My SIP aims to raise the professional significance and inclusion of the Carnival Arts in the curriculum at UAL. I will use a range of methods of enquiry, including ethnographic research, a focus group, creative group and life histories. I will draw upon the existing and growing scholarly enquiry into the Carnival Arts. I am to present my project findings in the context of a published article and performance piece. Inclusivity is an important part of my SIP and as such, aims to contribute to current work on improving the experience of disabled people at festivals and public performance art.
The question or problem my self-initiated project responds to, and why this matters:
My SIP project will contribute to the desired outcomes of the UAL BLM statement; ‘We are committed to creating a university that can truly be described as anti-racist’ and subsequent statement; ‘We will not rest until UAL can truly call itself an anti-racist university’.
In particular the following aspects of the new 10-point plan:
Decolonising the curriculum, to address black and other cultures across all courses
Resources for decolonising the curriculum, to invest in our learning and teaching collections
Enquiry: Justify the professional significance and inclusion of the Carnival Arts in the Performance: Design and Practice course curriculum at UAL
Process: Demonstrate how I have used a range of methods of enquiry, including in-depth interviews, ethnographic research, a focus group, creative group, historical, life histories, autobiographies and surveys. I will also be mindful to adhere to the UAL Code of Practice on Research Ethics and UAL Code of Good Conduct in Research documents.
Communication: I am to present my project findings in the context of a published article and performance piece. Inclusivity is an important part of my self-initiated project and I will be making use of the Shades of Noir Case Study – Disabled People: The Voice of Many Published on Aug 12, 2020 https://issuu.com/shadesofnoir/docs/disabled_people
“interaction with artefacts deepens students’ learning”
(Schultz’s (2012) p. 185)
My intended or expected learning outcomes for this session: How might you respond in a creative way to the themes of resistance, liberation, celebration and Carnival as a force for healing?
Aims / objectives • Strength and broaden communication skills • Understanding of how needs and responses from an audience can be critical to their creative practice • Consideration given to accessibility ● Visual literacy (ability to ‘read’ objects, to find meaning from them)
Recommended reading: Schultz, D. (2012) Three-dimensional learning: exploring responses to learning and interacting with artefacts. In: Jandl, S.S. and Gold M.S. (eds.) A handbook for academic museums, exhibitions and educators. Edinburgh: MuseumsEtc, pp. 166-89. Sudjic, D. (2008) The language of things. London: Penguin. Wenger, E. (1998) Communities of practice: learning, meaning and identity. Cambridge: Cambridge University Press.
My reflection notes: I could add extension activity of – discuss some possible contextual considerations when using colour in response to themes such as resistance, liberation and celebration.
Part 1: In preparation for the session I watched the mini-lecture on Love & Belonging in Education based on Anna Julia Cooper. I found it interesting to reflect on who gets to tell narratives, something which I covered in my two part online workshop of Stage 2 BA (Hons) Performance: Design and Practice students. The theme of belonging which runs through Cooper’s work is relevant to me as a child born in the U.K. to Jamaican immigrants, and also being the descendent of slaves who had all essential parts their identity removed from them. Gender was conflicting when it came to slaves, as it is well documented that they were considered as cattle.
Therefore, I find it interesting to learn about Victorian ‘soft femininity’ – was this viewpoint afforded to female slaves? Our lecturer asked us to reflect upon ‘What and who do those structures specific to the university (its regulations, standards and norms) protect, and who or what do they leave out?’ – This has been a long running concern for UAL, but it has been a combination of the lockdown due to the global Coronavirus pandemic and the raising of awareness of the Black Lives Matters Movement due to the violence against black bodies being shared through social media on a scale like never before as to why many more voices around the world not only begun to question the status quo, but demand it changed.
Reflections on the case study: Questionnaires from the students on the course. What are the potential issues Stephanie might want to explore in her teaching practice?
