Artifact/ Intervention…
I was interested in being part of the ITLHE unit to help develop a more inclusive approach to my own teaching. My desire was to communicate more effectively with a broad diversity of students.
I work at the London College of Fashion as an associate lecturer on two courses: BA Styling and Production and BA Hair and Make-up for Fashion. I’m employed as an associate lecturer on a short-term contract. My short-term status sees me positioned as a casual member of staff, making it difficult to feel entirely involved on the courses I work on and it also makes it difficult to be a comprehensive part of the student journey. Often associate lecturers are only seen to “… occupy a marginal space within the academy – not really part of it given their temporary work contacts, yet not separate”(Hughes, 2017, pg12). Working from this marginal space makes it quite challenging to get to know each student as well as I would like. As an associate lecturer, I do not have staff appraisals. I am entrusted to get on with the work without intervention. I appreciate the respect I am shown in this regard but conscious that I have to rely on my subjective opinion of how my teaching methods are going. Being a part of the ITLHE Unit allows for a deeper, more focused reflection in my role as AL. This experience calls on me to understand, show a level of criticality and determines if I am doing all I can to promote an enriched and inclusive teaching environment for all the students I work with.
I believe the two fashion courses I work on provide stimulating opportunities for students. Through the creative process they get the chance to explore and particularise their own work around themes of Identity. I have always seen the curricula and the teaching on the courses to have a focus that empowers students to take ownership of their learning in an encouraging and supportive environment. Up until being part of the ITLHE unit, I had deemed that the student experience informed my own teaching at all times. However I have started to question my teaching practice, realising it has not been as inclusive and student-centered as I had imagined. Through debate, theory and reflection, the ITLHE Unit has opened up ways for me to comprehend more fully- How, What and Why I teach in the way that I do. Learning more on the subject of ‘attainment’ and the 33% disparity of White students and black and ethnically diverse students less likely to gain a first and second-class degrees (Finnegan & Richards, 2016), brings awareness to how certain students are not being adequately represented and served by the curriculum and in the process being significantly disadvantaged (Finnigan & Richards, 2016 & Hatton, 2015). The findings are depressing and troubling and expose how higher education is not the “…meritocracy, with equal opportunities for all where hard work is equality to success”(Theuri in Hatton, 2015, pg.61), that I presumed. This research has forced me to question if I too have been responsible for creating inequalities and limiting successful outcomes for the broad and diverse students I work alongside. My intervention aims is to grasp the mechanisms of exclusion, inequalities and disadvantages that are taking place and to implement action.
Intervention…
As an associate lecturer I have no involvement with regards to planning the unit briefs, but do have autonomy on what can be included. To create an inclusive artifact for my students, I have to take into account my specific role as an AL and the limitations this brings. I have concluded that my intervention will be a strategy that starts with my own personal goal toward a more critical and inclusive practice. This will result in a detailed infographic document called the ‘Inclusive Teaching design plan’ to be shared with the teaching team together with a more unit specific interactive infographic document, the ‘Interactive Learning Document’ for students, all aiming at helping build diversity competence. Through the learning from my participation on this unit, I will firstly begin by interrogating my own teaching material and practice and try to ascertain if and how these could operate to reinforce exclusion, inequalities and barriers. I feel strongly that you cannot be a conduit for change and ask students to grow if you yourself are cut off from the process. My rationale being that I will achieve a more direct and immediate impact on the whole student experience with a more focused, student-first methodology.
Intervention development…
I see my Intervention as having three uniting aspects, myself, the course and the students. To begin, the intervention relates to my own teaching and to the consideration of areas in my teaching that could benefit from a more inclusive approach. These findings will directly inform changes to my own teaching. Secondly, I would share my findings with the course team and propose that changes I aim to employ could be assembled into a course specific ‘Inclusive Teaching design plan’. This could be shared with the teaching team, including associate lecturers and visiting practitioners. Thirdly, an approach to share and teach the material in the form of an ‘Interactive learning document’ that supports students’ engagement with many new and complex themes on the subject of diversity in an user-friendly manner. Both of these documents would include a set of core terms relating to inclusive practice, definitions of core terms, rationale behind core terms, objectives and links to related further readings from ‘Shades of Noir’, assembled from the ITLHE archived session feedback document. Incorporating further reading, specifically from Shades of Noir, offers entry into ideas of the many sided discussions of race and identity, all uniquely conveyed by a variety of voices; educational academics, students and artists of colour.
