Teaching Within Prospectus 2019 - 20

TEACHING WITHIN PROSPECTUS 2019-20

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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.

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CONTENTS Key Data & Reflections Essential Information

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Background 20 Eligibility 22 Programme 24 Process 28 Job Description for Associate Lecturer 30 Timetable 32 Application Process 34 Fact Not Fiction 36 GEMS 38 PgCert Information The Postgraduate Certificate in Academic Practice 2018/19 Academic Timetables Elective/Standalone Units

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Case Studies

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Further Reading

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THE DATA:

RETELLING HISTORY. Words by Florence Low.

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Retelling History: An Interview with Iris Yau. We spoke with Teaching Within 1 academic Iris Yau, fashion designer, lecturer at LCF and Shades of Noir Safe Space Crit tutor, about history and power dynamics, the importance of retelling colonial history and reclaiming narratives, and about her Safe Space Crits.

Please can you introduce yourself?

My name is Iris Yau, I grew up in Hong Kong, My background is in fashion buying and selling, like Burberry, At the moment I am working for Shades of Noir and UAL as a lecturer, I facilitate safe space critique and teach fashion business at LCF. This year I took on another role as a curator of an exhibition about identity, cultural awareness, and collaboration, with different sites in the university, and special collections in archives in our colleges and around London to rediscover all these amazing learning resources in East Asian art.

What’s your origin story? How did you end up doing the work you are doing right now?

My exhibition is called Iris’ Silk Route because I started my career in silk; at the age of 19 before my degree I worked for a company who worked with silk, and had to go to China every two weeks to do a fabric inspection. After I finished my BA at LCF, I went home and gained

more experience, then I came back in 2001 and tried to get a job. Three interviews and five months later, the company really needed someone like me, someone with intercultural capability and experience in “the Far East”, in Asia, but was educated here who could be a bridge and liaise with people in Hong Kong and the head office in London. They actually went through a lot of trouble to get my work permit; even though Hong Kong is a British colony, we don’t really have any advantages. When I was an overseas student, I paid the same tuition fee as Japanese.

When a company wants to hire someone like me, they have to apply for a work permit, even though Hong Kong was a British colony.

A few years ago, LCF contacted some of us alumni to come back and teach. With Shades of Noir I then got to come and do the PGCert, the teaching qualification, at the same time. Until then I had worked with LCF as an enterprise mentor, that’s why they picked me, because of my experience as an overseas student who worked in industry internationally.

I’m here and doing this work, because after working in the fashion industry for 20 odd years, I just felt like I wanted to do something more meaningful, to share the experience - I have the journey I had been on.

When I was a student, I wish I had some kind of mentor like me, so at this stage I just want to utilise my experience for students, for the // 9

university, for the greater good. So when they asked me to take part in Teaching Within programme created by Shades of Noir, funded

by UAL, I agreed as I wanted to arm my students with my experience and knowledge. So many students want to stay here after their course, but I tell them it doesn’t have to be that way, I went home and gained more experience. Especially when you are young, everywhere you go, you gain more experience, that’s another reason why I’m here, doing what I’m doing, to inspire a generation as people say, to ask certain people to stay open minded. Life is as meaningful as you make it.

Can you tell me more about the development of Iris’ Silk Route?

The Teaching and Learning Exchange asked me in January if i wanted to guest curate an exhibition around the theme of East Asia, but LCF wanted to just give me one small display case. 5000+ years of heritage, China, my experience, my journey, all these amazing things in the LCF special collection archive, in one small case? So I said I wanted all the cabinets or I’m not doing it, especially as it happened to be Chinese New Year, and they agreed.

It is important to take up space, Shades of Noir has shown me this.

At that time I was watching a documentary on the BBC by Lucy Worsley about American history, a week before. They were talking about American independence and interviewed a historian activist who 10 //

had campaigned to build two walls to engrave all the slaves names there, and they asked him why it was important.

He said history is an official record and many things are brushed under the the carpet. There have been many cultural inappropriations, what we call cultural appropriation but I think it’s inappropriation or misappropriation. The latest one was the Italian designer Dolce and Gabbana who made an inappropriate campaign, they even put it on social media, saying something like China is a shit country, so for them they’re finished, for me, it’s like how can you be so arrogant, especially for a fashion business, they have finished in China, we are the biggest market in the world, it’s chinese consumers buying the goods.

So, it’s my duty as an educator, as a Chinese person, to do something about it. I have been doing research in the archives, reconnecting with my routes, the Opium War, anything to do with Hong Kong. So I thought, it’s important to retell the history, just like the historian. Even my generation, we didn’t really pay that much attention, because growing up in a British colony, they didn’t want us to know our history.

The exhibition is in three parts.

The first part is my identity, I grew up in Hong Kong, a British colony, why? Because of the opium war, what happened? Basically was here Great Britain, they wanted to be something in China, but China wasn’t interested, because they were

very contained, The British wanted all these resources, like tea, porcelain and silk, they wanted to have more freedom in terms of trade, just being the West, and then they used opium to poison people, drug people, making people weak. Then they took over Hong Kong by using gun diplomacy, even though the Chinese invented gunpowder, but they didn’t invent it to kill people. The Chinese had to surrender. The British Empire at the time, they wanted five ports in China open freely - you could say free trade but it’s more than that. They picked Hong Kong as it was not too cold and not too hot for exports.

When I was accepted to LCF I thought, why do students from former British colonies who come

to study in Britain pay the same tuition fees as the Japanese, as the Korean. That’s why my acceptance letter is in the exhibition. That’s why I thought it would be important to retell the history of the Opium War, because it’s important to empower students. Because of this miseducation, because they don’t know where this inequality comes from, they think they are inferior to other people, but this is how the British oppress other people. Because it’s a former British colony we have two official languages, everything is in Chinese and English, but everyone uses English for legal documents.

This is how it has been so ingrained that people still favour english, that’s how you keep your power. // 11

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I hoped to make students more critical; where do all these come from? Some of them, maybe their parents came as refugees, why is that?

One student’s parents were refugees from Vietnam War, why? No-one wants to leave their country to be a second class citizen elsewhere. I thought, that’s why it’s important to tell my story. At the same time I wanted to show students how I too was an overseas student, how I came back, I got a job, I’m teaching here, I’m using my industry experience.

It’s call Iris’ Silk Route because my very first job was with silk. I could use silk as it was invented in China, and link it to Chinese heritage, history and art. It’s important to see the other side. It’s doing two things: empowering Chinese students to be proud of their heritage, and helping other students to really appreciate other people who are coming here and bringing their heritage.

Can you tell me about the safe space crits that you run?

The safe space critiques are really meaningful. I really like facilitating them because they are not subject specific, and I feel I have been growing my knowledge with the students participation, because we have students from different levels, PhD students, fashion students, fine art students... I feel like i’m making a big difference to guide students in that direction if they are on the same wavelength looking backwards and forwards at the same time.

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When I am at the beginning at my session, I give clear instructions telling the students, you know it’s a safe space critique, we have a safe space to critique your work on issues around identity and inequality, and I ask them, how you can use your practice your art make it really meaningful? I always believe very strongly, whatever we do, whatever position we hold, that we have mutual respect. At the beginning of every session I make it very clear there is no right or wrong answer, the only wrong answer is if you are being disrespectful. It’s so important, especially for international students who feel they need more support because sometimes they don’t want to talk, it’s quite daunting to speak in front of other people especially when it’s your second language, you have more anxiety. I hope I can do more for international students, because I really know how they feel, but everyone is welcome. I really enjoy doing this part of work, the time and energy and respect.

TIME TO LOOK BACK. Words by Kerian Magloire, Content Developer, Shades of Noir.

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My time so far at Shades of Noir.

My time at Shades of Noir is almost hitting the 18 month mark, and as I look back on my time spent as part of the team, I can’t help but appreciate the challenges that have helped my development and growth, but most importantly, how much further I can still go.

