flo’s pg cert blog

• How will I make the tool itself inclusive? Risk assessments are not easy to create/read/look at for many people, particularly those with dyslexia. Many technical staff are dyslexic, so it makes sense to make it dyslexia friendly.
• I have been reading around movement and thought/creative ideas (donatella barbiera)
• My colleague is creating an identity rubix cube – this could be used to generate intersectional identities
• Could it be a walk-through? Perhaps cards with the main activities, or examples of activities that students do in the space. These could be drawn, or written. Using the matrix, colours could be stuck to the card for each walk through?
• The cards could have space for action points on them, then re-tried?
• Technical staff are often drawing, so this feels like a good way to approach it.

Source Notes

(Blog submission below notes)

Alice Bradbury for Race, Ethnicity and Education (2020)

Keys terms:

• Critical Race Theory
• Policy Sociology
• Meritocracy
• Education Policy

“…to re-centre the issue of ‘race’ in studies of policy, at a time when it is too frequently an ‘absent presence” – Bradbury, 2020, pp242

This paper, written for an online journal, looks to offer a new framework for the analysis of education policy, which includes Critical Race Theory, alongside Policy Sociology in order to address existing gaps in policy analysis, which result in “white dominance while appearing neutral and meritocratic” (Bradbury 2020).

“Success (or more importantly, failure)” is seen as and held up to be “individual or cultural rather than structural” ( Leonardo, 2007, pp265, via Bradbury, 2020, pp245) by policies, and the production of policies created through a the status quo lens, which is white, consumerist, colonial, and capitalist.

Bradbury utilises PS alongside CRT to create a tool which asks probing questions around policy influence, production, and practice in relation to white supremacy, in order to analyse policy. This tool could be used to redress glaringly racist policies in educational institutions, and their production.

Bradbury (2020) paraphrases Ladson-Billings (2004) in saying “…many wonder what CRT is doing in a ‘nice field’ like early years education” pp245. This part of the text was of particular interest in relation to channel 4 documentary excerpt (2020), which explicitly brings the notion of white supremacy into the primary school. Bradbury stresses how CRT is evidently integral to this stage of education, as this is where children’s “trajectories are established” pp245.

Rhianna Garrett for Globalisation, Societies and Education (2024)

Key terms:

• Critical Race Theory
• Racialised minority
• Individual idenitity
• Assimilation
• Web of whiteness
• Individualism
• Imagined futures

“Academia appears to be stripping racialised minority academics of their intersectional identities to fit into colonial practices, and serve neolib- eral, individualistic needs.” – Garrett, 2024, pp11

This paper uses CRT, intersectionality, and 22 qualitative interviews to investigate the ways in which racialised minority PhD’s experience higher education, and academia, and how this affects their imagined career prospects. It is written with a view to work towards “reducing the significant underrepresentation of racialised minority ethnic academics” (pp1, Garrett, 2024) in UK higher education, and the consequential perpetuation of racist values, structures, and cycles beyond it. It encourages “institutions to make a more nuanced approach to intersectional cultural institutional change that goes beyond optical diversity” (pp3).

The interviews are long, and allow for the conversation to be partly led by the interviewee’s, who are also enabled to self-identify, line with a CRT approach to research.

The paper concludes that the whiteness of academic space is perpetuated by the lack of passive observation of racialised minority academics, and an expectation for racialised minorities to strip away their individual intersectional identity in order to fit into the colonial, neo-liberal expectation of ‘what academia is’.

This makes me think back to the conversation we collectively had in one of the workshops, looking at a particularly academic piece of writing, that we all struggled to engage with. Amberleé suggested that it might feel necessary to write in this style when you are of an identity which is intersectionally marginalised and stereotyped, and you are trying to prove that your work is valid and worthy to those holding the power – in this case, Mirza, as a black woman (Mirza, 2018). This makes me think about bel hooks, who rails against this idea, which I think speaks to the approach to academia that this paper suggests is needed.

Asif Sadiq for TED X Croydon (2023)

Asif Sadiq, an award winning, MBE holding D&I leader, critiques the historical approach to DI training, and suggests that it undermines itself in the way it is built on stereotypes and assumptions. He proposes an alternative approach, which I would argue is the approach of critical pedagogy, in that it offers multiple lenses.

Sadiq uses his own personal experiences at university, and his experience with his son, who has ADHD, as a way to express his frustration at the status quo, which is that we must conform to the narrow ideals we hold up societally about ways of teaching and learning. He suggests an intersectional, empathetic approach to education, which recognises individuality, and listens to a broad variety of voices within marginalised groups.

He critiques the dominant perspectives of the UK and US, which presume the same understanding of diversity across the globe, which is narrow and limiting. In diversity training he advocates for localised, diverse content which uses human storytelling, as well as the creation of lived experience. Asif suggests that this must extend these principles into our individual lives, and diversity the people we interact with day to day.   

James Orr for The Telegraph (2022)

This film is presented by James Orr, a white male professor at Cambridge, for conservative broadsheet newspaper The Telegraph, in 2022, and discusses the work of Advance HE in relation to its work to “wire into the fabric of its institutions…a vision of society which vast swathes of the general public would reject…”.

Colloquially known as the Torygraph, the readership, and therefore the lens through which this film has been made must considered. The use of ‘woke’ in the title, which is often used by right wing activists as a derogatory term, is revealing. The language throughout the piece vilifies the aims of Advance HE, using works like ‘restricting’, ‘imposing’, and ‘scheme’. The way in which Advance HE is presented as a “democratically unaccountable quango” is explicitly pejorative and panders to the fear mongering narrative which favours the preservation of the status quo, and consequently of racist, white privilege in education.

Orr speaks to Arif Ahmed, another Cambridge professor, who has the view that Advance HE programmes restrict free speech and waste staff time, claiming that it’s incentives often result in training that is “at best a waste of money”. Orr then asks some students on campus for their opinions on free speech within the university environment. The questions are leading, and attempt to pull out a view that Advance HE’s encouragement of inclusive practices limits free speech.

What is missing here, is an in depth, oppositional view that inclusivity can enable free speech, and empower people to speak their minds. It is possible to invite and hold multiple opinions within a space safely, although it requires skill, shared principles of empathy, willingness from everyone, and a critical pedagogic approach.

This reminds me of the principles that Amberleé and Miriam set out at the start of the unit. Agreeing to behave in line with these principles, allow us to have open, free, sometimes difficult discussions in which we may have different opinions, but are able to respect one another, and sustain phycological safety.

