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Inclusive Practices PG Cert | Artefact Reflection
This reflection is centered around a teaching intervention for the Collaborative Unit which is in the second term of the MA in Design Management (MADM) at LCC.
My approach to designing the artefact was to:
- reflect on which elements of the Inclusive Practices (IP) unit have resonated with me most in terms of direct relevance to my teaching practice
- identify an inflection point on the course where an artefact could bring a real immediate benefit to students’ learning
- connect to my own personal areas of interest and connection, to bring authenticity behind why I have developed the artefact
ARTEFACT DESIGN STARTING POINTS
Reflect on which elements of the Inclusive Practices (IP) unit have resonated with me most in terms of direct relevance to my teaching practice
Engaging with Freire’s position in Pedagogy of the Oppressed (2006) gave me a starting point for the artefact design. The artefact is primarily situated in the key areas highlighted below on the adapted image of Pedagogy of Social Justice.
According to Tapper in the article ‘A Pedagogy of social justice education: social identity, theory and intersectionality’ he discussed that ‘students’ identities need to be considered in all educational settings’, this led me to consider an artefact that could give students the opportunity to share and reflect on their own individual identities, how this may impact their creative learning and their group identity.
I have placed the artefact in a unit on the course which is about collaborative working skills in design so a reflection on their group identity would be valuable. During a conversation with Sara Ekenger, Programme Lead for the MADM it was confirmed that there are 15 different nationalities, and a total of 22 languages spoken on the unit this year meaning a huge range of diversity and individual identities
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Secondly, I wanted to explore an artefact that incorporates storytelling, we have seen many examples of this through the IP unit, for example text-based stories in Shades of Noir, Film by Christine Kum in the unit on disability and there is significant evidence that storytelling can promote inclusivity and be an enabler of effective working practice, it also underpins so many creative endeavours that it felt an appropriate area to explore.
“When people hear stories that feel representative, it creates a vehicle for nuanced conversations, which are what truly drive change. Stories invite perspective-taking: the concept of standing in someone else’s shoes and imagining what it’s like to be them”
Identify an inflection point on the course where an artefact could bring a real immediate benefit to students’ learning
I have placed the artefact in the second term of the course, students know each other better and have a more established relationship with the staff members on the course. As a result, this may encourage more open and authentic conversations about key inclusivity issues.
Additionally, the students have had one term of living in a culture that is not their own and observing themselves differently in a new city, with new peers and friendships, and an unfamiliar cultural context. Their cognitive overload may have lessened, and they may be open to sharing to encourage better collaborative working.
connect to my own personal areas of interest and connection, to bring authenticity behind why I have developed the artefact
I have spent eight years of my adult life living and working in Southeast Asia, specifically Bangkok and Singapore, including undertaking postgraduate study whilst in Singapore. On the course I was the only non-Singaporean student and yet I was probably the most comfortable speaking up and engaging with tutors. I was very conscious of my own voice and my own positionality in that group, although I would not have had those specific words for it then. It was a situation where I was both in a minority and yet there was a slightly confusing power dynamic. Singapore systems operate within a strong colonial context and influence and as a white British woman I feel this conferred some type of power within that educational context.
I have had experiences whilst working in these countries where specific, intentional discussions around identity have led to strong working relationships and experiences where that has been overlooked and feel that is led to less connectivity and creative outcomes. In my experience where people are given a framework and process through which to communicate it can bring equity to share of voice and lead to more inclusive discussions.
I need to be mindful that whilst my experience has influenced my choice of artefact I cannot assume that because I have experienced working and living in another culture that their experience is the same but in reverse. It is not directly transferable. I am also aware that my experience was as a working professional, moving with my family and therefore had a completely different support system to many of the students on my course.
THE FINAL ARTEFACT
EVOLUTION OF THE ARTEFACT
Due to the structure of the MADM course and the limitations of my teaching schedule it was not possible for me to explore using this artefact with students, however I am viewing the artefact as a method through which to reflect on issues of inclusion and diversity woven throughout the Inclusive Practices unit of the PGCert.
I secured feedback from the following people to help me with designing it further:
- Shani-Louise Osei tutorials
- Conversation with Sara Ekenger regarding the cohort
- Feedback from Romero Bryant (Unit Lead Collaborative Unit) on the initial artefact idea
- Peers on the Inclusive Practices Unit PG Cert in our sharing session
Shani suggested thinking more about which areas of diversity and inclusion the artefact would be focused on, how the intervention genuinely addresses inequity in staff student hierarchy and how to create a safe space, and finally how would I measure the outcome.
Sara was able to give me insight into the cohort demographics
Romero recognised the opportunity for this intervention, he strongly supported the concept of storytelling and the proposed timings around this. He felt the framework idea was strong and he suggested:
“Perhaps we could tie this into the collaborative unit as part of contextualising their orientation into the UK and how they may have to adapt from former ways of doing things, before even diving into the heavy theories on this unit?”