It feels as if I tumbled into Shades of Noir in a hot-rush before becoming an official member of the Shades team as a Content Developer. I was swept up into heated discussions surrounding the contemporary nuances of race and class in post-colonial Britain (London). In particular, the highly documented dispossession of public housing and facilities in the UK’s latest political swindle, power-based dynamics that people of colour are subject to within specialised institutional arenas such as Higher Education (which I had just re-entered after over a decade) and the degrees of securitisation within marginalised communities. With the bit between my teeth, overzealous, and at times overcompensating (cool-posing) - some of the reasons why I already knew, others I was yet to figure out. Days after I found myself in a box sized office at Central Saint Martins (CSM) barely big enough to contain Aisha Richards (Shades of Noir Founder/ Director & award winning Academic), Montana Williamson (Award winning designer, Shades of Noir Phase 1 team, current Teaching Within Lead & Curriculum Developer) and me.

This first chance encounter would 16 //

lead to innumerable influential, and intense conversations that resound every day in importance as I continue to script my personal journey and future. That early first chat lasted nearly an hour and we spoke about Shades, the work they do briefly, each others’ experiences and in particular, mine since returning to education as a ‘mature student’. Uninformed and not convinced by what I then misjudged as Shades ineffective backdoor approach, I initially dismissed the possibility of Shades being of any real benefit to my time at Central Saint Martins or thereafter.

Following additional research into the work, practices and policies of Shades, as Aisha initially was reluctant to discuss this when we met and instead she said ‘you go and find out what we do’, I discovered more about their years of work and dedication to creating equality within UAL’s network of academics, students and industry. So, I decided to apply for a Content Developer position, with just enough experience, and still trying to adjust to the demands of my course, I knew that this would not be easy, but I was now convinced by conversations with Aisha and other members of the team that this position was more than a job. I was also joining an extended network that supported student/staff development and personal growth during education and beyond. After a rocky start, my inconsistent content and quality of work, I thought, maybe I took on more than I could handle but I knew if I could manage to adjust to the demands of the course, Shades,

and other external responsibilities, that I would thrive in whatever field I chose to enter after graduating.

As my Shades journey started shortly after I started university, the first, and most valuable lesson I have learned during my time here is to value and validate my unique personal perspective I carry with me going into my course and the prestigious ‘Central Saint Martins’.

My lived experiences has given me a lens on a course tethered to art history, the intentionally broad and contested terms of culture and the social sciences. Early on, the Shades team, in particular Aisha Richards and Melodie Holliday (Shades of Noir Editor, Senior Curriculum Designer, artist and award winning academic) helped me understand how to unpack and contextualise the complexity and traditions that inform my identity into essays, reshaping my course-centric requirements to fit ‘me’ and my interests, which eased many of my insecurities. My work with Shades also made me realise that what I bring into the lecture rooms is of equal value to the course material and the white culture that often dominates the spaces at CSM. As time has passed I have been exposed to the perspectives and the talents of a multi-cultural and interdisciplinary team, I have learned more about the nuanced pedagogical phenomenons from a structural standpoint, the intersectional discourses of identity, my own unconscious biases and misogyny,

which has enabled me to start moving away from traditional surface, broadbased party politics. A testament to diversity, social justice work, and the idea of ‘choice’ and true ‘safe dialogic spaces’ creating ever more rewarding environments for learning which Shades of Noir presents. These unique conditions have changed the form and density of my work, how I worked, and the criticality of my opinions which was crucial going into collaborative projects including one with Autograph ABP that evolved later that academic year.

Although my time is not up yet, this feels like a perfect opportunity to reflect on what has been achieved and to show gratitude. I am thankful to be given the opportunity to be a part of an organisation playing such a critical part in ‘progressive’ change within Higher Education and the wider society, as well as their dedication to ensuring the UAL continues to moves towards championing diversity and a creatively evocative “richness” within all their activities. The work of Shades of Noir gives voice to ideas and perspectives from a variety of people of colour and ethnicities with purpose.

I have a year and a half still to go before I finish my Degree, and I look forward confidently because of the tools, knowledge and friends I have acquired during my time here so far. . . To be continued :)

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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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ESSENTIAL INFORMATION

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BACKGROUND:

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 addresses recruitment, attainment and progression of under-represented non-white academics as well as white academics 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.

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Aisha Richards, Shades of Noir Director and Teaching Within Programme Creator

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ELIGIBILITY:

Shades of Noir (SoN) Graduates: Shades of Noir Graduates consist of non white academics and white academics 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.

Tell Us About It: ‘Tell Us About It’ was created by Terry Finnigan in 2009 and continues to be archived at the Stanley Kubrick Archive at LCC, as it continues to grow.

This programme of work embraces, affirms and presents high-achieving UAL students of colour voices through the creation of artifacts, where they reflect on their learning across their degrees. These artifacts are shared with new staff and new students so they become aware of the importance of difference within the student body and how it can enhance the learning experience.

Group for the Equality of Minority Staff (GEMS): GEMS is the longest standing and largest UAL staff group. The growth, engagement and prominence of the GEMS community contributes to the changes in the UAL culture with regards to diversity, inclusion and equality.

Many non-teaching staff are alumni of UAL and/or practicing creatives.

BAME Talent Day: The talent programme that was started at LCF by Angela Drisdale Gordon, which has now been rolled out at several colleges across UAL and has contributed to the progression, access and invitation to industry specialists from diverse backgrounds, many who are UAL alumni.

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In addition to being part of one of these 4 communities, to apply for the scheme, the applicant needs to: • Have been awarded a BA or and MA in art, design, communication or related subjects.

• Have graduated or have experience in industry and be a graduate for more than 2 years ago.

• Have worked more than 2 years at UAL in a non teaching role (GEMS only).

• Have no teaching qualification.

• Not be in full time education currently or during the programme duration.

• Not currently be in a teaching role and not have had a permanent teaching post.

• Never been part of this programme (Teaching Within) previously.

Teaching Within provides this university with an opportunity to progress the recruitment and added value of marginalized communities of practitioners and to transform the institutional paradigm in a variety of wide-reaching ways.

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PROGRAMME: Bursary: All participants will have the following qualifications paid for as part of the programme bursary scheme. This includes a two day introduction to teaching entitled ‘Thinking Teaching’ (December 2019) and the PgCert in Academic Practice in Art, Design and Communication (January 2020 - January 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 2019 with a minimum of 10 hours before the end of May 2019.

Structures: The Shades of Noir team and its founder, GEMS, College Deans, Associate Deans, Course Leaders and TW communities are all within the structures to support the programme and the cohort.

The individuals taking part have confirmed the programme benefits in their own words: Career progression: “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 24 //

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!!”

Support: “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.”

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“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.”

Networks: “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.”

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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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PROCESS: TEACHING WITHIN GEMS SHADOWING

FACT NOT FICTION

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 two-day course and is a great first step in thinking about teaching. This runs over two days in December 2018.

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COURSE SHADOWING 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.

SUPPORT WORKSHOPS 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

PG CERT

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.

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JOB DESCRIPTION FOR ASSOCIATE LECTURER: Purpose • To deliver high quality learning practice and related support to students on specified programmes or courses, in the context of prevailing policies and procedures, curriculum content, established learning outcomes and teaching methodologies.

• To provide up-to-date knowledge, expertise and experience of professional practice and/or research in a specific specialist subject area.