The School That Tried to End Racism, for Channel 4 (2020)

This clip, which was put on youtube three years ago (aired in 2020) shows school age children doing ‘The Privilege Walk’, led by two teachers, in a playing field, in order to provide starting positions for a running race across the field. As the walk progresses, the children start to notice the differences between their positions. Part way through, one black child points out to his friend, “none of us are white, it’s unfair”, as the division across the field starts to become clear. When the same child is asked how he feels, he awkwardly replies “I kind of feel a bit alone”. Others at the back express their frustration, and immediately draw a comparison to the way in which wider society is unequal, with a defeated tone. The white child at the very front of the field, when asked the same question answers “it feels a bit weird, because if you think about it, all of us should be at the same point”.

Intended to highlight inequalities, and clarify who/what white privilege is, all of the kids agree that the resulting starting positions aren’t fair. While this incredibly affecting exercise is effective, and emotionally impactful, I would question the ethics of it for the same reasons. These kids have obviously not been prepped or briefed, and the emotional, internal and social consequences for each child may be detrimental to their sense of identity and lasting.

This exercise is particularly poignant because of the innocence and straightforwardness of these children’s understanding of the world, which makes for more emotionally impactful television – which has hopefully has a lasting effect on the people that view it. However, it also uses the children’s vulnerability for impact, drama and ultimately entertainment. I would hope that there has been lots of pre and post exercise care and support for these children, but this is not made clear in the clip. This may also undermine the things it seeks to do – to educate people, and these children, about white privilege, and highlight racism.  

Perhaps this exercise could be re-designed for this aged group/generally re-designed, as it is quite a blunt, and potentially very exposing and harmful tool.

IP Blog 3, Race

Recurring Themes

These sources highlight the profound way in which policy can uphold existing structures of white supremacy and dominance, and others radicalised minorities, problematising the individual, rather than the failing in the structure (Garret, 2024).

In my teaching context and going forwards

With this understanding, an in direct response to Garret’s paper (2024), I would be interested to revisit UAL’s inclusivity policies, and consider the way in which I approach anti-racism. It would be interesting to better acquaint myself with, and utilise the principles of Critical Race Theory to frame any new policy, action, design, or plan (including my intervention) as well as to re-asses any existing tools, resources, and processes already in place.

In direct relation to, or alongside this, I find myself thinking about Friere (1970) and critical pedagogy again, and how this holds or can be used to reflect upon many of the principles explored in these sources. The idea that the foundations of education and pedagogy, including policy, need to be questioned, is central is made clear by Garrett (2024), Bradbury (2020) and Sadiq (Tedx Talks, 2023). The defensive responses to this questioning, as is made clear in the Telegraph video, also need addressing. The importance of a person-centred approach, and valuing of care that critical pedagogy can also bring to the table, is made apparent in both the Channel 4 programme (2020), and Sadiq’s ted talk (2023).

It feels important, reflecting on these sources, to create, offer, and protect space and time for marginalised, individual, intersectional lenses to be platformed, heard, understood and considered. This aim can be carried through everything I do at CSM – from the way I understand and interrogate the effect of policies, to the way I interact with students, to the way I question my own assumptions around knowledge, the status quo, and academic environments.

(w/c 306)

References

Bradbury, A. (2020) A critical race theory framework for education policy analysis: The case of bilingual learners and assessment policy in England. Race Ethnicity and Education, 23(2), pp.241-260

Channel 4. (2020) ‘The School That Tried to End Racism’ [Online] Available at: https://www.youtube.com/watch?v=1I3wJ7pJUjg (Accessed 14 June 2024)

Freire, P. (1970) Pedagogy of the Oppressed. New York: Bloomsbury Academic

Garrett, R. (2024) ‘Racism shapes careers: career trajectories and imagined futures of racialised minority PhDs in UK higher education’, Globalisation, Societies and Education, Available at: https://doi.org/10.1080/14767724.2024.2307886 (Accessed: 5 July 2024)

Mirza, H. S. (2018) ‘Black Bodies ‘Out of Place’ in Academic Spaces: Gender, Race, Faith and Culture in Post-race Times’. In Dismantling Race in Higher Education, Eds. Arday, J. and Mirza, H. S. Switzerland: Palgrave Macmillan. pp 175-195.

TedX Talks. (2023) ‘Diversity, Equity & Inclusion. Learning how to get it right. Asif Sadiq. TEDxCroydon’ [Online]. Available at: https://www.youtube.com/watch?v=HR4wz1b54hw (Accessed 14 June 2024)

The Telegraph (2022) Revealed: The charity turning UK universities woke’ [Online] Available at: https://www.youtube.com/watch?v=FRM6vOPTjuU (Accessed 14 June 2024)

My third idea, which after writing the formative assessment intervention outline, I would still like to float, is a more specific intervention.

Having read Haifaa Jawad’s article (2022) about the inaccessibility of sports for many Muslim women in the UK who practice veiling, I was able to make a direct parallel to the barriers created by a lack of private changing space both within the costume studio I primarily work in, and within the wider costume and performance industry.  

There are many, intersectional reasons that a lack of private changing space creates a barrier to learning and participating in performance and costume both in the making studio, and backstage, and consequently perpetuates western, Christian, ableist, patriarchal norms and epistemic injustice (Reki, 2023). This includes:

• Religion – as above, relating modesty and gender segregation.
• Gender – those with trans identities are more likely to feel vulnerable in physically exposing spaces (Niemz, 2021).
• Mental disabilities including bodily dysmorphia, anxiety, PTSD, and associated phycological reasons.
• Physical disabilities, which the individual may not wish to expose by removing clothing.
• Cultural norms and expectations.
• Some other physical aspect of the body such as an injury or scar, which the individual may not wish to expose.
• Individual modesty, or bodily shame, related to the above, and other facets of identity.

The emotional, psychological issues which surround modesty, the body, privacy, and shame, are strongly connected to identity.  Would like to read around this further.

The instigation of a private changing space would require me to discuss the matter with my colleagues and line manager, in order to obtain the materials and equipment required to instal a changing space. I would need to analyse the current layout of the space, and consider issue including :

• Physical location in the space – it is accessible to all students, is it ‘private’ enough?
• Does it need to be portable or movable, or should it be permanent and static?
• How will I make sure that students know about it, and use it appropriately?
• What dimensions should it be?
• Should there be multiple changing spaces?
• What other elements would it need? – a rail or hooks to hang things off?
• How will it be appropriately lit?

