jocowellpgcert

Paper 1: ‘We don’t do God’? the changing nature of public religion. By Professor Tariq Modood

This paper outlines ‘the changing nature of of public religion and secularism’,_{(Calhoun and Modood, 2015)} hi-lighting the different approaches to and extents of secularism across Europe.

I was particularly interested in the section entitled ‘Changes in religious demography’. While outlining the trend, I think we’re all aware of, around the decline of Christianity in most of the UK and Europe in the 20th and 21st century. The paper hi-lights the growth of other religions as a result of immigration and multiculturalism. Pointing to interesting counter-trends with London moving from ‘one of the least religious areas to one of the most’.

I didn’t feel the paper was particularly geared towards an HE context, although it made some fairly superficial overtures to this towards the end.

I felt it was much more effective at giving an broad overview of religious demography in the UK and Europe. What’s left unexplored is the question of how HE institutions should respond to these findings.

Listening to Professor Kwame Anthony Appiahs’ Reith lecture ‘creed’ encouraged me to reflect on the breath, flexibility and deeply personal nature of faith as it related to the identity of an individual. With this in mind it seems logical and essential (as a facet of engaged and compassionate pedagogy) to consider and be sensitive around faith. Just as you would support and encourage students to bring any aspect of themselves to an inclusive teaching space.

However, having stated that ‘higher education has given faith and inclusion little and declining consideration’ Modood doesn’t suggest a frameworks for alternative approaches or improvements. Therefor, the reader is left to guess what Modood thinks the ‘solution’ is. As mentioned above I do believe awareness and respect for religion (as for any other protected characteristic) is essential to properly support students. I’m unsure if Modood is suggesting demographic trends should be reflected in some way through policy and underpin the thinking/ fabric of an institution.

I don’t think it follows that as the religious demography of a country changes their educational institutions should become more religious to reflect this.

I’ve interrogated why I feel uncomfortable with this notion and concluded it jars with my vision of university as an open, liberal space where individuals can change and grow. A space for challenging orthodoxies (in the broadest sense) and encouraging students to become independent and critical thinkers regardless of their background.

However, I will continue to reflect on this and challenge my own thinking. Bearing in mind Appiahs’ point about the breath and personal nature of how faith manifests in individuals lives.

_{Appiah, P., 2016. BBC REITH LECTURE Creed.}

_{Calhoun, C. and Modood, T., 2015. Religion in Britain: Challenges for Higher Education. Leadership Foundation for Higher Education,.}

BBC Reith Lecture, 2016

In the first Reith Lecture of 2016 ‘Creed’ Professor Kwame Anthony Appiah explores religion and its role in identity.

Appiah challenges the notion that we can only understand religion through an idea of belief and adherence based on religious texts. This seems reductive when he outlines the role of practice and community in a religious persons life.

Sighting how customs and understanding of religious texts changes and evloves, Appiah distances the lived experience of most believers (interpretation and praxis) of their faith from a fundamentalist narrative based on a set understanding of highly selective elements of scripture.

Appiah describes the necessity of continually reinterpreting religious texts so religion can be understood and practiced with relevance in modern life.

Appiah used his own mixed background and resulting patchwork of religious, cultural and community practices, to illustrate how these elements of custom and creed can be inextricable and forms an individuals’ unique identity.

This is helpful for teachers as it reminds us not to assume we know something about a student or colleague because we know they identify with a particular faith. When we take faith in its broadest sense (encompassing the customs, interpretations and community which form an individuals relationship with faith) we are reminded of the complexity of identity.

_{Appiah, P., 2016. BBC REITH LECTURE Creed.}

(UAL website)

‘what does diversity of religion and belief mean for the way we teach and support students at UAL?’

I reflected on this question while exploring the resources available via: https://religiousliteracy.myblog.arts.ac.uk

I particularly liked: One of My Kind (OOMK), a linked zine comprising the work of women exploring faith, activism and identity.