Duties and responsibilities The duties and responsibilities below are the normal expectations associated with the comprehensive hourly rate (CHR) which is payable in respect of each student contact hour (see guidance note for further details):

• To prepare for and deliver learning experiences to specified groups of students, by providing structured learning experiences including, induction sessions, classes, tutorials, lectures, seminars, workshops, auditions, rehearsals, studio critiques and student presentations (including degree shows). See guidance note (a) • To ensure studio and teaching spaces are adequately prepared for their teaching session and leave them in similar condition. See guidance note (b) • To work as part of the course team, under the direction of the line manager, participating in the formative and summative assessment. See guidance note (c) • To undertake academic administration in relation to reporting on attendance, completion of tutorial records and progress reports and other tasks associated with course organisation related to their contracted formal teaching and learning delivery. See guidance note (d)

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• To contribute to course development and quality processes through engagement in course planning meetings, course/Programme committees/ Boards, end of unit review and, where appropriate, annual course monitoring. (The extent of attendance at meetings should be proportionate to the number of contact hours being delivered). See guidance note (e) • To maintain reasonable, effective and efficient communication with their line manager, other colleagues and students (including through the use of the University’s email system and student virtual learning environments as appropriate).

Further responsibilities • To have a commitment to continuous professional practice and scholarship in the specialist subject area, and in professional development in learning and teaching.

• To ensure health and safety procedures are strictly maintained.

• To have a commitment to the University’s Equal Opportunities Policy.

Additional duties The duties below are additional to those included in the comprehensive hourly rate. Where these duties are agreed, they will be paid as additional remuneration at the basic hourly rate (BHR): • Revalidation meetings.

• Participating in staff development and training activities in relation to priorities set by the College and/or Line Manager.

• Additional assessment beyond that expected as part of the contracted teaching activity.

• Extensive contributions to Moodle materials (beyond teaching plans, timetables, notifications to students, project briefs).

• Participation in forward-looking curriculum development meetings.

• Contribute to recruitment, open days, student interviews/auditions and portfolio review.

• To organise non-standard student learning activities, including those personally delivered or on behalf of colleagues, such as study trips, external projects and placements. // 31

TIMETABLE:

2020

Sep Oct Nov Dec Jan

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March

April

PgCert Modules

Teaching 18 hours Easter Break

Minimum of 8 Hours Teaching.

May PgCert Modules

PgCert Observations

TW Workshop 2

Fact Not Fiction Course

GEMS Shadowing

Course Introductions

Induction Workshop

PgCert Induction

Feb

TW Workshop 1

2019

2020 June

2021 July

Aug

Sep

PgCert Modules

Nov

Dec

PgCert SiP

Jan Program ends

Teaching -Ideally 10 hours (Deadline Dec 2020)

TW Workshop 3

Summer Break

Oct

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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-application-form-2019/ or scan with your smart phone below.

Please note that you have to be part of an eligible community to apply to Teaching Within. Information on this can be found on p. 8.

The application includes supplying the following: • Photo: Please submit send a professional profile picture.

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

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

• Biography: This should be written in third person and reflect upon your creative practice and your ambitions to become a teacher. (500 word max).

The deadline submission date is 21 June 2019. The selection panel will make decisions and inform the applicants by 28 June 2019.

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 34 //

“

Working with Teaching Within has allowed me to develop and expand student’s cultural contexts and broaden student perspectives of the world and their interpretation of it. It has asked all students to question the choices they are making in their designs, and the practitioner they wish to become.

UAL Programme Leader (2019)

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FACT NOT FICTION: Fact not Fiction is a new 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 programmes aims.

The workshops 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 in December 2019.

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“

To put it bluntly, having a PgCert in Academic Practice is invaluable in terms of job hunting in the HEI sector. It’s more and more becoming a requirement to gain university teaching positions.

We hope to offer more than just a notch on people’s CV’s though! Through establishing a strong community of academic practitioners with a range of disciplinary expertise and life experiences, we aspire to develop a supportive community of practice which pushes us all out of habitual teaching and learning modes into more reflective and developmental ways of being and knowing. A space where UAL can get to know itself a little better, and look to emerging theory and practice to help us design and deliver the next wave of inclusive creative arts higher education.

(UAL Course Leader 2019)

“

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 timeframe of their course.

(UAL Course Leader 2019)

” ”

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GEMS:

Group for the Equality of Minority Staff Chaired by Annabel Crowley (a.crowley@arts.ac.uk) & Melodie Holliday (melodie@shadesofnoir.org.uk) Our Mission To collate the Voice and Perspective of Black Asian and Minority Ethnic (BAME) staff for Strategic Progress of all UAL Staff and Students.

Our Vision The [be the] voice of BAME staff, to impact the development in all corners of UAL with equality at its heart.

Terms of Reference 2014 The group will endeavour to promote the personal development of BAME staff by contributing to the discussions, and monitoring the progress of the University’s published objectives, including UAL’s Equality & Diversity Framework 2010-2015.

To support the University in meeting its legal obligations under The Equality Act 2010, in particular its duties in relation to employment training, consultation and monitoring.

GEMS will: • Develop and implement programmes for development and progression.

• Highlight issues of concern from the BAME staff perspective in order to assist in improving organisational practices, policies and procedures within the University.

• Support the development of existing and proposed policies, practices and procedures and their impact upon BAME staff and communities.

• Review, advise and support implementation of UAL policies, practices and service delivery; in particular the University’s Public Sector Equality Duty Objectives and UAL’s Strategy 2010-15.

• Create avenues and guidance for BAME staff in relation to work related issues.

• Raise issues affecting the personal and professional development of BAME staff within the university.

• Steer the collation of data to evaluate and monitor the development and progress above.

38 //

“

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

” ”

// 39

40 //

PgCERT INFORMATION:

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THE POSTGRADUATE CERTIFICATE IN ACADEMIC PRACTICE The Postgraduate Certificate Academic Practice in Art, Design and Communication (PgCert) is a key qualification for those who teach or support learning in arts higher education. It’s aimed at a wide range of graduate staff with academic or academic-related roles and is open to both UAL and external applicants.

The course takes a comprehensive view of academic practice by offering opportunities for you to develop as a researcher and an academic leader as well as a higher education teacher.

The course also encourages you to explore your academic practice through a disciplinary lens, which means you will be given options to learn through practice-based as well as written and verbal means.

What are the benefits of the PgCert Academic Practice?

• Develop as a teacher in higher education • Learn in a specialist arts university context • Benefit from flexible and blended modes of learning • Engage critically with policy, practice, research and scholarship linked to aspects of academic practice that matter to you • Learn alongside like-minded professionals • Progress onto the MA Academic Practice, building on the units you’ve already completed on the PgCert.

Completing the PgCert will also enable you to attain professional recognition with the Higher Education Academy (HEA) as either Associate Fellow or Fellow, depending on the amount and type of teaching and learning support associated with your role.

42 //

What does the course involve?

The course has been designed for part-time and flexible study by practicing professionals. You will learn through a blend of working with peers and working individually. You will also combine face-toface interaction with online and work-based learning activity.

You will be encouraged to focus on developing one of 3 areas of academic practice: education, academic leadership or researcher development depending on your job role, stage of career and career trajectory.

All participants take two mandatory units and 1 elective unit, each worth 20 credits.

Mandatory units: Teaching and Learning and Self-initiated Project.

Elective units include: • Learning for Sustainability • Inclusive Teaching and Learning in Higher Education • Curriculum Design • Technology Enhanced Learning How much work is involved?

Each 20 credits equals 200 notional learning hours. This includes between 15 and 30 hours of taught time per unit, alongside independent, collaborative or work-based study.

We require you to complete the PgCert (60 credits) within one year unless you are a GEMS member who has the option of a 2 year programme.

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Advice: The advice from previous Teaching Within academics with regards to the PgCert include: • Only do this programme if you are hoping to be a teacher and/or are willing to put the time in.

• Remember that every teacher, lecturer, course director had to start somewhere. As soon as you join the programme remind yourself that all of these individuals are your peers.

• Although you are part of the Teaching Within programme you are joining the University of the Arts London as an Associate Lecturer.

• Remember why this programme was created, our experience and contribution 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 suffer from any difficulties that may cause any element of the engagement and participation tell somebody sooner rather than later.

• It’s really important to attend all sessions as you really do miss out if you are not present.

• Start reading blogs as soon as you can as you will be expected to write your own. Have a look at different forms of reflective writing as this will come in very handy.