Complaining not confronting the issues, hence accessing the numerous training available around ‘Having difficult conversations’ would be a useful starting point
Not taking the whole process seriously, stuck with in her ways, not open to feedback from students, so therefore the quality of her teaching is likely to be compromised
Popularity vs quality – Just because a lecturer is popular with students, doesn’t necessarily mean they are best. What is the popularity based on?
Student feedback I am strong advocate of seeking feedback from my students, as it is an important part of the learning experience. In 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 in the chapter on Implementing, supporting and enhancing constructive alignment – it speaks about The Learning Experience Inventory (LEI) when gathering evidence from student’s perspective. P.285.
The following key questions are asked to gather students’ views and they are on a scale of five:
What I am to learn
How did I go about learning it?
How well did I learn it?
How I feel about my learning?
Reflecting on my learning
The answers to these questions can be useful in so many ways, such as when it comes to differentiation. Often when we get feedback from students they are expressing when they feel unhappy about something. I had not heard of Marshall Rosenberg’s book – Non-Violent Communication before the lecture, and will aim to find out more.
In terms of the evidence from a teacher’s perspective, the book goes on to describe in extensive detail various aspects for Constructive alignment in action. I am of the view that its a fine line between giving adequate time to reflect on your teaching, and preparing outstanding resources to fully meet the needs of students.
I watched – Deconstructing White Privilege with Dr. Robin DiAngelo and this blog reflects some of my thinking and how it links to issues around attainment and assessment for students.
“In the line of work that I do it’s a breakthrough if you can get white people to acknowledge that our race privileges us in this society. That is like the Second Coming. To get white folks to admit that we are privileged by our race”.
The role that Christianity
● We were asked to consider how does the content make us feel?
I found it surprising to engage with this material in the context of religion and how it was able to be embraced in this way, without deeply exploring the historical links with slavery and the violence and trauma inflicted upon Black and brown bodies in the name of religion. That being said, it was clearly an extensive, accessible and popular course, freely available online.
Intention vs impact?
I would be interested to hear the views of those who might consider themselves to be DiAngelo’s target audience – mainly white people
What if anything makes you feel comforted or uncomfortable?
That it might seem as the message is coming from a white woman it is given more validation as to opposed if a black woman said the same thing. The book also makes me reflect up the industry in the ‘race education’ of white liberal women in the USA, such as ‘The Race to Dinner’ experiences: https://www.theguardian.com/world/2020/feb/03/race-to-dinner-party-racism-women
Critical theory uses story telling which can be a powerful mode of learning, I think DiAngelo does this very well, which adds to her extensive and impressive academic research on the term she coined ‘White Privilege’.
How White Privilege can play out in Higher Education
My reflections from reading pages 24-28 of Student Experience of Identity and Attainment at UAL year 4 report, Sabri, D. 2018:
I found it to be a very hard read, particularly as a Black female who graduated from UAL back in 1991, the statement that Black and minority ethnic are 21.7% less likely than white students to gain first or upper second degrees (UCPU 2017). Whilst I was aware that there were still major issues, and that inequality and social injustice, directly linked to white privilege wasn’t something only happening in the USA. However, reading the report confirmed for me the importance of contribution in UAL, and as such Higher Education in bringing about more rapid change for more students than ever before – so breaking the stalemate of little or no progress made over the years.
The report highlighted for me the various factors which come into play when looking at inequality in student’s attainment. I learnt it was far more complex than I first envisaged. I found the use of first-hand interviews powerful in helping me gain insight into the many overlapping obstacles faced by BAME students in Higher Education.
This is why I was particularly pleased to be given the opportunity to take part in the assessment of project submissions as a second marker for the Stage 2 Performance: Design and Practice students. As I was new to assessing using the UAL criteria, I found the previous Teaching and Learning Seminar (See blog Seminar A: Teaching and Learning 17.02.2020) very helpful.
