Tower: Narratives of Women of Colour Surviving and Thriving in British Academia.

Trentham Books. Available from: UCL IOE Press, UCL Institute of Education

This approach – of providing specific roles and training support to broaden workforce diversity – could be applied to any organisation, not just a University. However, a fundamental issue to consider is that there is simply no // 15

Teaching Within: Timeline.

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31 October 2016 TW1 attended their induction morning and officially started the programme.

The first TW Open morning launched with a panel based event aimed at prospective participants, UAL academic and management teams.

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In response to #UALsoWhite Aisha Richards presented the intervention, now know as, ‘Teaching Within’ to UAL’s Mark Crawley, 17 August 2016 Dean of Students.

Months have been abbreviated for space: M is for March etc.

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4 March 2016 #UALsoWhite was launched by the ARTS SU. Principally led by Bee Tajudeen.

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All UAL Deans were introduced to the programme and placement courses were selected.

TW1 Started the PgCert and Teaching on their placement courses.

The first TW Prospectus was developed in preparation for the recruitment of TW2.

A new prospectus is now produced yearly and works to include voices from all cohorts.

Key Events: The planning for the next cohort begins.

An open morning is run for prospective participants.

An induction day is run for the new cohort.

The new cohort starts their PgCert and teaching on their placement courses.

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In April 2018 the first set of case studies and review session occurred with stakeholders from courses, exec board and the TW community.

TW1 Graduates!

TW2 Graduates!

Montana Williamson rejoined Shades of Noir to lead on the development of the Teaching Within Programme.

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The TW team develop and begin running seminars which support the cohort with their PgCert.

Shades of Noir develop their own introductory teaching course ‘Fact not Fiction’, to replace UAL’s Thinking Teaching course.

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Planning for TW5 commences to include a new open call application process.

TW4 Graduates!

TW3 Graduates! // 17

Teaching Within: Data.

The Teaching Within programme has engaged with five cohorts so far, totalling eighty-nine academics so far. Out of these cohorts the break down of Race and Gender is as follows:

9% 8% African & Caribbean Diaspora

7% 62%

South Asian Diaspora South East Asian Diaspora White European

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Multiple Diaspora

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66% 24%

Non-binary Female Male

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Out of the four cohorts who have now completed 55 our of 61 Academics went on to teaching roles.

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have teaching hours beyond the programme

academics completed the programme.

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academics have fractional posts at UAL.

received teaching hours on courses allocated during the programme.

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have multiple HPL contracts across UAL.

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have academic roles beyond UAL.

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Higher Education Data.

ECU (2016) Equality in higher education statistical report 2016 - weighted by full person equivalent.

A graph showing the pipeline of BME and White Identifying students and staff through study and academic careers. White people make up 76.1% undergraduate students, 83.2% of postgraduate students, 90.5% of Academic staff and 91.6% of UK professors. Whereas BME figures show a significant decline from end to end with 23.9% undergraduate students, 16.8% of postgraduate students, 9.5% of Academic staff and 8.4% of UK professors.

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ECU (2016) Equality in higher education statistical report 2016 - weighted by full person equivalent.

A graph showing the pipeline of student and staff groups who identify as male and female through education and academic career. Males move from 44.3% representation at undergraduate students, to 51.7% of postgraduate students, to 54.3% of Academic staff and 75.4% of UK professors.

Whereas Female figures show a significant decline from end to end with 55.7% undergraduate students, 48.3% of postgraduate students, 45.7% of Academic staff and 24.6% of UK professors. // 21

This data has been taken from the 2019 Advance HE, UK Student Statistical Report, 2019. It reveals that in 2019, across all degree levels of classification, there is a disclosure rate for disability status in only 14.4% of students in (First degree) undergraduate courses, 10.6% for ‘other’ styles of graduate courses, 9% for Research-based postgraduate courses and only 9.3% for taught postgraduate courses.

Source: www.advance-he.ac.uk/knowledge-hub/equality-higher-education-statistical-report-2019 Equality in Higher Education Report, Student Statistical Report, 2019, UK Data.

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This data has been taken from the 2019 Advance HE, UK Staff Statistical Report, 2019. It reveals that between 2006-2018 (which constitutes a 12 years span) that the proportion of staff disclosing a disability in 2017/18 has more than doubled since 2006/07 growing from 2.5% to 5.1%.

Source: www.advance-he.ac.uk/knowledge-hub/equality-higher-education-statistical-report-2019 Equality in higher education: Staff statistical report 2019 - UK data.

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Key Terms.

Aggressive, Behaving or done in a determined and forceful way.

Brown, Dark-skinned Black, Belonging to or denoting any human group having dark-coloured skin, especially of African or Australian Aboriginal ancestry.

Decolonise, Decolonization or Decolonisation is the undoing of colonialism, the latter being the process whereby a nation establishes and maintains its domination on overseas territories.

The clarion call however for the decolonisation of the curriculum is a diverse one, not always based on similar concepts and ideologies when used by different individuals or groups. In some versions, the decolonisation of the curriculum is based on a broad understanding of curriculum which makes it necessarily bound up with a proposed decolonisation of the university – in other words, a fundamental change in the nature and identity of such institutions and a dismantling of the apparatus that is perceived to support and continue a colonial legacy, while in other versions ‘curriculum’ appears to be understood mainly as what is taught, requiring an Africanisation or indigenisation of the syllabus to become more relevant to a changing student population.

Democratise, Democratization (or democratisation) is the transition to a more democratic political regime, including substantive political changes moving in a democratic direction. ... Whether and to what extent democratization occurs has been attributed to various factors, including economic development, history, and civil society.

Diaspora, Scattered population whose origin lies within a different geographic locale.

Diaspora can also refer to the movement of the population from its original homeland.

Diversity, An understanding that each individual is unique, and recognizing our individual differences. These can be along. the dimensions of race, ethnicity, gender, sexual orientation, socioeconomic status, age, physical abilities, religious beliefs, political beliefs, or other ideology.

Inclusive, An adjective with several meanings: It can be used to describe something that’s broad or extensive, such as thorough, inclusive research projects.

Intersectionality, A term coined by Kimberlé Crenshaw which examines how social identities are used as a way to discriminate against marginalised groups who experience multiple forms of oppression simultaneously. Specifically women of colour who suffer from both gender and racial discrimination.

Institutional Racism, Institutional racism (also known as systemic racism) is a form of racism expressed in the practice of social and political institutions. It is reflected in disparities regarding wealth, income, criminal justice, employment, housing, health care, political power and education, among other factors.

Microaggression, A subtle but offensive comment or action directed at a minority or other non-dominant group that is often unintentional or unconsciously reinforces a stereotype.

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Passive, Accepting or allowing what happens or what others do, without active response or resistance.

People of Colour, Person/People of colour has been used and taken up at different points in history in different places to describe non-white, European people.

Politically Black, Political blackness is the idea that all non-white people can define themselves under one term black.

Prejudice, Preconceived opinion that is not based on reason or actual experience Intersectionality: A term coined by Kimberlé Crenshaw which examines how social identities are used as a way to discriminate against marginalised groups who experience multiple forms of oppression simultaneously.

Specifically women of colour who suffer from both gender and racial discrimination.

Privilege, A special right, advantage, or immunity granted or available only to individuals in particular groups by institutions.

Racism, Act of prejudice, bigotry, and/or discrimination of individuals of one race against members of other races. These acts do not count as racism if they are coming from members of a marginalised race, i.e. black people, as they do not have the social, political or economic power to make their actions oppressive and effective. Racism also refers to institutional, systemic, linguistic and economic structures that perpetuate the idea of racial superiority and inferiority, allowing for a wide range of effects, e.g. skin-bleaching, the overrepresentation of PoC in prisons, under-representation of PoC in media, welcoming to all kinds of people.

Social Justice, Justice in terms of the distribution of wealth, opportunities, and privileges within a society.

Whiteness, Seated in the history of the ideology of ‘race,’ ‘whiteness’ as the foundation of racial categories and racism and defined as a set of characteristics and experiences that are attached to the white race and white skin. In the U.S. and European contexts, whiteness marks ones as normal and the default. While people in other racial categories are perceived as and treated as ‘other’. Whiteness comes with a wide variety of privileges.

White Fragility, The term “white fragility,” was coined by Dr. Robin DiAngelo, a multicultural education professor at Westfield State University, who described the term as, “-a state in which even a minimum amount of racial stress becomes intolerable, triggering a range of defensive moves.”

White Supremacy, White supremacy is an ideology centred upon the promotion of the belief that white people are superior. It is argued by critical race theorists that all white people have a level of white supremacy values because of the media, education and politics have embedded whiteness as superior in society.

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A Note from The Lead.

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Montana Williamson.

Teaching Within Programme Leader And Education Developer, Shades of Noir.

‘I tell my students: ‘When you get these jobs that you have been so brilliantly trained for, just remember that your real job is that if you are free, you need to free someone else. If you have some power then your job is to empower someone else’.

Toni Morrison I am a black woman and like many through my painful journey within education and academia I have had limited safe spaces.

Where did I begin my Journey? It started with me working at Shades of Noir in the first phase1 in 2011 as part of its first ever cohort of the Shades of Noir student team.

I feel this makes my viewpoint one which has a tenured perspective of growth, which is also loaded with love, tenacity and sheer determination to make an everlasting impact for those who will pave this journey with and after me. Shades is where I met a team which is made up of staff and students who are predominately of colour which I now call my family. This environment offered me refuge and a space within a critical environment. I felt valued and part of a community of people who had shared values and experiences. What was powerful was meeting individuals who had similar lived experiences and educational journeys to me but who used these to harness and help provide meaningful education, At the time I was unaware that this would become an integral part of who I am today, what I fight for and what I aim to embody I am now in a very privileged position, arguably one which I feel I was always destined to enter...the world of academia.

Now in my position of lead on the Teaching Within2 programme and education development at Shades of Noir and my journey has really been a sustainable one.

Having completed the Inclusive Practice unit this was a key factor in shaping my critical teaching practice, utilising my lived experiences to help provide scaffolding for others. This unit has allowed my peers and I to consider why this was the case and research the bias of recruitment and progression of academics of colour as well assess as the opportunities academics of colour and social justice advocates brought to creative higher education.

I know I am in a very privileged position in my current role, to be teaching at one of the elite universities in the world, participated in this unique meaningful unit and to be one of the few black females academics supporting others, I have the scope to support, evolve thinking and embed a social justice pedagogy contributing to cultural change.

This is a work in progress informed by my peers, engaging with research and developing reflective as well as reflexive practices to evolve my practice.

The Inclusive Practice Unit has been able to help me contextualise my lived experience and to teach my students about embedding critical pedagogy into their teaching practice and challenge teaching from a white canon.

Most importantly it has helped equip me with the relevant language to articulate my life, my thoughts and my opinions with purpose, a sense of empathy and critical perspective. It was in this unit // 27

that I was first introduced to terms like white fragility and white supremacy. It was as if all my life the oppression and racism I had felt for many years had been accounted for and validated! I often felt I was always racialised and marginalised but this showed how people intentionally benefited from these social structures and I was not going mad. This is so important.

The inclusive practice unit has transformed both my professional and personal perspectives and provided me with the spectacles with an enhanced focus, Honesty and tangible theory to critique and challenge the systematic oppressive institutionalised racism which controls so much not only in education but be beyond.

I was able through the unit to confidently, openly and honestly critique my thoughts and fellow students work in a safe space with academics who offered me relevant theory, critique and empathy supported by an experienced teaching team of social justice pedagogists.

The unit has given me the confidence to enter spaces which I once felt unsafe, ill equipped or not having a sense of belonging.

I know I am not alone and part of such a kind thoughtful community who strives for anti racism, equality and social justice for all. Thank you Aisha Richards for providing me with wings I needed to fly to freedom!

To now be leading on areas of Shades of Noir work is truly an honour but again displays how Aisha Richards vision is not only sustainable, meaningful and powerful but as she always says the quote by Margret Mead “ it only takes a few thoughtful citizens to change the world” and my this 28 //

very true. So here is to the legacy of the inclusive practice unit and many more years to come and cheers to everlasting magic!!!

Bibliography: Shadesofnoir.org.uk. Phase 1. [online] Available at: http://shadesofnoir.org.uk/ phase-1/ [Accessed 31 Jan. 2020].

2 Shadesofnoir.org.uk. (no title). [online] Available at: https://shadesofnoir.org.uk/ [Accessed 31 Jan. 2020].

1

“

What you need to consider before you apply: As the teaching within programme leader I feel it is important to understand that this intervention is a work in progress. While I hope that the wins will outweigh the losses this process requires a significant commitment.