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

As I teach and support textiles students from a wide range of backgrounds, with a high proportion of female students from Muslim backgrounds, I’m pleased to have found these resources. I’m increasingly aware of the need to decolonise the curriculum (in terms of references) but, additionally I feel it’s important I’m able to signpost platforms where students can see the work of creatives which are representative of themselves, in order to stimulate and inspire their practice but also to suggest contexts for their work.

Compassionate, ‘engaged’ pedagogy stresses the need for students to feel safe, valued and able to bring their ‘whole selves’ to the learning environment.

Reflecting on the teachings of Thich Nhat Hanh, bell hooks describes his emphasis on ‘wholeness, a union of mind, body, and spirit‘ as key to informing her thinking about progressive, holistic education. _{(HOOKS, 2017)}

I’m reminded of interaction I had with a student recently. The student was flipping through her artworks; abstract interpretations of historical Persian art and design. The student had strong references and development work but was in need of another design element (translatable into textiles) to link her samples and concept together. As she was leafing through her artworks my colleague and I were drawn to her hands which were covered in beautiful henna artwork for Eid (as well as immaculate acrylic nails). The simultaneous contrasts and links between her gentle and gestural watercolours and the precise detailed pattern on her hands had so much visual impact as well as suggesting such a rich narrative around faith and identity. We suggested incorporating this type of ornate decoration in to her samples.

I’d like to think our intervention, encouraging the student to bring elements of her Iranian identity and expressions of faith into her practice, was empowering and affirming for the student.

I could strengthen my teaching practice around faith and belief by expanding my awareness of practitioners exploring diverse faith identities so I can broaden my sphere of references for students.

Case Studies

I found the case studies on the Religion, Belief and Faith Identities in Learning and Teaching at UAL page useful and thought provoking.

When approaching such a daunting and expansive topic it’s reassuring to practical examples for how thinking around religion and belief can be rooted in teaching practice.

Traveling Cultures

This case study explores a personal essay project in which new students on, BA Media and Cultural Studies, LCC, are encouraged and support to explore their own religious and cultural identities. I love this idea as it seems like an effective and practical way to encourage respectful criticality, cultural and religious sensitivity and an understanding of positionally at an early stage. These skills are so key to creating informed engaged work, so surely this really helps the students as they progress on the course.

Since beginning the PG Cert I’m becoming far more aware of the value of staff and students co-creating the curriculum and discourse as well as the need for students to feel able to bring their whole selves to the classroom to create a truly inclusive learning environment.

The essay provides a framework for students to reflect critically on their experiences of faith and belief and how these can shape and enrich their practice.

Pen Portraits ‘an icebreaker activity that encouraged students to discuss their personal interests and cultural background’ sounds like such a beneficial exercise to me.

Interspersing questions about faith, belief and cultural background with much more light hearted questions is a great way encourage open dialog, while keeping the tone light and allowing students to revel as much or as little as they’re comfortable with.

Tutors sharing their own answers as well serves to humanise the tutor, working to dismantle the ‘hierarchy’ Freire saw as central to the banking (non engaged) system of education.

Angela Drisdale Gordon also discusses how the exercise provides a snapshot into beliefs and identities which is helpful in terms of making the course relevant and inclusive. Angels mentions that students answers often relate to cultural practices she’s not aware of which she then researches. I’m inspired by this as I think it demonstrates a flexible approach which puts students at the centre of the teaching.

_{HOOKS, B., 2017. TEACHING TO TRANSGRESS. New York: Routledge, pp.14-15.}

_{Oomk.net. 2017. OOMK. [online] Available at: <http://oomk.net/index.html> [Accessed 21 May 2021].}

_{Religiousliteracy.myblog.arts.ac.uk. 2021. Religion, belief and faith identities in learning and teaching | Exploring religion, belief and faith identity at University of the Arts London.. [online] Available at: <https://religiousliteracy.myblog.arts.ac.uk> [Accessed 21 May 2021].}

Jerron Herman, Kinetic Light, New York City.