Areas which I was able to provide extensive written feedback on as part of the student’s summative assessment:
LO 1 Made performance work that is ethical and sustainable, informed by research and critical reflection, through curiosity and a willingness to experiment and design creative solutions. (AC Enquiry, AC Process)
LO2 Communicated effectively through rich media in a way that facilitates and documents creative practice. (AC Communication, AC Realisation)
LO3 Applied the creative, critical, practical and professional skills necessary to work in diverse performance contexts. (AC Realisation)
LO4 Evolved individual working strategies responding to diverse contemporary contexts, audiences and collective environments. (AC Knowledge, AC Process)
Being valued as part of the assessment team in the department and with the knowledge of the report helped me to be extra aware of any biases that may have been present for myself. I was able to advocate successfully for one BAME student to have their grade raised, when viewed alongside the grade awarded to their white counterpart. I also was challenged on why one of my grades was lower for a student and through the process of peer discussions reached an agreement which made me realise I was not immune from biases – hence the importance of tutors who know and understand the context of their students. I found the whole experience to be extremely well managed, transparent and supportive. This is particularly encouraging for as the Students’ Experience of Identity and Attainment at UAL – Year 4 report states at the end:
“The discussion of inequality and injustice is never a purely intellectual one when the context is one’s own professional practice: this is a sensitive and highly emotive area of work” – (P.26)
How could I apply the resources to my
own teaching practice?
The Shades
of Noir (SoN) is an excellent resource which
includes online articles, journals, digital artefacts, creative database and
events. I would apply it to my own
teaching practice by signposting it to students, as appropriate to the
requirements of the learning unit and also use it as a resource for when
planning my own teaching units.
How could I integrate the research/work my students do on this
subject into my teaching/professional practice?
I could ensure as part of my teaching sessions that students are
provided with a platform to share their views and give feedback on the topic of
race. I could also ask their permission
to make use of their research / work for the benefit of other students, such as
examples of exemplar work or to illustrate a particular point of view.
Can you cite examples? You will share your thoughts within your
groups and comment and share further resources you use in your own context.
One example is the resources link which takes you to an amazing BAME
education and creative database hosted on Diigo.com: https://www.diigo.com/profile/shadesofnoir
which has up-to-date article feeds. There
is a visual list of topics which when clicked on take the user to a vast range
of articles. I have included the
following link: https://www.diigo.com/profile/shadesofnoir/carnival
as part of the reading material for the two-part workshop which I have devised
for Stage 2 BA Performance: Design and Practice students. I feel the database provides students with
access to range of journalist articles beyond academic theory, thus encouraging
them taking into consideration differ viewpoints. The resource also allows students to consider
how their work relates to current affairs seen through a curated inclusive
database.
Paul Freire sees education as a tool for liberation both physically and intellectually, thus looking at social justice through education.
As part of his thesis Pedagogy of the Oppressed (2006), Freire
asserts that in all educational settings, the identities of students need to be
taken into consideration.
I feel that Freire’s approach of the educational experience being created
jointly between teacher and student is an interesting one. On a practical level, I can see how this may
be easier to achieve at various points throughout a unit of work, or at the end
whilst reviewing and evaluating a project.
Understanding from the outset what shape this co-creation would take when
planning units, can be less straight forward than it sounds. Particularly when taking into come of the
related assessment criteria. This is
because there is usually an unspoken expectation that the teacher will impart
some aspect of knowledge in addition to facilitating the learning of the student,
as well as having a say in the final grading of a student’s work.
Finding the right balance between facilitating the learning,
taking into the account the identities and ‘field’ of the students can, if done
skilfully, have the potential to be a rewarding experience for all.
My reflections
after watching the student film ‘Room of Silence’ from Rhode Island School of
Designhttps://vimeo.com/161259012
I could relate to
the opening comments by the students about “counting how many people of colour
are in the class” which was my experience of art college in London 30 years
ago. Considering that this short film
was made in 2016 and in American, it made me think that things haven’t changed
much.