• 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 any disability don’t be afraid or worried to share this with the PgCert team and or Montana.

44 //

“

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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PgCert in Academic Practice in Art, Design and Communication

PG CERT ELECTIVE UNITS

60 Credits

Teaching and Learning Jan - Jul

Curriculum Design (20)

And

Self-Initiated Project Sept - Jan

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

And One Elective Unit (see list) Feb - May

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

46 //

(20)

(20) (20)

(20) (20)

(20) (20)

“

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

GEMS & Teaching Within Academic

�

// 47

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

Date

Time

Session Title

Mon 6 Jan

10.00-12.00

Technical Induction 1

Tue 7 Jan Wed 8 Jan Thur 9 Jan Fri 10 Jan Mon 13 Jan

10.00-12.00 10.00-12.00 12.00-14.00 13.00-15.00 10.00-12.00

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

Wed 15 Jan

13.00-17.00

Introductory Lecture

Mon 20 Jan Mon 17 Feb Mon 16 Mar Mon 20 Apr Mon 1 Jun Mon 15 Jun Mon 29 Jun Mon 13 July

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

Discussion Gp 1, 2 and 3 Seminar 1 Discussion Gp 1, 2 & 3 Seminar 2 Seminar 3 & Discussion Discussion Gp 1, 2 & 3 Presentations Gp 1, 2 & 3 Seminar 4 & Feedback Tutorials

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

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

The PgCert consists of Two mandatory and One elective units, each worth 20 credits. The shortest time you can complete the course in is one year (Jan 2020 - Jan 2021). Your enrolment email will confirm which unit cohorts you are in.

48 //

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

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

Date

Time

Session Title

Wed 22 Jan Wed 19 Feb Wed 18 Mar Wed 22 Apr Wed 3 Jun Wed 17 June Wed 1 July Wed 15 July

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

Discussion Gp 1, 2 and 3 Seminar 1 Discussion Gp 1, 2 & 3 Seminar 2 Seminar 3 & Discussion Discussion Gp 1, 2 & 3 Presentations Gp 1, 2 & 3 Seminar 4 & Feedback Tutorials

Fri 24 Jan Fri 21 Feb Fri 20 Mar Fri 1 May Fri 5 Jun Fri 19 Jun Fri 3 July Fri 17 Jul

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

Discussion Gp 1, 2 and 3 Seminar 1 Discussion Gp 1, 2 & 3 Seminar 2 Seminar 3 & Discussion Discussion Gp 1, 2 & 3 Presentations Gp 1, 2 & 3 Seminar 4 & Feedback Tutorials

// 49

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

Unit Title

Date

Time

Session Title

Cohort B1 Wednesdays Starts September 2020

23 Sept

10.00-16.00

Workshop 1

20 Sept 7 Oct 14 Oct 21 Oct

09.30-16.30 10.00-16.00 09.30-16.30 10.00-16.00

4 Nov 18 Nov 2 Dec 6 Jan 2021

09.30-16.30 10.00-16.00 09.30-16.30 9.00-17.00

20 Jan 2021

9.00-17.00

PBL Group Tutorials Workshop 2 PBL Group Tutorials Workshop 3/Formative Aessessment PBL Group Tutorials Workshop 4 PBL Group Tutorials Summative Assessment - half group Summative Assessment - (Accomodated)

23 Sept 20 Sept 7 Oct 14 Oct 21 Oct

10.00-16.00 09.30-16.30 10.00-16.00 09.30-16.30 10.00-16.00

4 Nov 18 Nov 2 Dec 6 Jan 2021

09.30-16.30 10.00-16.00 09.30-16.30 9.00-17.00

20 Jan 2021

9.00-17.00

Unit Leader: Catherine Smith

Cohort B2 Wednesdays Starts September 2020 Unit Leader: Catherine Smith

50 //

Workshop 1 PBL Group Tutorials Workshop 2 PBL Group Tutorials Workshop 3/Formative Aessessment PBL Group Tutorials Workshop 4 PBL Group Tutorials Summative Assessment - half group Summative Assessment - (Accomodated)

Unit Title

Date

Time

Session Title

Cohort C - Fridays Starts Septemebr 2020

25 Sept 2 Oct 9 Oct 16 Oct 23 Oct

10.00-16.00 09.30-16.30 10.00-16.00 09.30-16.30 10.00-16.00

6 Nov 20 Nov 4 Dec 8 Jan 2021

09.30-16.30 10.00-16.00 09.30-16.30 9.00-17.00

22 Jan 2021

9.00-17.00

Workshop 1 PBL Group Tutorials Workshop 2 PBL Group Tutorials Workshop 3/Formative Aessessment PBL Group Tutorials Workshop 4 PBL Group Tutorials Summative Assessment - half group Summative Assessment - (Accomodated)

Unit Leader: Catherine Smith

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2018/19 ACADEMIC TIMETABLE. Elective/Standalone Units:

Unit Title

Date Fri 31 Jan

Academic Leadership Unit Leader: Antony Johnston Fri 14 Feb

Time 10.00-16.00

Session Title Workshop 1

14.00-16.00

Fri 28 Feb

14.00-16.00

Fri 13 Mar

14.00-16.00

Fri 3 Apr

14.00-16.00

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

Curriculum Design Unit Leader: James Wisdom

Thur 6 Feb Thur 5 Mar Thur 2 Apr Thur 30 Apr

10.00-16.00 09.00-15.00 10.00-16.00 13.00-16.00

Workshop 1 Workshop 2 Workshop 3 Workshop 4

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

Tue 28 Jan 09.30-16.30 Tue 3 Mar 09.30-16.30 Tue 31 Mar 09.30-16.30

Session 1 Session 2 Session 3

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

Fri 31 Jan Fri 6 Mar Fri 24 Apr

Session 1 Session 2 Session 3

09.30-16.30 09.30-16.30 09.30-16.30

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

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

Date Wed 12 Feb Wed 4 Mar Mon 23 Mar Tue 31 Mar

Time 10.00-13.00 10.00-13.00 10.00-13.00

Session Title Introduction Research as Practice Session 3

10.00-13.00

Ethics & Impact on Practice Based Research Workshop Writing/Practice Based Research/Tutorial

Tue 28 Apr 10.00-13.00 Tue 12 May 10.00-13.00 Learning for Sustainability Unit Leader: Antony Johnston

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

Session 1 Session 2 Session 3

Supervising Research Degrees

Wed 5 Feb Thur 19 Mar Thur 2 Apr Tue 5 May

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

Introduction Group Bibliography Session Workshop Individual Tutorials

Wed 29 Jan Thur 20 Feb Tue 25 Feb Tue 10 Mar Tue 31 Mar Wed 6 May

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

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

Technology Enhanced Learning Unit Leader: Ruth Powell

Please check your enrolment email to confirm which unit(s) you have selected. Elective units run between January and May // 53

Teaching & Learning Unit - (Jan 2020 - Aug 2020) Location in course Credit rating Level of Study Contact Hours

Mandatory unit on PgCert 20 7 30 hours

Learning Outcomes

Upon successful completion of this unit you will be able to: 1. Demonstrate critical, open engagement with policy, practices and scholarship relating to teaching and learning. [subject knowledge; analysis] 2. Critically evaluate your professional practice and plan for further development with reference to the dimensions of the UK Professional Standards Framework. [personal and professional development] 3. Communicate effectively with peers to support professional development. [collaborative and/or independent professional working; communication and presentation] Indicative Content

Through this unit you will encounter a range of theoretical, political and practical perspectives and apply them in your particular context. Themes will include inclusive approaches to learning and teaching, internationalisation and the changing higher education landscape, models of learning design, assessment and feedback, and the history and context of arts education.

Your own experience of learning and teaching will be of interest and value to other participants, and you will share this and receive feedback through presentation, discussion, micro-teaching and peer observation.