References

Reki, J. (2023) Religious Identity and Epistemic Injustice: An Intersectional Account. Hypatia 38, pp779–800.

Jawad, H. (2022) Islam, Women and Sport: The Case of Visible Muslim Women. [Online]. Available at: https://blogs.lse.ac.uk/religionglobalsociety/2022/09/islam-women-and-sport-the-case-of-visible-muslim-women/ 

Choudrey, S. (2016) Inclusivity – Supporting BAME Trans People [Online]. Gender Identity Research & Education Society, 14 February. Available from: https://www.gires.org.uk/inclusivity-supporting-bame-trans-people/ (Accessed: 31 May 2024)

Niemz, I. (2021) Trans Inclusive Costume Fittings: Five Tips for Trans Inclusive Fittings [Online Blog]. Society of British Theatre Designers, 18 November. Available at: www.theatredesign.org.uk/trans-inclusive-costume-fittings/  (Accessed: 31 May 2024)

Bibliography in progress

Mirza, H. S. (2018) Black Bodies ‘Out of Place’ in Academic Spaces: Gender, Race, Faith and Culture in Post-race Times. In Dismantling Race in Higher Education, Eds. Arday, J & Mirza, H. S. Switzerland: Palgrave Macmillan. pp 175-195. Available at: https://moodle.arts.ac.uk/mod/resource/view.php?id=1178945

Anderson, C. (2024) Inclusifying the Rehearsal Room: Creating Accessible and Accommodating Theatrical Spaces for Young People. Graduate Thesis and Dissertation 2023-2024. 176. Available at: https://stars.library.ucf.edu/etd2023/176 (Accessed: 31 May 2024)

Beemyn, B. G. (2005). Making Campuses More Inclusive of Transgender Students. Journal of Gay & Lesbian Issues in Education, 3(1), 77–87. Available at: https://www.tandfonline.com/doi/epdf/10.1300/J367v03n01_08?needAccess=true (Accessed: 31 May 2024)

Barrows, L.E., 2023. Transforming Costuming Design: Costuming for the Actor’s Comfort (Doctoral dissertation, University of Central Florida) Available at: https://stars.library.ucf.edu/cgi/viewcontent.cgi?article=2556&context=etd2020 (Accessed 31 May 2024)

In designing an intervention I would like to focus on the physical studio space, and the lived experience of the students within it. I would like to either;

1. Design a tool with which to gather information on the intersectional inclusivity of the studio space itself (its layout, contents, equipment, design).
2. Or, design an intersectionally inclusive and accessible way for students to give us feedback about the space

Both intervention ideas would seek to better understand the experience of our students in the open-access studio environment, and the barriers that are preventing students from accessing and engaging with it (equipment, space, resources, and technicians) with a view to making practical, positive, immediate changes.

I would ideally like to design a tool or template which could be used by other technical departments, in a similar way to a risk assessment. Similarly to a risk assessment, this tool would be used to assess the space/gather feedback annually, in addition to being revisited each time a physical change happens in the space (e.g. a new piece of equipment is introduced, the layout of the space changes in some way).

I am looking to carry out an intervention which centres around the costume studio itself not only because my work at UAL is very closely attached to this physical space, but because I think it uniquely incites feelings of exposure and vulnerability. Not only is the space dedicated to the presentation of the body, which inevitably holds vast amounts of complexity in relation to identity (and in the context of costume, performed identity) including disability, faith, race, and gender, but it is also an open-access space, which inherently compounds existing barriers by reproducing “ cultural norms and issues of power and exclusion” (Orr and Shreeve, 2017).

Option a could borrow many elements from risk assessments, which is not only already familiar format to technical staff, but could be utilised at the same time as a standard health and safety risk assessment/could be part of the same process.

Option b could be a poster with a QR code on it, which could be put up in physical spaces of the studio, as well as shared on moodle/ via email. It could take intersectional inclusivity into consideration in both its design, and in the style of the feedback (for example, dyslexia friendly colour, design, and presentation and a padlet for feedback).

Bibliography

Sanger, C.S., 2020. Inclusive pedagogy and universal design approaches for diverse learning environments. Diversity and inclusion in global higher education: Lessons from across Asia, pp.31-71.

Orr, S. and Shreeve, A. (2017) ‘Teaching practices for creative practitioners’. In Orr, S. and Shreeve, A. (eds.) Art and design pedagogy in higher education: knowledge, values and ambiguity in the creative curriculum. Milton: Taylor and Francis Group.

Broadhead, S. and Whittaker, R. (2022) ‘Disaggregating the Black Student Experience’. In Broadhead, S. (Ed.) Access and Widening Participation in Arts Higher Education: Practice and Research .3. Pp 51 – 72. Available from: ProQuest Ebook Central. (Accessed on: 11^th December 2023).

Choudrey, S. (2016) Inclusivity – Supporting BAME Trans People [Online]. Gender Identity Research & Education Society, 14 February.

Mirza, H. S. (2018) Black Bodies ‘Out of Place’ in Academic Spaces: Gender, Race, Faith and Culture in Post-race Times. In Dismantling Race in Higher Education, Eds. Arday, J & Mirza, H. S. Switzerland: Palgrave Macmillan. pp 175-195.

Noel, A. and Paiva, M. (2021) ‘Learning to Recognise Exclusion’. In Journal of Usability Studies. 16 (2). Pp 63-72

Freire, P. (1970) Pedagogy of the Oppressed. New York: Bloomsbury Academic.

Source Notes

(Blog submission below notes)

Kwame Anthony Appiah, Is religion good or bad?

Key terms:

• Religion
• Tradition
• Intellectual authority
• Colonialism
• Creedal Christianity

“So what I want you to think about next time somebody wants to make some vast generalization about religion is that maybe there isn’t such a thing as a religion, such a thing as religion, and that therefore what they say cannot possibly be true.” – Kwame Anthony Appiah

Kwame Anthony Appiah discusses the way in which the concept and definition of religion has been historically perceived through a creeal, colonial, Christian lens. This way of framing what we call ‘religiosity’ is limiting, creating contradictions, because it doesn’t have the breadth to fully encapsulate traditions outside of Christianity.

Kwame discusses the way in which in many parts of the world, historical traditions that western anthropologists call ‘religion’ doesn’t necessarily reflect the role and meaning of these beliefs play in people’s lives.

