jocowellpgcert

(1,499) 

The intervention I have designed is a session called ‘Material Conversations’. 

The session aims to create an opportunity for students to discuss their backgrounds through textiles, reflecting on how they could bring these elements into their practice, build connections and affirm their classmates.   

It would also make staff more aware of students’ backgrounds and areas of interest so they can do the necessary research to support students going forward.   

In this statement I will reflect on:   

My own context, how the intervention will be used and why it’s valuable within it.   

The inclusive theories underpinning my intervention and how it relates to targets set by the institution (in line with the 2010 Equality Act).  

Concluding by reflecting on the process of creating the intervention, the skills I have and need to develop as a facilitator and how my experiences on the Inclusivity unit of the PG Cert have shaped my approach.  

Context  

I work within both the Textiles and outreach departments at LCF. Within Textiles I support BA and MA students’ technical learning. Within the outreach team I’m responsible for planning and delivering courses and workshops supporting students with pathfinding, application and progression to HE. Within this context I work predominantly with students from marginalised groups, interested in Fashion and Textiles, supporting them to overcome barriers they face to progression. 

Seeing both sides, as it were, working with students as they prepare applications and then on the Textiles course, has helped me develop an intervention which will be helpful to diverse and marginalised students in my context.  

The outreach team often receives feedback that students feel supported and encouraged to explore their backgrounds particularly race and faith while participating in outreach programs, encouraging them to bring their ‘whole selves’ to the learning environment. However, they feel there is less support and encouragement for them to express their identity on BA courses at LCF, leading to them feeling less included and celebrated at university. 

The session would be most useful at the early stage of a Textiles degree. It seeks to establish an inclusive culture which values diverse experiences, compassionate relationships between and amongst staff and students and a framework for identity work and self-exploration. With a view to these modes of behavior and discussion becoming embedded in the course, creating a more inclusive environment. 

Theory  

The main theories which underpin my thinking and approch are:  

• Critical Race Theory, which recognizes subtle and systemic racism, with an emphasis on story-telling to make the reality of multi layered discrimination within structures in society visible.  

• Intersectionality, through which Kimberle Cernshaw, builds on CRT and feminism, highlighting how multiple identities overlap in a system of layered discrimination and privilege.  

Crenshaws belief, discrimination remains due to ‘Stubborn endurance of the structures of white dominance’ _{(The intersectionality wars, 2019)} feels like a challenge to every member of society to begin recognising and actively dismantling the forces upholding inequality in everyday life.  

• Critical Pedagogy, Paulo Freire’s call for a radical shift from the banking system of education and its innate reproduction of power imbalances, to a system that’s transformational, equipping the individual to enact social justice.  

• Engaged pedagogy, bell hooks’ development of Freire’s thinking. Particularly hooks’ emphasis on ‘wholeness’ and the importance of ‘relationship(s) based on mutual recognition’ _{(hooks, 1994)} in education.  

I’ve used various examples of initiatives based around these theories to guide my thinking about design and delivery.  

My intervention is important to the academy because It’s designed to support UALs goal to narrow the retention and attainment gap between BAME and White students, highlighted as a key area for improvement in the UAL Equality and diversity framework (2015).  

The majority of my research and thinking has centered around race and minority cultural backgrounds but, as my intervention is concerned with facilitating open dialog about identities, it will create opportunities for other protected characteristics set out in the equality act to be discussed and better supported.  

It also draws on 2 strands of the Academic Enhancement Model: ‘Fostering Belonging and compassionate pedagogy’ and ‘Decolonizing pedagogy and the curriculum’. _{(Tagoe, 2021)}

The academic enhancement and attainment team identified, ‘feelings of isolation and ‘not fitting in’ were the most common reasons for UK students considering withdrawal’. _{(Hill, Bunting and Arboine, 2021)} They suggest compassionate pedagogy which sees social and relational elements of the student experience, is key to fostering belonging.   

Both attainment and belonging are enhanced when students are able to engage in meaningful identity work. 