You will also reflect on your own practice, values and development with relation to the UK Professional Standards Framework, taking into account circles of influence and control and how these affect the decisions you make as an educator both now and in the future.

54 //

Teaching and Learning Methods The teaching and learning methods used on this unit include: • Seminars • Group tutorials • Journaling • Micro-teaching • Presentation • Observations of teaching • Independent study Assessment Requirements The unit is assessed holistically through the following: Evaluation of professional practice against Descriptor 1 of the UK Professional Standards Framework, with reference to: An online reading journal documenting responses to literature and other sources.

Reports and reflections on observations of teaching practice.

Opportunities for future development.

Essential Reading Biggs, J. and Tang, C. (2011) Teaching for Quality Learning at University. 4th edition. Maidenhead: Society for Research into Higher Education and Open University Press.

Collini, S. (2012) What are Universities For? Penguin.

Fry, H., Ketteridge, S. and Marshall, S. (Eds.) (2015) A Handbook for Teaching & Learning in Higher Education: Enhancing academic practice. 4th edition. Routledge.

James, A. and Brookfield, S. (2014) Engaging Imagination: Helping Students Become Creative and Reflective Thinkers. Jossey-Bass.

Ramsden, P. (2003) Learning to Teach in Higher Education. Routledge.

Further recommended reading and resources are provided in the course reading list // 55

Self-Initiated Project Unit - (Sep 2020 - Jan 2021) Location in course: Credit rating: Level of study: Contact hours:

Mandatory unit on PgCert (Sep 2019 - Jan 2020) 20 7 23

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

Regular work-in-progress critiques will provide key formative assessment points, leading to final presentation of your project findings to peers and tutors at the course’s Academic Practice Conference. This conference will give you an opportunity to develop your peer-to-peer presentation skills, while at the same time disseminating educational research, scholarship and enhancement work across the programme.

56 //

Teaching and Learning Methods The teaching and learning methods used on this unit include: • Interactive workshops • Project work • Seminars • Group tutorials • Problem-based learning peer-groups • Formative presentations Assessment Requirements The unit will be assessed holistically though the following components: • Oral presentation of project findings.

• Accompanying presentation materials, to include visuals and/or script.

Essential Reading Bell, J. and Waters, S. (2014) Doing your research project: A guide for first-time researchers. 6th edition. Maidenhead: Open University Press.

Gray, C. and Malins, J. (2004) Visualising Research: A guide to the research process in art and design. Aldershot: Ashgate.

EduTechWiki, Problem-based learning. Accessed at: http:// edutechwiki.unige.ch/en/Problem-based_learning Further recommended reading and resources are provided in the course reading list.

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Inclusive Teaching & Learning in Higher Education - (February - May 2020) Location in course: Credit rating: Level of study: Contact Hours:

Elective unit on PgCert/PgDip stage of MA 20 7 24 hours

Learning Outcomes Upon successful completion of this unit you will be able to: 1. Demonstrate understanding of ideas about diversity and its impact in social and educational contexts. [research; analysis] 2. Critically evaluate wider institutional perspectives on equality and diversity as they relate to learning, teaching and assessment. [subject knowledge; collaborative and/or independent learning] 3. Address an aspect of academic practice to promote inclusive learning and teaching. [communication and presentation; personal and professional development] Indicative Content In this unit, you will critically explore current debates in the literature, policy and practice relating to inclusive curriculum design and assessment, teaching and supporting learning, and the wider institutional perspectives of an increasingly diverse population of students. You will engage with aspects of equality and diversity such as class, disability, internationalisation, and race and ethnicity, and consider theoretical models of diversity and social justice in higher education with a special focus on the integrated theme of pedagogies for social justice in Art, Design and Communication.

You will reflect on your own position and assumptions about diversity and inclusivity, and devise creative ways in which you might contribute towards building a diverse and inclusive learning environment.

Scholarly input will be included from sections of the University where key contributions to its diversity work are made in order to offer the widest range of perspectives for you to investigate.

58 //

Assessment Requirements The unit is assessed holistically through the following components: • Completion of online activities addressing dimensions of inclusivity.

• Production of an artefact that promotes inclusivity in learning and teaching.

• A written reflection on the artefact which links the inclusive learning theory to practice. (1500 words).

Essential Reading Bhagat, D. and O’Neill, P. (2011) Inclusive Practices, Inclusive pedagogies; Learning from Widening Participation Research in Art and Design Higher Education. Croydon: CHEAD. Burke, P. and McManus, J. (2009) Art for a Few. Available from: http:// ukadia.ac.uk/en/naln-migrate/projects-research/admissions-research.cfm Friere, P. (1970) Pedagogy of the Oppressed. London: Continuum.

Hatton, K. (2015) Towards an Inclusive Arts Education. London: Trentham. hooks, b. (1994) Teaching to Transgress: Education as the Practice of Freedom. London: Routledge.

Morgan, M. (Ed.) (2013) Supporting Student Diversity in Higher Education: A practical guide. Oxford: Routledge Richards, A. and Finnigan, T. (2015) Embedding Equality and Diversity in the Curriculum: An Art and Design Practitioner’s Guide. York: Higher Education Academy Scotland.

Further recommended reading and resources are provided in the course reading list.

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Curriculum Design Unit - (February - May 2020) Location in course Credit rating Level of Study Contact Hours

Elective unit on PgCert/PgDip stage of MA 20 7 15 hours

Learning Outcomes Upon successful completion of this unit you will be able to: 1. Critically evaluate different curriculum models in relation to the discipline, level and institutional context. [subject knowledge] 2. Analyse the impact of a significant curriculum issue in your discipline and institution. [analysis] 3. Plan, justify and evaluate the design or redesign of a part or whole inclusive curriculum. [experimentation] 4. Create a strategy for implementing effective curriculum change in an inclusive professional context. [collaborative and/ or independent professional working; communication] Indicative Content In this unit you will examine critically how the curriculum aligns to sector and institutional frameworks and how we design and develop curricula that respond to a diverse student cohort and a range of priorities including researchindustry-teaching links, internationalisation, digitally-enhanced learning and student engagement in the context of art and design education. The unit will enable you to develop your capacity to critically appraise a curriculum as well as design and lead the implementation of curriculum innovation in practice.

The unit can be undertaken by individuals with a range of roles in relation to curriculum development as well as a curriculum team working together to design a new unit or course. Peer and group working provide opportunities for peer review and feedback and formative tutor feedback is provided as part of the curriculum development planning or practice.

Teaching and Learning Methods

60 //

Teaching and Learning Methods The teaching and learning methods used on this unit include: • Independent study • Seminars • Peer and team-working • Work-based learning Assessment Requirements The unit will be assessed holistically through the following components: • Annotated curriculum specification for a proposed whole curriculum or part-curriculum modification. (2000 words) • Curriculum development plan or documentation of a curriculum planning meeting. (2000 words) Essential Reading Barnett, R. and Coate, K. (2005) Engaging the Curriculum in Higher Education. Maidenhead: Open University Press.

Biggs, J. and Tang, C. (2011) Teaching for Quality Learning at University. 4th edition. Maidenhead: Open University Press.

Blackmore, P. and Kandiko, C. B. (Eds.) (2012) Strategic Curriculum Change: Global Trends in Universities. Abingdon: Routledge.

Fraser, S. and Bosanquet, A. (2006) The curriculum? That’s just a unit outline, isn’t it? Studies in Higher Education, 31(3): 269−284.

Hatton, K. (Ed.) (2015) Towards an Inclusive Arts Education. London: Trentham Books.

Knight, P. (2001) Complexity and Curriculum: A process approach to curriculum-making, Teaching in Higher Education, 6(3): 369−381.

Richards, A. and Finnigan, T. (2015) Embedding Equality and Diversity in the Curriculum: An Art and Design Practitioners Guide.

York: Higher Education Academy (http://www.heacademy.ac.uk/ sites/default/files/resources/eedc_art_and_design_online.pdf).