First rough outline….
Many AL’s are not given a clear direction about how successful or unsuccessful their input is, and might not even know how to go about changing their teaching practice. Until all staff I work alongside has an opportunity to be part of this kind of personal and professional development, my motivation is to share learnt ideas around good practice. It is clear to me that there is a need to inscribe pedagogic practices that work for a diverse range of learners that can be utilised by them on multiple levels. The ‘Inclusive Teaching Action design plan’, would allows staff the opportunity to open themselves up to new way of working, while at the same time, the whole student experience can be enhanced through the use of the prior mentioned, ‘Interactive Learning Document’. I see this artifact as a means for the ‘whole’ team to work towards a common goal – a goal that foregrounds our broad and diverse student cohort by implementing strategies that help to address the pervasive disparity in attainment.
Understanding an Inclusive Teaching approach…
The term ‘Inclusive practices’ has a broadness that is helpful as it tries to address many different aspects of education. Shades of Noir defines ‘Inclusive practice’ as,“…an approach to teaching that recognizes the diversity of students, enables all students to access course content, fully participate in learning activities and demonstrate their knowledge and strength at assessment”(Shade of Noir, 2020, pg24). A further aspect of an inclusive approach to teaching is how the teacher and the whole institution create a ‘sense of belonging’ for students. The UAL podcast ‘Interrogating Spaces: Belonging in Higher Education’(2020) explain that belonging can be understood as the way that students are made to feel; ‘respected’, ‘made to feel at home’, and ‘connected’ and ‘valued as themselves’. Geoff Layer writing on the subject of student attainment, says a sense of belonging is needed to be felt if students have an honest chance of achievement as, “…the more a student feels at home the more likely they are to engage in learning and succeed” (Layer, cited in Steventon, Cureton & Clouder 2016, p.g16). Sharon Bertram writing in Shade of Noir explains that how you actually go about creating a community in the first place is important if you are to have any possibility to“…build trust that students will find their voice”(Bertram, pg. 82), in the long term.
Research on the disparity of attainment and retention states that urgent action is required to address this. Burke and McManus outline how, “…longstanding cultural and discursive mis/recognitions…” (Burke and McManus, pg. 7) has meant that too much attention is consigned to the “pathologised subjectivities”(Skeggs, cited in Burke and McManus pg. 10), rather than how institutional structures and inequalities could be a blaming factor in attainment disparity. One of the areas in arts teaching that is preserving inequities and disadvantages, relates to the dominance of teaching through a lens that is largely Eurocentric and conducted by a majority white workforce. (Hatton, 2015). UAL’s own Equality, Diversity and Inclusion Report (2018) below, shows the ethnicity profile of teaching staff employed at UAL is extensively white.
Image: https://www.arts.ac.uk/__data/assets/pdf_file/0021/89211/UAL-Equality-Diversity-Inclusion-Report-2018.pdf
Dr Duna Sabri’s research on student identity and attainment (2014, 2015, 2017 & 2018), reveals that socio-economic background, prior qualifications and language does not explain the gap in attainment. Dr Sabri’s research with black and minority ethnic students reveals other factors such as, how these students habitually felt not supported or cared for, their interests not engaged with enough by their white tutors, and sensing a bias towards white students work. There was a strong feeling that they did not see themselves and their values, culture, histories and identities reflected in the curricular, thus signifying a deep feeling of un-belonging. Burke and McManus(2009) point out that white teaching staff in arts education who show a lack of enthusiasm for students’ work that does not connect with their own particular interests, can be responsible for creating an unequal structure that ethnic minority and black students are judged against. The ‘UAL Anti-Racism Action Plan’(2021) mandate aims to increase black and ethnic minority staff over the next few years. This will hopefully go some way towards the formation of an organisation that is truly interested in a teaching and learning environment that aligns with, “…inclusive, equitable and anti-discriminatory practices…” (Burke & McManus, pg.6).
