Drawing from the initial sessions of the unit and reflecting on all content and discussions with both peers and tutors, I have prepared the first draft of my intervention for the ARP project. You can find it below, submitted to Moodle for feedback.
Rachel’s feedback provided essential insights for refining inclusivity, workshop design, and participant safety in my teaching practice. I have written a blog post to reflect on the key points and actions I plan to take:
Clarifying Inclusivity and Social Justice Concepts: Rachel’s comments highlighted the need to define “inclusivity” and “social justice” more concretely. To address this, I plan to explore suggested frameworks like “Belonging through Compassion” by Liz Bunting and Vikki Hill, grounding these terms within the project in a practical way. Connecting with practitioners experienced in “generous pedagogy” could also deepen the approach to inclusivity and foster a stronger sense of community.
Language and Terminology around “Therapy”: Rachel raised a valid point about the clinical connotations of “therapy.” While I intended the term to add an engaging touch, I recognize that it might shape participants’ expectations in ways that don’t align with the session’s goals. Since clinical support isn’t the focus, I’ll clarify what “Fashion Therapy” involves and doesn’t involve. My plan is to rename the session “Fashion Break,” which emphasizes relaxation, creativity, and a break from academic demands—creating a “no-strings-attached” atmosphere.
Accessibility and Interdisciplinary Approach: Ensuring accessibility, particularly for students with attendance barriers, and highlighting the interdisciplinary nature of the project are both essential. I plan to integrate the workshop into sessions students are already attending, making it easier for them to participate. To communicate the interdisciplinary aspects, I’ll unpack how design, social justice, and sustainability each play a role in the project, emphasizing the diverse skills and perspectives they bring.
Focus on Emotional and Psychological Safety: Rachel’s feedback also prompted me to think about participant well-being, especially regarding any personal disclosures. To support participants emotionally, I’ll start each session with a briefing about university resources, like counseling, that are available if needed. This action will help ensure that students feel supported within a safe, open environment.
Documenting Workshop Outcomes: Rachel’s comment on documentation highlighted the importance of systematically capturing insights and progress. I’ll create a documentation strategy that includes photos, participant feedback forms, and a reflection journal. Getting participant consent will keep this process ethical, and the records will serve as valuable resources for future ARP presentations and evaluations.
Defining Participants as Co-researchers: Rachel suggested embedding the idea of participants as co-researchers more deeply into the design to foster engagement and ownership. For the pilot stage, I’ll still have them primarily as participants but open up opportunities for feedback on session structure and materials. Regularly inviting their reflections and holding collaborative evaluations will also bring the project closer to participatory action research principles.
In summary, these reflections and actions offer a solid foundation for refining my ethical action plan to better address participant needs, which I will incorporate into a new second draft.
As I continue to develop and prepare to deliver my session on “Fashion Break,” an intervention designed to foster inclusivity and social justice within the curriculum at UAL, I find myself reflecting on how the readings I’ve engaged with in combination with some new suggestions in class around methodologies can help shape my approach to this initiative.
I haven’t had the chance to read all of them yet, but I wanted to share some thoughts on the ones that stood out to me and that I’ve been able to look into.
I found Real World Research particularly engaging because it emphasizes the importance of applying research methods in real-world contexts. This practical approach can be beneficial in ensuring that the findings are relevant and actionable. This resonates deeply with me as I constantly take my practice in industry into consideration when doing things in the academic environment. However, I recognise it might also feel limiting if one is looking for more theoretical frameworks or expansive methodologies.
Another text that caught my eye is Creative Research Methods in the Social Sciences. I appreciate how it encourages innovative techniques that can foster creativity in research, which is essential for engaging students in a meaningful way. On the downside, some of these creative methods might be challenging to implement in a structured academic environment, especially if there’s resistance to deviating from approaches already in place. This approach aligns with my commitment to inclusivity and social justice, creating an environment where diverse voices are valued.
Ultimately, the final reading I managed to do inspired me to reimagine how I facilitate learning, making it more interactive and transformative for my students. Reflecting on Inventive Methods: The Happening of the Social, I see its challenge to conventional research and educational approaches as crucial for my “Fashion Break” initiative. The book encourages me to embrace experimental methods that foster fluid and dynamic interactions among students. By promoting collaboration and shared creativity, “Fashion Break” can dismantle existing hierarchies, ensuring that every student contributes equally to the learning experience.
Overall, while I have not read every book, I see great potential in the ones I have engaged with to inform my teaching practice and enrich the learning experience because they offer not only practical methodologies but also philosophical frameworks that resonate with my commitment to inclusivity and social justice in fashion education. They empower me to design a session that is not only about skill development but also about creating a meaningful, supportive community where every student can thrive.
Collect data and decide how teaching could be changed
In engaging with Step 2 of the action research cycle—collecting data and reflecting on how teaching could be adapted—I plan to review the intervention outline I submitted for the IP unit and incorporate the feedback received into my ongoing development.
I have already taken steps to engage with students directly, using surveys to gather insights into their experiences (available here). This data has been important in shaping my understanding of initial students’ needs and their perspectives on inclusivity in the classroom thinking broadly about their learning experience. Additionally, I have collected observational data during class sessions and peer review exercises, using these as insights for how the intervention could evolve.
Then, some new themes have emerged from discussions with tutors and peers in my PGCert course. These conversations have highlighted the importance of incorporating a focus group that includes colleagues, in addition to students, to gain a broader understanding of the dynamics at play. I have since run a focus group and gathered data, which has provided valuable insights. Evidence of this can be found in the following blog post, which reflects on my process and findings: Case Study: Planning and Teaching for Effective Learning.