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Technology Enhanced Learning Unit - (February - May 2020) Location in course Credit Rating Level of Study Contact hours

Elective unit on PgCert/PgDip stage of MA 20 7 24

Learning Outcomes Upon successful completion of this unit you will be able to: 1. Critically evaluate uses of digital spaces with relation to pedagogic theory. [analysis] 2. Discuss examples and experiences of digital spaces with others. [subject knowledge; collaborative and/or independent professional working] 3. Experiment with digital spaces within defined learning contexts. [experimentation] 4. Reflect on opportunities and challenges in your own practice for enhancing inclusive learning through use of technologies. [personal and professional development] Indicative Content In this unit, you will engage with relevant theory to reflect on the design and support for learning within digital spaces, discuss opportunities for enhancing learning in relation to your own practice, and experiment with a range of technologies.

Contributions from colleagues across the University will provide a wide perspective on current practice and enable you to investigate the integrated themes of knowledge building, inclusivity, sharing of practice, reflection, digital identity and literacy, and collaboration in digital spaces. You will formulate and refine your ideas through online peer and tutor discussions that will enable you to develop your own use of digital spaces for teaching and learning.

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Teaching and Learning Methods The teaching and learning methods used on this unit include: • Interactive workshops • Structured online learning activities • Online seminars • Peer assessment tasks Assessment Requirements This unit will be assessed holistically through the following components: • Appraisal of opportunities and challenges of using selected digital spaces in your own teaching practice with reference to relevant theory. (2000 words) • Evidence of engagement in online discussions and activities.

• Documentation of experimentation with a digital space that has either enhanced your perspective of its value to teaching and learning, or may be of value in the future.

Essential Reading Beetham, H. and Sharpe, R. (2007) Rethinking Pedagogy for a Digital age: Designing and delivering e-learning. Routledge.

Brewer, G. and Hogarth, R. (Eds.) (2014) Creative Education, Teaching and Learning. Palgrave Macmillan.

Gordon, N. (2014) Flexible pedagogies: technology- enhanced learning, Higher Education Academy. Available online at https://www. heacademy.ac.uk/sites/default/files/resources/tel_report_0.pdf Morris, M. and Stommel, J. (2014) Why Online Programs Fail, and 5 Things We Can Do About It. Available online at http://www.digitalpedagogylab. com/hybridped/why-online-programs-fail-and-5-things-we-can-do-about-it/ Siemens, G. (2014) Connectivism: A Learning Theory for the Digital Age. Available online at: http://www.elearnspace.org/Articles/connectivism.htm Further recommended reading and resources are provided in the course reading list. // 63

Learning for Sustainability Unit - (February - May 2020) Location in course: Credit rating: Level of study: Contact hours:

Elective unit on PgCert/PgDip stage of MA 20 7 23 hours

Learning Outcomes Upon successful completion of this unit you will be able to: 1. Demonstrate a conceptual understanding of the relationship between education, sustainability and your discipline. [analysis] 2. Design and evaluate a workshop that raises sustainable issues within a professional education context. [collaborative and/or independent professional working] 3. Evaluate sustainability in relation to your current academic practice. [subject knowledge] Indicative Content This unit will encourage you to reflect on issues of sustainability in your current academic practice and undertake an investigation that will form the basis of a sustainability workshop to be delivered to a wider audience of University staff. You will then devise an evaluative report on the development and outcomes.

The unit draws upon a participative pedagogy to illustrate one way of designing curriculum and teaching to promote sustainability literacy, and consequently provides scope for participants to raise their own concerns and interests in order to shape the particular ways in which unit themes are considered and addressed. You will be encouraged to collaborate with peers and to negotiate the curriculum through teaching and learning activities that will gradually shift from teacher-led to participant-led workshops.

Themes will include: defining sustainability, developing students’ sustainability literacy, education for sustainability, and design for sustainability.

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Teaching and Learning Methods The teaching and learning methods used on this unit include: • Seminars • Tutor-led workshops • Participant-led workshops • Independent Study • Guided Reading Assessment Requirements The unit will be assessed holistically through the following components: • A portfolio of materials related to the design, delivery and evaluation of a workshop that promotes sustainability literacy.

• An evaluative report. (2500 words) Essential Reading Jucker, R. (2014) Do We Know What We Are Doing? Reflections on Learning, Knowledge, Economics, Community and Sustainability. Cambridge: Cambridge Scholars Publishing.

Parker, J., and Wade, R. (Eds.) (2008) Journeys around Education for Sustainability. London: London South Bank University.

Available at: http://www.brighton.ac.uk/sustainability/index.php/ download_file/view/172/90/ (downloaded 03 March 2016) Sterling, S. (2013) Future Fit Framework: An introductory guide to teaching and learning for sustainability in HE. Available at: http://www.eauc.org.uk/the_future_fit_framework_an_introductory_guide_ Stibbe, A. (Ed.) (2009) The Handbook of Sustainability Literacy: Skills for a Changing World. Totnes, UK: Green Books Vezzoli, C. and Manzini, E. (2008) Design for Environmental Sustainability. Italy: Springer.

Further recommended reading and resources are provided in the course reading list.

// 65

66 //

CASE STUDIES

// 67

TEACHING WITHIN ACADEMIC: HOLLY Individual Context: Holly has worked in the creative industries for several years and has great knowledge of the advancements in technology for the commercial market.

Holly feels that she has some useful information and experience to pass on from industry to students in higher education. Additionally, Holly has a pet project that brings together subjects around diversity including faith, in an online format which she hopes to develop further from an educational perspective. Holly has delivered some workshops in her area of expertise and hopes to develop her teaching practice and prospects for the future.

Teaching Within Programme: Holly is not fazed by the prospect of teaching or being placed on a course that doesn’t directly relate to her particular subject area. She is passionate about her new role as she sees as an opportunity to offer and develop interventions regarding the curriculum to improve students knowledge of industry.

She hopes to contribute to enhancing inclusive and current resources.

68 //

“

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.

� // 69

TEACHING WITHIN ACADEMIC: STEVEN Individual Context: Steven is an established fashion designer who has his own international fashion label and has worked with some very high profile figures. Steven graduated several years ago from the university, however whilst they have a successful career in industry they do not attribute this to the educational experience thus far and this is the reason for their application to the Teaching Within programme. From Steven’s point of view there were very few individuals that they felt supported them whilst studying on their degree. They remember one member of staff suggesting that their work related to the Caribbean diaspora and they were told the urban market was so ‘small’ so they shouldn’t develop work like this. Additionally, Steven has dyslexia and at the time of studying on his degree this was not supported. Despite this negative reaction, Steven continued to create work that was meaningful to him and passed his degree even though he felt his style of practice was not valued.

Teaching Within Programme: Despite this negative experience Steven joined the programme as he has a passion to be part of change and reduce the kind of experiences he received as a student. However, he was sceptical in the beginning about what the driving forces were for the university to invest in such a programme.

Additionally, he had some anxiety around what course he was going to be placed on to teach as this could be a field of practice that may not directly relate to his practice. Steven also was very worried about the expectations and deliverables of the Postgraduate Certification as he disliked reading as well as his previous experience in education as a student with dyslexia.

70 //

“

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.

”

// 71

TEACHING WITHIN ACADEMIC: NIMAH Individual Context: Nimah is a practising artist and her work is related to topics of racism, sexism and islamophobia activism primarily. Nimah has herself experienced and witnessed direct and indirect prejudice within her education and within the creative industry. Nimah has extensive knowledge and research of women of colour in the creative sector and feels that this and her experience would be valuable to the teaching environment. Due to Nimah’s personal experience she is hopeful that this will arm her for embedding a critical approach to creative education which includes critical race theory and intersectionality. Added to this, Nimah will challenge all students and support meaningful understanding and engagement. Nimah’s expertise has meant that whilst she had not been in a formal teaching post previously she has experience in delivering workshops in a variety of higher education institutions and art and design organisations.