‘Whenever I did projects about my own culture I did really well, and I feel like my work was very distinctive because of that.’ _{(Refaat, 2021)} 

Basing the session around the presentation of an object and the discussion it provokes, signals to students that their identities and experiences have value in the institution and beyond.  

‘The dominant culture sends signals to students about who is valued – and if a student does not feel valued, they are much less likely to succeed’. _{(NUS Race for Equality, 2011)} 

Focusing these discussions through the exploration of textiles related objects seeks to establish critical thinking _{(Freire, 1970)}, exploring the link between identities and the material world, as they relate to the students own practice.  

The paper ‘A Pedagogy of Social Justice Education..’ particularly inspired me,  

‘Students are approached as if each participant is a living text’. _{(Hahn Tapper, 2013)}

This sense of empowerment when students becomes the lead investigators into their own identity and experience, as well as co-creator of the curriculum, captures my aim for the intervention.  

‘The students-no longer docile listeners-are now critical co-investigators in dialog with the teacher’. _{(Freire, 1970)}  

The opportunity for students to present textile objects related to their cultural heritage and traditions will suggest avenues of research for student and teacher. This element falls in line with the university’s ambition around decolonizing the curriculum. Staff can research and incorporate the cultural themes and ideas presented by the student, into teaching and reference material going forwards.  

The facilitator and students participating in the same way, as well as the act of observing, critically discussing and therefore ‘elevating’ the objects, challenge the assumed power imbalance between student and teacher Freire points to as necessary to maintain the dominant/ passive dynamic in ‘banking’ education.  

Dismantling this power dynamic and creating opportunities for connection and ‘mutual recognition’ _(hooks) is particularly beneficial to marginalised students, who face more barriers to building rapport with predominantly white tutors.  

In ‘Retention and Attainment in the disciplines: Art and Design’, Finnigan and Richards discuss the extra burden on students from diverse backgrounds in establishing strong relationships with tutors, needed to support exploratory identity work.  

‘..the work itself produced is emotional, then the relationships with tutors are intrinsic to its development’. _{(Finnigan and Richards, 2016)}  

They point to the ‘Tell us about it’ project where ‘students identified a key strategy for success was having the possibility to explore identity (…) on their course’.  

Reflection  

Based on my interactions with students at LCF I have observed the power of affirmation and confidence building, especially for students who face particular discrimination as multiple characteristics intersect. 

As an Outreach Tutor, possibly the first representative of an otherwise remote world (HE), I seek to humanize myself by sharing elements of my own positionality and challenging educational journey, establishing connection and vulnerability needed to ‘encourage(…) students to take risks(…) and share narratives’. _{(hooks, 1994)} 

In my technical context, where students coping with the pressures of university often feel more comfortable discussing their feelings with technicians, I use active listening, empathy and advocacy to support students with pastoral issues.  

I’ve always taken up opportunities to learn how to better understand students’ ‘non-academic’ needs. 

I became a mental health first-aider in 2019 and regularly attend sessions about race and equality at UAL. 

I’m aware I need to develop my knowledge around supporting students from backgrounds I’m less familiar with and my understanding of different cultural practices. To this end, I will keep listening and being an active participant in such conversations. 

I need to seek out more diverse references and creative platforms, so students can see themselves reflected in the teaching material. 

‘By having these discussions with students (…) hopefully that will give them the confidence to be like, ‘why can’t I do that?’. _{(Refaat, 2021)} 

I hope through this intervention and maintaining an open, inquisitive approach to interactions with students, to build up my knowledge around race and culture. 

Reflection on the Inclusivity unit of the PG Cert 

‘Injustice anywhere is a threat to justice anywhere’. _{(King, 2013)}  

Seeing the world through the lens of intersectionality and building awareness of the opportunity to enact social justice in many facets of life has helped me reflect on my own position of privilege and the responsibility I have within my discipline.  

It’s also made me appreciate how key the university experience is in shaping how students will see and interact with the world and therefor, the need for transgressive and compassionate teaching to support critical engagement and personal growth.  

My increased awareness of the necessity to embed inclusive practice means I must continue to engage with thought and debate about justice and equality, to question my practices and those of the institution, and to actively listen to the voices of marginalised people. 