It is important to understand that one of the requirements of the course is that you are willing to place social justice pedagogy at the heart of your teaching practice. Thus this programme requires honesty, bravery, effort and dedication from all participants.

We are invested in your ambitions to make a difference and we hope that in turn you will invest in Shades of Noir.

Salute!

Montana Williamson, Teaching Within Programme Leader.

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In Conversation with Demelza Woodbridge.

Shades of Noir.

Shades of Noir would like to thank Demelza Woodbridge for taking the time to speak with us.

What course did you study at UAL and what is your practice?

I studied a couple of courses at UAL. I did my BA in Graphic Design at Camberwell and I graduated in 2001. I then had a really long gap from education. I came back in 2016 and did a graduate diploma in Fine Art at Chelsea. I consider myself a visual artist and I work in performance and sound installation. I also consider teaching a part of my practice.

30 //

What inspired the pieces submitted for the Tell Us About It and why did you want to take part in it?

The piece that I submitted to Tell Us About It was inspired by my time at UAL. I wanted to take part because I wanted other students like me to have more successful time and to benefit from my experience and hopefully, my experience would help them learn at UAL. I think it is really important for other students of colour to realise that they are not the only ones, as I felt really isolated in my time at UAL. I am hoping that other students know about the Tell Us About It archives as it is important because

once you know that other people are having the same experience as you, you don’t feel so lonely and it makes it a little bit easier.

How has your practice developed since you graduated?

When I graduated from Chelsea, I went on to do an MA at Temporary Art Practice at the RCA, specialising in performance pathway.

Doing my MA gave me an opportunity to really explore my performance practice. For the first time ever, I was actually able to work with professors and tutors that also had a performance practice, which was great. So now I’ve kind of not come back full circle, but I’m in a position now where I’m looking to explore other areas of my practice.

How has UAL contributed to your professional journey?

At UAL getting my final quantification, having had a brilliant course leader named Katrine Hjelde, she was really supportive of me and gave me some great advice because I was finding it really hard during my time at Chelsea. I found it really hard connecting with the cohort, which is a really important part of learning I believe. Especially within Fine Art, connecting with the people that you’re learning with, that is where you are going to learn from more so than the tutors, I believe. So, she gave me some really valuable advice about connecting with different cohorts within UAL, saying that if the cohort I had wasn’t helpful or I wasn’t able to connect with them, that I should try and find my cohort, which is exactly what I did.

She also told me to follow what I was interested in. She empowered me to find my own learning and find my own resources, and to find areas that I was interested in rather than doing what I was told or doing what I was asked. She helped me to understand that education is not so much about being told what to do but it is about you finding your own education, your own learning.

And this was really invaluable advice.

Then following on from that I was asked to take part in Teaching Within due to being part of the Tell Us About It programme, and

that is developing my academic practice. As part of the programme, I am studying a PG Cert in Academic Practice in Art, Design and Communication. Finishing my MA and then going on this course – to be fast-tracked to becoming an academic – is an incredible opportunity that is facilitated through UAL

by Aisha Richards from Shades of Noir.

Being part of the SoN programme has given me confidence and empowered me to pursue my ambitions as a creative practitioner.

What advice can you give to students currently studying at UAL, especially those from disadvantaged backgrounds?

Don’t be intimidated. Realise that you have just as much right as everyone else to be there. Don’t be afraid to ask for help and assistance and keep asking for help and assistance even if you don’t get it the first time. As I mentioned before, I think education has become such a business so don’t fall into the role of being a consumer – find your own path, find your own education within the system and feed yourself; don’t be afraid. I found it really difficult being a student of colour; from dealing with micro-aggressions to having knowledge presented to you by people and from people that don’t look like you. To find strategies to get on, to not let that get in the way of your learning is really hard. To get by you have to kind of almost inhabit two bodies in some way. You have the ‘student body’ and then your ‘personal body’.

Why should you be separated?

Other students don’t have to separate themselves like that.

If you have not got someone there, i.e. a tutor that is looking out for you, even a strong cohort or a little group of friends, then it can be really lonely and that really holds you back.

So, I think it is really important to try and find your network and find your community and don’t hide away - be present.

// 31

What has been your most memorable project so far?

They are all memorable, but I would say the piece that I submitted to the Tell Us About it was really a breakthrough work for me in the fact that it brought together my musical and arts practices to create this work that spoke directly about my own experience.

The work is called Big Invisible Fridge which is a metaphor for whiteness and as a response to my time as a student in UAL. I was very frustrated about how it felt that we’ve changed very little since I graduated in 2001. So, for me to kind of take that experience and translate and transform that it into song and present that as an artwork was a bold step for me within my practice.

How do you keep yourself motivated?

I am quite a motivated individual. I am always striving to reach a place, even though that place might be unreachable or impossible by other people’s methods and standards. It is my goals and my visions that keep me motivated. The times when I am feeling unmotivated, I reach to my community, my friends and the people around me.

My mum is a big inspiration for me. She’s a woman of colour. She’s been working in the NHS for over 45 years. Just her stories and things that she had to deal with coming to the UK from the Caribbean, the nonsense and the injustice and all of what she has had to put up with, but yet, she managed her family, she’s managed to maintain her job. She’s managed to get to a certain position – she would have got higher had she not been in the body that she is in. But I hear, I remember her stories and see what she’s doing and I think, ‘wow, you know?’

Things have changed in that we experienced this oppression in a very different way than our parents did. It’s a lot more invisible. It is way more ingrained within the system. It is a lot more insidious. So, I think about my mum, and she really motivates me. I think about what my grandparents had to deal with. You got 32 //

to keep on, and also, I look to the future for that as well. I don’t have children myself, but that’s not really the point.

It’s about embracing this idea of community and looking to the future, I heard Angela Davis speak at the Southbank about her own activism and people asked her a similar question about how she keeps doing what she’s doing and she talked about how things don’t happen instantly. We are so used to things happening instantly with access to most things that we think that change is the same and it is not.

You have to think about your moves from a long-term perspective. What I am doing now might make a difference tomorrow, next week or even in five years time and maybe in 30 years time.

Therefore, I think it is really important to just remember that change is gradual.

Is there a message you are trying to convey in your creative expressions?

My creative expression is changing.

When I first started making work in a dedicated practice – about three years ago – my practice and my expression was very much a reaction to the system that I was part of. A lot of that was dealing with western supremacy, systems of knowledge and politics of space. As a performance artist, I am always thinking about the performativity of the body and how our bodies are always performing. Therefore, being in a female POC body, I’m always performing this kind of message.

Often in my work, I was trying to highlight and draw attention to the kinds of landscapes that different bodies inhabit and give ‘form’ to power dynamics that we might experience in our day-to-day lives.

I have always felt this kind of urgency in my work to talk about these other things that I have experienced because I feel that it’s important, not only to connect with other people that might be experiencing those things but in the wider sense to

create a space for people to reflect upon their own complicity within these power dynamics that are at play. So, I really saw my work as this tool to allow this access, but now am very much considering what does my work look like without that? How would my work develop without that?

But it always comes back to being present, about me being present. Being a female POC, living in London in 2020 - just to be making art is a radical thing.

So, no matter what I do, that is always the bottom line. It’s like, ‘I’m here’.

How do you reflect on your work?

This is interesting because I have been thinking about this a lot lately. Doing the PG Cert where we are thinking about pedagogy, a lot of it seems about reflection and artistic practice is about reflection – that is how we learn, that is how we grow and how we move forward and develop our work. But I don’t think I have ever consciously reflected, it’s almost that I don’t even notice that I’m doing it. So, I’m trying to be conscious and capture those reflections and materialise them through writing or audio recordings. Through blogging them you process them, which is helpful for me. I also think talking to people, talking to my community of artists or friends is a really helpful way to stimulate reflective thought.

Interview by Suprina Gurung.

// 33

A Note from Jhinuk Sakar.

Jhinuk worked as a Disability Adviser at UAL, and before that as a programme coordinator at Shape Arts (a disability arts organisation focusing on supporting visual and performing arts made by disabled artists). During her work at Shape, Jhinuk gained experience of supporting high profile disabled artists and disability-led arts organisations, delivering commissions for the London 2012 Cultural Olympiad. The commissions were offered through a programme and festival called Unlimited, which carries on today (www.weareunlimited.org.uk). Unlimited and Shape gave Jhinuk awareness of disability issues in various capacities and social justice.

Shape provided her with experience of assisting with disability equality training in Brazil in anticipation of the following Cultural Olympiad in 2016. Her work at Shape was always in partnership with other disability-led creative organisations such as Heart n Soul, Candoco, Pallant House Gallery, DaDaFest, Graeae Theatre, Drake Music and more.

Jhinuk currently continues her practice as an Illustrator, teaching Illustration in higher education and teaching on the Inclusive teaching & learning unit of UAL’s PG Cert course. She is also part of UAL’s Academic Study Support team. She works at House of Illustration as part of the freelance education team to deliver workshops for families, and schools including Deaf schools. Jhinuk is also Head of Community & Accessibility at Turf Projects, where she advises on access for Turf ’s programmes and supports learning disabled artists in an arts collective called MOSS. turf-projects.com/moss/ cargocollective.com/paperfig

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When I was asked to write this Peer Review, I was panicked a little, in all honesty. I’ve worked in Disability Arts, with disabled artists and disability-led arts organisations for a few years now and whilst I have knowledge of barriers to education and the Arts in particular from this work, I am always, always, always learning.

That won’t end.

I have not long known formally about my own diagnosis of Dyslexia, and I still struggle with knowing where I place that within my work. How do I present my period of undiagnosed study experiences to others, conscious of my neurodiversity not being seen as ‘an excuse’ for poor writing?

I fear writing, I feared this request.

I heard my mind racing with a run of questions: ‘Do I have enough expertise?’

‘I am not sure I have notable lived experiences like other disabled artists I’ve worked with.’

‘How can I justify my position within the valuable collection of voices and texts in this Terms of Reference (ToR) publication?’

I hope what I am going to say will be enough. I definitely think what I am about to say should be notable.

My review starts with my own experiences.

I don’t consider myself as a natural Academic, yet I began teaching recently amongst peers who have worked in academia for years and have found their confidence to do so by finding routes in, much earlier than me. Whether those people were nondisabled, disabled, white, or a person of colour, younger, older, non-binary, female or male, they navigated the system earlier than I did, and had to do so by jumping through ableist, white, middle-class

frameworks that are often the default experience.

I’m glad I came to teaching later in life because otherwise, I wouldn’t know about Disability Arts.

I tell you I am not a natural academic not to devalue my teaching ability, but so that you know that here, in this peer review, it has to be straighttalking. I want my review to be accessible as I would find it accessible for me to read. I may use a reference here and there, but it is placed mainly through experience-based knowledge.

I think through making, doing and listening.

It was painful, cathartic, rage-inducing, exciting and a whole range of other feelings to experience the submissions in this publication. Whilst I see the struggles and breakthroughs explained, I also see the fight. Overall I see this journal as a powerful call to action which I will explain further.

As Maria Oshadi explains in her interview in this journal, we need less abstract awareness born from reading, and seek to create more action: ‘… in some ways, things were much more innocent 20 years ago.

Now there’s more awareness, but I feel the danger is that this level of awareness can be theoretical and some people don’t see their own collusion with racism, ableism and classism (Oshadi, 2019).

Drawing comparisons of social justice between race and disability and the not so ‘new’ in-betweens.

I have heard and even seen the prejudice people experience from disclosing their disability. But when I started working at Shape, I began to understand an experience of prejudice that I was unfortunately all too familiar with - racism.

When it comes to racism, sexism and ageism I believe there is unequivocally no excuse, and unbelievably, we are globally, and as humans, still travelling on a path of understanding that fully.

I think I only came to understand more deeply that the same injustice applied with ableism and attitudes towards disability when I started working at Shape. This realisation came from working closely with disabled artists who shared similar experiences impacts upon their confidence as a result of facing barriers relentlessly. Removing barriers to these discriminations is where the Equality Act (2010) is meant to uphold some of these basic human rights for people living in the UK. In an extremely // 35

potted history, the Act (established as late as 2010) is a progression from the 1995 Disability Discrimination Act which was formed in the UK as a result of the Disability Rights movement Direct Action Network (DAN). DAN formed and was in action during the 1980s and 90s. This law has taken steps towards a more inclusive outlook by combining the nine personal characteristics that cause us to be victims of discrimination into the Equality Act we know today.

Although this is progressive, I think there is plenty more room for development.

This journal reveals the room for improvement – it exposes the gaps and nuances we need to recognise more openly.

We want the intersections addressed.

Just as the submission from Eleanor Lisney of SISTERS OF FRIDA so aptly provokes readers to challenge within themselves in ‘when gender, race and disability collide’ (Lisney, u.d.).

