How can current and graduating students be assisted in making their work public and transitioning into a professional realm of Book Arts? Specifically, those students who are unable to take the financial risks associated with selling work publicly
or as a title:- “Supporting Students’ Transition into the Professional Book Arts Sphere: Strategies for Facilitating Public Presentation of Work and Overcoming Financial Barriers at Book Fairs”.
Here is my first ever blog post of the PgCert. Reading it might help to understand my position and the context in which my ARP project is operating.
Having spoken to staff and Pg Peers about my two ideas, i decided on the second idea. To create a public facing event for students to sell their work and meet professionals in the industry as equals.
The aim of this enquiry is to generate new knowledge that will allow us to support and advise students with the aspiration to sell their work publicly, as well as inform recommendations to senior management towards maximising engagement with the professional scene outside of UAL and to provide information on an event or action we can take to provide a platform for students to share their work with the professional community.
During conversation with John and the rest of my tutorial group i explained exactly what a Book Fair is, and the hierarchical nature of them. I explained the barriers for students, or recent graduates to selling their work at book fairs, or feeling ‘part of the scene’ are largely financial, repetitional and age-related. The feeling is that you want to sell your work to the public, and be respected by peers in the industry. You cannot feel part of it until you have sold work, but you cannot sell work until you have been allowed in. This is a problem. Even if you pass this barrier, having a good portfolio of work that the curators like, you need to pay the table fee. These fees start at 150 and can get up to 600 for a table space. This is a bigger problem
After explaining these barriers, John pointed out it is also a social justice issue. and my tutorial team all agreed this was something that LCC could easily provide, and something I was clearly passionate about, and keen to install.
I also spoke with colleagues from LCC who ‘do’ the book fair circuit, and all agreed that it was something that students, staff and alumni would greatly benefit from,
The final unit of the PgCert is centered on the Action Research Project (ARP) with an action that can take place within our university. For me, I would like to focus specifically within the realm of Book Arts, whether in a more theoretical context, or in the physical workshop I oversee as a technician.
The ARP manifests as a methodical and engaged approach, promoting a blend of creativity and practical application. It involves a comprehensive examination of our Book Arts program, encompassing an exploration of novel methodologies and techniques with the aim of enhancing our educational and creative endeavours.
An ARP needs to be more than theoretical discussion; rather, it materialises in hands-on studio work. Collaborating closely with both students and faculty, we explore various procedures and methods, seeking to discern their efficacy and durability. The outreach will extends beyond academia, speaking to students and staff, and seeking insights from artists and enthusiasts to have a wide breadth of information.
One aspect that distinguishes ARP is its iterative nature. It thrives on a loop of action, reflection, tweaking, and action again. It should be a continuous cycle of improving what you do, and how you do it. whatever “it” is.
ARP’s essence lies in pragmatic transformation and genuine influence on our educational and creative pursuits. Engaging in this journey is invigorating, discovering new dimensions in the refinement of designs and pedagogical methods.
I had two initial ideas for this project. The advice I had received from everyone (PgCert students, Alumni and tutors alike) was to do something i was actually interested in. So i had two ideas: – A book– I had started, but hadn’t found the impetus to finish. I had already completed 174 interviews across the world, and wanted to compile them into an artists book to “document” one moment in time across the globe. I saw this ARP as an opportunity to finish this project and start halfway through the ARP cycle. – A book fair for the students – a way for them to publicly sell their work and break down the barriers between being a student and making “student work” and selling work professionally and becoming a peer in the industry.
I discussed with Shura that i have thought of changing the glossary from a physical collection , into an interactive part of the workshop format, where as each tool is used, and described, i ask participants of the workshop if they have seen it before, and what they would call it. Shura expressed a lean to ward asking openly for contributions on this is preferable, rather than explicitly asking each person to engage one-by-one, as this could have some feeling of “performing a cultural thing” attached to it, that can make people uncomfortable which is totally the opposite of what I intend to achieve with this.
Instead, I will ask the group if anyone has seen this tool before, and describe it, what it is made from and what it is used for. There is then a time period where it could be comfortable for some to contribute what they would call that tool, or if they use it in a different context, what they would use it for. This informalises the contribution. I can also level the field by beginning with a difference my colleague and I have,
For example I can mention;
“I call this an awl, and Rahel calls it a pricker.”
These differences can sometimes be cute or funny, and Shura mentioned it is still worth cataloguing these, to have potentially as a glossary that students could engage with after the workshops, if they found this part of the discussion interesting, but weren’t confident to contribute in the session.