_{Cockpit arts, 2021. Maker to Maker – Diversity in Craft and Textiles. Available at: <https://vimeo.com/566713779>} 

_{Cowell, J. and Kimmie, J., 2021. Material Conversations Feedback Interview. [Online] Available at: <https://jocowellpgcert.myblog.arts.ac.uk/2021/07/28/intervention-feedback-interviews/>} 

_{Cowell, J. and O’Hara, M., 2021. Material Conversations Feedback Interview. [online] Available at: <https://jocowellpgcert.myblog.arts.ac.uk/2021/07/28/intervention-feedback-interviews/>}  

_{Cowell, J. and Refaat, H., 2021. Material Conversations Feedback Interview. [online] Available at: <https://jocowellpgcert.myblog.arts.ac.uk/2021/07/28/intervention-feedback-interviews/>} 

_{2015. Equality and Diversity Framework Annual Progress Report 2015. [ebook] London: UAL. Available at: <https://www.arts.ac.uk/__data/assets/pdf_file/0013/40630/UAL-Equality-and-Diversity-Progress-Report-2015-FINAL.pdf>.} 

_{Finnigan, T. and Richards, A., 2016. Retention and attainment in the disciplines: Art and Design. Higher Education Academy,.} 

_{Freire, P., 1970. Pedagogy of the Oppressed. The Continuum Publishing Company.} 

_{Hahn Tapper, A., 2013. A Pedagogy of Social Justice Education: Social Identity Theory, Intersectionality and Empowerment. Conflict Resolution Quarterly, 4.} 

_{Hill, V., Bunting, L. and Arboine, J., 2021. Fostering belonging and compassionate pedagogy. [ebook] London: UAL. Available at: <https://www.arts.ac.uk/__data/assets/pdf_file/0019/223417/AEM3_FBCP.pdf>.} 

_{hooks, b., 1994. Teaching to Transgress. New York: Taylor and Francis Group.} 

_{King, M. and Graham, D., 2013. Letter from Birmingham jail. Escondido, Calif.: Mission Audio.} 

_{2011. Race for Equality. London: NUS.} 

_{Saad, L., 2020. Me and white supremacy. London: Quercus.} 

_{Shades Of Noir. 2021. Shades Of Noir. [online] Available at: <https://shadesofnoir.org.uk/>}

_{Tagoe, N., 2021. Introducing a 3-strand model for AEM in 2020/21. [Blog] The Exchange Blog, Available at: <https://tle.myblog.arts.ac.uk/introducing-a-3-strand-model-for-aem-in-2020-21/>.} 

_{Vox. 2019. The intersectionality wars. [online] Available at: <https://www.vox.com/the-highlight/2019/5/20/18542843/intersectionality-conservatism-law-race-gender-discrimination>.} 

^{Material Conversations Session}

^{Notes for facilitators}  

^{This intervention is a one-off workshop designed to open up dialog around identity, particularly race and belief.} 

^{To be delivered to groups of maximum 15 students within their first year of a Textiles degree. The session would be effective as part of the Better Lives unit as this unit is based around students considering their practice in relation to the wider world and establishing how they want to respond to social, ethical and environmental issues as future designers.} 

^{At this formative stage the session aims to sew the seeds of criticality, self-reflection/ identity work, open and respectful dialog and strong relationships between staff and students.} 

^{Taking as a starting point, the fundamentals of CRT and Intersectionality (that multi-layered, societal discrimination must be seen and acknowledged in order to create individuals who can challenge and dismantle the forces of oppression and enact social justice). The session seeks to embed discussion and criticality through engaging the principles Object Based Learning, Critical Pedagogy, Engaged pedagogy. The session aims to establish a culture of openness and respect, signalling to students that their backgrounds and experiences have value and can be a rich source of research and enquiry for their practice.} 

^{Session Plan} 

^{Preparation: Before the session participants will be asked to select a textile (or object/ photo related to textiles) which represents an element of their own background or identity. The aim of the session (open dialog about background and identity) will be outlined, so students can begin to consider what they will share.} 