We need to reframe the hidden elements that cannot stay hidden forever. Socio-economical, hidden impairments and further development on the Mental Health Act needs to be actioned immediately - our world has moved on a lot from its birth in 1983. I strongly believe the Act needs to explicitly include areas of our lives such as a duty of care with regards to social media use and cyberbullying, both of which were non-existent in the 80’s.

Entering conferences with invisible impairments and invisible racism: Although our world has moved on in terms of technology and accessibility, our attitudes need an almighty thrust forward to catch up.

I recently presented at a conference addressing mental health combined with creativity. Myself and co-presenter were two of 3 visible people of colour that I recall being at the conference (that’s including participants). It caused me to feel a low level of anxiety. A series of unnerving experiences at the conference helped that familiar gaslighting feeling to ensue, and I came away wondering if I had it all wrong. Maybe people of colour didn’t experience long-term mental health conditions, and only white people do?

36 //

But maybe not, otherwise, resources such as Black Minds Matter and articles such as Merissa Hylton’s ‘Mental Health & Disability in the Arts’ in this journal, would not exist.

Who and what is more marginalised?

I don’t think we should ask this question, but yet it feels like that is what ableism asks people to decide an answer for. This is a complex problem to unpick, but I think this is amazingly unpicked in this publication. Kerima Cevik’s article exposing the erasure of blacks from histories of autism is one of many examples to read on this.

It’s honest, insightful and rich in perspectives to allow the reader a broader view on disability.

We can be made to feel marginalised in many ways, we don’t have to pick which one feels the most painful or important, they are entwined.

Closing the Gap - Accessible Resources We can never stop learning about accessibility and disability within the framework of inequality because as long as the world keeps changing as rapidly as it has in my lifetime history is documented in skewed perspectives. A prime example is the two current affairs of the world at the point of the production of this journal: 1. The COVID-19 pandemic The coronavirus has highlighted how unprepared we are in our structures on so many levels. But as soon as the economy was affected, guess who was one of the first demographics of people to take cuts, a hit on personal income, access to vital facilities, and generally have a reduced quality of life?

Disabled artists. As a response and call to action the ‘#WeShallNotBeRemoved’ UK Disability Arts Alliance was formed by UK disabled artists and cultural leaders seeking recognition of this hit and began with an Open Letter to the Secretary of State for Culture to support disabled artists during and after COVID-19.

2. George Floyd’s murder and Black Lives Matter movement Further unpreparedness that our ableist society needs to work on is access to resources.

In the devastating and stark reality of police

brutality in the US and racism costing lives highlighted by the murder of George Floyd, where are the structures to fund accessible resources supporting education on this?

Do not be fearful of failure so much that you do not act.

As a result of the news of George Floyd and Black Lives Matter, the floodgates opened of sharing anti-racist resources on social media.

Though extremely important that the sharing began, at times it is overwhelming for many, including myself. In absorbing and sharing as many resources as I could, it revealed to me that there was a sheer lack of accessible materials available to explain what was going on. I found one easy-read document developed by a freelance practitioner (who was unpaid for developing it but did it out of need because they were supporting a black learning disabled person). They created this resource out of necessity on their own time, and made it an open resource, made it honestly up for review, and asked for help (French, 2020).

We learn so much from our failures if we let ourselves. It takes courage and tiresome efforts to embrace these failures and use them as part of your journey, but it is worthy work.

I believe this is a good model of practice, to be honest and open in supporting disabled creatives, and asking for help to understand user experiences.

Why should anyone assume they know what is best for disabled people, especially if you are non-disabled.

Act. Ask. Actively listen. Act more. And repeat.

Please don’t take my plea to act as an instruction to carry out actions aggressively. An action can be performed in varied ways. You can be quietly revolutionary. You can be a Shy Radical (Ahsan, 2017). You can create online blogs such as PhDisabled (featured in this journal) to instigate gatherings of new communities that need mutual support. You can act by listening.

Active listening is always necessary because it creates empathy, not pity.

I agree to ‘Piss on Pity’ (Disability Arts Movement DAN,1992).

I disagree with sitting back and let this wash over you. Everyone can do something to improve inclusivity and consider access in all they do. You know what is accessible to you, you know what barriers you’ve experienced, still experience, and may yet experience. Everyone can feel disabled at some point (Timlin and Rysenbury, 2010).

Why not just ask?

Provocation in this journal and Disability in the future ‘The 1980s and 1990s were a thrilling time in terms of disability activism and saw so much change, but I think over the past couple of decades we’ve lost momentum’ (2018, Lisicki) Please drink in the incredible work in this journal that’s here to bring us up to date. Value the sharing of these experiences, the thoughts and intersections surrounding Disability portrayed in this journal. Let’s pick up the momentum again.

The Shades of Noir team have given you a huge helping hand with this Terms of Reference.

These are now, more than ever (especially in the current climates documented above), important to be heard and acted upon.

There are still many challenging spaces to navigate around accessibility where we would hope they would feel safe. There are still barriers to allowing disabilities to be visible and just be, as part of the fabric of humans, without a motive to be ‘inspirational’ or seen as angry, as explained so honestly in Elora Kadir’s account in this journal.

Our attempts to bring the world into balance are not easy, it can be exhausting, disappointing, nerve-wracking, exciting, and hopeful.

But I hope you’ll agree with me, that it feels the right way to act.

Alongside this need for balance, please take time to digest and practice self-care whilst reading this Terms of Reference.

I’ll leave you with three thoughts from my own experience with Disability to process: // 37

1. On a fun note: Please search for my ‘P45 performance’ on disabled sculptor Tony Heaton’s website, where I ‘bonded’ with his artwork ‘Shaken not Stirred’ (a piece originally created for the 1992 Block Telethon protests as part of the Disability Arts Movement).

‘P45 Performance’: www.tonyheaton. co.uk/mixed-media-film.html#m-7 2. On overcoming anxiety: To write this peer review took more anxious energy than I usually require, especially compared tasks that don’t need much original writing. The way I have found myself overcoming this is simply to give myself time. I start drafting earlier and created it in many stages, I let texts ‘breathe’. I benefit so much by leaving my written work alone to forget about it before reviewing it again (easy for me to do with my short-term memory). Time in reality, is not always on my side, so I often find myself working hard, long hours to get texts ‘right’, but it is always worth it.

Something else works to overcome anxiety for me, and that’s to be brave enough to share my 38 //

written work with people I trust. I look back to my pre-diagnosed days and see that I did this anyway: checking my CVs and applications with my sister and my best friends.

But I always feared sharing with work colleagues, until this review, where the Shades team were patient and showed me they understood how I write and valued it (so much so that they advised me to write about this strategy here).

Having that support feels different from not feeling good enough, it feels like I’m learning how to better articulate myself in writing, and that’s incredibly positive. I don’t think I will ever fully enjoy writing, but I know the purpose of it is important to communicate powerful messages such as those in this Terms of Reference – and I want to be a part of that.

These mixed emotions I can feel after the anxiety has faded can be summarised in this embroidery of a Bengali proverb (stitched by my mum, aged 8).

It reads: ‘The endless desire which I have in my small heart has not, is not, and will not be satisfied….ever’

And finally 3. On investing in opportunities: I see every option to learn new ways to create in my practice and be more inclusive as an opportunity.

Accessibility of any information can always be improved. I reflected upon that recently in a piece of work where I painted on a window, using collective nouns to consider creative processes. I drew and painted on both sides of the window, to signify that there are often hidden processes: Laughter, fun, self-care and care for others through listening. These all allow us to thrive in what we do.

I hope that after reading this journal, what you do in your everyday sees you passionately endeavouring to integrate removing barriers for disabled people.

Bibliography: Black Minds Matter. Available from: https://www.blackmindsmatteruk. com/ [Last accessed 18/6/2020] George Floyd & Black Lives Matter – Accessible Summary. Available from: https://www.jade-french.com/news/ george-floyd-and-black-lives-matteraccessible-summary-draft-1 (French, 2020) [Last accessed 18/6/2020] Design for dementia - Royal College of Art’s Helen Hamlyn Centre. Avilable from https://www.rca.ac.uk/research-innovation/ research-centres/helen-hamlyn-centre/ research-projects/2010-projects/designdementia/ [Last accessed 18/6/2020] Piss on pity: How a new archive captures the radical spirit of the Disability Arts Movement. Available from: https://www. independent.co.uk/arts-entertainment/ // 39

art/features/disability-arts-movementnational-collection-archive-barbara-lisickitony-heaton-a8416036.html (Welsh, 2018) [Last accessed 18/6/2020] ‘Shaken Not Stirred’ and ‘P45 performance’ by Tony Heaton. Available from: http://www.tonyheaton.co.uk/ mixed-media-film.html#m-7 Shape Arts. Available from: https://www. shapearts.org.uk/ [Last accessed 18/6/2020] Shy Radicals: The Anti-Systemic Politics of the Introvert Militant (Ahsan,H. 2017) To define or not define: the dirty ‘disability’ word. Available from: https:// www.disabilityartsonline.org.uk/ editorial-blog?item=2338 (Hambrook, 2014) [Last accessed 18/6/2020] UK Disability Arts Alliance ‘We Shall Not Be Removed’ responds to the current crisis https://disabilityarts.online/magazine/ news/uk-disability-arts-alliance-we-shallnot-be-removed-responds-to-the-currentcrisis/ [Last accessed 18/6/2020] Unlimited disability arts commissioning programme. Available from: https://weareunlimited.org. uk/ [Last accessed 18/6/2020] We Shall Not Be Removed. Available from: https://www.weshallnotberemoved. com/ [Last accessed 18/6/2020] 40 //

When disabled people took to the streets to change the law (Rose, D. 2015) [Last accessed 24th June 2020].

Available from https://www.bbc. co.uk/news/disability-34732084

Essential Information.

// 41

The Programme Overview.

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 ‘Fact Not Fiction’ (December 2020) and the PgCert in Academic Practice in Art, Design and Communication (Dates TBC, 2021).

Support:

UAL academics (current TW academics and GEMS academics) have put themselves forward to be shadowed by TW academics.

Shades of Noir also provide a series of workshops and tutorials throughout the year to cover Inductions to UAL, Teaching Workshops and PgCert Support.

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 2021 with a minimum of 10 hours before the end of May 2021.

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.

42 //

Mutual Benefit: This course was designed with anti-racism and social justice at the forefront.

What we wish to highlight is that we want each individual to consider the mutual benefit of participating in the program and the privileges that come with each space they occupy. This program is unique in its approach and practices that the Shades of Noir Teaching Within team deliver.

The purposeful network, the context of practice and pedagogical theory that each individual is encouraged to immerse themselves in within this programme is unique. The investment in each participant within the programme aims to be purposeful, challenging and impactful and for many, it is life-changing.

Parts of the programme we have developed aim to create change and support conflicts which are inevitable. In creating proactive change of a sector, this space is unprecedented in its successful outcomes and there is no pathway or roadmap but we are there with you.

The TW academics act as social advocates and take active parts in building on this story. The narratives of the community are unique and act as part of the evolution of the programme and help to pave the way for those after you!

We aim to build on Shades of Noir anti-racism work, a legacy for our communities and the TW communities continues to contribute significantly.

As part of the participation in this course, we require each TW academic to engage in the following • Submit to a minimum of two Terms of Reference Journals contributions, • To share their experiences both positive and negative to be utilised and anonymised as part of the Teaching Within, case studies which are used in training delivery by Shades of Noir, • Participate in the TW archival work where needed, in forms of video, interviews, and Q&A sessions.

The Teaching Within programme is a proactive response that aims to bridge and address recruitment, attainment and progression of underrepresented non-white academics as well as white academics advocates who have illustrated active contributions to anti-racism. // 43

The individuals taking part have confirmed the programme benefits in their own words: Career progression:

“Having access to such a progressive, supportive environment has been such a privileged position to be a part of. I have worked in industry for over 10 years and this programme has transformed the way I go about applying myself to various environments beyond Higher education.

This programme has given me the qualifications and training to excel within the HE environment as a diverse academic.”

“Through participating in this fantastic intervention created by Aisha I have been able to propel myself into teaching and most importantly become a part of change to address the inequalities. This programme allows me to network with all active stakeholders at UAL including deans, programme leaders and course leaders. Having access to such a important network has allowed me to transform my career and given me a sense of confidence to become fearless in my approach.”

Training:

“Having the opportunity to participate in a variety of teaching methods has allowed me to understand and tailor the methods to the students. Through this engagement I have been able to analyse, critique and understand why we as academics teach the way we do. I have been able to adapt what I have learnt to benefit the diverse student cohort. Being able to bring my cultural capital into the teaching environment has definitely benefited the students.”