Year one students on both of my courses are asked to generate a short ‘Positionality’ statement. This exercise is used at present as an ice-beaker but teaching team do not have to participate in the activity. Even though I felt a little uncomfortable, I did take part. In the past, I have felt uneasy when staff shared personal information or private anecdotes in a session. However, bell hooks reveals that as a tutor it is important to be prepared to share personal insights and to be “vulnerable” otherwise we can end up being responsible for “…exercising power in a manner that could be coercive” or “…function as all-knowing, silent interrogators” (hooks, pg.21). With this in mind, I would like to incorporate ‘Positionality’ as one of the core subjects to be included in my intervention but I would like to suggest that participation in creating a positionality statement ought to be a prerequisite for everyone. I feel that it is important that tutors endeavor to create an environment where everyone is engaged in what is happening collectively, to help with building trust and in generating a sense of belonging. I can see that with a clear purpose there is a way for my own personal narratives to be part of a class. The positionality exercise puts the students at the heart of the topic, but consideration on how this exercise can be used to bring a critical understanding and discussion of race and culture to life could be improved. Reflecting on the positionality statement I wrote for the class in 2020, I see my sensitivity and focus linked primarily to my Scottish working-class background and my gender, but I made no mention or connection to my racial identity. I feel like my artifact will hopefully make this kind of omission less likely to happen in future.
As an AL, I prepare lectures on a regular basis and believe I consciously aim to diversify my material from a variety of non-western sources. This is widely understood to be one way for teaching practice to be more student-focused and inclusive. Minto Felix in WONKE, however, states that, “To decolonize the curriculum, we have to decolonize ourselves”(Felix, 2019). The research for this unit magnified a real lack of enquiry and reflection that I undertake to understand how my ‘white racial identity’, not just my cultural identities coincide and interact with the cultural composition of my students. This leads me to question, how can I be effectively decolonising my own material and creating a dynamic space for open dialogue to take place if I am not fully, truly critiquing myself? If my artifact is to be a conduit for change and have any chance of being able to disrupt exclusionary barriers to learning, an active engagement in comprehending and examining how my ‘socially constructed white identity’ and the ‘racial discourse of ‘whiteness’ itself helps in upholding inequalities in my teaching and learning would be demanded. (Gillborn, 2015)
Insights learnt from the ‘Critical Race Theory’ and ‘Critical Pedagogy’ research helps me explore and examine the subtle dominance, normality and centrality of ‘whiteness’ and how this abets in the maintenance of inequalities in higher arts education, and has created a ‘white supremacy’ that impacts larger society more broadly (Delgado & Stefancic, 2017 & Gillborn, 2015). This leads me to understand that there is a need to find inclusive pedagogical strategies and a deep commitment to the“…critical pedagogies of the self”(Cowden and Singh, pg.71-72), for successfully moving forward and challenging dominant narrative of; ‘race’, class, gender, privilege and power. By putting race and racism at the core of debates, Critical Race Theory asks profound questions about Racism in society, and directs its attention to unearthing and critiquing how societal structures position black people and people of colour. Critical Race Theory teaches me how racism is not only fixed in social structures, but in our own very way of thinking about the world we inhabit. Delgado and Stefancic, highlight an issue when debating racism in society in that this is hampered by its all-encompassing “ordinariness”, thus making racism, “…difficult to address or cure because it is not acknowledged” (Delgado and Stefancic, pg.8). Critical Race Theory examines how ‘race’ is created through ‘social thoughts and relations’, ‘power struggles’, and an interrogation of ‘whiteness’ itself. (Delgado and Stefancic, 2017). Delgado and Stefancic explain how by looking through a Critical Race Theory lens, it is possible to see and critique the white narratives that have a tendency to dominate and to expose the multitude of advantageous of ‘white privilege’ (Delgado and Stefancic, 2017), that stem from this. By acquiring new