^{Introduction: Session facilitator will introduce the session. Creating a safe space by outlining the expectation of open, respectful behavior and dialog.} 

^{Example: Session facilitator will be the first to present their object/ photo/ textile. Providing an example framework students may wish to follow when they present their own object. Using their object as a vehicle to talk about their own identity and experiences, facilitator will set the tone for open self-reflection.} 

^{Show: your object/ photo/ textile.} 

^{Tell: us about your object/ photo/ textile and your connection with it.} 

^{Reflect: on how it could (or has) influenced you and your creative practice.} 

^{Link: next student along to make an observation about what they like/ find distinctive/ inspirational/ resonant about the textile/ object or photo.} 

^{Acknowledge: say something you have learned/ appreciated from the presentation of the student next to you (above you in the chat if digital).} 

^{Feedback: Physical or digital questionnaire will be provided to participants at the end of the session so they can feedback on their experience.} 

Feedback and Evaluation  

Thus far I have been able to shape and evaluate my intervention idea by conducting semi-structured interviews with colleagues from both Textiles and Outreach as well as a graduate from the textiles program at LCF.  

Their insights helped me consider practical and theoretical aspects as well as how and where the session could fit within the curriculum.  

All interviewees expressed that they saw a need for more spaces and opportunities for students to discuss race and cultural background, and consider how these elements could feed their practice. 

‘Especially in London, students are so international but, that’s never really been a conversation.’ _{(Refaat, 2021)} 

I also feel it’s important for me, as a white woman approaching the subject of race, to listen to the perspectives of staff and students from diverse backgrounds, on my intervention.  

They particularly helped me consider how I can manage the potentially limiting effect of my own position (as white) when discussing race and culture with a diverse group of students.  

Hannah Refatt an Embroidery Technician and Tutor, felt that my sharing my own experiences (ie. making myself vulnerable) would go some way to braking down perceived barriers and establishing trust and empathy.  

She also reflected on her own experiences as a textiles student at Loughborough, exploring her Egyptian heritage through her work.  She mentioned one ‘amazing’ tutor who encouraged and supported this but noted that overall opportunities to discuss race and cultural identity were not created, noting  ‘A lot of the time people are a bit too scared to say the wrong thing.’ _{(Refaat, 2021)} 

Hannah spoke about being one of only two minority students in a large cohort and how discussing race and identity in a large group like this could have placed unnecessary pressure on her. Based on this insight I reduced the size of the session to 15 and will make sure that I (the facilitator) manage and respond to the different levels of confidence around presentation and discussion within the student cohort by asking questions to guide and support the conversation where necessary and stepping back when students are comfortable leading the discussion.  

During my interview with Jacoob, an Outreach Practitioner, he asked me about how I will monitor and evaluate the success of the intervention.  

In the short-term Participants will be asked to fill in a questionnaire after the session.  

In the longer-term the success of the intervention can be evaluated by looking at retention and attainment of students. from minority backgrounds. As well as students’ own reflections gained through the NSS and pastoral tutorials. The number and quality of identity-based projects undertaken will also indicate the success of the intervention. 

Intervention Feedback Interviews

To gain feedback on my intervention proposal I conducted semi-structured interviews with two UAL colleagues and one graduate.

Maxi-Mai O’Hara is an LCF Textiles graduate. She comes from a mixed background of Chinese, German and Irish. Maxi grew up in the UK and now works in Interior design, project managing for a London based luxury furniture company.

Hannah Refaat is a Textiles Tutor and Technician at Loughborough and LCF. Alongside this she freelances and has her own practice, winning multiple awards for her embroidery work which explores her Egyptian heritage and Coptic Christian background. Hannah regularly gives talks and presentations about diversity and inclusivity in design and craft.