Teaching Within Programme: Nimah joins the programme and is very excited to be part of the change she wants to see. However, Nimah is unclear about how she may be received by the less knowledgeable academics regarding her specialism and or her critical approaches. Nimah was very excited to be able to have as part of the bursary for the Pg Cert, access to self selecting units and wanted to choose a unit that some may not see as directly related to social justice.

72 //

“

The integration into the course teaching team through this programme was quite straightforward and I felt valued for my contribution in both the delivery and my suggested additions to enhance to current courses activities. However the PgCert elective unit was very challenging in that both the teaching team and the predominantly monocultured cohort struggled to engage with my view, interpretations of the unit and context. Whilst this was upsetting, the Teaching Within programme’s additional support structure was useful, as it allowed a safe space for critical reflection and shared ideas.

”

// 73

TEACHING WITHIN ACADEMIC: JANE Individual Context: Jane has worked in some of the most high profile fashion design companies worldwide. Jane has delivered numerous workshops to a variety of audiences about the skills necessary for working in the fashion industry. Whilst Jane’s career on paper sounds fantastic there have been some challenges, which is why she is applying for the Teaching Within programme. These challenges have taken the form of bullying and appropriation of her work by others within the companies she has worked for. Jane hopes that building a teaching career will support her wish to prepare the next generation of creative practitioners with the expertise and knowledge to navigate and flourish within the creative industries. Jane hopes to offer the kind of support that she never had.

Teaching Within Programme: Jane was very excited about being given the opportunity to pass on her knowledge and experience to students through the programme . However, she had anxiety about being able to fit the programme around her current industry work. Additionally, Jane was very uncomfortable about the possibility that she would be assigned a course that in her mind, did not fit directly with her area of expertise.

74 //

“

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.

�

// 75

FURTHER READING: 76 //

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

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

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

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

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

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

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

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

SA: I wasn’t but now I am.

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

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

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

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

SoN: I don’t really know you, which is a plus so I don’t know what to expect. I’ve seen you in action saying what is on your mind even when it might make others uncomfortable but never heard your views on the topics I’m interviewing // 77

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 78 //

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

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

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

SoN: What about religion or any other intersections?

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

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

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

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

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

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

SA: What do you mean?

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

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

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

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

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

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

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

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

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

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

SA: Wow, me. When you put it like that it sounds pretty bad. This is a difficult question because I’m thinking now, I guess I can’t. The word ‘meaningful’ is a hard one to assess. I suppose I do mention Shades of Noir a lot, I do encourage diversifying recruitment panels, diversifying reading lists, and // 79

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. 80 //

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

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

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

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

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

SA: That sounds perfect, lunch is on

me...have I really provided enough?

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

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

SA: Ok, I’m really feeling hot now.

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

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

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

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

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

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

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

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

SoN: I know I said that was the last question but I want us to build or expand on your response. Look, I understand how difficult this must feel to say this out loud but it is important that you do. Prejudice affects everyone, it’s not good for society so to reach people like yourself (as you are included in the everyone) is super important. Ok... so how do you think you could overcome all the things that currently prevent you from joining the collective // 81

MY TIME AT SHADES. Words by Florence Low, Creative Database Developer 2019.

Shades of Noir has given me an amazing opportunity to explore how design can be utilised to envision and build the world we want to live in, and how I can contribute to this work.

Before starting my FdA at Camberwell I was living in Armenia, in a society that was characterised by political unrest but also by constant growth and change. It was so exciting to me to see the ways that graphic design could be used to provoke change, and it was 82 //

dispiriting to return to the UK and take up a course where design was seen as strangely apolitical, as if graphic designers stand outside of the political sphere. I felt constantly down, feeling like I was surrounded by examples of the ways that design was usually employed to reinforce the oppressive power structures of our society and the institutions that maintain these structures, not to mention the rampant capitalism and exploitative consumerism it promoted.

I count myself incredibly fortunate to have been entrusted with the responsibility of building Shades of Noir’s new Creative Database, which has helped me find ways that design can build a fairer and more just world. The database is an online space that centres the contributions and achievements to the arts of creatives of colour and from other marginalised backgrounds. It has opened my eyes to see who it is that the mainstream media tends to celebrate, which due to my privilege has in the past not been as apparent to me. It has been so exciting to start to build this digital, but very tangible, decolonising space, where the arts are no longer seen to revolve around the experiences and output of the white cis able-bodied man from a middle class background. Representation matters; when people see themselves reflected in certain spheres, it can open up a world of possibility.

of the world that acknowledges the very structural oppression that people of colour face and works to create physical and digital space that redresses these power imbalances.

Moreover, the team at Shades are one of the warmest, most supportive and welcoming teams of which I have ever had the pleasure of being a member.

I am so proud to be a part of the amazing and incredibly important work that Shades does, and am excited to continue to expand and grow this role in the future, to show that graphic design has incredible world-building potentials, far beyond its consumerist origins.

Initially I focused on creating a clean, useable, accessible and consistent layout across the database.

Now however I am working on creating content to continue to archive and promote the work of creatives of colour, which includes interviews in particular. I hope in the future to continue to explore new, interesting and dynamic ways to create web-based content that promotes the visibility of creatives from marginalised backgrounds.

Shades has given me a chance to see how web design can be revolutionary.

To construct a more utopian view // 83

AN ACT OF RADICAL COMPASSION.

Words by Rayvenn Shaleigha D’Clark.

84 //

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

I was recently asked by 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 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.

Compassion feels whispered in hushed tones within HE, and there feels to be such duality within the discussion of whether it is more important to (critically) teach inclusive debates from a wide spectrum of institutional perspectives, versus the belief that we all hold within us a basic understanding of compassion - or empathy (that some argue cannot be taught past childhood) - that we should be exercising within this dimension. I am of the opinion that compassion, and that very genuine sense of sorrow for the suffering of others and consequently the desire to alleviate it, should be a standard virtue for all levels of staff, teachers and students. Hence ‘radical compassion’ as defined by philosopher Khen Lampert in 2003 - first appearing in Traditions of Compassion: from Religious Duty to Social-Activism (2006) - goes a step farther, leading people to act with compassion not only when it is inconvenient, but also when it is both difficult and/or dangerous.

Lampert identifies compassion as: ‘[...] a special case of empathy, directed towards the “other’s” distress.

Radical compassion is a specific type of general compassion, which // 85

includes the inner imperative to change reality in order to alleviate the pain of others. I have noted that compassion, especially in its radical form, manifests itself as an impulse. [...] and proposes viewing such an inclination as the product of cultural conditioning (Lampert, 2006).

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 we contemplate upon the need to cultivate - or more simply ‘teach’ - empathy as a respectful understanding of another person’s experience.

But how do you begin this discussion?

What should never be questioned is the compassion of the action.

Developed by Aisha Richards and Terry Finnigan in 2011 with the support of Ellen Sims and Hilaire Graham within University of the Arts London (UAL) - as a selfselective Unit - Inclusive Practice training reveals the radical power of compassion to enact revolutionary changes to the mindset of its 86 //

participants; highlighting the liberatory value of training all student-facing staff in social justice pedagogy, it goes lengths in allowing participants to reflect upon their own position and assumptions surrounding an increasingly diverse population of students, furthering their own empathetic understanding of differences in student experiences.

I have personally experienced, witnessed and been privy to a great many things that exemplify the monoculture within HE, and in spite of this it still feels to me to be a very difficult thing to witness and recount past experiences of the huge lack of compassion that many display on a day-to-day basis, particularly from some student-facing staff. Again, here the idea of alchemy again enters the conversation: The inclusive practice unit has been described by many graduates as ‘transformational’ in its presentation of intersectional theories, it similarly becomes an opportunity to offer 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/inclusive-practice-alchemy-transformationin-social-justice-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/projects-research/admissions-research.cfm Friere, P. (1970) Pedagogy of the Oppressed. London: Continuum.

