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>