This raises questions as to the bluntness of the tool with which religion is widely conceptualised in our society, and at UAL, and the history of that tool (Christian, western, ‘academic’). By allowing groups of people to be perceived homogeneously emerges again as harmful and reductive to the complex, intersectional identity of religious individuals.

Kwame’s TED talk is, in a way, critical pedagogy in practice – the idea that we must be question where our conceptions of knowledge, and the hierarchies we place them within come from.

Jaclyn Rekis, Religious Identity and Epistemic Injustice

Key terms:

• Religious identity
• Epistemic injustice/harm
• Prejudgements
• Credibility
• Racialisation
• White, Christian secularism
• Testimonial and hermeneutical injustices

“The social-identity perspective shows us that epistemic injustice can result from overestimating our understanding of the connection between gender, race, and religion” – Jaclyn Rekis

This article examines the ways in which a lack of understanding of intersectional religious identities, and the wider societal and political context within which they exist, causes and compounds complex layers of epistemic injustice.

To exemplify this, it interrogates the way in which Muslim women who practice veiling (and are therefore hyper-visible in their religious identity) are denied credibility, agency, access, and opportunity within epistemological contexts –  injustice which is compounded through the racialisation of their religion, and the interaction of this with their gender. The layered assumptions and stereotypes with which these people are regarded by others is harmful, and creates impenetrable barriers.

The article goes on to examine how the wider context of shifting norms towards secularism further negatively impact religious subjects – marginalising them and suppressing their testimony, as well as discussing the way in which political climates impact and intensify these inequalities.

“The upshot is that epistemic injustice will manifest uniquely for different religious identities, which ultimately demands an intersectional approach” – Jaclyn Rekis

Haifaa Jawad, Islam, Women and Sport

Key terms:

• Demonisation
• Polarisation
• Islamophobia
• Visibility
• Faith based needs
• Status

“Education and training for teachers, coaches, sport administrators, and organisers (both in Muslim and non-Muslim settings) needs to incorporate greater awareness of faith-based principles” – Haifaa Jawad

This article was of particular interest to me, as a woman who is interested and participates in sports, as well as a costume educator.

The article looked at the ways in which Muslim women, particularly those in the diaspora, who wear the Hijab, are prevented from participating in sports because of western sporting frameworks and structures which prevent them from doing so (including sports kit design, changing rooms, and mixed gender environments).

The intersectional facets of identity at play include are (visible) faith and gender, which interact with the effects of the wider community and structures within which these women live, and their interest (or potential interest) in participating in sports. It suggests that educators and sports facilitators need to actively seek a better understanding of faith-based principles, and that visible Muslim women should to be encouraged to participate, and keep participating in the sporting world.

Simran Jeet Singh, Challenging Race, Religion, and Stereotypes in the Classroom

Key terms:

• Discrimination
• Racism
• Confrontation
• Challanging stereotypes
• Empathy
• Humanist approach
• Fear mongering
• Propaganda and argumentation

“this nation was founded on practices of discrimination and racism and that has continued to this day and we’re seeing it boiling over in the present moment” – Simran Jeet Singh

Simran Jeet Singh is a religion professor at Trinity University. He discusses the need to confront issues of racism and discrimination that people ignore, but that exist, using contemporary examples.

He talks about the harmful practice of painting of a whole community with one brush – but that recognising that each community is diverse, is essential. This educator tries to challenge stereotypes within the classroom by showing differences between people, and encouraging an empathetic, human approach. Simran Jeet Singh uses the intersections within his own identity to express and demonstrate this to others.

IP Blog 2: Faith

Recurring Themes

All of these resources bring light to the harmful and presumptuous ways in which that we/UAL conceptualise religion. As Kwame Anthony Appiah explains in his TED talk (2014), the established lens of academic is western, colonial, and Christian, carrying with is homogenising stereotypes and assumptions that disregard intersectional identities, and create layers of barriers.

My Teaching Context and Going Forwards

In my own teaching context, an awareness of this in the way I understand the individual, complex, intersectional identities of the students I work with is essential, and time and space to research and better understand faith-based principles would positively impact my ability to consider and adjust the studio environment to be more inclusive, and discontinue to perpetuate epistemic injustices, as laid out in Rekis’ paper (2023).

For example, this may include creating time and space to research and provide examples of contemporary costume performance art and artists who have intersectional identities that include religion. In order to broaden representation meaningfully, the identities of the artists will need to be conveyed to students, as Simran Jeet Singh suggests (Trinity University, 2016).

In direct response to Haifaa Jawad’s article about Muslim women in sports (2022), this could also include practical , physical changes to the studio environment. For example, the inclusion of private changing space in the rooms I work within. Within the wider performance industry, there is a distinct lack of time, thought and effort around the issue of modesty and privacy- in relation to faith as well as other intersecting facets of individual identity. Similarly to visible Muslim women who participate in sports in the UK, visible Muslim women who participate in performance in the UK will experience similar barriers.

Could I instigate the purchase of a private changing space/spaces in the costume studio? This is a barrier which may be preventing other students from using the space/costume in general for other intersectional reasons.

In my last workplace (also working with students and costume for performance) I identified a need for and installed a private changing space – something which it became clear very quickly was needed, given its immediate popularity during fittings. In this instance it was considered to be due to the prevalence of students feeling self-conscious and uncomfortable changing in the space because of body dysmorphia, which were perpetuated by the circumstances of the covid-19 pandemic. However, this assumption may have been masking may intersectional facets of students’ identities, including faith, which may have made them feel uncomfortable changing in front of others.

(w/c 418)

References

Trinity University (2016) Challenging Race, Religion, and Stereotypes in the Classroom. [Online]. Available at: https://www.youtube.com/watch?v=0CAOKTo_DOk

Jawad, H. (2022) Islam, Women and Sport: The Case of Visible Muslim Women. [Online]. Available at: https://blogs.lse.ac.uk/religionglobalsociety/2022/09/islam-women-and-sport-the-case-of-visible-muslim-women/ 

Appiah, K. A. (2014) Is religion good or bad? (This is a trick question). Youtube [Online]. 16 June. Available at: https://www.youtube.com/watch?v=X2et2KO8gcY

Rekis, J. (2023) Religious Identity and Epistemic Injustice: An Intersectional Account. Hypatia 38, pp779–800.

We looked at the pg cert principles again, and the sheet of agreed values we had added our names to the week before. I liked this way of setting up the environment, and ensuring these principles were not only in the fore of our minds, but allowed us to feel as though we had some agency over them. This became very useful during some of the conversations we had within the session, which in dealing with very personal, challenging topics, could have in another, less well held space, escalated into arguments.