We went on to discuss how I hoped the public sharing would create a social aspect and interaction between the students, as we often notice students speak only with their established friend group, but there can be four of five students regularly accessing the workshop, working on the same type of project, with a lot in common, but as they didn’t have the initial connection, they are reluctant to speak to each other. He mentioned that I could still find a way to Gamify this, and use previous contributions, and ask “where do you think this is called this?” as a way to let the students know the glossary is something I am building, and working on, rather than just an unrelated quiz in the middle of a Book Arts session.
We also discussed the possibility of other tools, or ways of making that can lead to the same result, either for disabled or less able students, who for example, folding a piece of paper with a bone folder could be hard for , and could be replaced with using the foot pedal creaser. Sewing horizontally could be difficult for someone with reduced mobility in their hands, but one could use a stitching pony to hold their book in place, enabling them to sew more freely.
Shura reminded me that the point of the Artefact is the way you critique it against the blogs and sessions, and so to cover more than one possible use of the glossary could be beneficial, using inclusive and intersectional terms.
I begin this blog post with some extended context, an overview of the article.
The article A Pedagogy of Social Justice Education: Social Identity Theory, Intersectionality, and Empowerment by Aaron J. Hahn Tapper provides a detailed description of an organization’s programs and their goals. It examines the organisations approach to experiential education, focusing on empowerment and responsibility education as the fourth and fifth pillars of their pedagogy. Additionally, it discusses how five programs, each with distinct structures and working with different constituencies, can share the same pedagogical foundations.
Finally, the article briefly touches upon the long-term effects of intergroup programs in general and emphasises that the field of social justice education is still in its early stages of development. While the sustainability and effectiveness of such programs are still being evaluated, it highlights the importance of continuously questioning their impact and efficacy.
Tapper describes Paulo Freire, a renowned Brazilian pedagogue, and his views on education as a crucial tool for achieving social justice. He argues that education can either domesticate or liberate individuals, with liberation being the primary goal of pedagogical activities. Freire, drawing from his own experiences of poverty, believes that education perpetuates existing power structures and must be challenged and transformed to address this issue.
According to Freire, understanding the dynamics within a classroom requires acknowledging the role of identity in shaping and implementing education. He emphasises that students’ identities should be considered, recognising that individuals in the classroom, including the teacher, do not start from the same social status and identity. In his work “Pedagogy of the Oppressed,” Freire emphasises that an ideal educational experience occurs through a collaboration between teachers and students, rather than the teacher solely imparting knowledge. “Teachers should create experiences that integrate students’ voices and experiences, forging an interlocked relationship between their identities.”
Freire criticises the prevalent banking system of teaching, where educators deposit information into students’ minds without considering their realities or social status. He argues that such an approach fails students and perpetuates inequality. Instead, he advocates for an educational structure that fosters habitual critical reflection for both teachers and students, taking into account their identities and encouraging authentic thinking. Freire believes that genuine thinking, concerned with reality, arises through communication and action in the world.
The organisation bases their educational methodology in this thought and the pedagogy focuses on the social identities of the students and staff.
Their primary goal is “to have students teach one another about social identities and intergroup dynamics using critical thought. Teachers and facilitators are understood to be guiding, rather than leading, students through this process, assisting in steering the experience while not actually piloting it in a top-down, dictatorial manner, always using and reinforcing academic methods of critical thinking along the way.”
This concept resonated with me as my original plan for the Artefact has undergone a transformation after discussing it with peers and continuing my research. Initially envisioned as a glossary of terms, it has evolved into an inclusive lesson format, where each unique tool used in the demonstration will serve as an opportunity for class participation. I intend to engage each student (class has a maximum of ten students) and ask what the tool is called in their respective language or culture. By doing so, I hope to facilitate an environment that embodies the principles discussed by Freire, enabling students to express their individual identities within a small and secure setting. This approach will also facilitate the transmission of knowledge among students, enhancing their understanding of the diverse social identities and dynamics present within the space.
I found the Robbers Cave experiment (Sherif et al. 1988, discussed p415) created in response to the contact hypothesis (Allport 1954) very interesting as I see it in the workshop setting time and again. While it is uncommon for us to encounter students who perceive each other as “enemies” in the emotional sense, we do observe instances where students, particularly during their initial workshop visit, feel hesitant or a lack of confidence in initiating conversations with their peers whom they perceive to belong to a different “group” as described by Hahn Tapper. However, as students engage in more workshops and are provided with additional opportunities to connect and discuss their projects, we witness a gradual transformation. Notably, during the introductory phase of workshops, we invite each student to describe their project and relevant interest to the group. Subsequently, when two or more students discover shared projects or interests, we actively encourage collaboration within the workshop space, often referencing their works and processes to each other to foster cooperative problem-solving among the “groups”.