The next steps would be to work on the Ethical Action Plan form to better understand the intervention in more detail, assess its impact on all participants, and determine what I need to read and prepare. This will involve rethinking and framing the research questions, as well as opening a dialogue regarding its implementation and methodology.
I work quite well with mind mapping my thoughts and trying to unpack as many leads and initial ideas as possible. From there, I start linking them together and understanding the relationships between them to create a rationale or research proposition. This approach is how I engaged with Step 1 of the action research cycle. Below, you’ll find an image of my initial brainstorm for reference, followed by a summary that brings together some ideas, along with the initial research questions generated from this reflection and analysis (of course – this is likely to change as I progress with the reflection).
Therefore, I believe the core problem addressed by this action participatory research project is to support students in navigating the complexities of personal and academic life within the context of higher education in art and design, while simultaneously utilizing my skills as a practitioner. Specifically, the project aims to leverage my expertise as both a designer and educator to create a supportive, inclusive, and sustainable environment where students can build confidence, engage in self-expression, and develop resilience. This approach seeks to mitigate the stress related to one of the units I teach, addressing challenges faced by both students—who struggle to meet assessment requirements—and tutors, who must consider their responsibilities as educators and the impact they have on students’ lives.
Some initial research questions that came up and the refinement of them:
How does participation in collaborative design workshops impact students’ sense of belonging in higher education settings, particularly in managing the complexities of academic and personal life?
In what ways can “Fashion Therapy” foster inclusivity among students from diverse backgrounds at UAL, helping them navigate academic stress while promoting a supportive, creative environment?
What role does interdisciplinary collaboration play in enhancing the creative and professional development of art and design students in higher education, and how can it support them in balancing personal and academic responsibilities?
How can decompression spaces like “Fashion Therapy” within academic settings support students’ mental well-being, reduce stress, and enhance their capacity to engage in creative processes?
How does the integration of networking opportunities in “Fashion Therapy” influence the professional and social networks of art and design students, and support their navigation of both personal and academic challenges?
How can the use of found materials and resource boxes in collaborative workshops influence sustainability practices and creative innovation among students, and support their personal and academic growth?
How effective is the “Fashion Therapy” platform in addressing barriers to student participation and engagement in creative learning environments, especially those related to stress, workload, and the need for personal expression?
After the first session, reflecting on the content, new provocations, and conversations with peers, and in response to questions that help me articulate the social justice foundations of my project, I unpacked the following:
The Fashion Therapy intervention stands to benefit a diverse range of students across UAL by offering a platform that merges creativity, collaboration, and mental well-being.
The primary beneficiaries will be students who may feel marginalized or underrepresented, especially those who struggle with networking, confidence-building, and accessing the wider community within the university. By fostering interdisciplinary collaborations and providing a safe space for dialogue, the intervention creates an inclusive environment where students can engage with peers from various socio-cultural backgrounds, learn from each other, and enhance both personal and professional development.
Supporting underrepresented/marginalized groups is central to the intervention. Fashion Therapy recognizes that students from diverse backgrounds, including those facing barriers due to race, gender, socio-economic status, disability, or language differences, but not limited to that, often struggle with a sense of belonging in higher education. The workshops are designed to mitigate these challenges by promoting inclusion through activities that encourage participation, creative expression, and collective learning. Marginalized students, who may feel isolated or disengaged, will have the opportunity to develop a sense of community, build their confidence, and see their voices reflected in a supportive and empowering space.
In terms of addressing issues of inequality or access to resources, the intervention explicitly tackles the unequal distribution of social and professional opportunities. Often, students from underprivileged backgrounds lack access to networks and resources that more privileged students take for granted. Fashion Therapy offers a level playing field where all participants can contribute equally, learn valuable skills, and engage in collaborative activities, regardless of their prior experience or background. By using found materials and the resource boxes at LCF, the intervention ensures that students are not excluded based on financial constraints, while still producing meaningful creative work and interacting with one another.
The inequality being addressed includes the systemic barriers that many students face in gaining access to creative communities, mentorship, and professional growth opportunities. This intervention seeks to challenge these barriers by promoting collaboration across different UAL colleges and involving industry professionals to provide insights and guidance. By encouraging student-led sessions, the power dynamics in the classroom are subverted, allowing students to take ownership of their learning experience. In particular, this shifts the traditional hierarchical model of education, where teachers hold all the power, to a more equitable and participatory model inspired by Critical Pedagogy (Freire).
In terms of whose voices are included or missing, Fashion Therapy actively includes the voices of those who are most affected by inequality within the educational system, such as students from marginalized communities who are often silenced or ignored. These students will not only participate in the workshops but will also have opportunities to lead sessions, ensuring that their perspectives are central to the intervention’s success. Research and evaluation through feedback and reflective assessments will help amplify these voices, rather than silence them, by identifying what works for marginalized students and adjusting the intervention to meet their specific needs.
The intervention promotes change by creating a dynamic, equitable learning environment that encourages the free exchange of ideas and collaboration. The actionresearch aspect of Fashion Therapy is crucial for understanding how the intervention impacts marginalized students and whether it effectively reduces feelings of isolation or exclusion. By documenting each session and creating resources like instructional manuals, the intervention not only fosters inclusivity in the moment but also creates lasting tools for future cohorts. The use of reflective assessments ensures that the findings are actionable, helping educators and administrators understand how to improve inclusivity and equity within art and design education.
Overall, the findings from this intervention have the potential to contribute to a more equitable society by empowering students, fostering a sense of community, and challenging the inequalities that exist within higher education.