// 87

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

88 //

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

I have been teaching on the Postgraduate Certificate (PgCert) at the Teaching and Learning Exchange at University of the Arts London for over 9 years in the area of equality and diversity and so I feel it is time to reflect on how it has changed me as a teacher and as a human being.

I have learnt so much during this time, sometimes through specific academic readings, blog posts and videos but often through difficult and challenging dialogues within the classroom and conversations with the other tutors after the students have gone. As a white member of staff I want to consider what the opportunity of working so closely with a black academic has given me and continues to give me, I acknowledge that I am further privileged by this insight. I know I have developed and changed because of this.

I have always considered myself to be open, accepting and keen to learn from others. I see myself as a reflective practitioner and a good teacher.

I relish being in the classroom, working alongside both students and staff. When I first started teaching about diversity all went well. I was first asked to deliver one session across the whole of the course about diversity within art and design teaching with a colleague, where mainly issues around disability and class were discussed. These always seemed to be the most palatable

subjects for staff to consider under the banner of equality at that time.

We would present a number of student case studies within a twohour session and there was time for discussion and sharing of how the students could be supported. Looking back this was a very individualised model and in some ways was very comfortable and comforting for the participants. All their students needed was access to support, often from outside agencies, and their concerns and challenges would be met. Leaflets for counseling, housing, study support were duly distributed and that box was ticked. It was not their problem but just a problem of access to the right information, not taxing at all.

We also would show the university stats around student achievement each year and how there were clear gaps between students from working class and middle class backgrounds and home black students and home white students. After the presentation staff would often question the data and its validity and sit silently and then find ways to understand it, which did not always impinge on their own teaching of course. Some staff would attempt to problematise the students who had not been taught well enough at school or whose language level was not appropriate for the course. However, other staff over the lunchtime would often want to discuss in more detail their students’ needs and the data around achievement and how they could meet the students needs in the studio, the // 89

workshop and the lecture theatre.

Let me make it very cIear, I am not in any way criticising the staff who were on the Pg Cert. They were there to learn how to be better teachers and how to support their students through their learning and their assessment.

The course needed to radically change its approach, its focus and there was a growing need to consider inclusive pedagogies and curriculum. From this, working with Aisha Richards and Ellen Sims we developed a unit that provides staff the opportunity to study and reflect in more detail on inclusive teaching and learning in art and design was born.

To be inclusive we had to consult in an inclusive way. We discussed this development with the Disability unit, the WP unit, the Language Centre within the university. We wanted it to be transformative for staff who studied the unit so we taught it through the frame of critical pedagogy using the writings of Friere (1970) and hooks (1994).

We also made sure it was linked to the art and design curriculum and so Burke and McManus (2009) and Bhagat and O’Neil (2011) were part of the key reading list. The Shades of Noir interventions, the Tell us about it artifacts and the Common Place UAL website were (and still are) key parts of the unit. It was essentially about staff understanding that diversity starts with themselves, it is not about the ‘others over there’.

They also were encouraged to make changes to their teaching and the 90 //

support students received within their own context. We also made sure we discussed the UAL achievement data and disparities in degree classification with the cohort and asked them how they could start to make some changes to the curriculum and the pedagogy, consulting with students along the way.

The unit was validated in 2011 and was taught by three tutors, which is part of its strength; Aisha Richards, Siobhan Clay and Terry Finnigan.

Having diversity within the staff team was essential to make this work effectively, although in the first couple of years this was, at times, an uncomfortable place for Aisha to be. I learnt a great deal during this period about myself but also to some level of the experience of being a Black teacher in a sea full of white faces.

This was not a safe place to be in, not only did I witness this but she shared this with me after the classes. She was very upset about the questioning and defensiveness around the attainment figures for students of colour as well as the very aggressive questioning she received. I must admit that in the moment I wasn’t prepared for how the cohort behaved. She told me this was so very hard and next time could I present it and she would observe. I was concerned about her wellbeing and the emotional pain she was experiencing in this space so agreed. I was very shocked and it made me realise that this work was very complex and that I came from a position of white privilege as a teacher which I had never truly

considered before. I had just thought that there were good teachers and not so good teachers and we needed to find ways to support students and facilitate their learning within a creative context. How naĂŻve on my part! Suddenly I saw there were other layers to this which were to do with how people were perceived and their positions were validated or devalued even in a position of power as a black female academic by our peer students. In the first couple of years we always had a debrief after the sessions (which has continued) and rethought how to present this data in the context that it was a reflective space, rather than aggression, we encourage consideration and understanding supported by case studies. I only delivered the data in the second year of delivering as Aisha built her own techniques to manage the environment and support the transformation of our cohorts. Additionally, we brought other staff of colour in to run certain workshops which helped and the student attainment was discussed in small groups and fed back.

The work of Sabri, (2014) who embarked on a longitudinal institutional research study at the university, helped with this as, using research data, was able to take the questioning around where the disparity came from out of the discussion. We moved straight onto, so what can we do about this then?

Using the Frierian concepts of social justice and critical pedagogy, coupled

with the involvement of students and educators engaging in dialogue to create change as the backbone of the unit and continues to be very powerful. Questioning the context on the course or workshop where the participants find themselves, as well as identifying a small change that can be implemented and evaluated is often transformational. We also, as unit tutors mirror inclusive practices within our own pedagogies and our own curriculum so that the sessions become safe and supportive spaces.

Participants on the unit would feedback that it had changed the way they saw their role as teachers and had transformed their teaching and their overall approach with students. Sometimes students suggest this unit has changed their lives. We had moved a long way from reflecting on the individual problems of the students to a more systematic approach to change. This was in its own way at times disruptive and difficult for staff. Some course teams and line managers are very supportive while others feel at times threatened by the interventions staff bring to their area. This was all about change and there is still so much more to unpack and transform.

In recent years it has been extremely important to create safe and supportive spaces on the unit so the participants can share their own diverse perspectives whilst receiving feedback and support from each other.

The face-to-face sessions provide this but also the blogging spaces are really // 91

valued by most staff as it provides a place to reflect and share experiences, challenges and resources. Over the years the cohort has become more diverse (particularly since the creation of Shades of Noirs Teaching Within Programme) which is so positive and it enriches the dialogue and communication throughout the unit.

We have been discussing inclusive curriculum, inclusive pedagogies and assessment for many years on the unit but now we are also talking about perspective on terms such as Black, Asian and Minority Ethnic, theories around white privilege, white discomfort, white fragilities, micro agressions and micro affirmations, islamophobia, the social model of disability and the use of pronouns for LGBTQI students and staff. It is not only about the strategies you can apply within the classroom such as group work and glossaries but also about the one to one communication between students and staff and students and students and staff and staff.

I myself am thinking more and more about this now as language is key and an open and reflective response is necessary to truly move forward. Sometimes I still get it wrong. I use inappropriate language and get corrected and I am asked to think again which I am happy to do. I ask what words would be better here then? I still have a lot to learn but we have produced this space where I am willing to learn and do not feel in any way defensive. The space is now a space 92 //

of mutual respect and learning and it has made me develop into a better teacher and a better person I think.

This has taken years of delivery, practice and most importantly evolution through reflection to create a space that feels safe for all.

Once you start talking about difference and inequalities in a safe space, provide students with the chance to read, reflect and share their experiences you also need to be ready to respond to what happens when silence is no longer a strategy to hold in injustices that some people have been holding for so long. As Lorde (1984: 44) comments ‘It is not difference that immobilizes us, but silence. And there are so many silences to be broken.

The Inclusive Teaching and Learning unit then becomes a place of challenge and disruption.

I have developed as a teacher and also as a person. I am much more aware of so many layers that exist around this work and of my contributions as an ally, both in the teaching setting and as the learner. I am constantly learning and am so thankful to have worked so closely with an academic of colour on this unit. Part of its success is that I was never a saviour but listened and always took on board Aisha’s view as an ally and together we found solutions that worked.

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