On page 427 Tapper describes the five programs explicitly seek to; 1. explore students’ understandings of their individual and group identities; 2. deepen students’ awareness of the existence of social inequalities; 3. assist in developing students’ conception of the interconnection between social inequalities and social identities; 4. examine the roles students play in both perpetuating and working against patterns of inequality; and 5. empower students to work toward societal transformation in and through their identities.
I agree with each of these aims, that teaching should strive to delve into students’ understandings of their individual and group identities as it fosters self-awareness, empathy, and a sense of belonging. By encouraging students to reflect on their personal experiences, cultural backgrounds, and diverse identities, educators can create a supportive and inclusive learning environment. For example, a teacher might facilitate activities where students share their cultural traditions, discuss their family backgrounds, or engage in reflective writing exercises to deepen their understanding of their own identities and appreciate the uniqueness of others.
My tutor group experienced this feeling first hand, when during the micro-teach session, D asked each of us to explain our names, and how we relate to them or how they have shaped us. This exercise opened up huge areas of conversation between the group, sometimes surprising, ranging from race and class, to queer identity and familial dynamics.
It is crucial also for teaching to deepen students’ awareness of social inequalities as it promotes critical thinking, social justice, and an active commitment to creating a more equitable society. Educators can incorporate relevant historical events, current social issues, and diverse perspectives into their lessons to highlight the systemic disparities that exist in areas such as race, gender, socioeconomic status, and ability. By examining case studies or engaging in discussions on topics like income inequality or educational disparities, students can develop a deeper understanding of the structural barriers that contribute to social inequalities.
This can all assist students in comprehending the intricate relationship between social inequalities and social identities. By analyzing how different aspects of identity intersect with systems of power and privilege, students can gain insights into the complex dynamics at play in society. Guidence on examining the experiences of individuals who navigate multiple identities, such as being a woman of color or a member of the LGBTQ+ community, allows students to grasp how social identities intersect and influence the distribution of resources, opportunities, and social outcomes.
Further to that, this can encourage students to critically reflect on their own roles in perpetuating or challenging patterns of inequality. Self-reflection can prompt students to recognize their privileges, biases, and the impact of their actions on others. Discussions about unconscious bias and encouraging analysis of how beliefs and behaviours can contribute to systems of inequality can help to develop a deeper understanding of the ways in which one can actively contribute to dismantling discriminatory practices and fostering inclusivity, as I have felt during the PgCert lessons and discussions
Alongside this, teaching can empower students to recognize their agency and capacity to effect positive change in society, leveraging their identities as catalysts for transformation. Educators can provide opportunities for students to engage in activism, community projects, or advocacy work that aligns with their interests and identities. By actively participating in initiatives that align with their values, students can learn the power of collective action and the potential to create a more just and equitable society.
You can find my comments on another post of the same theme here
The paper “Religion in Britain: Challenges in Education” explores the evolving nature of society and the changing landscape of faith and religion statistics. Understanding individuals’ positive and negative experiences with faith, as well as the complexities surrounding it, is crucial within an educational context for both students and educators. Religion and faith hold significant importance in the lives and communities of many individuals, encompassing aspects such as belonging, spirituality, and belief systems. For me, a surprising finding in the paper was the majority of university students identifying as spiritual, suggesting the influence of faith and religion on identity and a sense of belonging within the university community. It is worth noting that despite the decline in traditional beliefs, a sense of belonging persists. Therefore, it is essential to broaden our knowledge and engage in open conversations about the diverse layers of faith and religion among our students, respecting their sensitive differences.
Kwame Anthony Appiah further delves into the multifaceted nature of religion, highlighting that religion/Faith comprises not only beliefs but also shared practices, community, and a body of beliefs. Often, we tend to focus solely on the specifics of religious beliefs, overlooking the importance of community and other elements that shape religious identity. Within a university setting, understanding the complexities and diverse experiences surrounding religion and its influence on identity is vital to comprehending the student experience fully. In workshops and discussions related to faith, we should aim to inclusively support students, acknowledging and respecting the complexities inherent in such conversations.