Ultimately, looking back at my experience as an international student who arrived with limited knowledge of the place and few connections in a new city, I believe this can be a crucial factor in transforming the short-term study abroad experience into one that yields lasting benefits, both professionally and personally. And also, it will make life easier while striving to make the most of the experience, and meet expectations that can often clash with the overwhelming nature of change, making it challenging to fully embrace.
As both a designer and an educator, I occupy a unique position that allows me to integrate my professional expertise with pedagogical practices. This reflective report aims to articulate my dual role and the development of an intervention named “Fashion Therapy,” designed to foster inclusivity and community among students. By addressing the challenges faced by students in interacting across courses and improving their confidence, this intervention aligns with my commitment to creating an inclusive and horizontal educational environment.
Image from one of communities of artisans I work with in Brazil, February 2023
Rationale for the Intervention
Over the past year, my pastoral tutorials with around 60 students have highlighted a significant challenge: many students struggle to connect with peers from other courses and engage in non-course-related conversations. This observation, combined with discussions about the complexities of the awarding gap at UAL—rooted in systemic barriers such as inconsistent attendance and varying levels of student confidence—led to the development of Fashion Therapy.
Moreover, my practice as a designer also informed this approach, wherein I consistently emphasize education as a crucial pillar. I conduct workshops on handmade techniques in various locations, bringing people together to engage in dialogue to cross boundaries (Hooks, 1994), negotiate meanings, share knowledge, develop skills, and enjoy the process. This intervention seeks to address the above by providing a platform where students can connect, collaborate, exchange knowledge and build self-confidence.
Group in London Workshop focused on crochet skills, May 2022
Positionality and Influence on Choices
My approach is deeply influenced by curiosity, rooted in experimentation, and a hands-on methodology. These aspects are crucial in my educational practice, where I emphasize experiential learning and collaborative processes, alongside participant active research. My background in fashion design informs my understanding of the value of material exploration and craftsmanship as well as ethnographic methods, which became an integral part to the intervention.
Additionally, my positionality as a white male immigrant with a master’s degree undoubtedly influences my approach to teaching and the intervention. This privilege allows me to navigate academic and professional spaces with relative ease, a perspective not necessarily shared by all students. However, it is important to recognize that my experiences are not without their own challenges. Being significantly younger than many of my colleagues has sometimes subjected me to a different form of prejudice, which can sometimes be also faced by more mature students in comparison to their peers – which, however, I won’t elaborate further at this time.
However, my positionality also brings potential biases. My professional background might lead me to prioritize certain design techniques or creative processes that align with my expertise, possibly overshadowing other valuable perspectives. To mitigate this, I consciously aim at incorporating diverse voices and feedback from both my peers at the PgCert and tutors has been meaningful – and later on from all participants, in ensuring that the intervention remains inclusive and reflective of the broader community’s needs. Fashion Therapy’s approach is responsive to the broader community’s needs rather than being shaped solely by my perspectives.
Despite these challenges, I strive to leverage my unique perspective and experiences to foster an inclusive environment that respects and values diversity in all its forms. This commitment is essential in addressing the varied needs and backgrounds of students, ensuring that they too can navigate academic spaces with confidence and support. This sense of belonging is fundamental for their overall well-being, furthermore in light of Thomas (2015, 44), “multiple identities mediate their engagement with HE and impact not only upon their capacity to meet normative criteria for belonging, but also, arguably, upon their need to belong” which will be pivotal for the success of the intervention. Moreover, designing activities and discussions that are sensitive to the varied backgrounds and identities of students ensures that diverse perspectives are represented and valued, without nurturing intergroup conflict (Tajfel & Turner, 1979). This not only enriches the learning experience but also fosters mutual respect among students at the same time that avoids fostering “what seems at first glance to be an inclusive and welcoming term contains within it the very opposite” (Mann 2005, 45–6).
Overall, challenging traditional power dynamics (Freire, 1970) has been a transformative aspect of my teaching. By applying the principles of Critical Pedagogy, I have also encouraged dialogue, collaboration, and critical thinking over the last four years teaching. It’s inspiring to see students engage deeply, challenge existing norms, and share their knowledge with confidence. Providing support has also been vital, this year I’ve seen students turn fails into C and B grades and feel significantly more integrated and focused as a result of the above practice. Creating safe and welcoming spaces where all students feel valued and respected, and offering resources for those facing systemic barriers, has been a priority and paid off significantly.
Theoretical Framework and Methodology
Based on the integration of Social Identity Theory (Tajfel & Turner, 1979), Critical Pedagogy (Freire, 1970), and Intersectionality Theory (Crenshaw, 1989), access to this knowledge has profoundly reshaped my understanding of student experiences within educational communities. Social Identity Theory, with its focus on how group membership influences self-concepts and behaviors, made me more aware of the essential role of belonging in education and made me think of my experience as a master student in London and how it was important to find my community.
Through FT, I hope to experience how promoting interdisciplinary interactions can foster this sense of belonging among students. It’s incredibly rewarding to witness students form new connections during classes, which leads to broaden their self-concepts, and diminish feelings of isolation, ultimately creating a more collaborative and supportive university environment.
The principles of Critical Pedagogy have also been transformative for me. This approach will be central to the student-led workshops in Fashion Therapy. Empowering students to take charge of their learning and facilitating a more democratic educational space can be a powerful experience. Watching students engage actively with their peers, share knowledge, and challenge existing norms has deepened my appreciation for the importance of community and mutual respect in knowledge exchange, and pivotal for the intervention.
Finally, incorporating Intersectionality Theory into designing FT has further enriched my perspective as an educator. Acknowledging the complex interplay of social identities and systems of oppression and privilege was crucial for creating an inclusive plan for the intervention. By ensuring the interventions is sensitive to the diverse experiences of students, I intend to create a safe and welcoming space for everyone.