“Thank you so much Montana, The additional training provided by the teaching within team has taught me to trust my intuition, my melanin and the wealth of Black and PoC Excellence I have access to. The exercises on practical implementation of the ToRs for teaching and exploring pedagogical methodology for the PGcert and for our personal development, meant a lot to me - it was like the dots all came together to produce several light bulb moments that filled me with electricity and excitement. Participating in the programme has had a huge impact on me and left me feeling incredibly empowered. Thank you for the support and for being so grounded, real and compassionate. You make me feel like I can achieve anything and I don’t often feel that way. Much appreciation always!!”

Networks:

“Imagine being on cross country running course with various gradients to tread and where you require both the physical and mental agility. You strive your way through it, because you’re not only running for yourself but for the people (in this case the students) that you believe in within your plight for social justice that comes along by bringing about change. When challenged, what keeps you going is your training coach (Aisha) and the fellow supporters that encourages and cheers you along the way. That is the strength of a community that consists of Shades of Noir, TW cohorts and GEMS members.”

“The Teaching Within team offer the kind of support that you did not know you need until you need it. There are so many challenges along the journey of learning how to be an educator. Being an educator of colour is an added, layer that many before the programme would have had to figure out on their own.

The support provided within the programme help you to grow in confidence and self-belief. This is invaluable to your future success as an academic.”

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Support:

“Being a part of this intervention has been life changing for me. For years I have worked here and I always wanted to get into teaching as I have a degree.

The support and encouragement I have had from Aisha has been phenomenal.

When I have felt down or discouraged she has always been there to tell me that “I can do it”. As for Montana she has taken my calls, explained things to me in detail and demystified the course demands to me. As a black practitioner I owe a lot to Shades of Noir for getting me to this point in my career.”

“The fact that my words are in this publication is a testament to my journey on the PgCert through the wonderful opportunity provided by Aisha Richards. Being part of the TW and the GEMS community gave me that zest of confidence and installed a sense of belonging.”

“Teaching Within has allowed me to become part of a like-minded community of people interested in the same issues as me. We look out for each other and support each in ways that you wouldn’t normally expect on a course of study.

Working through challenges, talking through issues allows you to grown together in strength and pride. I’ve made many new connectionships that I truly value!”

“When things were challenging I had the support of Aisha and Shades of Noir team. Their encouragement and role modelling of what it means for social justice education is something that I will always take with me to pass on and provide the same support to the students.”

“I am UAL alumni, an artist and work in administration so when I saw that I could train to be a teacher I jumped at the chance as I think that teaching is much more in line with my arts practice than admin. I enjoy working with the students and I have found that I am able to introduce new diverse resources to the course that I am working on. I know that the students appreciate this because they have told me.”

Cultural value:

“Teaching Within offered me a framework for common ground. A fascinating opportunity to spark conversations around the complexity of identities and how they can nurture unbalanced cultural economies. It reminded me of the importance of social contribution and commitment towards principles of equality and justice, in a world increasingly less interested in empathy and common truths.”

“When I started teaching within I was really nervous as I had so many things that I felt that I was doing. I was really worried as I had not been in education for some time only industry. I did the inclusive practice unit and I surprised myself! Soon I was reading books by Black scholars and blogging and it just opened up a whole world for me. I love being part of this community because it gives me so much support. Aisha and her team have been very generous with their time and I really feel that I would like to pursue employment in teaching but more than that I feel that I now have all the skills I need to do that.”

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The Six Elements of Teaching Within.

Gems Shadowing.

Fact Not Fiction.

Course Shadowing.

The Group for the Equality of Minority Staff (GEMS) Academics have offered to be observed and shadowed for 1 to 2 hours by new participants on the TW programme.

This is a pre teaching course that all TW participants will take part in. It is a twoday course and is a great first step in reflecting on your teaching practice.

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.

Key Dates:

Key Dates:

Key Dates:

This will happen during October and will be organised on an individual basis through the TW team.

2021: FnF - Dec 2 & 3

This will happen during November and will be organised on an individual basis with your placement course.

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TW

Workshops & Independent Modules.

Teaching.

PgCERT.

Shades of Noir also provide a series of workshops and tutorials throughout the year to cover Inductions to UAL, Teaching Workshops and PgCert Support.

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.

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.

Key Dates: 2020: Induction - Sep 23 2022: Digital Module 1 - January Workshop 1 - Feb 10 Workshop 2 - March 10 Tutorials - April 26 & 28 Digital Module 2 - May Digital Module 3 - June Workshop 3 - Sept 15 Tutorials - Oct 25 & 27

Key Dates: This will happen between Jan - Dec 2022 and will be organised on an individual basis with your placement course.

Key Dates: 2022: During the revalidation of the course, at this time we can not give any specific dates but anticipate that the PgCert may run from January 2022 to January 2023.

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48 //

July Aug Sept Oct Nov

Minimum 18 Hours Teaching.

2021

Dec

April

Minimum of 8 Hours Teaching.

2021

Jan

Programme Ends

May

Independent Modules

March

Independent Modules

2020

Tutorials

Holiday Break

Feb

TW Workshop 2

Jan

TW Workshop 1

Dec

Independent Modules

Fact Not Fiction Course

Nov

Tutorials

Oct

GEMS Shadowing

Course Introductions

Sep

TW Workshop 3

Holiday Break

Induction Workshop

Programme Timetable.

2021 June

Minimum 18 Hours Teaching.

Please note that at the time of publication the PgCert is under a review process which means that Teaching Within’s tutorial and workshop dates are subject to change in order to best support your study. We have published the information we have to the best of our ability.

UAL Term Dates Autumn term 2021/22 Higher Education: Monday 27 September 2021 – Friday 10 December 2021 [Freshers’ Week 20 September 2021] Spring term 2021/22 Higher Education: Monday 10 January 2022 – Friday 18 March 2022 Summer term 2021/22 Higher Education: Tuesday 19 April 2022 – Friday 24 June 2022 Autumn term 2022/23 Higher Education: Monday 26 September 2022 – Friday 9 December 2022 [Freshers’ Week 19 September 2022]

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GEMS.

Group for the Equality of Minority Staff.

Our Mission: To collate the Voices and Perspective of Black Asian and Minority Ethnic (BAME) staff for Strategic Progress of all UAL Staff and Students.

Our Vision: To 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.

GEMS is Chaired by Annabel Crowley (a.crowley@arts.ac.uk) & Melodie Holliday (melodie@shadesofnoir.org.uk)

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“

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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Fact Not Fiction (FnF).

Fact not Fiction is a two day course designed by the Shades of Noir team that builds on the Teaching and Learning Exchanges introduction to teaching in Higher Education course Thinking Teaching.

The aim of this course is to support the participants in engaging in facts supported by theory and or experiences including those of our Teaching Within community.

Our objective is to contextualise educational experiences and demystify the process by which practitioners can gain entry into the profession.

This compulsory two day training workshop is designed to support previously marginalised creative professionals and or social justice advocates who wish to pursue a career in teaching. As such it will situate participants’ teaching as a purposeful context of practice and pedagogic theory, which aligns with the Teaching Within programme aims.

The course will offer a blend of theoretical input and practical activity supported by case study reviews. You will: • Reflect on your own experiences of being a learner and navigating educational environments • Gain an understanding of key pedagogic ideas around social justice and anti racism • Develop essential anti racism and critical techniques in reflection • Advance relationships with your peers, TW graduates and the Shades of Noir team • Explore relevant techniques for designing social justice teaching sessions • Consider student centred teaching • Explore potential barriers to learning This course is a great way to begin your academic journey in preparation for post graduate certificate in academic practice and entering the teaching practice as a Teaching Within participant.

This year’s workshop will take place on 2 & 3 December 2021.

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“

I feel very privileged that we have been able to host Teaching Within participants from year to year in the Branding and Design Innovation programme. The TW participants bring to our courses wide range of expertise and with their input the course teams are better equipped to reflect on their teaching methods and relevance to student learning. As a Programme Director I am always grateful for such generosity on the part of the participants, while in return I am committed that we provide them with a sense of belonging to our teaching community and opportunities to learn from our teaching expertise.

(UAL Programme Director)

“

As a multidisciplinary subject area, we (staff and students) really value the range of experiences that Teaching Within students come to our course with. We look forward to meeting and working with the TW academic every year and hope to build relationships that last beyond the time-frame of their course.

(UAL Course Leader)

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Workshops & Digital Learning.

Throughout Teaching Within, the Shades of Noir team delivers a series of workshops and independent modules which are an essential part of the programme.

The aim of these workshops and modules are to support the academics in both their PgCert studies and their professional practice. These sessions will serve as an introduction to the institution, a way to understand digital learning environments and to offer further pedagogical resources for a teaching and learning environment.

The delivery will offer a blend of theoretical input and practical activity in a combination of physical and virtual learning spaces.

Shades of Noir also deliver tutorial sessions to directly support the practical elements of the pgcert. These 1-2-1 sessions offer an opportunity for academics to discuss their research, statements and artefact development.

Key dates: Independent Module 1 - January Workshop 1 - Feb 10 Workshop 2 - March 10 Tutorials - April 26 & 28 Independent Module 2 - May Independent Module 3 - June Workshop 3 - Sept 15 Tutorials - Oct 25 & 27

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Virtual Learning Netiquette.

• We encourage participants to turn off mics and cameras as and when they feel it is appropriate. You do not need permission to do this and we appreciate that you may need to leave and or mute the session whilst the session is taking place for all sorts of reasons • We expect that some participants may have parental/carer responsibilities, family commitments while trying to engage in sessions and may need to drop in and out of the session. This is fine, however, please ensure that you mute your microphone and turn off your camera to support privacy for all parties.

• If you need to leave the session to use the bathroom, there is no need to let anyone know. Please turn off your camera and mute your microphone should you find yourself in this situation.

• All virtual sessions are dialogic spaces, supported by pre tasks and post tasks. As such our virtual face to face sessions are shorter than traditional face to face sessions.

• We do not tolerate any form of discrimination in the virtual face to face sessions.

If this takes place we will ask the perpetrator to leave the space.

• We schedule longer comfort breaks in between the delivery of virtual sessions to allow participants time to process information and to reduce the impact of lengthy screen times.

• What is discussed and or shared within a session we treat as private and confidential. As such we expect all participants to adhere to our policy of not audio or audiovisual recording the sessions. A member of our team will provide notes post-session for all participants.

• We also ask that sessions are not recorded to protect vulnerable people and those with caring responsibilities.

• We expect all participants to treat the virtual space as a professional environment. Through their participation, each participant is agreeing to the terms and conditions of this document.

• We encourage participants not to talk over one another, interrupt or shout in order to allow others to participate safely. If disruptive behaviour continues repeatedly then the facilitator will ask the perpetrator to leave the space and reserves the right to turn the appropriate microphone off.

• We recognise that in our current climate there may be participants who are suffering from bereavement, illness and loss. We ask those that may wish to speak with one of the facilitators, to do this privately before or after the session.

• We treat the virtual space with respect and compassion for all participants. We display trigger warnings at the beginning of all sessions as well as outline the aims of each session. If any of the discussions or content trigger a participant, please feel free to leave and rejoin the space if / when you are ready to do so. A discussion with the facilitators during the break or after the session may be required. *NB Netiquette is a combination of the words network and etiquette and is defined as a set of rules for acceptable online behaviour. Shades of Noir aims to create; as safer space as possible for those who are participating in virtual learning spaces. As such we have created this Netiquette to safeguard the participants and to protect the privacy of those parties who are involved who may experience a degree of personal overlap in their professional lives. // 55

ELIGIBILITY.

Shades of Noir (SoN) Graduates & Journal Contributors: Shades of Noir Graduates consist of academics of colour and non academics of colour who have all successfully completed an extensive programme that develops their understanding of social justice and anti racism work. All SoN graduates work closely with Aisha Richards on a specialist training programme developing educational interventions to influence cultural change within creative arts education as well as within the creative industries.

All graduates have a proven commitment to social justice and anti racism work.

Our Journals have contributions from creatives and academic practitioners from all over the world and have brought together voices to discuss a wide range of intersectional conversations. We recognise through these contributions that there are many creatives who are interested in teaching but have not yet had that opportunity to do so and also recognise the investment in Shades of Noir’s work.

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 artefacts, where they reflect on their learning across their degrees. These artefacts 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 nonteaching staff are alumni of UAL and/or practicing creatives.

Open Call: As Teaching Within enters its sixth cohort the programme has supported over 80 academics in completing their PgCert, teaching hours and a large number of follow up positions across the Higher Education sector. The programme has evolved tenfold since its first iteration in 2016, and as such we are now in a position to open up our eligibility criteria and offer this opportunity to the wider creative community.