In a society where acceptance may be lacking, religion can offer solace and a safe haven. Universities have a responsibility to ensure that all students have a secure space to explore and celebrate their faith and religion, fostering conversations that promote understanding and acceptance of differences. This commitment inspires compassion, active listening, and support for all students and staff, amplifying voices and perspectives that deserve to be heard.
You can read my comments on another post of this theme here
This Nowness film features Christine Sun Kim, a deaf sound artist who challenges societal norms surrounding sound and strives to reclaim its ownership. It intrigued me how we, as able-bodied individuals, often overlook our abilities and prioritise our own experiences. Kim’s profound ability to convey this concept through visualising sound is remarkably impactful. In her performances, she possesses the power to determine the sounds created and their manner. There is a delightful essence to her work, and she discusses the liberation she experiences through performance. In this instance, she seizes control of a narrative and art form that frequently remains in the hands of the able-bodied population.
The UAL Disability Service webpage provides valuable insights into the support and guidance offered by UAL for students facing disabilities. It reframes the concept of disability, emphasising that it arises not from individuals but from the way our world is constructed. It highlights that it is the world, not the body or mind, that disables. This prompted reflection on the structure of my workshops and how I can present content and ways of learning for more diverse viewpoints. It also highlighted to me the resources available to help me continue to foster inclusivity in the workshop. This resource is an essential tool for creating a more inclusive learning environment.
The interview with Vilissa Thompson, discusses the lack of diversity and representation of disabled people, particularly people of color, in media and society. It highlights the harmful effects of this whitewashing, including the erasure of experiences and perspectives. The article emphasises the importance of intersectionality and inclusivity, calling for increased visibility and amplification of marginalised voices. This piece serves as a crucial reminder to challenge and dismantle the systemic barriers that perpetuate the exclusion of disabled individuals from the narrative, and prompts reflection on the need for diverse representation and the role each person can play in creating a more inclusive and equitable society.
This interview highlights the vital need to give space and recognition to voices that are often silenced or disregarded, a value I aspire to cultivate in my teaching, and in my own work. Davies (2019) emphasizes the importance of inclusive curriculum design for students with dyslexia. The key principle highlighted is that by eliminating barriers for all students, courses can provide support without relying on diagnoses or disclosure (referred to as ‘critical universal design’). This approach, which involves integrating inclusive strategies into the core of the curriculum, promotes intersectional approaches to curriculum design (Davies, 2019, p. 92). I feel this particularly relevant as Carys mentioned in a session, there is a notable difference in disability disclosure between International students and Home students.
“Deaf-accessibility for spoonies: lessons from touring Eve and Mary Are Having Coffee while chronically ill” by Khairani Barokka offers a poignant glimpse into the author’s journey as an artist grappling with chronic pain. Barokka highlights the tendency of society to dismiss invisible disabilities like chronic pain, underscoring the detrimental impact on mental well-being and artistic productivity. The paper underscores the importance of intersectional awareness, advocating for the inclusion and advocacy of deaf and disabled communities. It encourages the development of a compassionate approach to creative practices that can be readily applied within educational settings. It emphasises the importance of fostering an environment where students feel secure in expressing their needs, while urging educators to play a facilitating role by actively listening and supporting their students. By cultivating a caring atmosphere, both students and educators can collaborate harmoniously, allowing for a more inclusive and empowering learning experience
“A Note from Birds of Paradise” reflects Robert’s response to the articles published in the Terms of Reference Journal by SoN. Robert expresses both his professional and emotional reactions to the content. What resonates is his appreciation for the diverse experiences of disabled individuals showcased in the publication, countering the overly simplified and occasionally offensive portrayals in Western society. This recognition of unique experiences inspires a compassionate approach, prioritising active listening and amplifying the voices of those who have something to share. Robert believes that embracing the diversity of students’ experiences is crucial for cultivating a nurturing teaching practice.
In addition to embedded and individualised strategies, there are broader epistemological considerations. Problematic frameworks can arise when disabling mechanisms are perpetuated, such as when learning is solely based on verbal instruction, as is often the case in the physical workshops I teach in Book Arts. While I acknowledge that everyone can have blind spots and assumptions, as discussed by Patricia Devine (2012, p. 8), these can be revealed through de-biasing methods, more open discussion with students. Through research I am sure I will find that there are other essential approaches I can take to address the more intricate concepts of epistemological harm that may have occurred in my teaching practices.