We kicked-off the session by looking at terms that we have been looking at over the past few weeks. After discussing these in pairs, we wrote them up on the wall. Links were made around two specific areas that required further clarification, or discussion. This method could be a useful tool in my own teaching practice, as a way of gauging where students are, so that I can better adapt the session and future sessions.

I recall my observed workshop session from last term, in which I think I miss-pitched the level of engagement of the students with earlier elements of the project. This task would have been an excellent way of assessing this.

The first common thread, highlighted by Amberleé and Miriam,  was around the differences between ‘identity’ and ‘positionality’. As a group we untangled these terms.

Amberleé described positionality as ‘additional info’ or a reflective, speculative ‘lense’, rather than a ‘small print disclaimer’ which proved neutrality – which is impossible to be. This was linked by Miriam to the way in which ethics forms can be used as a ‘get out of jail free card’ for unethical practices.

I also found this discussion really interesting and helpful to consider in relation to the possible defensiveness that could emerge within a positionality statement (white fragility), particularly if the research is in relation to people or topics in which the researcher’s positionality is one of privilege.

We also spent time unpacking ‘critical pedagogy’. Dalia raised a really interesting point about the way in which pedagogic concepts are discussed, researched, and theorised in relation to the core of the idea – the questioning of oppressive systems and power dynamics within ‘knowledge’ and learning – all of which can only create meaningful change through actual action. Freire was mentioned again in response to this – that things on the classroom only matter because of things outside the classroom. C.p.a.r. was also mentioned (critical pedagogy action research).

We watched a short clip of a ted x panel talk from an event in Birmingham. The speakers were all involved in a theatre company called ‘The Horizontals’, and discussing the intersectional effect of ‘burn-out’ culture of people living with a disability. I found this really interesting in relation to the discussion around the impact of higher education as a service that is bought – in that our culture is driven by capitalist values. There is a romanticisation of the burn-out work ethic, and it seems to be linked to morality – concepts which are harmful, dangerous, exploitative and false. This reminds me of Carrie Jenkin’s ‘Sad-love’ in which she discusses and critiques the idea of the American dream sold – a ‘good life’ is possible through hard work. The idea that successful participation in the capitalist structure, that to be happy is to be a consumer.

I would be interested to learn more about the Horizontals, as a good example of alternative theatre practice to demonstrate to my students that it is possible to question the status quo of the industry, and take a human centred approach to creating theatre.

(notes write-up to be completed)

Source Notes

Ade Adepitan, Disability Advocate

(‘Ade Adepitan gives amazing explanation of systemic racism’, ParalympicsGB, 2020)

Key intersecting elements of Ade’s identity:

• Wheelchair user
• Athlete
• Black

“I am disabled because society has not allowed me to shine” – Ade Adepitan

Ade discusses his frustration with the design of society, and the ways in which it limits people’s ability to shine, and how much power is held in the removal of barriers, so that people can be the best they can be. He looks to the Paralympics as proof that it can happen, and compares the disruption of ableism through the Paralympics to the lack of disruption of societal oppression of black people. Ade expresses his sadness in not being able to reassure future generations that being black will not limit them, and how disappointing this is, when we look at what is possible through the Paralympics. In Ade’s intersecting identity as a disabled, black athlete, this is particularly poignant.

Christine Sun-Kim, Sound Artist

(‘Christine Sun Kim in “Friends & Strangers” – Season 11 | Art2’, Art21, 2023)

Key intersecting elements of Christine’s identity:

• Deaf
• Mother
• Artist
• Living and working in Berlin

“I can one hundred percent reassure you that learning sign language is easier than a deaf person earning to hear” – Sarah Novice, twitter

Christine discusses her frustration at the way in which the world doesn’t pay attention to the needs of the deaf community, and how this exclusion results in deaf people ‘staying within the deaf community’ where they can enjoy shared experiences and cultures with one another. She talks about how she used to enjoy the comfort of staying within that world, but has made a decided choice to move into the discomfort of spaces which are not designed for her in her work as an artist. In this way, her identity as an artist intersects with her lived experience as a deaf person, in that she chooses to use it as a medium to express, raise awareness of, draw attention to, and encourage an understanding of the experiences of deaf people. She talks about how she is very interested in very literally using the largest scale possible to achieve this aim.

Christine discusses the importance of collaboration in her work, and how this is a huge part of her life – including that with her interpreter, her partner, and her family. As a mother, who is also deaf, she notices that she is able to live and work as an artist in Berlin, while supporting a family – however, if she were living in the US, as do many of her peers, she sees that the way her disability intersects with er identity as both artists and mother, may present far more barriers. She talks about how her intense experience in moving to New York from California has made her fearless, in a world which is not designed for her to move through easily.

Chay Brown

(‘Intersectionality in Focus: Empowering Voices during UK Disability History Month’, Parapride, 2023)

Key intersecting elements of Chay’s identity

• Gay man
• ‘Cis-passing’ trans man
• (Invisible) mental health issues
• Neurodiverse

“It’s to do with listening to disabled people and asking people…and being willing to be told actually, you could have don’t this better” – Chay Brown

Chay discusses his own intersecting identity, and the ways in which he holds privilege in some of this (as a white, ‘cis-passing’ trans man, who’s disability is not visible). This is very different to Ade, who is hyper-visible in both his blackness, and in being a wheelchair user.

Being a gay, trans man who wants to participate in the lgbtqia+ community intersects with Chay’s mental health issues, in that many lgbtqia+ events are centred around loud, alcohol fuelled environments which he and others with mental health issues or who are neurodiverse may struggle to participate in. This exclude them from those spaces – however, Chay has experienced an excellent example of an event which was inclusive, proving that it is possible, and the way in which everyone benefits from inclusive spaces. Similarly to Ade, Chay uses this as an example to highlight the completely possible ways in which society can operate in order to remove barriers. Chay also discusses the importance of events setting budget aside, and keeping it there as the norm, for accessibility.

IP Blog 1: Disability

Recurring themes

All three resources highlight the importance of visibility, and the need for those with lived experiences of disabilities to be given the space to be heard, seen, and understood (ParalympicsGB, 2020,; Art21, 2023; Panpride, 2023). The individual intersectional identity of each interviewee brings to light the compounding effect that the ableist design of society has on their lives (Oliver, 1990), and the unique ways in which it limits them (Crenshaw, 1991). The interviewees express their intense frustrations at current attitudes, and discuss the ways we need to disrupt the design of society, in order for it to become more inclusive, and everyone to benefit from this.