One part of the
film where a student explains the meaning behind the film’s title ‘Room of
Silence’ brought back memories of when I produced stamp designs at art
college. My designs were inspired lyrics
taken from the song Fight The Power by rap group Public Enemy where Chuck D
proclaims “Most of my heroes don’t appear on no stamps”. After I explained the motivation and meaning
behind my work, there was silence in the room, and no one, including the tutor
had anything to say.
I have learnt about the huge amount of work undertaken by various
individuals within UAL and other educational institutions to look closely at the
retention and attainment of students from diverse backgrounds within the subject
discipline of Art and Design at university.
I have also learnt about the different interventions, recommendations
and also future areas of research for Art and Design in the Higher Education
sector. This has included looking at the
representation of BAME staff in universities in the subject area of Art and
Design.
One
section which I found to be of particular interest was Inclusive curriculum and
identity work. Considering the continued
dominance of an Art education which as Hatton describes as ‘… conservative,
repetitive and exclusive…’ (Hatton 2015, p. 3) I am interested in learning more
about successful strategies that seek to address this bias at much earlier
stage in the student’s art education – i.e. what is taught at primary and
secondary stage.
How could you apply the resources to
your own teaching practice?
In the first instance, I would bring to my students’ attention the
existence of the UAL Religion, Belief and Faith identities website link and
resources. They may be unaware of the extensive
body of work in this area done by staff and students which is easily accessible
for them.
Depending on the project brief, I would signpost articles for students to
read, and also add books to the reading list.
I also intend to bring in the aspect of Belief into my forthcoming
workshop which I am planning. Hopefully,
some of the materials may be uploaded onto the resource area too.
How could you integrate the
research/work your students do on this subject into your teaching/professional
practice?
Often as a tutor, there is a tendency to make reference to externally, usually ‘successful’ practitioners in the field in which we are teaching. I think building into my project planning the work and views of students for my teaching practice will provide a fresh approach. With regards to my own professional practice, the area of religion, belief and faith identities offers an opportunity for me to have more depth with my work. It also provides the potential for me to connect with my audience in new ways.
I would introduce the use of trigger warning. For example, give students the options to leave. This could be a way to create space. My main aim is to support all students and also my role would be how to handle subversion. I should also feel confident to say I don’t know what’s going on and that I need to find out what is going on from both perspectives.
Can you cite examples?
For examples the book Radical Street Performance – an international anthology
edited by Jan Cohen-Cruz includes in Chapter 11: At Cross – Purposes. The Church Ladies for Choice. In the chapter, Cohen-Cruz 1993 essay talks
about how this pro-Choice group provided an alternative to the anti-abortion
groups who would ‘blockage’ women health facilities that offered abortions. As a tutor, I would see it as my duty to
provide a safe space in the classroom to allow the context to be discussed in
such a way that this area of critical studies was handed in a sensitive
way. I would remind students to be
respectful of the views of others and agree with them in advance on some ‘ground
rules’ for how the session would be run, when considering aspects of religion,
belief and faith.
I would use the question posed in the article as the basis for the entire
session:
‘…asking the viewer to question if maybe art and religion can work well
together after all?’
With my own practice, it would be an opportunity for me to engage in deeper
research, so provided some contextual aspects to my artworks. An example of this could be to say much more
about the part that Christianity plays in relation to my artwork ‘Recipe for a
Happy Mind’ which takes inspiration from the Jamaican kitchen prayer scrolls.
You will share your thoughts within your
groups and comment and share further resources you use in your own context.
Write a min. 250 word reflection or no more than 10 minute vlog
Choose a minimum of 3 headings from the
‘ Religion in Britain: Challenges for Higher
Education. ’ Stimulus paper (Modood & Calhoun, 2015) The PDF can be
found on Moodle.