Disabled People: The Voices of Many

Published on Aug 12, 2020

In American Practitioner Jerron Herman, an ‘interdisciplinary artist creating through dance, text and visual storytelling’, poetically describes his practice and perspective.

In three sections; ‘Naming’, ‘Organize’, ‘..and the Holy Ghost’ Herman illuminates the transcendent potential of ‘crip’ performance and community.

In ‘Naming’ Herman describes a dance arrangement with such vivid sensitivity I had the sense I could feel the movement in my own body. Herman goes on to describe ‘clarity and imagination’ as his main considerations in terms of description and demonstrating a commitment to disabled artistry.

Herman considers the physical, sensual and emotional layers of a piece in order to communicate its depth to an audience requiring varied access.

This reminded me of Christine Sun Kim’s film. In it’s depiction of truly inclusive practice, not as art which can be primarily experienced and appreciated by an audience with access to the ‘dominant’ sense needed, with accessibility an afterthought, but, as a practice which becomes richer for it’s multilayered consideration of different senses and modes of consumption.

In ‘Organize’ Herman articulates an oppositional stance to impatience and an expectation of a certain and immediate response. Using his body as a metaphor Herman conveys his commitment to receiving and responding to often well-meaning but pressurising bids for attention and response at his own pace. He illuminates the potential for growth and transcendence in the waiting for the party on the other side of the door.

In ‘..and the Holy Ghost’ Herman describes the artistic, divine and transformational potential of disabled bodies meeting and moving together.

I found this piece of writing moving and thought provoking. In terms of integrating these ideas into my teaching practice, embedding considerations around the consumption of work by a varied audience, is something I will build into my teaching.

I will also endeavour to communicate to students (as well as consider in relation to my own practice) the potential for richer and transcendent work when this multi-layered approach is embedded throughout the development process.

Christine Sun Kim’s film focuses on ‘reclaiming ownership’ of sound. By creating installation and performance which translates sound into kinetic and visual forms CK beautifully explores and challenges the proprietorship of sound by those who can hear.

As CK discusses her work through sub-titled sign language she refers to experiences growing up where she felt frustrated trying to communicate with her parents. She also described how she was discouraged from making sound and how these experiences made her feel chocked and stifled. CK describes being taught that sound was the property of those who naturally have access to it.

I found this film thought prevoking in several ways.

Far beyond articulating the loss or lack of a sense, CKs work forces an audience to consider social power and privilege in relation to ability.

This element made me consider potential power imbalances related to disability in the learning environment. As well as ‘accommodating’ the needs of a student with a disability I must consider ways students with a disability can feel disenfranchised or excluded beyond the practical.

The film also demonstrates how artistic expression can be such a powerful tool to promote understanding and reflection in an audience.

I caused me to reflect on the artist and designer references I show students. Guiding students towards reference material created by and reflecting the experiences of disabled people is clearly a key element in forming empathetic and inclusive environments and practitioners.

Lastly, the film, particularly when CK explains how her work has developed based on the negative experiences she had with sound in childhood, reminds me how cathartic and transformational artistic expression can be.

For this type of expression (the type with potential for reflection, growth and healing) to be possible It’s imperative that teachers create a space where students feel safe enough to be vulnerable in this way.

I am a 31 year old, white, British, cisgender woman.

I don’t consider myself aligned with any prescribed sexual orientation but only have experience of relationships with men.

I live on a relatively low income in a shared house in London.

I come from a middleclass background, although I am the only member of my immediate family to achieve a university qualification.

I grew up in a dysfunctional environment where different forms of abuse were normalised. I began to explore and untangle female subjugation through my artistic practice at university. Creatively and personally, I feel strongly aligned with feminism. My practice is wide ranging in terms of themes and inspiration  but I have a particular interest in femininity, female bodies and their meaning in society.

I identify as someone who has faced barriers to education and success due to disabilities, including dyslexia, mood and anxiety disorders.

I, therefore, have a particular interest in levelling up HE by supporting learners who face any barriers to entry and attainment for whatever reason.