understandings, Critical Race Theory can help to disrupt and challenge the status quo and taken-for-granted. This research has confirmed for me, that if tutors are to effectively develop an inclusive and student-centered approach,catering to the needs of all student, then awareness to consider and reflect on one’s racialised presence is paramount, especially when we consider the dominance of what Tate and Page define as, “Whiteliness” (Tate & Page, 2018). Delgado and Stefancic point out that we, “…rarely challenge our own preconceptions, privileges and the standpoint from which we reason”(Delgado and Stefancic, pg84). Robin Diangelo(2018) states that ‘White Fragility’ and the resulting, defensiveness, hurt and emotions often prevents white people from addressing their own Racism. This inability to talk about race and whiteness is problematic since this avoidance Diangelo says keeps racism in place and “maintains our dominance within the racial hierarchy” (Diangelo, pg.2). This is an important aspect of my ‘Inclusive teaching Action design plan’, especially given the dominance of white teaching staff at UAL and how this has been revealed to have an impact on attainment (Burke and McManus, 2009, Finnegan &Richards, 2016, Hatton, 2015 & Sabri, 2014, 2015, 2017 & 2018). This research helps me understand that rather than retreating into ‘White Fragility’, we need to separate the idea of racism as relating to an individual person, but to understand the overarching concept of ‘Whiteness’. If my Artifact is to be an effective, inclusive intervention for students benefitting from a Critical Race Theory approach, I and the teaching staff I work with need a proactive engagement and reflection of our own racial identity and begin to question how our own “hierarchies of knowledge” (Stevenson cited in Hatton, 2015, pg121) might be responsible for maintaining, sanctioning and privileging white identities above all other identities. I am becoming aware that ‘whiteness’ commonly sets the standards in my own, and fellow lecturers’ teaching context, and we need to stop being ignorant to the fact. Delgado and Stefancic give some reason for this ignorance, “Whites do not see themselves as having a race but as being, simply, people. They do not believe that they think and reason from a white viewpoint but from an universally valid one- “the truth” -what everyone knows” (Delgado and Stefancic, pg.91-92). This research illustrates that the arts higher education in the UK is too white, Eurocentric and as a consequence conserves and extends wider societal inequalities. This shows me how Critical Race theory could be used to place race and racism at the heart of discussions of inequalities, especially around the subject of inclusion and exclusion in arts HE, and how to then seek out methodologies to tackle the discriminatory practices. By embedding ideas that encompass “…de-centering and deconstructing dominant frames of knowing”(Cowden &Singh, pg.72), we can open up opportunities for a more meaningful exchange where everyone has a voice, has the chance to be visible, and ultimately attain.
My Artifact is situated additionally alongside ‘Critical Pedagogy’. I can see that Critical pedagogy has similar objectives to CRT, in that both entail an engagement to critique prevailing practices and structures and invite self-reflection and a profound motivation to act to understand and transform inequalities that may exist. Critical Pedagogy or ‘Engaged Pedagogy’ as bell hooks (1994) describes her critical pedagogical approach to teaching, flows from earlier theories on education by Paulo Freire (1970) where there is an emphasis on reflection and dialogue across multiple channels of difference. This approach to teaching has an emphasis placed on working along with the student so that the tutor and student can ascertain the link between knowledge and power and move to place the student at the center of the teaching experience (Freire,1970, hooks,1994, Smyth, 2011 & Cowden & Singh, 2013). By asking them to be ‘active’ rather than ‘passive’ it gives them the opportunity to develop the capacity to think critically. Involving students in this manner results in students acknowledging their own role in “problematizing knowledge”(Smyth, 2011). Through the employment of dialogue and interchange, the student is making the learning experience important and this can help transform their world. (Smyth, 2011 hooks,1994 & Freire,1970 & Cowden & Singh, 2013). I can see that implementing critical pedagogy thinking could make it possible for students to deconstruct and critique “epistemological privilege and knowledge” (Cowden & Singh, 2013), and in the process hopefully help with narrowing the damaging discrepancies of attainment.