My teaching context

I work in an open access, practical making environment. Students have to choose to enter the space, choose to ask for my help, and choose to use the space and tools at their own prerogative, once inducted. The space is open plan, full of tools and machinery, often busy, has no booking system or designated areas for any one individual, and depends on users being co-operative and conscientious of one another. This ableist environment is the default – currently, a student would need to ask for additional equipment to be installed, or make a practical need known to us ahead of time. This perpetuates existing inequalities, and created barriers to learning, access and support within our spaces (Orr and Shreeve, 2017).

For example, reflecting on Chay Browns remarks (Parapride, 2023), the loud, open, chaotic, environment may entirely prevent some neurodiverse students from entering the space. We use lots of written hand-outs and instructions in our delivery of workshops, but none of them are looked or systematically considered for accessibility. We do often use diagrams, and always demonstrate, but not consistently, and not with the needs of deaf students and staff in mind. There is also a distinct lack of representation of disabled artists’ work within our technical teaching and environment, which as Ade highlights, prevents people from imagining the possibilities of what they could be (ParalympicsGB, 2020).

Thoughts going forwards

I would like to research the inaccessibility of the space I work in, possibly through surveys, checklists, looking at similar studio based environments, case studies, or collecting personal accounts from those with lived experiences of similar environments.

• What would a fully accessible studio environment look like? Is this possible at UAL? Why is this not the norm? What would this require?
• How could I expand my costume/artist references to disrupt ableism within my teaching?

(w/c 422)

References

Art21 (2023) ‘Christine Sun Kim in “Friends & Strangers” – Season 11 | Art2’ [Online video]. Available at: https://www.youtube.com/watch?v=2NpRaEDlLsI (Accessed: 20 April 2024)

Crenshaw, K. (1991) ‘Mapping the Margins: Intersectionality, Identity Politics, and Violence against Women of Color’, Stanford Law Review, 43(6), pp. 1241-1299

Oliver, M (1990) ‘The Individual and Social Models of Disability’ Joint Workshop of the Living Options Group and the Research Unit of the Royal College of Physicians. Royal College of Physicians, London, 23 July 1990.

Orr, S. and Shreeve, A. (2017) Art and Design Pedagogy in Higher Education: Knowledge, Values and Ambiguity in the Creative Curriculum. London: Routledge

Parapride (2023) ‘Intersectionality in Focus: Empowering Voices during UK Disability History Month 2023’ [Online video]. Available at: (Accessed: 20 April 2024)

ParalympicsGB (2020) ‘Ade Adepitan gives amazing explanation of systemic racism’ [Online video]. Available at: https://www.youtube.com/watch?v=KAsxndpgagU (Accessed: 20 April 2024)

Inclusive Practices Tasks for Workshop 1

Intersectionality

The Privilege Walk

Dr Maebh Harding

I would be interested to know how this was devised – it feels as though there could be so many questions, and some feel worth larger steps than others – however, I appreciate that this idea is to broadly exposes inequality rather than reflect the true complexity of intersectional discrimination and disadvantage/advantage.

I also think this is interesting in relation to the way in which we expect all students to meet a particular criteria of learning in how they are assessed – this surely is an argument for assessment which is more holistic and encompasses a consideration of the positionality of the individual?

The urgency of intersectionality, Kimberlé Crenshaw, TEDWomen 2016, October 2016, https://www.ted.com/talks/kimberle_crenshaw_the_urgency_of_intersectionality?language=en

Persona Pedagogy

Thomas, C. (2022) Overcoming Identity Threat: Using Persona Pedagogy in Intersectionality and Inclusion Training. Social Sciences 11 (249)

What are the benefits of PP for learning about and developing inclusive practices?

Persona pedagogy allows participants in inclusivity and diversity training to question unconscious bias’s without identity threat, or feeling the need to expose themselves and be put into a vulnerable position. It removes the individual themselves from a process which requires one to empathise with real people.

What are its limitations or downsides?

It is limited in that it can never reflect the true individuality of a real person – particularly in relation to intersectional discrimination, and its real impact on people. It also takes time, and familiarity with the persona’s. I anticipate it could be a little impersonal, in that it removes the ‘realness’ of talking to a person with lived experience.

Other Thoughts

This could be used to teach my students about cultural appropriation in costume and theatre, and possible racist, sexist, xenophobic use of specific garments/fabrics/colours/references within a performance context. It would help them to see their own positionality (and my mine), and critically reflect, and transformatively reflect on the impact of their work in order to create art which is politically engaged and aware.

Positionality

Bayeck, R.Y. (2022) Positionality: The Interplay of Space, Context and Identity. Journal of Qualitative Methods. 21, p.1-9

meganleanne44. (2015) Positionality statements. [Video]. YouTube. November 6. https://www.youtube.com/watch?v=GpcIVzGYhV

Positionality Statement

As a costume technician teaching CSM performance students how to take a person’s measurements.

My religious and cultural background as a liberal atheist means that I feel comfortable around exposed bodies, discussing anatomy, and being physically touched or touching others.

I am able bodied and neurotypical, which means I find the physical of act of taking measurements relatively easy. I do not have lived experience or understanding from the perspective of a person living with a disability, or a neurodivergence.

I have a degree in Costume for Performance, and 10 years of experience working in London’s costume industry. I am an insider, and have cultural familiarity with the practices of this particular theatre industry. However, I have very little experience or knowledge of theatrical costuming processes in other cultures, and how the process of taking measurements might otherwise be approached.

English is my native language, so I find the terminology used accessible.

In my role as technician, I have authority within the teaching space. The dynamic between myself and students is inherently unbalanced.

Language Centre Training Reflection

Clear and Accessible English (Wednesday 10^th April 2024)

I found this very interesting – partly I was surprised at my own ignorance about language structure and grammar. Some very obviously difficult words and phrases I use regularly were flagged.

I will use this advice, and some of the tools suggested, in future – not only in written communication, but in spoken communication with students and staff.

It made me reflect on my own difficulties with academic reading, and the vagueness of the texts – if I struggle, as someone for whom English is the only language I have ever spoken, I cannot imagine how difficult it may be for others, who have learned it as adults.

