Retention and attainment in the disciplines: Art and Design

(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,.}