To understand our students’ identities and experiences further an understanding of ‘Intersectionality’ is needed. The idea of ‘Intersectionality’ is associated with Kimberle Crenshaw an African American Critical Race Theorist and civil rights advocate. In this context, Intersectionality originally looking at the connection between the structures of race, law and power. The term describes the way that people’s social identities can coincide and how multiple forms of discrimination and inequalities can often work simultaneously and exacerbate each other. The emphasis on race as well as gender and class in Crenshaw’s work was to expose how, “…certain things can exacerbate the disempowerment of those already subordinated by other structures of domination” (Crenshaw, pg.1249). When generating discussions on the topic of diversity, Crenshaw’s ideas help me better understand the many connections and layers of identities, and the effect of more than one type of bias taking place at the same time. However, Crenshaw advises how we need to be mindful to, “humanize” and “generate sensitive understanding” for a “meaningful intervention” when shining a light on forms of discrimination (Crenshaw, pg.1261). A critical pedagogy that brings awareness to ‘Intersectionality’ can be significant, Kate Hatton declares because it, “…brings both positionality and subjectivity to the fore, producing conforming and non-conforming subjects in these critical spaces that can allow for thinking that moves beyond the normative debates”(Hatton, 2019, pg.31). In the context of my Intervention, this could support the recognition of the students’ individuality and creative potential and establish how to create the opportunity for this to flourish.
I thought that UAL and the arts in the HE sector would be a place that welcomed and encouraged cultural diversity but much of the research undertaken for this course refutes my assumptions Testimonials from black and ethnic minority students reveal how they often felt their work and they themselves were undervalued and misunderstood, especially from white tutors (Sabri, 2018). This resulted in a feeling of ‘un-belonging’. This is startling but also brings to light the uneven playing field and inequality that students are dealing with. It emphasizes the need for tutors to ask themselves some serious questions and to consider: What knowledge is being valued/devalued on our course? What circumstances act to exclude? And who is being excluded in our curriculum? This research reinforces for me that more is required to give all students the chance to have a transformational teacher-student relationship like they desire. To be motivated to implement and grow anti-racist approaches in teaching practice I think can be empowering for tutor and student respectively, but as hooks states, this requires, “… teachers to take risks if they want their practice to be a site of resistance”(hooks, pg.22) and, “…where everyone’s presence is acknowledged”(hooks, pg.8). By incorporating Critical pedagogy and CRT my ‘Inclusive teaching design plan’ could be an effective tool to help encourage staff to engage with these ideas in more depth. Through our own willingness and motivation to be active, it is possible to “…open up new portals for disrupting the silencing” (Singh 2021 cited in Shades of Noir, pg.39), and in the process create an environment that enriches and transforms the learning experience for all our students and staff alike.
Conclusion…
I have begun to comprehend that thinking about inclusivity in my pedagogical approach is not simply to be understood in terms of diversity but in being socially engaged and thinking in terms of justice and equality. Testimonials from black and ethnic minority students throughout the attainment research confirm that as a white tutor I need to begin to interrogate my teaching and work with strategies that can avert unequal, discriminatory and racist patterns of behavior. The research undertaken stimulates me create an intervention based on my finding, and to compile and share information to help staff work towards an enhanced inclusive practice. Many members of staff have not used ‘Shades of Noir’ personally or alongside work with students, and my intervention would like to encourage an engagement of this rich resource. I would like the teaching staff to see the value of this resource, how it can support in the development of a more inclusive practice, build ideas assembled into their course material and help students become more engaged in sharing and discussing new ways of thinking about diversity. Alongside this is a continually updated Interactive Student Document, directing users to all the key ideas as mentioned above, while also introducing them to multiple voices and relevant sources coming from the Shades of Noir references that they can explore. The hope is that my Artifact works as a tool reinforced with insight and practical ideas that can facilitate a broader discourse and understanding for both staff and students. It will aim to provide a framework for challenging racist and discriminatory structures, practices, thinking and open up possibilities for sharing ideas on race, identity, culture and society. The feedback from staff about my idea was positive.