Discuss two things you learnt from the
text and one question/provocation you have about the text. Write a min. 100
word reflection or no more than 5 minute vlog
The
three headings I looked at were:
‘We don’t do
God’? the changing nature of public religion
Professor
Tariq Modood, University of Bristol
Changes in religious demography
Religion, the
public sphere and higher education – Professor Craig Calhoun, London School of
Economics and Political Science
Religion and dissent in universities
Religion and knowledge of religion in U.K. universities
The
two things I learnt from the text were:
‘…religious geography of Britain, taking London from
one of the least religious areas to one of the most, and making the large towns
and cities more religious than the small towns and the countryside’
I hadn’t
reflected on how this change in demographics had shaped the religious landscape
of the U.K. From my perspective, London
doesn’t feel particularly more religious, but is probably down to the visible
urban landscape, where places of workshop can easily blend in with non-religious
spaces. In fact, they are often ‘cheek-by-jowl’
so it would not be unusual to find a former pub converted into a mosque in
London, next door to a Baptise Church as is the case in Kilburn, North-West
London. On the contrary, a singular
church in the countryside is likely to be seen for miles.
I wasn’t aware that there were religiously motivated
university students who were proactive in securing harmony and promoting greater
knowledge of religions beyond their own.
This model is quite similar to the approach taken by secondary schools
in the U.K. in their religious education curriculum:
‘All children need to acquire core knowledge
and understanding of the beliefs and practices of the religions and worldviews
which not only shape their history and culture but which guide their own
development. The modern world needs young people who are sufficiently confident
in their own beliefs and values that they can respect the religious and
cultural differences of others, and contribute to a cohesive and compassionate
society.’
(The Right
Hon, Michael Gove, former Secretary of State for Education, 2013 RE Review and
new ‘non-statutory’ National Curriculum Framework for RE)
My
question would be – How does an Arts institution such as the University of the
Arts London balance freedom of expression and experimentation within work,
whilst at the same time, respecting the wide range of religious views amongst
the student population?
Listen to the Kwame Anthony Appiah Reith
lecture on Creed. Write a min. 100 word reflection or no more than 5 minute
vlog
I found it interesting that along with he along with
parents made history in relation to religion in the U.K. He opens his lecture with the typical question
of “where do you come from?” often asked as a guise when people want to know of
your heritage, not the location of your birth.
He speaks about the difference in how each of his families trace history
i.e. mother lineage vs father lineage. I
also found it interesting how ‘identity’ in terms of language has shifted from
personal to group and how over time.
Appiah argues that in modern society we focus far too much on belief over
practice and community. I do agree with
some aspects of this, but feel there are still nuances which are far more
complex and he does not touch upon this in his lecture.
I also read the terms of reference from SoN around Faith.
On the whole, the U.K. HE system provides excellence for the majority of students, and that although different each type of provider has it’s strengths.
Gadamer moves away from us away from envisaging the artwork as a static object… aims to show how the spectator plays a crucial interpretative role in what the meaning of the artwork is (P.31)
The artwork can change depending on who experiences it
The movement of play
My thoughts ref: TA Today. A New Introduction to Transactional Analysis: Ian Stewart & Vann Joines (P. 96 – 98) Games: The analysis of games is a major part of TA theory… All games are re-plays of childhood strategies that are no longer appropriate to us as grown-ups (postive vs negative strokes) Ego states: negative Controlling Parent, etc.
During the session:
Warm up question:
How do you react in groups?
My response:
I’m mindful to hear the voices of others and will often prompt those who have not spoken to speak. When in groups I have a strong sense of equality and an openness to learn from others.
Part 1 – Playtime
Based on the text by Vilhauer, M. 2017 Gadamer’s ‘Ethics of
Play: Hermeneutics and the Other. Plymouth: Lexington.
Group task: discuss the various quotes from the text and discuss using the cards, so encouraging all to contribute:
Groups with the string: can make a feeling on collaborative
Played a card every time you spoke or handed over / played a
card
Tutor then asked; what did this do to the dynamics of the
group
Actor network theory – how one object relates to another
I think this exercise could be useful to get students who
don’t always speak in group dynamics.
My thoughts on the conversation between Lindsey and the
student: Perhaps the student didn’t
have the language to fully articulate themselves. This can be a huge issue in universities,
particularly for art students, for whom many have entered into the Arts as a
way to find ‘language’ for the words which they don’t have to describe their
work. Also, has implications for
international students.