Romero Bryan
These were all helpful and constructive challenges. Whilst I may not yet have addressed all of them, the process of consultation and challenge has without doubt enabled me to go back to the literature and reapply some different concepts to my practice in terms of designing this artefact.
THE REDESIGN
I considered the guidance around ‘assumptive acts of behaviour’ from Shades of Noir (2018) curriculum design and specifically created guidance in the artefact on how to engage with one another during this activity in response to the conversation with Shani on safe spaces.
I have encouraged the practice of active listening skills, however I do recognise this may take different forms for people with unseen disabilities, for example, according to the website Autism Speaks eye contact can be challenging and stating that eye contact is a sign that you are listening maybe exclusionary for people with autism or ADHD. I have personal experience of this from a previous workshop in a professional context where I outlined eye contact as an indicator of listening and was, quite rightly, gently challenged by a participant who had mild autism. A key learning moment for me!
I had originally designed a more directed outcome for the students which was a visual representation of their group identity. However, on reflection I have changed that to be more open (see slides above). This was in response to the reading on Retention & Attainment in Art & Design (2016) and specifically the concept of the Pedagogy of Ambiguity (which is included in my blog) recognising that there is ‘neither one correct end result nor one way to get there’. This connects into the staff/student power dynamic in the classroom, my role in this exercise is to support and create a safe space for discussion, by overly directing the outcome I could be inadvertently excluding particular students and hopefully enabling a more inclusive space for creativity.
Additionally, the article ‘The power of language or the language of power’ in Shades of Noir (2018) made me stop and think about the considerations around the language that might be used around these stories. We talk of having a cohort of all international students, which, in itself, is a term loaded with complexity and huge diversity. There could be significant differences in their proficiency in English, how comfortable they feel speaking publicly, they could be from a culture where they have been marginalised , have an unseen disability or are less comfortable with a culture of public sharing of backgrounds and personal perspectives.
It would be my role as a facilitator of the session to be mindful of this and take action to ensure students do not feel marginalised and excluded compared to students for who maybe more proficient in expressing themselves in English or more confident sharing in a public space. It is important that people are not forced into sharing personal details with which they are uncomfortable, and that the storytelling does not become performative. Setting clear boundaries and expectations is important, and to be clear that the ‘’purpose of storytelling is to strengthen and improve relationships, as opposed to proving how entertaining or vulnerable you can be’’
A key consideration from the peer sharing session was how to protect the students in their sharing, particularly independently of the classroom where I would be there to facilitate. This is an excellent point and again the setting of boundaries is essential, with mutually agreed boundaries put in place by the students.
CONCLUSION
This process has been an iterative one, starting with a clear structure around what I was hoping to achieve gave me direction, and the feedback process constructive and positive. One reflection is that the Inclusive Practices unit has added a layer of nuance, inclusivity and insight which I would not have had previously.
Reference list
Autism Speaks. (2015). Why is it so hard for someone with autism to make eye contact? | Autism Speaks. [online] Available at: https://www.autismspeaks.org/expert-opinion/why-it-so-hard-someone-autism-make-eye-contact [Accessed 28 Jul. 10AD].
Ekenger, S. (2023). CONVERSATION.
Finnigan, T. (2016). Retention and attainment in the disciplines: Art and Design. [online] Available at: https://s3.eu-west-2.amazonaws.com/assets.creode.advancehe-document-manager/documents/hea/private/ug_retention_and_attainment_in_art_and_design2_1568037344.pdf [Accessed 25 Jun. 2023].
Hahn Tapper, A.J. (2013). A Pedagogy of Social Justice Education: Social Identity Theory, Intersectionality, and Empowerment. Conflict Resolution Quarterly, 30(4), pp.411–445. doi:https://doi.org/10.1002/crq.21072.
Hiscock, C. (2018). Discourse: The Power of Language and Communication. [online] Shades Of Noir. Available at: https://shadesofnoir.org.uk/journals/discourse-the-power-of-language-and-communication/ [Accessed 4 Jul. 2023].
Rezvani, S. and Gordon, S.A. (2021). How Sharing Our Stories Builds Inclusion. [online] Harvard Business Review. Available at: https://hbr.org/2021/11/how-sharing-our-stories-builds-inclusion [Accessed 1 Jul. 2023].
Shades Of Noir. (2018). Curriculum Design. [online] Available at: https://shadesofnoir.org.uk/programmes/curriculum-design/ [Accessed 14 Jul. 2023].
THE Campus Learn, Share, Connect. (2023). Managing cognitive load for EAL – and all – students. [online] Available at: https://www.timeshighereducation.com/campus/managing-cognitive-load-eal-and-all-students.
www.practice-space.org. (2020). Resource 2: Making Storytelling Inclusive and Equitable | The Practice Space. [online] Available at: https://www.practice-space.org/storytelling_guide/resource-2-making-storytelling-inclusive-and-equitable/.