Combining these theories in FT has not only helped me understand the multifaceted nature of student experiences but also reinforced the importance of equity, inclusivity, and community, especially in education as a practice that can feed back into the industry in years to come and have an impact on fostering new working cultures. My main objective with piloting this intervention will be seeing the positive impact on students—how they could develop a stronger sense of self, feel less isolated, and engage more deeply with each other whilst learning.
Further Reflections
By documenting each session digitally and creating simple instruction manuals for practical skills, I can enhance the learning experience and provide valuable resources for future participants as well as allow participants to catch up with it at their own times. Moreover, by working with found materials and utilizing the resource boxes at LCF, students can engage in hands-on learning and minimize resources usage, which would also eliminate another cost barrier.
Managing student-led workshops also will require a delicate balance between guidance and autonomy. Facilitators must ensure that the sessions remain productive and inclusive while allowing students to take ownership of their learning – something still to be unpacked further. Ensuring that the workshops are inclusive and cater to the diverse backgrounds and needs of all students can be complex. This will require ongoing reflection and adaptation to address potential biases and barriers that might arise. Constant revaluating will be key and feedback will be encouraged and welcome.
On the other hand, by providing a structured yet flexible space for students to interact, Fashion Therapy can significantly enhance social connections across different courses and colleges without pressure. The decompression aspect could offer a much-needed break from academic pressures, promoting mental well-being through relaxation and stress-relief activities. This can improve overall student satisfaction, commitment and produce an impact on CSS/NSS results.
Additionally, networking and the opportunity for dialogue through making has the potential to foster interdisciplinary collaborations, allowing students to gain new perspectives and skills. This can enrich their educational experience and better prepare them for the professional world.
The success of the workshops relies on student initiative and participation. Without sufficient engagement, the program may struggle to achieve its objectives. It will be important to ensure ongoing support from course teams in spreading the word.
Conclusion
I am personally invested because its main objectives address multiple aspects of student life, from social interaction and mental well-being to creative expression and skill development.
This comprehensive approach can have a far-reaching positive impact on students short term. The format of Fashion Therapy allows for flexibility in terms of activities and participation, making it adaptable to the changing and diverse needs, and interests of students. This can help sustain its relevance and effectiveness over time.
Ultimately, by drawing on key theoretical frameworks and addressing various aspects of student life, it offers a holistic approach to enhancing the educational experience. While there are challenges and weaknesses to consider and yet a long road to map out and navigate, the opportunities and strengths of FT provide a solid foundation for creating a more interconnected student community. Through continuous reflection, adaptation, and collaboration, this intervention has the potential to make a meaningful and lasting impact on the lives of students at UAL.
Although, I haven’t had the chance to run the intervention to this date, feedback has been incredibly helpful and I look forward to testing a pilot it in the next academic year.
References
Bhagat, D. and O’Neill, P. (2011) Inclusive practices, inclusive pedagogies: learning from widening participation research in art and design higher education. Croydon: CHEAD.
Chiang, S. (2016) Inclusive Pedagogy: Research & Practice Contributing to Policy. University of Edinburgh. [Online]. Available at: https://www.ed.ac.uk/files/atoms/files/electionbriefing7-inclusive-pedagogy-15-05-16.pdf
Gravett, K., & Ajjawi, R. (2021). Belonging as situated practice. Studies in Higher Education, 47(7), 1386–1396. https://doi.org/10.1080/03075079.2021.1894118
Hatton, K. (ed.) (2015) Towards an inclusive arts education. London: Trentham. [eBook in library]
Hill, V. & Singh, G. (2018) Critical Pedagogy #4 ‘What does it look like in practice?’ [Online] Available at: https://www.youtube.com/watch?v=K6ghTlyBDNk [Accessed 19 Mar. 2024].
Hooks, B. (1994). Teaching to Transgress: Education as the Practice of Freedom. New York: Routledge.
Orr, S., & Shreeve, A. (2017) Art and Design Pedagogy in Higher Education: Knowledge, Values and Ambiguity in the Creative Curriculum (1st ed.). Routledge.
Richards, A. and Finnigan, T. (2015) ‘Embedding equality and diversity in the curriculum: An art and design practitioner’s guide.’ York: Higher Education Academy. Available at: https://www.advance-he.ac.uk/knowledge-hub/retention-and-attainment-disciplines-art-and-design (Accessed: 11 November 2022).
Schon, D. A. (1983) The Reflective Practitioner: How Professionals Think in Action. New York: Basic Books.
This intervention is proposed from studying the QAA’s Inclusive Education Framework (2023) and informed by a mind-map exercise combined with a small survey conducted with students at LCF here. It is grounded in my expertise as both a designer and an educator, demonstrating how I can utilize that combination in a university environment. This is a revised version that incorporates feedback offered by my tutor and peers. Please check the attached file at the bottom for your reference.
Fashion Therapy: Fostering Inclusive Communities in Art and Design Higher Education through collaboration, dialogue and knowledge exchange
In today’s diverse educational landscape, it is essential to create inclusive environments where students from various backgrounds feel a sense of belonging and can freely engage with one another. This proposal seeks to address this need by introducing an intervention focused on building community and fostering inclusivity in art and design higher education settings through collaboration whilst also exchanging knowledge and building self-confidence.
Fashion Therapy is an innovative platform designed to operate through a series of workshops held during the academic year. This platform aims to serve as a multifaceted space for students, providing a unique blend of networking opportunities, a decompression zone, and a creative environment conducive to dialogue, collaboration and knowledge exchange. Participation in Fashion Therapy will be run on a sign-up basis.