The aim of conversations is to get the same horizons, but
actually can we ever? However, it’s
about the effort to get there.
Game / play different definitions
Part 2: Measurement of Learning
Knowledge: critical analysis of the text, etc.
Communication:
Interactions with peers,
Realisation:
Thinking about the threshold and the exceptional
My next steps:
Knowledge: Don’t forget to reference policy, moving
beyond reflection to application, use of Harvard reference practicing,
D – C:
A: Bringing in additional knowledge, bringing policy,
evidence that the reading took you beyond the set reading, or making reference
to the extended reading list
Evaluate your professional practice, making it specific to
your context i.e. my particular course I ‘m teaching on e.g. BA Performance:
Design and Practice
Realisation:
Responding to critical feedback of your development and including in
your own feedback, e.g. student feedback, peer observation feedback,
contributions
Communication: Audio & visual communication can
be use for the other person, so it will be read. Is it clear?
Giving feedback to each other and commenting on teaching
observations, literacy, engaging in the learning process in the sessions. I make notes on response and include this on
my blog.
Task 3:
Reflections on the exercise:
Self-assessment in groups provides an emphatic approach and
also encouraging, as we also tend to undervalue ourselves.
The act of using band descriptions allowed for reflection.
The use of visual squares was very direct and involved the
use of kinetics, i.e. sliding the coloured squared around. It also aided vocabulary and the
communication.
Action for this: I
will use a similar approach with my students, but as a fellow PgCert student
mentioned, being mindful of the timing for when to do this. This is because some students could become
stressed out, however, I do feel it is important to share this information
openly with my students, but perhaps I could be more creative in my delivery of
the learning frameworks.
One example which the tutor gave was ‘Needs work, getting
there and banked’
Reflections on the TEF framework
The tutor’s presentation made me reflect upon those
universities which have small data sets on groups such as disability and they
could still potentially gain a higher mark on the matrix. However, as pointed out by my fellow peers in
the group, the framework has shaken up the system a bit, beyond the Russell
Group university. The University of
Buckinghamshire delivers two year degrees, so for students overall costs are
much cheaper.
Teaching Excellence Framework metrics UAL
During the discussion on the TEF framework we considered the
areas where UAL had negative student feedback.
It made me reflect how I as a Lecturer, I would use the information
presented to improve my own practice, and how this would in turn support a
collective approach by staff across UAL for the benefit of our students. Some initial ideas on how I might achieve
this include speaking with my fellow colleagues on the course I teach on, as
well as engaging in dialogue my peers on the PgCert programme.
UAL put out a press release stating that teaching was
‘excellent’, however, I am of the view that the statement by TEF explaining why
UAL was awarded Silver would have provided a wider perspective for the reader.
The Chinese government has identified UAL as the U.K.
university to attend when studying art.
Action: I intend to
read the book recommended by our tutor Lindsay: James Elkins ‘Why art cannot be
taught’
Part 4: Knowledge and Values
What values are inherent in university teaching?
Values:
Empathy – their journey, their needs, how it might impact on
their learning
Circumstances going on in their lives, how do we support?
Equality – resources, times, access to facilities,
Others in the group thought more holistically for the
students, e.g. duty of care.
Knowledge: subject / field, pedagogy (how people learn),
assessment criteria / framework, policies (not so clear / obvious at UAL),
students,
Answers as per the Dimensions of the Framework
I was pleased to have scored quite highly on the quiz, only
getting one answer wrong.
My critique / reflections of our mind map on Values and
Knowledge vs the official framework:
Quality assurance (e.g. TEF, student evaluations)
Some more challenging aspects are not included, such as
sustainability. This is because it could
be quite political. However, aspects
such as social mobility tends to be universial.