Jacoob Kimmie grew up in apartheid South Africa in the “coloured” townships of Johannesburg. He was born Muslim because of his Cape Malay slave heritage. His grandmother voted for the first time in South Africa’s first democratic elections at the age of 83. Her mother, his great-grandmother, was brought to the Great Colonial Exhibition as the “Cape Colony Exhibition” of 1886 for Queen Victoria’s pleasure. A portrait of her painted by Rudolf Swoboda hangs in Osborne House. 
In 2005 he was granted an innovators visa to establish a fashion label in the UK. In 2013 he retrained as a teacher. In 2017 he undertook post-graduate studies in Applied Imagination in the Creative Industries with a focus on interrogating “integration” strategies and inclusive practice in art and design teaching and learning, and entrepreneurship. He currently works as a College Outreach Practitioner at LCF.

_{Cowell, J. and Kimmie, J., 2021. Material Conversations Feedback Interview. [Online] Available at: <https://jocowellpgcert.myblog.arts.ac.uk/2021/07/28/intervention-feedback-interviews/>} 

_{Cowell, J. and O’Hara, M., 2021. Material Conversations Feedback Interview. [online] Available at: <https://jocowellpgcert.myblog.arts.ac.uk/2021/07/28/intervention-feedback-interviews/>}  

_{Cowell, J. and Refaat, H., 2021. Material Conversations Feedback Interview. [online] Available at: <https://jocowellpgcert.myblog.arts.ac.uk/2021/07/28/intervention-feedback-interviews/>}

_{Freire, P., 1970. Pedagogy of the Oppressed. The Continuum Publishing Company.}

_{Vox. 2019. The intersectionality wars. [online] Available at: <https://www.vox.com/the-highlight/2019/5/20/18542843/intersectionality-conservatism-law-race-gender-discrimination>}

(SoN) is an independent programme based around enacting social justice in the university and beyond. Through many streams of intervention, dialog, case studies the programme provides resources and opportunities for critical reflection and action around racism and social justice for both staff and students in every part of the university.

How could I apply the resources to my own teaching practice?

I will use Shades of Noir to continue my learning and engagement with issues around race and social justice. I have found SoN extremely helpful in helping me shape my pedagogical approach and consider the effect my own positionallity can have on students from different backgrounds and how i can mange this to reduce the burden of bridging any cultural or relational barriers on students.

I have already used SoN resources as a starting point to source and introduce examples of work from diverse creatives into my teaching and will continue to do so.

I will also recommend SoN resources to students so they can explore platforms which host the work of creatives from marginalised groups which may be less well known than dominant platforms and inspire students with tangible examples of how their work can develop and be seen.

I will also signpost students who need support with specific instances of racism or discrimination to the advice and mediation services SoN provides.

How could I integrate the research/work my students do on this subject into my teaching/professional practice?

I am increasingly using the work of students and graduates from marginalised backgrounds as examples for current students.

I intend to make more space, as I plan my teaching and delivery, for students to reflect on and share their experience of different aspects of the courses, how they intersect with their backgrounds. As well as their experiences of exploring identity and race within their work. This will provide feedback for me to shape and improve my teaching practice in the future. It will also encourage students to reflect on and acknowledge the personal trials and tribulations involved in studying and creating introspective work.

Can I cite examples?

Working with the UAL outreach team I’m involved in planning and delivering courses and workshops aimed at supporting students who face barriers to HE into university. I’m supported by Outreach Ambassadors (students or graduates) who have, themselves, been through the outreach program. They present their work and discuss their experiences with the outreach cohort. I always make sure I choose Outreach Ambassadors from a diverse range of backgrounds so applicants at this key stage can see diverse work and hear the perspectives of students from a broad range of marginalised backgrounds.

I have seen the positive effect of this approach as students who may lack confidence and a sense that they ‘belong’ at university meet students and graduates they can relate to. Providing a solid, relatable example of how they can belong and succeed while creatively exploring their own identities and experiences in HE.