By engaging students in various contexts and exploring the questions mentioned above, I aspire to foster an environment that encourages epistemic transgression and subversion. Jain (2022, p. 33), offers valuable insights into assessment practices, highlighting that inclusivity extends beyond material and infrastructural aspects. It involves reimagining temporalities and systems. My approach and aims are intended to foster innovative ways of reimagining teaching and learning, ultimately leading to the dismantling of disabling mechanisms.
In the spirit of inclusivity, flexibility and multiple submission options, I have chosen to cite and reference sources within my text. I personally find the disjunction between reading text, and later finding the source to refer back to after sometimes paragraphs of reading incredibly disruptive and confusing and prefer to have the source material directly linked at the site of reference.
You can read my comments on another post of this theme here
I found the first Seminar quite disappointing. The pre-lesson task felt like a trap, and like being pushed backwards into thinking in unhelpful and negative stereotypes.
During a discussion in this session, (designing and planning for learning across a number of levels.) I noticed that many conversations aimed to “end with questions,” which felt alien and uncomfortable as a technician with a problem-solving focus. I have been taught to find answers to every question brought up, though I do realise the value of learning over longer periods of time. The conversation in this session shifted towards assessment and learning objectives for both our students and ourselves.
I recalled an Albert Einstein quote, “Everybody is a genius, but if you judge a fish by its ability to climb a tree, it would live its whole life believing that it’s stupid,” The discussion highlighted how even an understanding of this concept can show up in art school, where experimentation can become formulaic and nothing more than a tick-box exercise. I have noticed this in the workshop when students have an idea but want to finish the project as soon as possible. Though I encourage them to test, make dummies, and try different materials to find the best fit for the concept, often, students take whichever option will complete the project fastest.
Somewhat ironically, we were then led to discuss our own learning objectives for the PgCert.
In the spirit of finishing with questions, here is what came up for me today. – What does it mean to split people up into A,B,C,D? – What is the purpose of grades, and putting someone into a grade? What does that person get out of it? – What does A+, or excellent mean? Does everyone want to be excellent by the predetermined standards? – How might all of this have an effect on the conceptual and physical work my students are making?
See this blog post for a more detailed exploration of this material.
In preparation for the course seminar on Wednesday I read Allan Davies article Learning outcomes and assessment criteria in art and design. What’s the recurring problem? Alan led UAL’s Centre for Learning & Teaching in Art & Design several years ago and the article below was described as ”offer[ing] a balanced critique of outcomes-based learning and assessment from a position of considerable experience working with art and design HE institutions.”
I was trying to read this while working in the workshop, so was interrupted a lot through the day with student enquiries. However, as this is such horribly dense material, it was actually refreshing to come back to a paragraph I had left, and find I had more understanding once I had returned after a small break doing something irl with a student.
Speaking with Andrew today, we discussed how a lot, if not all the material of the course so far feels very directed towards academics, and it is hard to understand how to apply this to my role as a technician. I was not sure if I should try to relate it to technical work, or to understand it theoretically as an academic. I have no problem following it theoretically, but I had been struggling to feel motivated as it is all so far from my actual role.
We discussed that though to asses a student, and create learning outcomes doesn’t exists in the same way in our roles, we are constantly assessing students abilities, in as much as “are they capable of doing this on their own?” and guiding them towards objectives – leaving the workshop with a piece of work finished to a professional standard.
See this blog post for a more detailed exploration of this material.
Neil Currant’s lecture provided an insightful summary of research into assessment practices in higher education, with a particular focus on creative courses.
He discussed the hierarchical relationship between lecturers and students during assessments, noting that learning may not always be demonstrated during this time. Neil proposed giving students more responsibility and focusing on feedback to enhance genuine learning, avoiding the negative effects of prioritizing grades. The idea of returning to a pass/fail system was also briefly discussed to mitigate the excessive importance of grades on creative learning.
As a technician, I don’t feel like I assess in a structured way as academics do, and I found this conversation really interesting. Assessment can be used to take account of learning and develop students work, but it is often used as a standardized system that fits into a culture of attainment, credit, and awards. However, in the workshop, a compassionate evaluation or feedback is the only style of assessment I ever make, and I always see students work improve either immediately, or over time as they start to value their skills more highly.
For me, the lecture raised some thought-provoking questions about assessment practices in higher education. It highlighted the need for assessment to be compassionate and responsive to the diverse modes of learning, and for students to be given more responsibility and focus on feedback rather than grades. It is essential to recognise the impact of assessment procedures on student learning and to adopt a more holistic approach to assessment that supports and fosters creativity, risk-taking, and conceptual thinking.