With regards to my own teaching:
As a mainly Fine Artist, I’ve had to significantly increase
my knowledge of Performance Art. The UAL
libraries have been an amazing resource in skilling me up, and I have been able
to read a wide range of books and online content. In addition, I have begun teaching alongside
tutors who are experienced in delivering Performance Art at both Masters and
Postgraduate level.
Follow-up: Thinking about ‘experience’
What does our personal history paly in our
experience of learning?
Task 1: Critique resources used for their inclusivity and approach in relation to the arts and HE sectors.
17.02.2020
Considering how (a) these affect my teaching and / or art practices and (b) how graduates / artists can navigate or influence Art and Design industries in the future.
Articles: Confronting the Whitewashing Of Disability: Interview with #DisabilityTooWhite Creator Vilissa Thompson 06/28/2016, Updated Dec 06, 2017 – Sarah Blahovec, Contributor / Disability Activist
Khairani Barokka Deaf-accessibility for spoonies: lessons from touring Eve and Mary Are Having Coffee while chronically ill, Research in Drama Education: The Journal of Applied Theatre and Performance, 22:3, 387-392, DOI: 10.1080/13569783.2017.1324778
Twitter posts for the #DisabilityTooWhite hashtag which was started by disability activist and blogger Vilissa Thompson.
Art for a Few : Exclusion and Misrecognition in Art and Design Higher Education Admissions : NALN Research Report 2019 – Penny Jane Burke and Jackie McManus
How my reading of these articles has affected my teaching and / or art practices:
My teaching:
My starting point was to consult the law and current government guidance in relation to Disability Rights, then how this translates into education. I used the following website: https://www.gov.uk/rights-disabled-person/education-rights
The guidance states that for Education: It’s against the law for a school or other education provider to treat disabled students unfavourably. This includes:
-direct discrimination, for example refusing admission to a student because of disability -indirect discrimination, for example only providing application forms in one format that may not be accessible -discrimination arising from a disability, for example a disabled pupil is prevented from going outside at break time because it takes too long to get there -harassment, for example a teacher shouts at a disabled student for not paying attention when the student’s disability stops them from easily concentrating -victimisation, for example suspending a disabled student because they’ve complained about harassment Reasonable adjustments An education provider has a duty to make ‘reasonable adjustments’ to make sure disabled students are not discriminated against. These changes could include providing extra support and aids (like specialist teachers or equipment).
The page also states that for Higher education: All universities and higher education colleges should have a person in charge of disability issues that you can talk to about the support they offer. Therefore, not only is it important that I understand the implications from a teaching perspective and therefore do all I can to meet the needs of my students, there is also a legal requirement on behalf of me as an Associate Lecturer for UAL.
My teaching continued:
I have been sure to focus my Powerpoint presentations for my lessons on visuals more than words. This has been particularly important as the majority of my teaching group is made up of international students for whom English is not their first language.
I would also be mindful to provide any trigger warnings. For hidden disabilities as is the case with mental wellbeing, such as depression or anxiety, I am mindful to provide verbal or written trigger warnings for sharing with the group a reference which may be sensitive or controversial. Another example would be for me to check in advance, but also ask the group beforehand whether anyone may be adversely affected, such as someone with epilepsy, by video footage or artwork which has flashing or strobe lighting. I did this in my recent lesson at Central Saint Martins before showing students a film clip which featured strobe lighting as part of the performance.
In my teaching approach, I have spoken to the course leaders and student, thus taking on board what is stated on the University of Leicester website: ‘an important principle of the social model is that the individual is the expert on their requirements in a particular situation, and that this should be respected, regardless of whether the disability is obvious or not’.
For me as an artist for my forthcoming talk at Lambeth Town Hall I have provided accessibility guidance via the Eventbrite link. I am also in the process of considering how to ensure the event can be inclusive on a wide range of areas from diet requirements of guests, to sound quality, seating arrangements and making it easy for those attending to contact the organiser with any queries.