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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.

• Has the right to work in the U.K. 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.

Please note that following a successful application, our team will be in touch in order to organise an interview.

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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: www.shadesofnoir.org.uk/education/tw-2021/ Or scan 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 the previous page.

The application includes supplying the following: • Photo: Please submit send a professional head-shot. 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 upon your creative practice and your ambitions to become a teacher. (500 word max).

• Pre task: Information can be found on the right hand page.

Submissions should be no larger than 100mb.

The deadline submission date is 18 June 2021. The selection panel will make decisions and inform the applicants of the next stages the week beginning 21 June 2021.

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 58 //

Pre Task Information: To gain an insight into who you are as a person, we have designed two short tasks which ask you to research what Shades of Noir does and give a critique/response of your findings.

Task 1: Shades of Noir has five digital platforms; www.shadesofnoir.org.uk www.shadesofnoir.org.uk/education www.shadesofnoir.org.uk/artefacts www.shadesofnoir.org.uk/creatives www.shadesofnoir.org.uk/journals/ They are all well used and have a heavy amount of resources available for academics within Art and Design Higher Education.

We would like you to have a look at one of these sites and create a personal response to the resources, blogs, and information available. This may cover the whole site or just reflect on one section - it is up to you! We welcome analysis, honesty and critique.

This response can be written (300 words) or filmed/vlogging/audio (2-3 mins).

As part of this we would like you to consider one thing you might add to one of these sites and why?

Task 2: Shades of Noir publishes Terms of Reference Journals (ToRs) on a regular basis. These journals include content from a large number of the team and external contributors.

Please have a look at our upcoming ‘Wilful Ignorance: An Apologists History’ and create a short written, audio, visual or filmed piece (either 300 words or 2-3 mins.) in response to the blurb.

We are an intersectional platform and love to hear all voices, please write this piece in any language you are most comfortable writing in.

Please submit your responses through the online form. Please title your submission as follows: PRETASK _ FULL NAME. // 59

Interview Process.

Phase 1: As part of our process Shades of Noir runs a guaranteed group interview stage. We use this opportunity to meet everyone and to allow space for all applicants to contribute to group discourse.

The conversation will focus on the pre-task activities that are part of the application process.

The group stage will happen on 28th June (timings TBC based on application numbers) Phase 2: If you are selected to continue through to the panel interview phase your interview will be with a small panel of the Shades of Noir team and will consist of two parts.

Part A: You will be tasked to deliver a 15-minute micro-teaching session. In this session, you will be expected to cover an area you are interested in and centre this within a teaching context. The brief is very open and some examples of topics you may wish to touch upon or include student experience, racism, intersectionality, antiracism, object-based learning, industry skills, barriers to learning … This publication may provide additional support Inclusive Practice Terms of Reference.

Part B: A series of three questions will be asked by the team. We have included them below so that you will be well prepared for this stage. There will also be an opportunity to ask the team a question if you would like.

The following questions will be asked: • What do you know about the Teaching Within Programme and why do you want to be a part of the Programme?

• How do you define antiracism and social justice?

• Can you share a time when you have had to deal with conflict and what you learnt about yourself?

After you deliver the micro-teach and panel interviews, there will be an opportunity for you to receive some feedback on another day.

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Key Dates: 18 June Application Deadline 21 - 23 June Interview information to be shared with applicants 28 June Group Interviews with AM & PM slot (times TBC depending on application numbers) 29 & 30 June Panel Interview stage with allocated 45m slots (times TBC after the group interview) All sessions will happen online through Google Meets and will be delivered under our netiquette agreement.

Please ensure you are available and flexible on all interview days.

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Terms of application: Introduction This Admissions Policy (this “Policy”) provides the basis for admissions practice for Shades of Noir (SoN).

SoN offers the Teaching Within programme and is committed to making lecturing at HE level, an achievable option for a wider range of people and seeks to recruit students from diverse socio- economic, cultural and educational backgrounds. In order to support this commitment SoN is dedicated to the production and use of appropriate policies and procedures of which this Policy is a key component.

This Policy is intended to inform the actions of staff when carrying out the admissions functions of the University ensuring that fairness and consistency are embedded within the admissions process.

It is also intended to inform prospective students, applicants/agents of the details of the admissions process to help them through the process and also manage their expectations of the programme.

Enrolment Selection and initial decision All applications will be considered on an individual basis against the selection criteria published in the prospectus: in most cases, this will involve an interview, submission review, or a combination of these. In a small number of cases selection of applicants is made on the basis of references, portfolios or tests, without the need for an interview. Selection processes will vary between cohorts and are at the discretion of Shades of Noir. Once the selection process has been concluded an offer or an unsuccessful decision will be made.

Accepting an Offer If the applicant wishes to accept the offer of a place to study with us and has considered the terms and conditions of becoming a student this must be done by the required deadline which will have been notified to the applicant as part of the offer. A contract will only come into force when the Applicant has accepted the SoN’s offer.

By accepting our offer of admission, applicants are accepting the SoNs decision in relation to their course placement, timetable and additional commitments. This decision is made on the basis of the available information or evidence that you provided at the time. Once students have enrolled with SoN, decisions on the above can only be changed in respect of subsequent academic years in certain specific and exceptional circumstances, all at the discretion of Shades of Noir.

Withdrawal of an offer or termination of enrolment The offer of a place within the Teaching Within Programme is made on the basis that actions or statements by or on behalf of an applicant for entry are honest and accurate. The discovery of false information on the application form or in supporting information such as supporting statements or portfolios, any actions or omissions may lead to the offer of a place being withdrawn, or in the case of enrolled students to their enrolment being terminated (subject to the enrolment terms and conditions).

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Applicants should not omit any requested or relevant information, make any misrepresentation (for example, through plagiarism) or give false or misleading information at any point of the application process including after an offer is made.

Shades of Noir shall have the right to investigate any allegation of misconduct by an applicant or student and may take disciplinary or other appropriate action where it decides that an act of misconduct has been committed.

An offer may also be withdrawn if it is no longer possible to accept the student owing to changes in government regulations, such as amendments to the immigration rules. Shades of Noir may also withdraw the applicant’s offer if the applicant does not provide confirmation of their results within the specified time period.

Privacy: Non disclosure All successful applicants will be obliged to adhere to a non disclosure agreement, in relation to the programme content and function. Shades of Noir intends to disclose information to the academics for the purpose of working with Shades of Noir and Teaching Within.

The Recipient undertakes not to use the Confidential Information for any purpose except for Teaching Within, without first obtaining the written agreement of Shades of Noir. The Recipient also undertakes to keep the Confidential Information secure and not to disclose it to any third party except to its employees and professional advisers who need to know the same for the Purpose, who know they owe a duty of confidence to the Disclosure and who are bound by obligations equivalent to those outlined above.

Data protection Data protection legislation places a responsibility on the University to control the processing of personal data, including sensitive personal data and applicants’/students’ personal data.

We will use the applicant’s/student’s personal data in accordance with our privacy policy and we will not enter into discussions with anyone about an application other than the applicant, unless the applicant has given the Shades of Noir written permission to discuss the application with a named person. Further information on data protection can also be found on the Information Commissioner’s website https://ico.org.uk.

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FAQs for Applicants.

Key Acronyms TW - Teaching Within SoN - Shades of Noir PgCert - Post Graduate Certification How long is the Teaching Within programme?

The programme starts in September 2021 and finishes in December 2022. After the selection process is completed the successful candidates will be given compulsory dates which take place during this period. The PgCert aspect of the programme will run from Jan - Dec 2022.

If I do not like my course, can I change?

At TW we have selected your chosen courses intentionally. We make choices based on a variety of factors. Having gone through the process we are proud to say that the programme is now in its fourth year. It is our philosophy and observation that at SoN, some of the best working relationships involve academics being challenged beyond their own specialism.

How do I get paid for my allocated teaching hours?

You are paid via Shades of Noir TW team. You do not have to go to your chosen course and ask them to submit contracts. The budget is provided by Shades of Noir for TW. You will be paid for 36 hours for the programme.

What process do I take to log my completed allocated teaching hours?

Firstly you will log your completed hours on the timesheet which is provided by the TW team once they are completed. The TW team will provide you with a cut off date for each month where you are able to submit and if this is processed before the cut off the date you will be paid the following month. If not you will be paid the following month after the deadline. We cannot guarantee payment if you submit after the cut off date.

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What if I want to continue my teaching once I have finished my allocated TW hours?

Anything beyond your allocated 36 hours will not be paid by Shades of Noir. This is something which will have to be organised by the course you have been placed on and if they are interested in working with you will have to employ you using their allocated budgets and process of contracts.

Who do I contact if I am having any difficulties?

Your line manager for the programme is Montana (Montana@shadesofnoir.org.uk) who is the lead of TW. It is best you go through her and she will then refer you to the relevant parties if needed.

What happens if there is unprofessional conduct on my course?

If there is any breach of any kind Montana should be notified as soon as possible and a meeting or phone call will be organised. Depending on the circumstances, the necessary steps will be taken. We have a strict protocol and we do not tolerate any unprofessional practices, this is applicable to all academics and course teams involved in the programme.

What happens if I am unable to attend a compulsory teaching day I have organised with my allocated course?

As part of this prospectus, we have provided the key dates and if you secure a place on the programme you will be informed via the relevant platforms of any more important dates. If for any reason you are unable to attend do let us know at the earliest convenience by contacting Montana (Montana@ shadesofnoir.org.uk). We take into consideration that some circumstances are beyond anyone’s control and because of this we make an exception in those cases. A maximum of two occasions of being unable to attend can be used after this it may lead to termination of your place on the programme.

What is meant by shadowing?

This is the process which we advise each of the academics to engage in at the early stages of the programme. This is an excellent opportunity to go in and observe your course leader and other academics whilst they teach in a variety of ways this could include the process of assessment and feedback, one to one teaching, team teaching or seminar teaching. We really encourage all TW academics to complete up to 4 hours maximum as this process is not included in the 36 paid teaching hours. // 65

What if I want to complete more shadowing than the recommended 2 to 4 hours?

We do not advise any TW academic to engage in more than the advised hours if you do so be aware that this may cause conflict when it is time to engage in the paid 36 hours.

What if I want you to defer at any stage of joining the programme?

This is not possible, this is a one-time opportunity and the funding offered by Shades of Noir cannot be carried over to the following year. So we advise you to really consider your commitment for the year ahead before applying.

Who do I contact about anything to do with my teaching and learning unit?

We advise you again to contact Montana before proceeding to contact the teaching and learning unit. You are managed under the Teaching Within programme, therefore, all queries, concerns and questions should first go through our protocol and then if necessary be referred on.

What sorts of subjects or areas have the previous Teaching Within community covered in their Self Initiated Projects?

The previous years have covered a variety of topics, but what we must highlight is that the PgCert is an accredited teaching qualification and therefore the project you decide to research should be tailored to a teaching environment. This is a teaching qualification and you are supported throughout so you shouldn’t worry.

What if I think that I am neuro-diverse, what steps do I take to have the screening?

Once the academics are selected they are advised to contact student services here and organise to have the relevant tests. This cannot be done before you have been formally offered a space on the programme. It can only be carried out once you are confirmed on the HPL system as a staff/student member. We advise you to commence this process in January as usually there is a real demand for this test and you can wait some time What roles do Montana and Angie do for TW? Montana is the lead of the TW programme and deals with organising connections between the programme leaders, course leaders and TW academics as well as any pastoral responsibility questions and concerns. Angie deals with the logistical aspects of the programme which include payments and contracts. Please also appreciate that Montana and Angie also manage other projects beyond TW, as part of their roles at Shades of Noir. We will do our best to facilitate and get back to you as soon as we can please bare with us.

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What types of teaching should the TW academic be engaging in as part of the programme?

We advise that all the academics get the opportunity to engage in some form of assessment and feedback as well one to one tutorials, team teaching or seminar teaching.

How do I teach a course I have no expertise or experience in?

We work with the approach that each academic comes with their own expertise within their chosen fields and therefore they have transferable skills which will add value and can be adapted to various subjects. We have also over the last four cohorts found that the best working relationship has been shaped through this approach with nearly 60% of the TW academics securing jobs beyond the programme in areas that were not their chosen expertise. As part of the programme, the TW team have designed workshops which will also provide the relevant information and extensive training needed to do well in the teaching environment.

How can I prepare myself at this stage to get used to the process of teaching styles?

We appreciate the idea may be daunting and something which you may feel worried or anxious about however through the programme you will engage in a variety of workshops, tutorials and interactions which are designed by the TW team to provide the scaffolding needed to make sure you succeed and become confident and competent academics. More useful resources can be found on the Shades Website (shadesofnoir.org.uk) which can help you to consider your teaching methods.