Pronouncing Names (Friday 12^th April 2024)

In such a student facing role, and working with so many students, I was keen to gain some tools to help me remember individual names, particularly those I am less familiar with as a western European person who was educated in the UK, and does not speak any additional languages. It was really interesting to discuss the cultural significance of names – how is East Asian and West African cultures, names often hold a lot more meaning than in western Europe. This amplifies the importance of learning the name of the individual, to whom it is an even more significant part of their identity

I thought that the use of the term ‘English as an Additional Language’ was really interesting, and makes so much sense – the default, unconsidered term being ‘English as a second Lamguage’ which makes so many assumptions, and perpetuates the problematic notion that English is somehow superior to the multitude of languages a student may be able to speak.

Workshop 1 Reflection/Notes – Wednesday 17^th April (morning)

The day began with an icebreaker between myself, Tommy, Stephen, and Rob.

We had to discuss the following question:

What is one educational practice you believe perpetuated inequality and why?

We discussed:

• Sign-up culture, drop-in culture (it depends on the confidence of the individual to actively come forwards, for which there are many barriers, which are perpetuated in this)
• Fees, the cost of living in London, cost of materials (stops many people applying in the first place, perpetuating socio-economic divides)
• Admissions processes and ongoing support thereafter (fundamentally flawed in that there is no carry through, so even if students who come up against barriers apply, and attend, the likelihood of them dropping out is high, because of the lack of support once they enter the institution)
• Learning differences and submission criteria (there is still a lack of inclusivity, and rigid criteria which prevent very able and capable students from accessing learning and being awarded).

In introducing themselves, Miriam and Amberlee cited bel hooks (1994, p21). Sharing your identity as an individual and an educator allows the power dynamic to be redressed. I thought this might be something to bring into my own workshop delivery, and wondered what this should include.

We discussed critical pedagogy, and the way in which it recognises the humanity of the learner in its consideration and awareness of wider contexts, and how they affect/effect learning. We talked about the way sin which this can affect the sense of self of the individual profoundly, and their self-esteem.

Frier (1970) was cited and discussed. These concepts rang very true to me, in that they address the underlying issues I am troubled by as an educator. The idea of active participation through critical pedagogy enabling the effecting change is exciting, compared to the discomfort I feel thinking about the ‘banking’ like status quo of traditional education.

We discussed the student as a consumer,and how this created friction in relation to Frier’s ideas. We also discussed the ways in which the cultural capital of marginalised groups is de-valued in education, and the invisible rules around what is acceptable or unacceptable to reference. Kathryn Mekindiele (?) was mentioned in relation to research around citational justice.

We discussed the myth of meritocracy, and its intersectional layers.

We briefly discussed the ways in which the brining in of different acts has effected higher education (equality act, race relations, etc…) and how these have sought to ‘eliminate discrimination’, or ‘advance equality of opportunity’, or ‘disrupt inequality’. We talked about the ways in which this is phrased is important, and frames the action – who is doing or not doing what is important.

n.b. Kimberlee Crenshaw has a podcast!

We then discussed our thought on the high impact Privilege Walk (1988), and the ways in which is a very blunt tool, which is deeply inappropriate for a classroom environment. Someone even pointed out that the instructions themselves ask participants who are not able bodied to read out the questions, rather than participate themselves, which is incredible othering and exclusionary in itself. Beyond this, it lack nuance, exposed vulnerability, incited guilt, and could trigger trauma. However, we agreed that when read as a solo activity it can be useful in highlighting some very basic privileges to those who hold them.

We discussed positionality, empathy, and sympathy. A piece of writing on the different between empathy and sympathy by Brene Brown was cited at this point, which I would like to look up, alongside bel hooks’ writing about pedagogy. Audrey Lorde was cited in brilliant quote about action “guilt is not what is required, action is what is required”.

In relation to the task of deciding what should have happened instead of the account we were given:

• We discussed the students charter, which I have not read, and apparently is long and boring. I thought this was very interesting, as surely such an important agreement should be accessible and simple to understand?
• We discussed timeframes, and how important immediate interventions on the ground are, and doing what you are able to.
• Paul Rossy was mentioned as a useful reference
• A parallel between police reporting and UAL incident reporting was made – the bureaucracy of it, the ‘officialness’ of it, the lack of emotional, pastoral care built into processes.
• We discussed boundaries in care, and how boundaries are care.
• We discussed the need for direct contact with appropriately trained individuals – rather than this referring upwards.
• We discussed the importance of communication and confidence in this.
• We discussed the importance of recognising and validating the disclosure of something to you, even if you are not the appropriate person to tell. 

Workshop 2 Reflection/Notes – Wednesday 17^th April (afternoon)

‘Awarding gaps’ as oppose to ‘attainment gaps’ – the importance of language and the way in which it implies who is or isn’t doing what. In ‘attainment gaps’ the implication is that the responsibility lies with the student, whereas the use of ‘awarding gaps’ recognises that the university’s action/inaction is the subject that needs to be critiqued. By avoiding deficit thinking, we also change language from things like ‘outreach’ to ‘learning and participation’.

We looked at a video interview with Ade Adepitan about the intersectionality of disabled and black identity. Ade highlights the way in which physical abilities are celebrated in the Paralympics, and the power of this removal of barriers.

We looked at the concept of discrimination by design, and the ways in which society is built with inherent barriers for specific groups of people, which means we cannot all participate equally, which means we all lose.

We discussed visibility and invisibility, and the privilege in autonomy to choose. The idea of hyper-visibility, and the ways in which inclusive practices can help to avoid systematic discrimination and implicit bias’, and consequently avoid the burden falling on the individual.

We discussed the value of having lived experience in the room when designing and decision making.

‘Room of Silence’ was cited as a useful reference, as well as bel hook’s writing about inclusivity.

Psychological safety was discussed at length, and how it’s lack of economic motivation in education (and policing) makes it less of a priority than in, for example, aviation, where hierarchies are broken down in order to allow any concerns or issues to be raised by anyone, despite position. The high stakes require phycological safety, and this is built into the culture and processes.