These workshops are specifically designed for those who are keen to develop their social skills, engage with hands-on craft and techniques in both 2D and 3D mediums, and explore creative processes that can stimulate self confidence and belonging on both personal and educational levels.
MAIN OBJECTIVES
Networking Room: A dedicated space where students can connect with peers from different UAL colleges, fostering interdisciplinary collaborations and expanding their professional and social networks.
Decompression Space: An environment designed to help students unwind and destress, offering activities that promote mental well-being and provide a break from academic pressures.
Creative Room for Dialogue: A forum for open discussions and idea exchanges, where students can share their creative projects, receive constructive feedback, and engage in meaningful conversations about art, design, and innovation.
Craft and Hand-Driven Techniques: Practical sessions focusing on various 2D and 3D techniques, encouraging students to experiment with materials and methods that can enhance their artistic skills and inspire new projects.
By participating, students will have the opportunity to:
Enhance their social interaction skills through collaborative learning and group activities.
Explore and experiment with different artistic techniques, contributing to their personal and professional growth.
Gain insights and inspiration from peers, mentors, and guest speakers from the creative industry.
Develop a supportive community that fosters creativity and mutual encouragement.
Overall, Fashion Therapy is designed to pilot a dynamic and inclusive space that nurtures creativity, promotes well-being, and builds a strong sense of community among UAL students.
Theoretical Framework: the intervention will be informed by the following theoretical frameworks:
Social Identity Theory (Tajfel & Turner): Understanding how group membership influences individuals’ self-concepts and behaviours, particularly within the context of educational communities.
Critical Pedagogy (Freire): Challenging traditional power dynamics in education to foster dialogue, collaboration, and critical thinking among students.
Intersectionality Theory (Crenshaw): Recognizing the complex interplay of social identities and systems of oppression and privilege, and how they shape individuals’ experiences.
Audience: Students from all the University of the Arts London (UAL) institutions.
Practical Elements: Collaborative art projects and activities designed to encourage creativity, expression, and mutual learning – e.g.: production of zines, small samples in crochet, knitwear and macrame (which uses my expertise as designer).
Delivery Plan: The intervention will be implemented during the academic year, and will run three times: one in the second week of term 1; one in Activities Week in term 2 and one in Activities Week in term 3. Resources and materials needed for each session, including art supplies, multimedia equipment, and facilitation guides, will be identified and prepared in advance. I will be the initial facilitator of the pilot, but then participants will be given the opportunity to as a way of running it sustainably.
Promotion: Fashion Therapy will be promoted on college screens and white boards as well as shared with course teams aiming at including in weekly newsletters.
Evaluation and Reflection: the intervention will be evaluated through a combination of participant feedback, facilitator observations, and reflective assessments.
In conclusion, moving forward, based on feedback from tutors and peers, my intervention for inclusive practice will begin as a prototype, designed to evolve and expand organically over time. As the facilitator, my role is to create a supportive environment where participants can teach and learn from each other, exchanging skills and knowledge – something significantly present in my practice as designer already.
This framework provides not only the physical and conceptual space but also the initial spark needed to ignite creativity and collaboration at the same time it promotes a safe space for exchange. To enhance this process, I will document each session digitally, capturing the progression and creating simple instruction manuals for tasks like tying knots or other practical skills. Additionally, students will have the opportunity to lead sessions, fostering a dynamic and equitable power structure. By working with found materials, particularly utilizing the resource boxes at LCF, participants will engage in hands-on learning that could culminate in a final exhibition, showcasing their collective efforts and the journey of their shared learning experience as a response to belonging to a new found community.
References
Bhagat, D. and O’Neill, P. (2011) Inclusive practices, inclusive pedagogies: learning from widening participation research in art and design higher education. Croydon: CHEAD.
Chiang, S. (2016) Inclusive Pedagogy: Research & Practice Contributing to Policy. University of Edinburgh. [Online]. Available at: https://www.ed.ac.uk/files/atoms/files/electionbriefing7-inclusive-pedagogy-15-05-16.pdf
Gravett, K., & Ajjawi, R. (2021). Belonging as situated practice. Studies in Higher Education, 47(7), 1386–1396. https://doi.org/10.1080/03075079.2021.1894118
Hatton, K. (ed.) (2015) Towards an inclusive arts education. London: Trentham. [eBook in library]
Hill, V. & Singh, G. (2018) Critical Pedagogy #4 ‘What does it look like in practice?’ [Online] Available at: https://www.youtube.com/watch?v=K6ghTlyBDNk [Accessed 19 Mar. 2024].
Orr, S., & Shreeve, A. (2017) Art and Design Pedagogy in Higher Education: Knowledge, Values and Ambiguity in the Creative Curriculum (1st ed.). Routledge.
Richards, A. and Finnigan, T. (2015) ‘Embedding equality and diversity in the curriculum: An art and design practitioner’s guide.’ York: Higher Education Academy. Available at: https://www.advance-he.ac.uk/knowledge-hub/retention-and-attainment-disciplines-art-and-design (Accessed: 11 November 2022).
Schon, D. A. (1983) The Reflective Practitioner: How Professionals Think in Action. New York: Basic Books.
I enjoyed learning from the different resources while I am in the middle of marking assessments and thinking about teaching plans and strategies for the next academic year, taking this year’s results and outcomes into consideration. I have included below a summary of main findings and highlighted in italic my reflection and more immediate initial thoughts in connection to my experience.