What is the Non-Disclosure Agreement?

A non-disclosure agreement is a document also known as a confidentiality agreement, confidential disclosure agreement, this is an agreement which is used to protect the property of the company.

All successful applicants will be obliged to adhere to a non-disclosure agreement, in relation to the programme content and function. Shades of Noir intends to disclose information to the academics for the purpose of working with Shades of Noir and Teaching Within.

What does it mean for me?

This means anything which you are exposed to as part of the programme is the property of Shades of Noir and therefore cannot be shared or used beyond the programme with any parties or for personal use. The Recipient undertakes not to use the Confidential Information for any purpose except for Teaching Within, without first obtaining the written agreement of Shades of Noir. The Recipient also undertakes to keep the Confidential Information secure and not to disclose it to any third party except to its employees and professional advisers who need to know the same for the Purpose, who know they owe a duty of confidence to the Disclosure and who are bound by obligations equivalent to those outlined above.

If this agreement is breached disciplinary actions can be taken against you and may lead to prosecution action.

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Can I share the resources with anyone beyond the programme?

No, you cannot, the resources that each of you as TW academics are provided with has been designed to aid the Teaching Within Community and programme. We do not want this to be shared with anyone beyond the programme as this will be a breach of the non-disclosure agreement. This is the property of Shades of Noir. This has been designed to benefit and provide scaffolding for the community. The Teaching Within team has worked extensively on the resources and this should not be shared with anyone under any circumstances.

What happens in a virtual session?

Shades of Noir made the important decision to move to a virtual space in response to the Covid pandemic earlier this year. This means that for the moment our workshops and teaching is currently being taught on virtual platforms. All workshops and teaching will require access to a computer/ laptop and a platform such as Google meets and Microsoft teams where the lessons will take place. At Shades we take into consideration that this way of working needs to be safe and therefore we have our Shades of Noir Netiquette which outlines the procedure for engagement within this learning environment as well as how we as a brand mitigate any problems.

In the sessions, different methods of teaching will take place. This can include one to one teaching, co-teaching, conference-style teaching or a dialogic space forum. As part of the programme, you will be shown how to use the virtual platform and it is likely that you will conduct this style of teaching as part of the programme.

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FAQs for Course leaders.

What if the TW academic does not turn up to teaching session?

The TW team believe that this is a collaborative working environment. We work with a professional ethos and communicate to our TW academics that if they for any reason are unable to attend the planned teaching session as part of their course that you are made aware well in advance in order to allow time for your course team to provide cover. We advise our TW academics to work collaboratively with your courses to pencil in dates and time which work best for both the course and the TW availability. If for any reason the TW does not turn up and provides no notice due to reasons beyond their control the course leader can contact Montana.

Hosting the TW academic, do we pay them from course budgets?

No, we at Shades of Noir pay for the TW academic to engage in 36 paid hours of teaching which is fully funded by Shades of Noir. The course teams do not have to do anything. The Teaching Within team will have advised the TW academics about the relevant steps to take to log their completed hours with the TW team. This is all processed and managed by the TW team. However, anything beyond the 36 hours of paid teaching must be paid from the course teams budgets.

What expectations as a Course leader and my team are there?

The Teaching Within team will organise introductory meetings with your allocated TW academic alongside Montana who is the lead of TW, Angie who deals with the logistics of the TW and usually your programme leader will attend. This is an opportunity to meet and greet one another and find out the expectations of the programme as well as an opportunity to answer any questions. We see this as a mutually professional and beneficial environment which needs an ongoing commitment from all staff in welcoming the TW academic and offering a space which allows the TW academic to learn and also provide teaching as part of your team.

The expectations are we expect professionalism, commitment and openness from all parties involved. We see that by hosting the TW academic programme this will provide your team with a skilled individual equipped to aid the workload with a shared sense of commitment.

The TW academics should be treated like another academic member of staff and no different.

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How do we introduce the TW academic to other staff and students?

The TW academics are paid as Associate Lecturers and we encourage that the academics are introduced as Associate Lectures and nothing else. In the past, there has been some confusion as to how to introduce them but they are paid as AL and there is no need to introduce them to students as being on the Teaching Within programme unless the TW academic specifically asks you to do so.

What types of teaching do the TW academics need to engage in?

We advise that TW academics engage in all styles of teaching including one to one, co-teaching, crits, team teaching and most importantly marking as part of the assessment and feedback process. The TW academics are paid as Associate Lecturers and therefore are expected to engage in this process.

Are the TW academic paid for the process of shadowing?

No, the TW academics are not paid for the process of shadowing and therefore we advise they come in and shadow alongside your team for up to a maximum of 4 hours. The 4 hours can include introductions to the rest of your course teams, introductions to students, observations of teaching students, observations of a crit setting. We feel a maximum of four hours is an adequate amount for the TW academic to observe as we also take into consideration they may also have other working commitments or responsibilities.

Who do I contact if I am having any difficulties?

If you are having any concerns with your TW academic as a first stage intervention we feel it would be great to speak with the TW Academic that you are hosting. If this is unsuccessful then you can contact Montana who is the line manager for the programme and the relevant steps can be taken.

What else do the TW Academics engage in as part of the programme?

As part of the Teaching Within Programme, the TW academics are also engaging in the Postgraduate Certification in Academic Practice qualification so they will be engaging in various units of study as part of this. They will also be engaging in the Teaching Within seminars which are organised by the team to facilitate their learning and this helps to provide the relevant scaffolding and tools to aid their teaching as Associate Lecturers. We must also highlight that they may have other working commitments and personal commitments and therefore advise planning and implementation at an earlier stage is best for all parties involved.

How do the TW academics teach a course they have no expertise within?

We work with the approach that each academic comes with their own expertise within their chosen fields and therefore they would have some transferable skills which will add value and can be adapted to various subjects. We have also over the last four cohorts found that the best working relationship has been shaped through this approach with nearly 60% of the TW academics securing jobs beyond the programme in areas that were not their chosen expertise. As part of the programme, Montana and Angie have designed at various stages workshops which 70 //

will also provide the scaffolding and extensive training needed to do well within those spaces.

Each TW academic will be participating in the PGcert in Academic Practice at UAL. What if our course team wants to continue working with the TW academic beyond the programme?

Anything beyond your allocated 36 hours will not be paid by Shades of Noir. This is something which will have to be organised by the course teams and they will have to employ the TW academic using their allocated budgets. The TW academic will be on the Hourly paid system so this will make it easier for you to process payments.

What happens if there is an unprofessional code of conduct on my course?

If there is any breach of the codes of conduct Montana should be notified and a meeting should be organised. The outcome will be dependant on the information that is received and will determine what if any are the necessary steps that will be taken. We have strict guidelines and do not tolerate any unprofessional practices. This is applicable to all academics involved in the course.

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The Postgraduate Certificate in Academic Practice.

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“

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

“

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

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Please note that at the time of publication the PgCert is under a review process which means that dates, content and structure are subject to change and availability. We have published the information we have to the best of our ability.

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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The Pgcert Element.

Teaching Within Programme.

Gems Shadowing

Fact Not Fiction

Course Shadowing

Teaching & Learning Unit. (20)

Seminars & Blogging

Observation 1 Tutor > You

Observation 2 Peer > You

Observation 3 You > Peer

Statement 1

Statement 2

Statement 3

Designing & Planning for Learning

Teaching & Supporting for Learning

Assessment & Feedback

Micro Teach

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Workshops and Independent learning

Inclusive Practices Unit. (20)

Teaching

PgCert

Self Initiated Project (sip). (20)

Seminars & Blogging

Seminars & Blogging

Artefact Development

Small scale Research Research presentation

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The Pgcert Element.

What does the course involve?

The course has been designed for flexible study by practising professionals.

You will study on a part-time basis over 12 months.

• You will learn through a blend of working with peers and working individually.

You will also combine face-to-face 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 2 mandatory units and 1 elective unit.

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 where we can discuss the option of a 2 year programme.

You will study on a part-time basis over 12 months. The PgCert will start off with the Teaching and Learning Unit in Term 1, The Inclusive Practices Unit which in Term 2 and your final unit, the SiP will run independently during the Autumn term 2022/23.

During the revalidation of the course, at this time we can not give any specific dates for sessions and workshops, but anticipate that there will be one days commitment every other week during term time. On a regular day of your choice from Monday, Wednesday or Fridays.

Term 1: Jan - April

Term 2: April - July

Term 3: Sept- Dec

Teaching and Learning (20)

Inclusive Practices Unit (20)

Self-Initiated Project (SiP) (20)

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Teaching Within’s 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 are 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 lead Montana Williamson, this has proved to be really supportive and there is always a form of solution.

• If you experience any difficulties that may affect your participation and or engagement on the course, then, in the first instance please contact Shades of Noir as soon as possible.

• 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 you will be asked to produce work that is of a reflective nature..

• Don’t suffer in silence, Montana is a fantastic support and advisor who has not only done the programme herself but also is there to help or point you in the right direction.

• If you have a disability don’t be afraid or worried to share this with the PgCert team and or Montana.

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Teaching & Learning Unit.

January - April 2022.

Credit rating Level of Study Contact Hours

20 7 30

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 • Journalling • 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. // 81

Inclusive Practices Unit.

April - July 2022.

Credit rating: Level of study: Contact Hours:

20 7 24

The ‘Inclusive Practices’ unit takes the position that racist structures underpin all institutions and that it is the responsibility of everyone to work to combat this in their own professional contexts and life practices.

In this unit you will develop your understanding of the pedagogies of social justice through the Freirean frame of critical pedagogy, and the notion of education as a non-neutral space. Through your engagement with the resources presented, you will develop a deeper criticality and awareness of your practices. You will reflect on your personal and professional identities and how these inform your actions.

You will learn about inclusive pedagogy and critical race theory, and how they apply to your day-to-day work at the university. Using the lenses of intersectional anti-racism and positionality, you will scope, design and integrate a small change within your own practice. This unit is process-led, not productled. A key objective is personal change through identity work. Reflexivity will support your journey to learn about, critique, reflect on, and transform your environments and your practices. The overall aim is to energise participants to create learning spaces which are more open, divergent, and just.

Learning Outcomes Upon successful completion of this unit you will be able to: 1. Articulate the development of your positionality and identity through the lens of inclusive practices. [Communication] 2. Manifest your understanding of practices of inequity, their impact, and the implications for your professional context. [Knowledge] 3. Critically evaluate institutional, national and global perspectives of equality and diversity in relation to your academic practice context. [Enquiry] 4. Enact a sustainable transformation that applies intersectional social justice within your practice. [Realisation]

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Indicative Content At the start of the unit you will reflect on your own positionality and consider your personal assumptions around diversity, race and social justice.

As the unit progresses you will critically explore current debates found in scholarly resources, policies and practices of inclusivity. Using your PgCert blog, you will undertake three blogging/ vlogging tasks, responding to a wide range of materials drawn from theory and arts practice.

You will consider key intersectional themes around social justice and how they relate to your own context. Working in groups you will be required to complete a set of tasks and engage in dialogue via commenting on peer blog posts. Your blog is an opportunity to share resources or pedagogies that have proved useful or even challenging within your own practice.

Finally, you will design and potentially embed a small practice intervention, which will be steeped in intersectional anti-racism theory. You will draw together your thinking in a reflective piece of writing that considers the differences the intervention may make and the challenges that you may encounter in your ongoing practice- and selfdevelopment. Authentic, critical reflexivity in action is the key to success in this unit.

Assessment Requirements This unit will be assessed holistically through a portfolio of coursework, which will include the following elements: • Respond to set themes and resources by authoring a minimum of 3 x 350 word blog posts or 3 x 2.5 minute vlog posts, and commenting on the posts of peers.

• Design and evaluate an intervention that enacts intersectional social justice in your context.

• A reflexive response that critically articulates how the intervention applies social justice theories to practice. (1500 words).

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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. J. and McManus, J. (2011) ‘Art for a few: Exclusions and misrecognitions in higher education admissions practices’, Discourse: Studies in the Cultural Politics of Education, 32(5), pp.699-712. https://doi.org/10.1080/01596306.2011.620753 Cowden, S. and Singh, G. (2013) Acts of knowing: Critical pedagogy in, against and beyond the university. London: Bloomsbury Publishing.

England, K. (1994) ‘Getting personal: reflexivity, positionality, and feminist research’, The Professional Geographer, 46(1), pp.80-89. Available at: https://atrium.lib.uoguelph.ca/xmlui/bitstream/ handle/10214/1811/18-England.pdf?sequence=1&isAllowed=y (Accessed: 2 December 2020).