_{Shades Of Noir. 2021. Shades Of Noir. [online] Available at: <https://shadesofnoir.org.uk/>}

(UCU – University and College Union, 2016)

In this Video Josephine Kwhali expresses her frustration with the term ‘Unconscious Bias’ I’m reminded of a talk given by Shirley Ann Tate, ‘Whiteliness and institutional racism: Hiding behind unconscious bias’, in which she unpacks the term ‘unconscious bias’. Seeing the word ‘unconscious’ as a way to excuse and explains away racism. Tate argues that the term and concept is actually damaging as it maintains a racist status quo or ‘epistemology of ignorance‘ where universities are using it as a tool to work against the process of unlearning white supremacy.

Similarly, Kwhali questions how unconscious racial bias can be when there has been so much discourse around the topic in the academic world for so long.

Kwhali points to the practical gains which have been made by for middle-class white women in the academic environment, interrogating why similar change has not been forthcoming in relation to racial discrimination.

‘What else can we do?’ _{(J.Kwhail, 2016)}

_{CriSHET Nelson Mandela University, 2018. Whiteliness and institutional racism: Hiding behind unconscious bias. [image] Available at: <https://www.youtube.com/watch?v=lur3hjEHCsE&t=2951s> [Accessed 1 July 2021].}

_{UCU – University and College Union, 2016. Witness Unconscious Bias. Available at: <https://www.youtube.com/watch?v=Y6XDUGPoaFw> [Accessed 1 July 2021].}

(Finnigan and Richards, 2016)

This paper takes, as It’s starting point, the conclusions of a 2014 Higher Education Academy report; Undergraduate Retention and Attainment Across the Disciplines _{(Woodfield, 2014)}. Namely that; ‘there is a need for better understanding of how some groups of students experience different disciplines and how their background characteristics interact with a variety of disciplinary contexts to become more or less vulnerable to withdrawal and low attainment.’ _{(Finnigan and Richards, 2016)}

Through focusing in on Art and Design the paper analyses data and discusses elements of curriculum and practices involved in teaching and how they interact with the characteristics of diverse student groups. Then, presenting case studies from various institutions which have attempted interventions to address the retention and attainment gap.

I was particularly fascinated by some elements of the papers brake-down of ‘Curriculum, culture and custom in Art and Design’. Namely;

Cultural capital

Art and Design pedagogies which hi-lighted the particular struggle and emotional tole experience by first year undergraduate students when faced with the ambiguous nature of degree level art and design enquiry. Finnigan and Richards describe these students when faced with the ‘pedagogy of ambiguity‘ as ‘constantly looking for certainty and reassurance‘. _{(Finnigan and Richards, 2016 p.7)}

I recognise this feeling both from my teaching context and my own experiences as a student. I remember distinctly the feeling of frustration and being lost, as I desperately searched for affirmation of the ‘correct’ approach and outcome.

I also see this a lot in the classroom and have sometimes found it helpful to explicitly outline the difference between the ‘box ticking’ approach necessary for success at school or college and the self-directed enquiry needed to create projects with depth at university. I have discussed with first year students the mental and practical shift needed to work within this much less prescriptive framework.

I wonder how this tension could interact with diverse student backgrounds and sensibilities?

Leading on from considering the shift to a more open and often self-referential way of working Finnigan and Richards hi-light the importance of the relationship between student and tutor.

It seems obvious that in order for students to feel able to approach and create work in an introspective way (that is inherently a vulnerable process) they must feel comfortable and encouraged to express their identities with their tutor.

‘Students should be able to bring themselves into their work. However, this is harder for some to do than others.’ _{(Finnigan and Richards, 2016 p.7)}

Inclusive curriculum and identity work

To expand on the question of whether students are adequately supported to explore their identities or ‘bring themselves’ to their practice, the paper reflects on how the taste and preferences of tutors can influence students to tailor their work to appeal to their tutors.

If we assume diverse students are experiencing these two issues (lack of trusting relationship with tutor and receiving signals that their ‘own’ subject matter or aesthetic is being rejected or discouraged) more than their white counterparts. They surely will have a less fulfilling experience with less potential for the transformational effect on both self and practice of a truly liberatory education _(hooks) being enacted.

Finnigan and Richardsand cite Critical Pedagogy _{(Freirie 1968; hooks 1995)} as a key theory which can form the basis of interventions to move HE Art and Design education towards inclusive practice where this transformation CAN be enacted.