It was felt that the idea held real relevance especially for new staff and with Associate Lecturers and Visiting Lectures and could provide a faster way of ensuring there was an understanding of the ethos of the course and expected standards. This is something that historically had been a challenge. The continual updating of key words was seen as useful for both staff and students and the interactive document alongside the Shades of Noir reading could promote diversity competence. This unit has given me a greater insight in how it can be possible to ‘talk back’ to ‘epistemologies’ of ‘power’ and ‘privileged language’ (Cowden &Singh, 2013), and to look, through something other than my own white lens. ‘Talking back’ and giving students a voice is something I think all reflective practitioners should be proactively encouraging, so all students can feel empowered and enriched by their learning experience.
First visualization of my Artifact idea…
Moving forward and how to determine the success of the artifact?
I will update two lectures on the themes of the ‘Exotic’ and ‘Cultural Appropriation’ on my return to work. I can see that these give me the opportunity to apply newfound insight and ideas formed from this engagement. The research undertaken gives me the confidence to incorporate questions and ideas for discussion that can ensure inclusion. These lectures give me the opportunity to discuss ideas of Postionality, Interestionality, Whiteness and how these ideas relate to knowledge and power. I would like to try out my Interactive student document and determine how first year students, engage with the course material at more depth than they do presently. I like the way that the ITLHE unit asked for questions and further information about the sessions and I would like to use something similar to gain insight into the students’ participation and engagement. I feel motivated to get back to work.
Bibliography…
Bertram, S. (2020) ‘CREATING A SENSE OF PLACE’, ToR Journal : Inclusive Practice : Alchemy-Transformation in Social Justice Teaching. pp. 80-83. Avaliable at: https://issuu.com/shadesofnoir/docs/inclusivepractice (Accessed: 10 December 2021).
Burke, P.J and McManus, J. (2009) ‘ART FOR A FEW : Exclusion and Misrecognition in art and design higher education admissions’. United Kingdom : National Arts Learning Network.
Cowden, S and Singh, G. (2013) ‘Acts of Knowing : Critical pedagogy in, against and beyond the unversity’. New York : Bloomsbury Academic and Professional.
Crenshaw, K. (1991) ‘Mapping the Margins : Intersectionality, Identity, Politics, and Violence against Women of Color’, Stanford Law Review. Vol. 43(6), pg.1241-1299. Avaliable : Doi.org/10.2307/1229039 (Accessed date: 28 November 2021).
Delgado, R and Stefancic, J. (2017) ‘ Critical Race Theory : An Introduction. New York : University Press.
Diangelo, R. (2018) ‘WHITE FRAGILITY : WHY IT’S SO HARD FOR WHITE PEOPLE TO TALK ABOUT RACISM’. United Kingdom : Allen Lane.
Finnegan. T and Richards A. (2016) ‘Retention and attainment in the disciplines: Art and Design’, Higher Education Academy, Available at: https://www.advance-he.ac.uk/knowledge-hub/retention-and-attainment-disciplines-art-and-design (Accessed: 20 December 2021)
Finnegan. T and Richards A. (2015) ‘Embedding equality and diversity in the curriculum:an art and design practitioner’s guide’ Higher Education Academy, Avaliable:https://www.heacademy.ac.uk/sites/default/files/resources/eedc_art_and_design_online.pdf. (Accessed: 18 December 2021).
Felix, M. (2019) ‘To decolonise the curriculum, we have to decolonise ourselves’. Available at: wonkhe.com (Accessed: 18 December 2021).
Friere, P. (2000) ‘The Pedagogy of the Oppressed’. Rev.edn. New York: Bloombury Publishing Group.
Gabriel, D and Tate, A.S. (2017) ‘INSIDE THE IVORY TOWER: Narratives of women of colour surviving and thriving in British academia’. United Kingdom: UCL Institute of Education Press.
Gillborn, D. (2015) ‘Intersectionality, Critical Race Theory, and the Primacy of Racism: Race, Class, Gender, and Disability in Education’, Qualitative Inquiry. Vol: 21(3). pp. 277-287. DOI: 10.1177/1077800414557827
Hatton, K. (2015) ‘Towards an INCLUSIVE ARTS EDUCATION’. United Kingdom. IOE Press
Hatton, K. (2019) ‘Inclusion and Intersectionality in Visual Arts Education’. United Kingdom: UCL Institute of Education Press.