Fletcher, T. (2010) ‘“Being inside and outside the field”: An exploration of identity, positionality and reflexivity in inter-racial research.’ Available at: https://www.academia. edu/243923/_Being_Inside_and_Outside_the_Field_An_Exploration_of_Identity_ Positionality_and_Reflexivity_in_Inter_racial_Research (Accessed: 2 December 2020).

Friere, P. (1970) Pedagogy of the oppressed. London: Continuum.

Gabriel, D. and Tate, S. (eds.) (2017) Inside the ivory tower: Narratives of women of colour surviving and thriving in British academia. London: UCL IOE Press.

Hatton, K. (2015) Towards an inclusive arts education. London: Trentham. hooks, b. (1994) Teaching to transgress: Education as the practice of freedom. London: Routledge.

Lorde, A. (2013) Sister outsider: Essays and speeches. Berkeley: Crossing Press.

Richards, A. and Finnigan, T. (2015) ‘Embedding equality and diversity in the curriculum: An art and design practitioner’s guide.’ York: Higher Education Academy. Available at: https://www.heacademy. ac.uk/system/files/resources/eedc_art_and_design_online.pdf (Accessed: 2 December 2020).

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Shades of Noir [website] (2020) Available at: www.shadesofnoir.org.uk (Accessed: 2 December 2020).

Shades of Noir (2020) ‘Inclusive Practice.’ Available at: https://issuu.com/ shadesofnoir/docs/inclusivepractice (Accessed: 2 December 2020).

Shades of Noir (2017) ‘Mental Health & Creative Healing.’ Available at: http:// shadesofnoir.org.uk/mental-health-creative-healing/ (Accessed: 2 December 2020).

Shades of Noir (2018) ‘Peek a boo we see you: Whiteness’. Available at http://shadesofnoir. org.uk/peekaboo-we-see-you-whiteness/ (Accessed: 2 December 2020).

Smyth, J. (2011) Critical pedagogy for social justice. New York: Continuum.

Steventon, G., Cureton, D. and Clouder, L. (2016) Student attainment in higher education: issues, controversies and debates. London: Routledge.

Digital Resources: shadesofnoir.org.uk shadesofnoir.org.uk/artefacts shadesofnoir.org.uk/creatives shadesofnoir.org.uk/education shadesofnoir.org.uk/journals

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Self-Initiated Project Unit.

September - December 2022.

Credit rating: Level of study: Contact hours:

20 7 23

Learning Outcomes Upon successful completion of this unit you will be able to: 1. Identify a topic for enquiry, justifying its professional significance. [analysis] 2. Investigate methods of enquiry appropriate to the specific contexts of the topic. [experimentation] 3. Conduct a scholarly enquiry. [research] 4. Present project findings in a coherent, context-sensitive manner. [communication and presentation] Indicative Content In this unit, you will be introduced to a variety of methods of enquiry relevant to your selected project focus, and will experiment with those most appropriate to your content and context. You will work in small, problem-based learning (PBL) peer groups as you design, develop, conduct and analyse your enquiry.

Regular work-in-progress critiques will provide key formative assessment points, leading to final presentation of your project findings to peers and tutors at the course’s Academic Practice Conference.

This conference will give you an opportunity to develop your peer-to-peer presentation skills, while at the same time disseminating educational research, scholarship and enhancement work across the programme.

Teaching and Learning Methods The teaching and learning methods used on this unit include: • Interactive workshops • Project work • Seminars • Group tutorials • Problem-based learning peer-groups • Formative presentations

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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 firsttime 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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Case Studies:

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Teaching Within Academic: Jessica.

Individual Context: Jessica has worked in the creative industries for several years within the fashion buying sector. She was placed on the TW programme and felt she had various skills which were transferable skills which could be utilised in a teaching context. As part of her placement, Jessica was able to develop a teaching model of seminars which allowed her to develop and conduct a series of workshops within the higher education setting Jessica was able to identify that some of the skills she had learnt within the industry setting were skills which weren’t taught as part of the higher education setting. She felt these were useful skills that could allow students to understand the positive attributes of transferable skills and have skills to add to their CV’S when applying to work in the industry.

Teaching Within Programme: The course team was very supportive and allowed me to embark on testing out my ideas with support and trust. I was able to test out and adapt what I had learnt within the industry to the higher education setting. As a result, I was offered an additional hourly paid contract to continue working collaboratively with the course. I really enjoyed my placement and would recommend this opportunity to anyone wanting to get into teaching. Thank you for the opportunity!

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“

The programme is a great opportunity, not without its challenges. The largest one for me was the lack of support from the course leader although it didn’t seem like this in our first meeting where we talked about my knowledge. I was very surprised that the students did not have access to some materials or a commercial offer and was happy to try and fill this gap. However, this was not welcomed by the course leader and has meant that I do not feel valued and instead feel that some actions by this course leader have been obstructive.

I do however believe that with the formal teaching qualification, teaching experience and the networks I have gained through the programme will be invaluable to my future choices.

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Teaching Within Academic: Marvin.

Individual Context: Marvin worked as part of UAL as a technician before commencing the TW programme.

Marvin was placed on a course which he had no direct expertise in. At first, he was unsure how this would work out. This decision was one which allowed Marvin to try out new teaching methods and also learn a new skill set in the teaching context. He felt that the TW programme provided the scaffolding and extra support needed to succeed in the teaching space. Marvin was able to have to test to find out that he was dyslexic and dyspraxic and he was able to get the additional support via extra tutorials and the Teaching Within team.

Teaching Within Programme: This was the best decision to apply for Teaching Within the programme. It has allowed me to learn new skills and adopt a teaching method which would be useful to all students. I have been able to use my experiences of being a student to improve and design a curriculum which incorporates disability at the forefront. This is a practical approach which definitely champions inclusive pedagogy.

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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: Lisa.

Individual Context: Lisa is a practising textile designer and her work relates to racism, social equality and inclusive pedagogies.

Lisa within her education experience has been subjected to racism and segregation. This has always been an area of interest and an area she is incredibly passionate about. Lisa has conducted a variety of researchled projects tailored around exploring practical ways to combat this existing problem. The programme allowed her to embark on the highest self-selected unit the inclusive practice unit. In this unit, she was able to expand her knowledge expertise and also obtain a high grade which would contribute to her overall grade as part of the PGcert. The unit explores critical race theories and inclusive pedagogies.

Teaching Within Programme: The inclusive practice unit was the first place I was able to highlight and discuss the inequalities that so many diverse students and staff of colour feel within higher education. I was able to not only be honest but share my experience to help provide meaningful knowledge to my peers and expand my vocabulary which was suitable in a higher education setting.

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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 mono-cultured cohort struggled to engage with my view, interpretations of the unit and context. Whilst this was upsetting, the Teaching Within programme’s additional support structure was useful, as it allowed a safe space for critical reflection and shared ideas.

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Teaching Within Academic: Mark.

Individual Context: As a student Mark had a very bad experience and unfortunately decided to not complete his PhD at University due to experiencing racism. He went on to set up a successful graphic design business which is recognised worldwide and internationally. He has won multiple awards for his contribution to the creative arts sector. Mark always felt he could contribute significantly to students learning but had been put off by their own experiences of being a student.

Teaching Within Programme: After a conversation with Aisha, Mark opted to apply for the programme. Determined to make a difference to student experiences. He was placed on a course which had some relevance to his area of expertise. He was able to engage the students with many of the students requesting him to continue teaching beyond the programme. The course where Mark was placed on, unfortunately, the course leader was very destructive and was not supportive. Through ongoing support provided by the Teaching Within team, Mark was employed by another department and is now a part-time hourly paid lecturer.

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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: 98 //

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.

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.

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: 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.

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

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 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 use the words Black, Brown, Asian, People of Colour, BAME, BAM. Ok relax, remember just be you. // 99

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: Not really. Well, it does but in relation to students numbers and experience.

This does come up very often.

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

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

SoN: What about religion or any other intersections?

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?

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?

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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 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. 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 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 // 101

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 Black 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 102 //

like to be a black female like you and you will know more about this stuff than 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 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.

The Struggle is Real.

Stacey Leigh-Ross Camberwell College of Arts, UK.

The third and final Inclusive Teaching & Learning Practice lecture and they didn’t pull any punches.

This was a heavy session.

In the morning we looked at a lot of ‘touchy’ subjects. Subjects that need to be addressed but often aren’t because they are so uncomfortable. Jaime discussed a quote about Whiteness being “unmarked and unnamed”.

That really hit home.

I had never thought about it like that.

It’s the default measure by which everything

is rated, it feels like pretty much everything is identified in comparison to white.

In my last blog, I mentioned that what I want from white people is their discomfort, not apologies or shame or anything like that.

It felt really good to hear this same concept of discomfort coming up in class and realising that even before this session I was already on the right track with my thinking.

As a newcomer to the ‘woke’ party, I often feel wary of saying the wrong thing and saying too much (not that you’d guess that from these blogs. Ha!) So today, I don’t know if I got my discomfort wish granted but I do know I learned something important // 103

about myself – I am uncomfortable listening to truthful information about race in the presence of white people.

There, I said it.

In discussing the concept of Whiteness, we listened to an excerpt from Robin Diangelo’s audio-book White Fragility. She is frank and brutal with her dissemination of the truth and I listened to it like a split personality. One half of me was like “Yea sister, tell it like it is!” The other half of me was cringing and bracing for impact – how much am I going to have to pacify while I try to justify and explain? How much energy will I need to use up trying not to cause offence while still getting the white people around me to open their minds to this information? That is an exhausting task and I’m operating on about five hours of sleep. I don’t think I’m up for this today.

An Ally & An Oppressor…

Then I met an ally. I love allies. It’s like finding a port in the storm. They let you know that no, you didn’t imagine that, yes you have a right to be angry, and plot right alongside you to topple the instruments of oppression. And sitting right beside me was an ally. She was surprised by my discomfort (girl, me too!) and her response to the audio was so matter of fact – Yep! Total truth.

Where can I get this book? She just wanted to know and understand more so she could figure out how to dismantle this too. I cannot tell you how much that means to me.

By contrast, in total opposition to all the Critical Race Theory, White Supremacy, Whiteness and White Fragility information we learned not four hours earlier, one of my peers repeatedly stated that no examples of good non-white artists could be found in a particular art discipline. Even in the face of repeated polite but firm opposition, this person held the position that it was incredibly hard to find good non-white artists in this field. When presented with 104 //

two examples of not only non-white but female professional artists in that discipline, the response was something along the lines of “I can’t just include artists because they aren’t white, their work needs to be good”.

Deep breath.

Several people challenged this with gently phrased comments like: (A) You will have to look harder for them because they will have been historically excluded from prominent recognised spaces, (B) I just did a Google search. Here’s one who is a black female professor at a US uni, (C) Surely it’s worth it to really dig for the information. This is the work that we’re about.

(C) Here’s the name of one I know [insert name] check her out, (D) What is your definition of good? What informs that definition? Perhaps the culture of the artist changes the definition of good?

That last comment was mine, and I received a very condescending response delivered with an equally condescending smile, “Well some things just aren’t good practice.

I can’t include something with an inky thumb print, it’s just not good enough” The Lesson that Churns…

I stopped talking at that point. My mum says that if you have nothing good to say, say nothing and I was losing my ability to be professional so I shut up. The insinuation that BAME artists are incapable of good practice and could not produce ‘good’ work is downright insulting and I have to wonder, what prompted this person to sign up for an inclusivity course if they have no intention of truly being inclusive.

Talk about White Supremacy in action – There you stand supporting institutional, systematic racist power games, acting like the gatekeeper who says “I really want to let

you in” with your mouth, but your actions scream “You don’t belong here. You are inferior and I will NEVER let you in”. Did somebody force you to take this class?

I could feel my blood pounding, my heart racing, my stomach churning. It was like swallowing acid listening to “I just can’t find any good work from BAME artists” mantra repeated over and over and over.

It’s people who think like this person that makes people who look like me invisible.

Later that evening, I was relating the incident to my husband and thinking out loud that I was a bit disappointed with myself. I should have been more than capable of dealing with this. How will I facilitate difficult discussions if I shut down and shut up to avoid losing my isht? And as soon as I asked the question, I knew the answer.

This one cut deep because I was not expecting it. For some reason I felt that the Inclusive Teaching & Learning Unit was meant to be a safe space because we were all there to learn how to create more inclusivity in our students’ experience. How naïve of me! So for me this felt like it came out of left field. Why are we on this course, if not to be more inclusive?

Take away 1 Learn to navigate and swim competently in the discomfort. Also, there are allies out there, the load can sometimes be shared.

Nobody owes you anything. Expect anything from anyone any time, even in ‘safe’ spaces.