Reading Alice Bradbury’s article in “Race Ethnicity and Education” underscores the systemic challenges faced by bilingual learners within England’s Baseline Assessment policy, introduced in 2015 and revised in 2020. Bradbury critiques the policy using Critical Race Theory (CRT), revealing its detrimental effects on students with English as an additional language (EAL). Some of my key findings and personal further reflection summarized below:
Disadvantages bilingual learners by only using English. In my teaching experience, I encourage a learning environment where students reflect on knowledge in their own mother languages and I help them navigate new vocabulary and terminology via visual assimilation techniques. By encouraging peer to peer communication in their own language, I have seen significant progress not only in performance but also overall engagement.
Lowers expectations for EAL students, reinforcing racial inequalities. Particularly in year 2, where I teach mostly, this is students’ industry year, and systemic barriers really become visible. This makes it crucial to provide extra support to students from minority racial backgrounds more specifically.The way I tackle this is by offering more face to face tutorial to students who present particular learning needs rather than lowering the expectation on them which would have a longer negative impact and would continue to widen the gap and inequality.
The policy marginalizes EAL children by not accommodating their linguistic diversity. There is a whole argument in my team regarding how to work around decolonized methods and using alternative tools that are accessible to students and staff.
Prioritizes data production over social justice. This resonates a lot with my current positionality by challenging a data-driven system, product of education becoming an industry and turning students into customers. I pursue an approach of keeping my rigor and ethics as a professional, and offering further support to students who need as a way to make learning more inclusivewithout compromising quality.I strongly believe although most students will go into industry and perhaps reroute in a few years time, it is my responsibility to best prepare them for the craft they’ve chosen to study.
Calls for a CRT-based framework to address these issues and promote racial equity.
Rhianna Garrett’s article “Racism Shapes Careers: Career Trajectories and Imagined Futures of Racialised Minority PhDs in UK Higher Education” complements Bradbury’s findings by highlighting the significant impact of racism on the career paths of racialized minority PhD students. Through 22 semi-structured interviews, Garrett examines how intersectional identities, including race, gender, and neurodiversity, influence experiences in predominantly white institutions, shaping career decisions and aspirations. Some of my key findings summarized below:
Underrepresentation of racialized minority academics.
Higher prevalence in fixed-term contracts and lower pay compared to white counterparts.
Frequent experiences of marginalization through microaggressions and differential treatment.
Career instability due to pressures to conform to Eurocentric norms.
Decrease in Black and Asian academics from undergraduate to professorship levels.
Recommendations for institutions to provide compensated mentorship, support intersectional identities, and address structural racism.
Need for inclusive cultural academic practices and support for those resisting oppressive norms.
On reflection, I think that we have plenty of conversations around inclusivity and how minorities are being looked after at UAL. However, a lot is focused on building awareness and being respectful, but little in acting upon/doing something that proactively creates change. I am personally committed to implementing a more inclusive and representative teaching approach. One significant step I’ve taken in recent years is revamping most slide presentations to include visual examples that reflect racial, disability, faith, and age diversity, moving away from traditional methods.
Asif Sadiq’s TEDxCroydon talk on diversity training further intersects with Bradbury and Garrett’s arguments. Sadiq highlights the ineffectiveness of current diversity training programs, advocating for a fundamental shift in approach. He emphasizes the importance of reflecting on and decolonizing learning processes, adapting teaching styles to accommodate various backgrounds and learning preferences, and moving away from dominant cultural perspectives. Some of my key findings summarized below:
Programs often fail or backfire, needing re-evaluation.
Importance of decolonizing learning processes.
Adapting teaching styles to accommodate diverse backgrounds and preferences.
Broadening perspectives to include diverse voices and experiences.
Utilizing open-source research, valuing different viewpoints, and employing storytelling.
Creating immersive experiences to drive lasting change and move beyond box-ticking.
My experience at UAL is that we are often involved in planning and teaching, and I share the feeling of never being done—despite the significant amount of work produced. As a result, there is little time for research, as I juggle multiple roles including planning, teaching, and supporting students. Consequently, we often inherit existing practices, units, and working methods, making change a slow process. While the learning process is focused on workshops, putting theory into practice is more complex and something I would like to get my head around more moving forward.
The video “Revealed: The Charity Turning UK Universities Woke” contrasts different approaches to academic freedom and speech. While Cambridge University seems to grapple with balancing open discourse and respect for diversity, arts universities like UAL lead by integrating new ideologies into their curricula (based on my own experience and UAL reports). Taking into consideration my experience at UAL, here staff actions exemplifies how institutions can balance diverse perspectives with academic excellence, translating theoretical discussions into actionable policies. This inclusive model not only enhances educational experiences but also prepares students to be thoughtful, inclusive, and engaged members of society (both personally and professionally)
Watching “Heartbreaking Moment When Kids Learn About White Privilege | The School That Tried to End Racism” highlights the real-world impact of societal issues, especially involving children. Here are some of my key findings summarized below. Before that, I’d like to acknowledge the negative reactions in the video comments regarding the exercise. I think it is important to face uncomfortable topics and understand how others navigate their lives based on their background and privilege. In class, we frequently discuss positionality and critique current practices, considering our responsibility as designers in 2024. This approach fosters healthy dialogue, helping people understand each other better and be more sympathetic toward each other’s experiences.
Emotional responses of children highlight the tangible nature of racism and privilege.
Public backlash illustrates resistance and discomfort in discussing privilege.
Need for continuous dialogue and education to deepen understanding.
Potential for changing peer dynamics, requiring careful handling.
Importance of confronting uncomfortable truths for societal progress.
In summary, the reflections from these resources converge on the need for systemic change to foster a more equitable and inclusive educational environment (practically speaking and less on theory/data spaces only). Whether addressing assessment policies, career trajectories, diversity training, or academic freedom, I think that the key lies in decolonizing practices, engaging diverse perspectives, and promoting continuous dialogue with focused objectives.