Hooks. B. (1994)‘Teaching to Transgress’. New York: Routledge.
Hughes, K. (2017) ‘Encouraging Diversity In Higher Education: Supporting student success’. New York : Routledge.
O’Honey Studio Collective. (2020) ‘Three Year in the Breaking’, ToR Journal : Inclusive Practice : Alchemy-Transformation in Social Justice Teaching. pp. 45-51. Avaliable at: https://issuu.com/shadesofnoir/docs/inclusivepractice (Accessed: 10 December 2021).
Layer, G. (2016) ‘Influencing change through a strategic approach to student attainment’ , in Steventon, G. and Cuerton, D. and Clouder, L, (ed.) Student Attainment in Higher Education: Issues, controversies and debates, New York: Routledge, pp. 5-21.
Sabri. D. (2014) ‘Becoming Students at UAL ‘Signing up to the intellectual project that is the course’?’ University of the Arts London. Unpublished.
Sabri. D(2015) ‘Students’ practice and identity work at UAL: Year 2 student experiences. Year 2 report of a 4-year longitudinal study for the University of the Arts London. University of the Arts London. Unpublished.
Sabri. D(2016) ‘Fine Art students at UAL ‘We are layered by the different places we live in, aren’t we?’ Mid-study report of a 4-year longitudinal study for the University of the Arts London’. University of the Arts London. Unpublished.
Sabri. D. (2017) ‘UAL students’ engagement with industry and communities of practice, Year 4 report’. University of the Arts London. Unpublished.
Sabri. D. (2018) ‘UAL students’ engagement with industry and communities of practice, Year 4 report of a 4-year longitudinal study for University of the Arts London’. University of the Arts London. Unpublished.
Sherrid. E. (2016) The Room of Silence. 1 April. Avaliable at: https://vimeo.com/161259012 (Accessed: 29 November 2021).
Singh. G. (2020) ‘A NOTE FROM DR. GURNAM SINGH’. ToR Journal : Inclusive Practice : Alchemy-Transformation in Social Justice Teaching. pp. 38-40. Avaliable at: https://issuu.com/shadesofnoir/docs/inclusivepractice (Accessed: 10 December 2021).
Smyth, J. (2011) ‘CRITICAL PEDAGOGY FOR SOCIAL JUSTICE’. New York: Continuum.
Steventon, G. and Cuerton, D. and Clouder, L. (2016) ‘Student Attainment in Higher Education: Issues, controversies and debates’. New York: Routledge.
Stevenson, C. (2015) ‘Identity, research and the arts curriculum: Counterstorytelling as academic practice’, in Hatton, K(ed). Towards an INCLUSIVE ARTS EDUCATION. United Kingdom: UCL Institute of Education Press, pp. 119-137.
Tate. S A. and Page, D. (2018) ‘Whiteliness and institutional racism: hiding behind (un)conscious bias’, Critical Philosophy of Race and Education, Vol:13(1), pp,141-155. Avaliable at: Doi.org/10.1080/17449642.2018.1428718(Accessed: 01 December 2021).
Tate. S A. (2018) ‘Whiteliness and institutional racism: hiding behind (un)conscious bias’ Available at: https://www.youtube.com/watch?v=lur3hjEHCsE. (Accessed: 10 December 2021).
Theuri, S. (2016) ‘Critical Race Theory and its relationship to art education’, in Hatton, K(ed). Towards an INCLUSIVE ARTS EDUCATION. United Kingdom: UCL Institute of Education Press, pp. 59-77.
UAL. (2018) ‘Equality, Diversity and Inclusion report 2018’. University of the Arts: Unpublished.
UAL. (2020) ‘Belonging in Higher Education: Interrogating Spaces’. July 2020. Avaliable at: https://open.spotify.com/episode/0XbeXoNM8dT8BCulnLQ07d. PODAST. (Accessed: 12August 2021).
UAL. (2021) ‘Anti-Racism Action Plan’. University of the Arts: Unpublished.