Please note, only posts listed in bold are for unit submission (numbers 2, 3, 6, 7, 9, 13, 14, 15, 16, 17, and 18)

1. Introduction
2. Blog 1: Preparation for the course and workshops 1 and 2
3. Blog 2: Reflections on workshop 1
4. Reflections on workshop 2
5. Reflections on first tutorial with John
6. Blog 3: Reflections on Object Based Learning
7. Blog 4: Reflections on Reflective Time
8. Microteaching ideas
9. Account of microteaching
10. Reflections on workshop 3
11. Reflections on workshop 4
12. Reflections on workshop 5
13. Case study 1: Supporting diverse technical practices
14. Case study 2: Creating time for learning
15. Case study 3: Imbalance of formative feedback
16. Observing a peer: Nina Manandhar
17. Being observed by a tutor: John O’Reilly
18. Being observed by a peer: Nina Manandhar
19. Contents of blog

Record of Observation or Review of Teaching Practice  

Session/artefact to be observed/reviewed: Costume workshop

Size of student group: 2 -15

Observer: Nina Manandhar

Observee: Florence Meredith

Note: This record is solely for exchanging developmental feedback between colleagues. Its reflective aspect informs PgCert and Fellowship assessment, but it is not an official evaluation of teaching and is not intended for other internal or legal applications such as probation or disciplinary action.

Part One

Observee to complete in brief and send to observer prior to the observation or review:

What is the context of this session/artefact within the curriculum?

The second of two practical, supplementary, voluntary costume workshops that BA P:DP Stage 1 students can attend ahead of the realization of their developing performance ideas which will culminate in a performance festival outcome for unit 3

How long have you been working with this group and in what capacity?

I have worked with this cohort since October 2024. Most of the group will have attended costume workshops as part of unit 1 and 2 (basic sewing skills x5, costume styling x1, costume beginnings x1), and used the open access costume studio. Others may only have attended the health and safety induction in October 2023.

What are the intended or expected learning outcomes?

These sessions speak to the LO’s of the wider unit, in particular, LO2:

LO1 Communicate your ideas using appropriate media in a way that facilitates creative working processes.  

LO2 Develop and apply creative, critical, and practical skills. 

LO3 Developed your knowledge of the subject area to inform your own learning through critical reflection and decision making.  

This workshop will build on the previous costume workshop, speaking to the themes of sustainability and climate justice that have been explored in their deign lectures during this unit, and to the unit brief themes of mythology and folklore through reflection and practical skill development.

What are the anticipated outputs (anything students will make/do)?

Discussion and reflection of the last workshop,  

To create some experimentational samples of smocking and thermoset pleating techniques.

Are there potential difficulties or specific areas of concern?

Unknown number of attendees, different attendees to the previous workshop, unpredictable and varied technical ability of the group.

How will students be informed of the observation/review?

By email, then reminded verbally on the day.

What would you particularly like feedback on?

The pacing of the session, the clarity of the activities, the choice of group/individual tasks.

How will feedback be exchanged?

Verbally and/or written

Part Two

Observer to note down observations, suggestions and questions:

Session overview

From the outset, I was struck by your consciousness of the teaching environment, both in terms of both the physical space and any interruptions to it, and how this might impact on the student experience. The set up reminded me of a knitting circle, with you very much amongst the students, teaching in a circle, subtly leading the session from within, together with the, asking, ‘what shall we do?’ There was a keen sense of empathy and attunement to the group throughout, with you noticing who might need extra help and ensuring everyone felt included. You created and facilitated an incredibly welcoming and relaxed teaching environment that was a pleasure to observe.

The clarity of activities

You have an ability to share expertise in an unassuming way that allows students to contribute without feeling self-conscious about making mistakes. You were careful to gauge student understanding rather than tell them things, which encouraged students to share their knowledge. For example, “Would you explain it to everyone?,” “I’m interested to hear how you might understand it?”

You used personal anecdotes to increase relatability during the technical learning process, “I was told I was lazy once a tailor.” This diffused any thoughts the students might have about being corrected, judged, but also affirmed your industry background.

When students found a task difficult, you had an ability to connect in an encouraging way before directing. When a student said, “Sorry I’m really confused” you replied, “It is confusing, isn’t it? Can you try this?”

The pacing of the session

In terms of the structure of activities, I thought beginning with the visual, non-technical exercise was a wonderful way of opening up conversation around the project themes, it was tactile and engaging.

The first of part of technical activity was more challenging for the students than you had anticipated. Perhaps you sped up the activity for time management reasons? But this jump meant they missed a step in the learning journey. Allowing for them to go through the necessary steps required. Bearing in mind that the skills were mixed, running them through it fully might be more productive next time.

There was a sense of you keeping time and pace, you didn’t seem thrown off by students arriving early or late and responded calmly. You did lots of checking in, and communicating about what you were doing, “I’ll come and walk round the room.” to ensure everyone was keeping up. You also repeatedly helped connect the learnings from other sessions to the activities in hand.

The choice of individual and group tasks

There was a very well-balanced mix of individual and group tasks, with the session working up to more individually focussed tasks after you had created a sense of collective mission through group discussion exercises.

As fellow tutors, we know how much work has gone into the structuring of activities, into the steering and considering of others, the activity prep, but you made it seem effortless, through the combination of the through the scaffolding you had put into place, and your sense of presence.

Part Three

Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:

In delivering this brand new workshop (the second of two parts) I was feeling apprehensive and a little overwhelmed. I had had very little contact with these students in the past term, and had some idea of their lack of engagement with the unit so far. Although anticipating Nina’s presence added to my apprehension, I am also very grateful for her positive and insightful feedback, which I will be able to meaningfully use in the future delivery of this, and similar sessions.

It was interesting to note in Nina’s feedback that I (unconsciously) used ‘we’ often, and personal anecdotes. Although my relaxed manner can positively feed into the dramatic friendships I have with these students, I am aware that it can also be at the expense of focus within a session such as this – something I felt acutely aware of on the day. I was encouraged by Nina’s comments around my deliberate threading of ideas together and connecting of this session to the academic unit. Despite this, I did find the lack of engagement these students had with the overarching unit made the linking-up process more challenging.

It would perhaps be better in future, on reflecting upon the strengths highlighted by Nina, to use my calm-seeming demeanor and relaxed approach to allow deviation from the planned structure of the session. In my experience, a quick return making process inspires engagement and energy. However, I think in part because of feeling conscious of being observed, and partly because of feeling distracted by stressors outside of this workshop, I stubbornly stuck to my plan.

For future delivery, I will swap the more complex hand sewing with something simpler and more accessible, as Nina suggests. Although one of the objectives of the session was to highlight the difference in time and ease of the two processes presented, there is balance to be found in order to maintain enthusiasm until the end of the workshop. I also wonder if, in the same vein, swapping the two processes around would have a positive impact on the rhythm of the session (i.e. quick return process first, slow return process second).

I have gained so much perspective and appreciation for the complexity of different teaching practices by being observed by Nina, and observing her. Observation is something I would be interested in doing again in the future part of my own ongoing reflective pedagogic practice.