*With my own experiences in mind, and taking into account my own position as a white student coming from the dominant cultural background. I have to consider how much harder the process would be with the added barriers associated with coming from a minority background with different characteristics form your tutor.

Making work which explored my own identity was daunting to me and I would say it took me two years on my BA, with a lot of encouragement from tutors, to gain the confidence to work in this way.

This is coming from a position of trust and familiarity as my tutors largely resembled me. For me this ‘ground work’ was already done so i could continue to strengthen my relationship with tutors and become more vulnerable in my practice. When I consider the position of a student from a minority background, who needs to build this trusting relationship (or groundwork) with a tutor, either before or along side, grappling with the ambiguity of HE art and design teaching methods and identity work, It’s clear that the burden on students from minorities is greater and the path to producing self- introspective and transformational work is longer and more challenging.

Acknowledging this and creating various interventions to build trust and inclusive practice into the fabric of courses, as well as moving towards a more diverse teaching team is key to addressing this extra burden.

Finnigan and Richards go on to discuss Case studies from various institutions where practices and interventions have been implemented to address the retention and attainment gap.

I was most struck by Case study 3′ ‘Tell us about it’ (UAL), lead by Terry Finnigan.

This project engages the principles of Student-centred learning to ‘explore the narratives and learning experiences of final year students from diverse backgrounds studying within art and design disciplines who have succeeded at a high level.’ _(p.14)

These students have created written pieces, photo books, sketchbooks mind maps, DVDs and other artefacts. I had the opportunity to view a selection on these works in 2018 and was moved by the beautiful and creative way students had articulated their experiences.

Finnigan and Richards summerise the lessons learned, reflecting on ‘the power of listening to students voices in creative ways‘_(p14).

Diverse students reflections on their experiences must, of course, be at the centre of discussion and planning around improving their experiences.

Finnigan and Richards also point out that, ‘Housing the artefacts within the archives makes these student works important and long lasting‘. I think this act of presentation and conservation is powerful. Treating their work and reflections in this way signals to students that their voices and identities have value within the institution and beyond.

I’m inspired by this Case study and intend to incorporate the approach and learning of the ‘Tell us about it’ project as I develop my teaching intervention.

_{Finnigan, T., 2009. Tell Us About It. Art, Design and Communication in Higher Education,.}

_{Finnigan, T. and Richards, A., 2016. Retention and attainment in the disciplines: Art and Design. Higher Education Academy,.}

_{Freire, P., 1970. Pedagogy of the oppressed.}

_{hooks, b., 1994. Teaching to Transgress. New York: Taylor & Francis group.}

_{2021. Tell Us About It. [online] Available at: <http://www.shadesofnoir.org.uk/artefacts/tell-us-about-it/#> [Accessed 12 July 2021].}

_{Woodfield, R., 2014. Undergraduate Retention and Attainment Across the Disciplines. Higher Education Academy,.}

^{(Hahn Tapper, 2013)}

This article uses examples from a ‘US-based intergroup educational organisation running conflict transformation programs since 2005’_{(Tapper, 2013 p.411)} to explore theoretical underpinnings and approaches to Social Justice Education.

I found it really interesting, having been exploring these theories since beginning the PG Cert (and usually considering their application through small interventions in a creative classroom setting, where the primary focus is teaching art and design), to read about a teaching programme explicitly built around these theories and issues of social justice. Embedding and enacting these ideas at every level of conception, planning and delivery and placing the transformation of individual learners at the centre seems radical in terms of intention.

Tapper outlines the five ‘educational pillars’ on which the organisation’s approach is based.

_{Figure from ‘A pedagogy of social justice education: social identity, theory and intersectionality’ (2013)}

With the first pillar being Paulo Freires teachings, each additional pillar draws from and builds upon the preceding pillars.

Freirean thinking is central. Freires model of education which is co-created through the integration of identities and experiences of all participants is present in the pedagogical approach throughout.

This core emphasis on the identities of participants is developed through the application of Social Identity Theory (SIT).