How graduates / artists can navigate or influence Art and Design industries in the future
#DisabilityTooWhite
Vilissa Thompson has been instrumental in starting discussions in the disability community regarding the media visibility and representation of disabled people of colour. This was achieved by being the creator of the #visabilitytoowhite hashtag. Having viewed her recent Twitter posts, she is still actively being an advocate for disability rights with her latest campaign @rampupyourvoice and galvanising many through her online content on intersectionality. Her example is an excellent model for graduate / artists to be proactive in leading the dialogue in this area via their own social media handles and networks.
Khairani Barokka Deaf-accessibility for spoonies: lessons from touring Eve and Mary Are Having Coffee while chronically ill, Research in Drama Education
As the article mentioned, now is the time to broaden the reach of the disabled experience by making greater use of technology and activities such as blogging. I believe graduates and artists can be proactive with their approach to inclusiveness, as modelled by Kariani Barokka (Okka) (2017) in the article: Deaf-accessibility for spoonies: lessons from touring Eve and Mary Are Having Coffee while chronically ill, Research in Drama Education: The Journal of Applied Theatre and Performance, 22:3, 387-392
I intend to encourage my students to adopt the rules which Barokka put in place for Eve and Mary Are Having Coffee. So for example, insisting or choosing venues which would be deaf / hearing-impaired accessible, and only perform in wheelchair-accessible venues.
My reading of the article also made me reflect upon a trip I had organised in November 2019 for a group of secondary age students to the theatre production of War Horse. The website for the production
Preparations made by me included ringing ahead to the access team at the venue to gain clarity on parking arrangements for the minibus as one student used a walking frame, so distance and surface of the flooring, as well as checking for ramp access was crucial. The theatre team was extremely helpful and responsive.
‘…accessibility should extend to all – those behind the scenes, performers, as well as audience members’ (329)
I agree with Barokka that we as should recognise the need for advocacy for disabled practitioners within the arts would integrate this into my own teaching. The article also made me reflect upon my own experience of organising a trip to War Horse as to why it is important to consider accessibility. Furthermore, as I am an Associate Lecturer on the BA Performance: Design and Practice, I intend to keep at the fore considerations around accessibility for the audience, but also ask my students to reflect upon their particular needs as a performer, or when working with others.
This is a similar approach as described by Barokka in the article where they reflect as a teacher that they would ‘propose an intersectional, disability-aware exercise for production classes… ask students how, if they lived with chronic pain, they could continue to perform and produce whilst placing an undisputed premium on holistic self-care in complex circumstances, whilst maintaining an artistic practice’.
My name is Linett Kamala and I’m currently completing my PGCert in Academic Practice in Art, Design and Communication at the University of the Arts London. I’m an Associate Lecturer on BA (Hons) Performance: Design and Practice based at Central Saint Martins.
I’m an interdisciplinary artist who progressed to the top of the state school education profession in an executive position for a multi-academy trust, whilst still working as a creative. My passion for enriching the lives of others through art, well-being and education is demonstrated by collaborations on creative projects with numerous organisations spanning over 30 years.
My personal educational journey and how it links with the life stories of others, forms the basis for much of my work. My mainly monochrome paintings and sculptures merge collage with expressive hand script which I refer to as ‘freestyle calligraffiti’. I take inspiration from oral histories, literature, academic papers and abstract expressionism. I graduated from University of the Arts London (London College of Communications) with a 2:1 in BA (Hons) Graphic Design. I also have a MA in Media Studies from University College London (Institute of Education).
I am Founder / Director of Lin Kam Arthttps://linkamart.com/, a company which seeks to enrich lives through educational art activities and leadership programmes, a Board Director for the Notting Hill Carnival and President of University of the Arts London Alumni of Colour Association.
Whilst I have extensive experience of 24 years working at primary and secondary school level, it has been a goal of mine to work across all sectors and particularly be able to share my expertise / experience at the Higher Education level.
I feel honoured to now be given this opportunity to work with the next generation of creatives and look forward to deepening my academic knowledge whilst completing my PgCert, alongside my creative practice to become an awesome lecturer!