This intervention is proposed from studying the QAA’s Inclusive Education Framework (2023)
In today’s diverse educational landscape, it is essential to create inclusive environments where students from various backgrounds feel a sense of belonging and can freely engage with one another. This proposal seeks to address this need by introducing an intervention focused on building community and fostering inclusivity in art and design higher education settings through collaboration whilst also building knowledge and self-confidence. Through this intervention, I aim to empower students to share aspects of their identities in a safe and supportive space, promoting mutual understanding and learning.
(Fashion Therapy) Collage Room:Fostering Inclusive Communities in Art and Design Higher Education through collaboration and dialogue
Collage Room is an innovative platform designed to operate through a series of workshops held throughout the academic year. This platform aims to serve as a multifaceted space for students, providing a unique blend of networking opportunities, a decompression zone, and a creative environment conducive to dialogue and collaboration. Participation in Collage Room will be on a sign-up basis, ensuring that each workshop is tailored to the interests and needs of the attendees.
The primary target audience for Collage Room consists of students from all the University of the Arts London (UAL) institutions. These workshops are specifically designed for those who are keen to develop their social skills, engage with hands-on craft and techniques in both 2D and 3D mediums, and explore creative processes that can stimulate ideas on both personal and educational levels.
Collage Room workshops will offer a variety of activities and sessions, including but not limited to:
Networking Room: A dedicated space where students can connect with peers from different UAL colleges, fostering interdisciplinary collaborations and expanding their professional and social networks.
Decompression Space: An environment designed to help students unwind and destress, offering activities that promote mental well-being and provide a break from academic pressures.
Creative Room for Dialogue: A forum for open discussions and idea exchanges, where students can share their creative projects, receive constructive feedback, and engage in meaningful conversations about art, design, and innovation.
Craft and Hand-Driven Techniques: Practical sessions focusing on various 2D and 3D techniques, encouraging students to experiment with materials and methods that can enhance their artistic skills and inspire new projects.
By participating in Collage Room, students will have the opportunity to:
Enhance their social interaction skills through collaborative projects and group activities.
Explore and experiment with different artistic techniques, contributing to their personal and professional growth.
Gain insights and inspiration from peers, mentors, and guest speakers from the creative industry.
Develop a supportive community that fosters creativity, innovation, and mutual encouragement.
Overall, Collage Room is designed to be a dynamic and inclusive space that nurtures creativity, promotes well-being, and builds a strong sense of community among UAL students.
FurtherObjectives:
Creating a sense of community and belonging among students in art and design programs.
Promoting inclusive practices that recognize and celebrate diversity.
Facilitating peer-to-peer learning and understanding through the sharing of personal experiences and perspectives.
Theoretical Framework:
The intervention will be informed by the following theoretical frameworks:
Social Identity Theory (Tajfel & Turner): Understanding how group membership influences individuals’ self-concepts and behaviours, particularly within the context of educational communities.
Critical Pedagogy (Freire): Challenging traditional power dynamics in education to foster dialogue, collaboration, and critical thinking among students.
Intersectionality Theory (Crenshaw): Recognizing the complex interplay of social identities and systems of oppression and privilege, and how they shape individuals’ experiences.
Practical Elements:
Interactive workshops and facilitated discussions exploring topics related to identity, diversity, and belonging.
Collaborative art projects and activities designed to encourage creativity, expression, and mutual learning – e.g.: production of zines.
Peer-led sessions where students can share aspects of their cultural backgrounds, experiences, and interests in an inclusive and respectful manner.
Hands-on Activities:
Identity Collage Workshop: Students create collages representing different aspects of their identities, followed by group discussion on commonalities and differences.
Cultural Exchange Workshop: Students bring photos of five elements of their cultural heritage, inviting others to engage in dialogue and learn about diverse traditions.
Storytelling Circle: Students share personal narratives related to their identities, experiences, and perspectives around specific topics, fostering empathy, and understanding among participants.
Delivery Plan:
The intervention will be implemented over the course of one academic term, with sessions scheduled bi-weekly to allow for meaningful engagement and reflection.
Resources and materials needed for each session, including art supplies, multimedia equipment, and facilitation guides, will be identified and prepared in advance.
Facilitators will be recruited from staff and student body, ensuring diverse representation and expertise in relevant areas.
Evaluation and Reflection:
The intervention will be evaluated through a combination of participant feedback, facilitator observations, and reflective assessments.
Structured reflection prompts and journals will be provided to participants to document their experiences, insights, and areas for growth.
Regular feedback sessions and group discussions will be conducted to assess the effectiveness of the intervention and identify opportunities for improvement.
Conclusion
The deliberate inclusion of visual and hands-on components in this intervention is purposeful and closely tied to the professional development of students – it is also a personal interest of mine as both an academic and a designer. I believe in embedding real-world and practice-based interventions that can build confidence, resilience, and curiosity.
In conclusion, this proposal outlines a comprehensive intervention aimed at fostering inclusive communities in art and design higher education. By providing students with opportunities to engage freely and present aspects of themselves in an inclusive manner, I aspire to create a supportive learning environment where all students can thrive and learn from one another’s diverse perspectives and experiences.
References
Bhagat, D. and O’Neill, P. (2011) Inclusive practices, inclusive pedagogies: learning from widening participation research in art and design higher education. Croydon: CHEAD.
Chiang, S. (2016) Inclusive Pedagogy: Research & Practice Contributing to Policy. University of Edinburgh. [Online]. Available at: https://www.ed.ac.uk/files/atoms/files/electionbriefing7-inclusive-pedagogy-15-05-16.pdf
Hatton, K. (ed.) (2015) Towards an inclusive arts education. London: Trentham. [eBook in library]
Hill, V. & Singh, G. (2018) Critical Pedagogy #4 ‘What does it look like in practice?’ [Online] Available at: https://www.youtube.com/watch?v=K6ghTlyBDNk [Accessed 19 Mar. 2024].