Tapper situates SIT in the context of another theory in the field of intergroup education namely, Contact Hypothesis _{(Allport, 1954)}. Contact Hypothesis emphasises the potential for interactions between certain groups to ‘deconstruct or even eliminate (…) negative stereotypes’ _{(Tapper, 2013 p.415)} between them. This approach is based around individual identities being reviled to uncover shared humanity. However, Tapper critiques it as having limited reach (or even potentially being counter productive when ‘connections’ are only made on a superficial level), as it fails to take social identities and inherent power dynamics into account. For this reason the organisation uses a SIT model from which to build a framework around group interactions.

The organisations use of SIT feels more comprehensive and more rooted in lived reality, as it takes account of the many overlapping group and personal identities individuals hold. Considering the conditions in which these collective identities become more or less important to the individual. Tapper goes on to hi-light how SIT can be misused when taken to the extremes of only recognising group OR individual identities and disregarding other elements of positionally.

However, Tapper describes the institutions’ understanding and application of intergroup encounters through the third pillar; Intersectionality.

Clearly a key focus for the institution is the Israeli Palestinian conflict. Tapper uses work around relations between these two groups to exemplify the organisations approach to Intersectionality.

While reflecting on the multiple identities of a Palestinian participant, the application of intersectionality (to develop intergroup encounters) emphasises the importance of understanding the meanings the individual ascribes to their identities. As well as the social and power structures in which they operate.

Prcatice

‘Liberating education consists of acts of cognition, not transferrals of information’ _{(Freire, 1970 p.52)}

Tapper goes on to outline the specific programs offered by the institution and hi-light case-studies which show how the underpinning theories and applied.

He talks about how Facilitators ‘guide’ (rather than teach) participants to extrapolate, from their experiences of interactions in group settings, understanding of systems related to social injustice ‘outside the room’ and the roles they play within these systems.

Facilitators reflect back to the group, what they perceive is happening within the group through the theoretical and critical lens of intersectionality.

The idea that the core of the education is formed through the interactions and the positionalities of individual participants feels like the practical embodiment of the radical nature of Freires teaching.

‘Students are approached as if each participant is a living text, so to speak.’ ^{(Tapper, 2013 p429)}

When students own identities and interpretations of how these intersect with others, form the curriculum itself, Freires idea of dismantling the banking system of education seem to be enacted.

I’m left imagining these settings, considering what it would look and feel like when these interactions are taking place. I imagen myself as both a participant and facilitator and in both roles i’m struck by a sense of parallel discovery and growth both internally and externally.

In the book Teaching to Transgress, in a chapter titled Theory as Liberatory Practice _{(hooks, 1994 p59)}, bell hooks talks about theoretical enquiry as linked with personal growth and healing. I imagine the two shifts at play here.

Surely, a truly radical education, focused on dismantling systems which uphold social injustice has to acknowledge the shift within the individual who has internalised these systems, as profound and central?

The institution acknowledges the personal impact of its programmes in its fifth pedagogical pillar; Responsibility and Empowerment.

Thinking about personal and scholarly growth in-tandem, for me, hi-lights the transformational potential of truly critical and reflective leaning. Enacting the ideas of Freire and hooks in terms of the function of education (transformation). As well as, the need for recognition of the ‘whole’ student/ teacher/ facilitator.

^{Freire, P., 1970. Pedagogy of the Oppressed. Continuum Publishing Company.}

_{Hahn Tapper, A., 2013. A Pedagogy of Social Justice Education: Social Identity Theory, Intersectionality, and Empowerment. Conflict Resolution Quarterly, 30(4), pp.411-445.}

_{HOOKS, B., 1994. TEACHING TO TRANSGRESS. New York: Routledge.}

Today I presented my intervention idea to two of my peers in a feedback session.

The session was useful and my classmates Jason and Juliet were positive about my idea.

Juliette hi-lighted the importance of the teacher or session leader participating themselves to help clarify the expectations for the rest of the group.

Jason liked the focus on identity and felt the exercise would help participants appreciate and reflect on the diversity of students and what this can being to the classroom.