Take away 2 Feel the hurt or preferably let it slide off your back. Either way, do not pick up the muck left behind by someone else’s issues, that’s for them to deal with, not you.

Take away 3 If you speak your truth in a manner that does not disdain others, you will never have cause to regret your words.

Have a bit more faith in yourself girl.

I am powerful and somehow manage to be on the right track even when I don’t know exactly where I’m going.

Take away – Walk tall in the direction that excites you. Your instincts are your guide.

I forgot Rule #1 that my mum taught me – Nobody owes you anything.

Just because you treat someone a certain way does not under any circumstances mean that they will offer you the same courtesy (or discourtesy).

So maybe there are other reasons that people are on this course.

So to recap today’s big lessons for me – I get uncomfortable unpacking race topics in front of white people. I can see the work coming a mile away and it’s a heavy load.

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Brown Girl Not in the Ring.

Jhinuk Sarkar, Central Saint Martins, UK.

The opportunity that Shades of Noir gave me through the Teaching Within program was not one that I thought was ever open to me: To recognise my own area of expertise. To find value in my own education experiences.

I didn’t know that any person would be interested, would appreciate my work, or find reference in it, let alone other students finding value in it for the sake of direction in their work.

Teaching Within gave me space to reflect on a few important points in my arts education and subsequent practice as an 106 //

Illustrator and Disability access consultant: My voice as a postgraduate student interrogating my ‘Mother Tongue’ was not nurtured. I had no confidence to explore identity in my illustration work. People around me in ‘authority’ as teachers did not adopt any kind of transformational education principles that I can recall. The power seemed to lie within a definitive single story.

“The single story creates stereotypes, and the problem with stereotypes is not that they are untrue, but that they are incomplete.

They make one story become the only story.” Chimamanda Ngozi Adichie

My experience as a new graduate with a held great frustration about not knowing Masters left me with uncertainty, at a time I throughout most of my education. But now now realise I should have been ready to thrive. I can own how I learn and understand this At least I kept on creating work. I know more deeply. other friends and peers gave up at this point.

It’s given me a new confidence I didn’t know possible. If it wasn’t for this space to be Whilst I carried on creating, themes on the PG Cert, particularly the inclusive in my work exploring identity kept teaching and learning unit I would not returning. Even amongst commissions have discovered this part of me existed. and work in arts organisations outside I still don’t feel like I’m ‘in the ring’ but I’ve of my illustration practice. realised that doesn’t make me feel left out, It was only during my PG Cert education it makes me feel like an individual. This where I found a community of peers that confidence has allowed me to find value I really thought: This means something. in my work, for myself and for students Other people feel like this too. I finally I aim to educate and learn from, because began to note my skills, their value and education doesn’t travel in one direction. some that lay within my identity.

“Everything comes to us that belongs to us if “The only solutions that are ever worth we create the capacity to receive it… Reach anything are the solutions that people high, for stars lie hidden in you. Dream find themselves.” Satyajit Ray deep, for every dream precedes the goal.”

Rabindranath Tagore.

Themes of belonging and identity will always be there in my work, ideas, illustration practice. Whether they are subconscious or conscious, it’s part of me.

Teaching Within gave me the nurturing I needed the first time round as a student.

But this time, the nurturing has offered me confidence to challenge myself and others in my practice as an Illustrator and Educator.

I also found out something new about myself as a student and the way that I learn. I was diagnosed with Dyslexia and it all made sense. It rationalised my struggles, the efforts I went to when it seemed seamlessly easy for my peers, the taboo of owning my specific learning difficulty and telling my family (the ‘dis’ in disability is bold and maybe considered a deficit in my Indian culture). I initially // 107

Reflecting on the ‘Inclusive Teaching and Learning’ Unit.

Iris Ching Man Yau, London College of Fashion, UK.

I first heard of the ‘Inclusive Teaching and Learning’ (ITL) unit at the 2 days ‘Thinking Teaching’ for ‘Teaching Within’ cohort back in 2016.

The two day workshop was very intensive.

We were told that the ITL is a very popular unit but I did not know why back then. Last January in the Pg Cert.

Academic Practice Self-initiative Project Conference, I was impressed by the ITL participants’ inclusivity interventions, that inspired me to join the force.

Although I have attended some professional development workshops in the inclusivity area, for example : • Support Disabled Students • Fairness in Selecting students; Selecting the best (fairness interview) • Mental Health Awareness • Intercultural Competence - Clear and Accessible English.

In order to teach well, I feel that it is necessary to increase the depth of the knowledge in inclusive teaching and learning. Fortunately, I was able to join this ‘Inclusive Teaching and Learning’ community via my MA Academic Practice in Art, Design and Communication this year.

The face-to-face sessions were always intensive and mentally challenging but at the same time an invaluable experience to share and critique issues on disability, religion and race… oh, yes, the elephant in the room ‘racism’.

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The discomfort: During the ‘White Fragility’ audio note discussion in the 3rd face-to-face session last week, I was so moved and mesmerised by my peers’ honesty when they shared their perspectives and experiences, from ‘feeling uncomfortable’, to ‘getting comfortable and confident’; ‘but it is still difficult to talk about it with friends...’ on racism?

‘Unconscious or conscious’ bias?: Hong Kong where I grew up, an island in the Canton/Guangdong Province in China, a bilingual and multicultural city, where 92% of the population is ethnic Chinese.

The rest of the population are immigrants who come from all over the world.

Like Robin DiAngelo confessed: ‘We were not taught to discuss racism at school’ in ‘White Fragility’. I reflected on my experience of growing up in Hong Kong during the British Colonial era, we had and still use racial terms or slang for people who are different to us/Hong Kong Chinese i.e. people who have paler skin, so called Western (in Cantonese); darker skin for people from South Asia, (in Cantonese); people with African and Caribbean heritage (in Cantonese)… in the present day.

Some of us were and are still ignorant or uneducated about the consequences when some local slang or racial terms are misused or misinterpreted and became racially offensive. Through this unit, I have developed more self-awareness on racism and inclusivity, and became a more

reflective teaching and learning facilitator.

Confucius says:

I have been inspired and empowered by the teaching team, and enriched by my like-minded colleagues.

‘以和為貴 harmonious and merging’ is one of the basic principles to deal with different cultures, however there is a very fine line between ‘ denial’ and ‘ in pursuit of the harmony’.

This unit has generated fruitful and meaningful dialogues, sown seeds for interventions and collaborations to enrich teaching and learning experiences in higher education and beyond.

I agree with my peers after studying some of essential reading from this ITL unit, I have gained more confidence to critique inequality with colleagues and students.

I now know why this ‘Inclusive Teaching and Learning’ unit is in such demand, not just as a selective unit for the Pg/MA, as well as a standalone teaching unit for staff at UAL. It is not just a titanic iceberg breaker but also a safe space to critique and reflect on social injustice around us.

“Students don’t care what you know until they know you care” as John Smyth reminded us in his ‘Critical Pedagogy for Social Justice”. // 109

An Act of Radical Compassion.

Words by Rayvenn Shaleigha D’Clark.

How can you teach radical compassion within an arena practicing (white) privilege and power?

I was recently asked to write a piece exploring the Inclusive Teaching and Learning in Higher Education Unit (Finnigan and Richards, 2016) and what I hoped would be covered in the Unit. As someone who hasn’t engaged with the unit, I must admit I hadn’t a clue about what response I would write. Utilising my insights based upon my experiences of Higher Education (HE), I suppose my most immediate thought was the designation of 110 //

term alchemy as a first response - alchemy defining as a ‘seemingly magical process of transformation, creation, or combination’ (Dictionary.com), or more simply the art of causing change where there is no division between spiritual (self-improvement) and physical (methodological) practices, it more broadly characterises the act of breaking things down and reconstructing them into something else - something entirely different.

I suppose then the title for Shades of Noir’s (SoN) upcoming Terms of Reference (ToR) publication ‘Alchemy - Transformation/ Formation in Social Justice Teaching’ feels perfectly placed within this discussion.

I think it is OK to admit that I have a very limited amount of experiences - reflecting upon the length of time I have spent in arts education - within HE in comparison to some of my colleagues-peers. I also think that it is OK to admit that this is not a hindrance to my contribution in the field, nor in my exploration of this Unit. And so, based on my ‘limited’ experience I suppose that in answer to the question ‘what do I hope would be covered in the Unit’, my answer would be the teaching of compassion.

This state of mind, according to Lampert’s theory, is universal, and stands at the root of the historical cry for social change (ibid.). However, Angela P. Harris’ view, as described by Derrick Bell in Critical Race Theory: An Introduction (2012) asserts that ‘empathy is not enough to change racism as most people are not exposed to many people different from themselves and people mostly seek out information about their own culture and group’.

With the tools and practices of radical Compassion feels whispered in hushed compassion we contemplate upon the tones within HE, and there feels to be such need to cultivate - or more simply ‘teach’ duality within the discussion of whether it is empathy as a respectful understanding more important to (critically) teach inclusive of another person’s experience. debates from a wide spectrum of institutional perspectives, versus the belief that we all But how do you begin this discussion? hold within us a basic understanding of What should never be questioned is compassion - or empathy (that some argue the compassion of the action. cannot be taught past childhood) - that we should be exercising within this dimension.

Developed by Aisha Richards and Terry I am of the opinion that compassion, and Finnigan in 2011 with the support of Ellen that very genuine sense of sorrow for the Sims and Hilaire Graham within University suffering of others and consequently the of the Arts London (UAL) - as a self-selective desire to alleviate it, should be a standard Unit - Inclusive Practice training reveals virtue for all levels of staff, teachers and the radical power of compassion to enact students. Hence ‘radical compassion’ as revolutionary changes to the mindset of defined by philosopher Khen Lampert its participants; highlighting the liberatory in 2003 - first appearing in Traditions value of training all student-facing staff in of Compassion: from Religious Duty to social justice pedagogy, it goes lengths in Social-Activism (2006) - goes a step farther, allowing participants to reflect upon their leading people to act with compassion not own position and assumptions surrounding only when it is inconvenient, but also when an increasingly diverse population of it is both difficult and/or dangerous. students, furthering their own empathetic understanding of differences in student Lampert identifies compassion as: experiences. I have personally experienced, witnessed and been privy to a great many ‘[...] a special case of empathy, directed things that exemplify the monoculture towards the “other’s” distress. Radical within HE, and in spite of this it still feels compassion is a specific type of general to me to be a very difficult thing to witness compassion, which includes the inner and recount past experiences of the huge imperative to change reality in order lack of compassion that many display on to alleviate the pain of others. I have a day-to-day basis, particularly from some noted that compassion, especially in student-facing staff. Again, here the idea of its radical form, manifests itself as an alchemy again enters the conversation: The impulse. [...] and proposes viewing such inclusive practice unit has been described an inclination as the product of cultural by many graduates as ‘transformational’ in conditioning (Lampert, 2006). its presentation of intersectional theories, it similarly becomes an opportunity to offer // 111

reflection that undoubtedly influences their current teaching practices, impacting academic practice through evolution.

Aisha Richards once told me that ‘policy tells you how to do things, it does not show you how to [care]’ (ibid.) and this could be more to the point. Of the many things I have learnt about the Inclusive Unit, and what I hold close to my heart is that we all must admire Richards’ unwillingness to compromise, the unit symbolising another great step towards radical compassion for all within HE.

Bibliography: Shadesofnoir.org.uk. (n.d.). Inclusive Practice: Alchemy – Transformation in Social Justice Teaching. [online] Available at: http://shadesofnoir.org.uk/inclusivepractice-alchemy-transformation-in-socialjustice-teaching/ [Accessed 4 May 2019].

Crenshaw, K. (1989). Demarginalizing the intersection of race and sex: A black feminist critique of antidiscrimination doctrine, feminist theory and antiracist politics. U. Chi. Legal F., 139.

Chicago.

Finnigan, T. and Richards, A. (2016).

Retention and attainment in the disciplines: Art and Design. [online] Higher Education Academy, pp.Pg 11 - 13. Available at: https://www.heacademy.ac.uk/system/files/ ug_retention_and_attainment_in_art_ and_design2.pdf [Accessed 4 May 2019].

Ladson-Billings, G. (2001). Crossing over to Canaan: The Journey of New Teachers in Diverse Classrooms. The Jossey-Bass Education Series. Jossey-Bass, Inc., 350 Sansome Street, San Francisco, CA 94104.

En.wikipedia.org. (n.d.). Radical Compassion. [online] Available at: https://en.wikipedia.org/wiki/Radical_ compassion [Accessed 4 May 2019].

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/projectsresearch/admissions-research.cfm Friere, P. (1970) Pedagogy of the Oppressed. London: Continuum.

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