Orr, S., & Shreeve, A. (2017) Art and Design Pedagogy in Higher Education: Knowledge, Values and Ambiguity in the Creative Curriculum (1st ed.). Routledge.
Richards, A. and Finnigan, T. (2015) ‘Embedding equality and diversity in the curriculum: An art and design practitioner’s guide.’ York: Higher Education Academy. Available at: https://www.advance-he.ac.uk/knowledge-hub/retention-and-attainment-disciplines-art-and-design (Accessed: 11 November 2022).
Schon, D. A. (1983) The Reflective Practitioner: How Professionals Think in Action. New York: Basic Books.
Analysis of how faith interacts and intersects with other identity aspects through studying and reflecting on four different resources combined with further reflections on my personal experience at UAL and the theme.
Appiah views religion as a dynamic cultural construct, deeply influenced by historical, social, and political contexts. He emphasizes that religion is not static but evolves with time, reflecting the complexities of the societies in which it exists. Religion, according to Appiah, shapes identities and carries significant ethical implications, advocating for religious pluralism and interfaith dialogue to foster mutual understanding and respect.
Appiah’s approach sheds light on the intricate ways in which global religious movements intersect with local racial identities. For instance, the spread of Pentecostalism in Africa illustrates this interaction, as it blends indigenous cultural practices with global religious ideas. This fusion creates unique religious identities that are both deeply rooted in local traditions and influenced by global dynamics.
Resource 2: Reki, J. (2023) Religious Identity and Epistemic Injustice: An Intersectional Account. Hypatia 38, pp779–800. Available to download from Moodle via the Readings & Resources folder.
Reki looks at the complex intersections of gender, religious identity, race, and social constructs, particularly focusing on the experiences of Muslim women who veil. She highlights how these intersections often result in epistemic injustices, where individuals face misunderstanding, stereotypes, and dismissal of their beliefs and practices. Reki emphasizes the importance of recognizing and addressing these injustices, particularly for marginalized religious individuals, who may face testimonial and hermeneutical injustices. Additionally, she discusses how the dismissal of certain theological perspectives, such as Sojourner Truth’s feminist theology, further marginalizes voices at the intersection of racial and religious identities. Overall, Reki’s work underscores the need to confront and rectify the epistemic injustices faced by marginalized religious communities.
Dr. Haifaa Jawad explores how cultural, social, political, and religious factors influence Muslim women’s participation in sports, particularly regarding modesty requirements and societal norms. She highlights the need for inclusive sports environments that respect religious practices and advocates for educating sports professionals about these needs, promoting inclusivity and diversity in sports.
The emphasis is placed on the significance of engaging with differences in a constructive manner, both within society and within educational settings. This approach highlights the importance of fostering an environment where diverse perspectives are valued and where dialogue and cooperation are encouraged as means of addressing differences effectively. The interaction of faith with other identity aspects, such as race and gender, holds significant importance within educational settings. It’s crucial to ensure that religious identities are not only respected but also integrated into the curriculum to provide students with a comprehensive and holistic educational experience.
FURTHER REFLECTION
Recurring Themes
Inclusivity and Pluralism: Across all resources, there is a strong emphasis on the need for inclusivity and respect for religious diversity.
Intersections of Identity: All resources highlight the complex intersections of religious identity with race, gender, and socioeconomic status, illustrating how these intersections shape individual experiences.
Challenges and Barriers: Each resource discusses various challenges and barriers that religious individuals face, whether in sports, education, or broader social contexts – reminding the complexity of intersectionality.
Differing Perspectives
While Rekis and Jawad focus on specific institutional changes (e.g., inclusive spaces for testimonies and sports environments), Appiah emphasizes a broader cultural and ethical approach to inclusivity.
Appiah discusses the impact of globalization on religious beliefs more broadly, whereas the other resources focus more on local and specific contexts (e.g., Muslim women in sports, religious identity in secular environments).
I teach a unit called PPD for Y2 Fashion Design Womenswear students, where we dive into the fascinating and complex intersection between fashion and faith. This topic resonates with some of the key findings above an reflections below. Navigating this challenging territory requires me as a tutor in combination with students to carefully negotiate concepts and meanings, ensuring we are respectful and inclusive of various perspectives.
I’ve found that when students feel a personal connection to this topic, our role as educators becomes even more crucial. We help them navigate these intersections, offering guidance and support throughout their exploration. Bringing in industry professionals who work around this has been incredibly beneficial. These experts helped us unpack critical ideas around social justice and inclusivity, providing real-world insights and fostering a richer understanding among students. The diverse background of all of them made the unit structure and content much more relatable to students. I saw a growing interest and engagement with some students exploring faith as another element of their identity in the context of their work.
Reflecting on UAL’s data on diversity and inclusion related to faith outcomes, we see an increasing number of students identifying as non-religious. In my classroom, this trend makes the few students who consider faith a significant part of their identity more noticeable. This highlights the importance of constructive engagement with diverse perspectives, helping students understand that we all live by different values.By fostering mutual respect and understanding, we can create a space where dialogue and cooperation can thrive. This approach not only addresses differences effectively but also enhances the educational experience for all students. In my classroom, I strive to create an inclusive environment (in practice) that prioritizes diversity by the references I share on slides to the group and individual conversations and further support outside class. In addition to that, I make no assumptions and foster a non-judgmental culture that uses dialogue and mutual respect at all times. This ensures that students from various backgrounds feel valued, supported and safe to share their thoughts.
