My research – Interviews
My research method as discussed in the last blog post is qualitative Conversational Analysis.
I cannot post any raw data due to anonymity, as my interviews are all recorded voice files.
I can however, share my questions, and selected quotes from the interviews that informed my project.
Student Questions
-How do you perceive the difference between creating work as a student and preparing it for publication and sale in the professional arena? What are the major challenges you anticipate in this transition?
-In your experience, what kind of support or resources do you believe would be most beneficial to students in navigating the shift from creating student work to publishing and selling their creations?
-How do you think a Book Fair specifically tailored for LCC students—offering a free platform to exhibit and sell their work—would impact your aspirations and development as a budding creator? What opportunities or challenges do you foresee with such an event?
-Considering the academic calendar and workload, which time of the school year do you believe would be most feasible for students to participate in a Book Fair? How might this timing align with your coursework, maintaining grades, and other commitments towards your degree?
-Reflecting on your own experiences or those of your peers, what specific support mechanisms or guidance do you believe the college could implement to assist students in effectively managing both their academic workload and the preparation of their work for potential publication or sale?
-How do you think participating in events like a Book Fair could impact the overall learning experience and professional development of students within the creative fields? What skills or insights do you anticipate gaining from such opportunities?
-In your opinion, what types of workshops, mentorship programs, or additional educational initiatives could enhance students’ abilities to transition from the academic setting to the professional world of publishing and selling their creative work?
“Exposure to the professional world would help build confidence. Live briefs don’t actually feel like a real connection.”
“Shows feel like more of an advert for uni’s rather than it being about selling work, or making connections with professionals. And the degree show is more of a celebration with friends and family.”
“There feels like a heirarchy between students and professionals”
Alumni Questions
-Reflecting on your transition from graduation to selling your creative work while managing livelihood demands, what were the most significant challenges you faced? How did you navigate these challenges, and what strategies or support systems did you find helpful during this transition period?
-Looking back at your time as a student, what do you think could have better prepared you or your peers for the transition to selling your work and sustaining a living post-graduation? Were there specific resources, mentorship opportunities, or skills you wished you had acquired during your academic years?
-Considering your experiences, do you believe that a Book Fair held at LCC, providing a platform for students to exhibit and sell their work, would have been beneficial in your journey post-graduation? How might such an event have impacted your early career development?
-From your current standpoint as an alum, do you think participating in a Book Fair at LCC, specifically designed for alumni to exhibit and sell their work, would be advantageous? How might such an event support your ongoing professional pursuits or contribute to your career growth at this stage?
-As someone who has navigated the challenges of transitioning from academia to a professional career, what advice or insights would you offer to current students preparing to graduate and enter the professional realm within your field?
-Reflecting on your own journey, what kind of ongoing support or networking opportunities do you think alumni would benefit from to continue thriving in their creative careers, especially within the context of a university community like LCC?
-How do you think events like a Book Fair, both for students and alumni, could foster a sense of community and collaboration among past and present creatives associated with LCC? What potential collaborations or connections do you envision arising from such events?
“Getting work after graduation is impossible! There’s so many graduates and so little jobs. It’s been really hard.”
“Lecturers should be honest and not say “There’s so much work out there” because it’s not true! We did have portfolio reviews with external people, but it was halfway through our FMP (final major project) so we weren’t really focussing on it. Either do it before or after the deadlines are taken care of.”
“ I would rather be contacted by a person I remember, rather than a call-out from the uni. To be honest if I get a uni email, I just delete them without reading”
Staff Questions
-In your experience, how have students from your institution perceived and experienced Book Fairs as a platform for their professional transition? Have you noticed any particular ways in which participation in such events has positively affected their transition into the professional world?
-Could you describe how Book Fairs were typically set up or organised at your institution? What were the key components or strategies that contributed to making these events successful for students and beneficial for their professional development?
-Regarding the feedback received from invited professionals or peers who interacted with student work during Book Fairs, what were the notable observations or comments made about the showcased creations? How did these comments or evaluations impact the students’ confidence or future endeavours?
-Have you witnessed any discernible improvements in student work, skills proficiency, or confidence levels following their participation in Book Fairs or similar professional showcasing events? If so, could you elaborate on the specific areas where students seemed to make strides or show growth?
-From your perspective, what are the key elements or practices that contribute to making a Book Fair or similar exhibitions impactful for students in terms of enhancing their skills, confidence, and readiness for the professional arena?
-Based on your institution’s experience with these events, how do you think participation in Book Fairs or similar showcases contributes to the holistic development of students, beyond just their technical or creative abilities?
-Have there been any notable success stories or instances where student participation in Book Fairs led to significant opportunities or career advancements for them? How have these instances shaped your institution’s approach to fostering professional opportunities for students?
“Students find the transition difficult. They leave and don’t have access to equipment anymore.”
“Industry contacts are given out, but they are too nervous to reach out, they have a feeling of inadequecy.”
“It would be good if they had an understanding of how to set up their own shows or exhibitions, to invite industry to”
“We set up a faux interview system, or live briefs, but the status and heirarchy still exists. I think there’s is alot of intimidation”
“They felt more confident in interview settings, but not in terms of contacting them [professionals] as collaborators, or equals.”
“The difference between ‘good’ work and ‘bad’ work is just preference, which could lead to bad feelings in the students who arent picked”
“Selling thier work alongside professionals would be good- being in a respected professional environment made the students feel part of something”
“As a member of the public, the playing feild is totally even- you cant tell who is student and who is an established publisher”
“Feedback from those that did take part, they met loads of people, and felt like equals. Even if they didn’t make money, it worked for them”
“A fair taking place at the same time as another large fair pulls those that wouldn’t come otherwise, but as they are close anyway they do. I don’t want the professionals to have to choose between fairs, as they would choose the more established fair”
ARP – Timeline plan
1.Ethics form
2.Draft activity plan/brief
3.Identify interview participants colleagues/student/alumni
4.Interview participants
5.Define/refine event with information from interviews (Book Fair)
6.Plan event using information from interviews
7.Prepare participants secondary interview questions (post event)
Prepare interview for new participants (who will take part in the event)
8.Run event (Book Fair)
9.Interview participants post book fair
10.Reflect on session
11.Debrief with observers / colleagues / Students who attended the Book Fair
12.Collate feedback
13.Plan next steps
14.Presentation book for assessment
This changed MASSIVELY as the timeline for actually putting on a book fair, especially one that the students and university can be proud of hosting, and that would attract the industry professionals integral to the research and egalitarian environment, is LONGGGGG
So my list became more like this
1.Ethics form
2.Draft activity plan/brief
3.Identify interview participants colleagues/student/alumni
4.Interview participants5.Define/refine event with information from interviews (Book Fair)
6.Plan event using information from interviews7.Prepare participants secondary interview questions (post event)
Prepare interview for new participants (who will take part in the event)
8.Run event (Book Fair)
9.Interview participants post book fair
10.Reflect on session
11.Debrief with observers / colleagues / Students who attended the Book Fair
12.Collate feedback
13.Plan next steps
14.Presentation book for assessment
ARP- Data collection method and challenges
When it comes to doing research, I find informal chats or casual conversations are my most comfortable arena. I find the tangents that naturally come up can be really oinformative, and find the more organic flow of a conversation helps the person being questioned feel more comfortable, and on control of what information they want to share. This is only from my personal experience and opinion, but I have always felt more comfortable discussing difficult topics in a conversational way, rather than a strict question and answer format.
This research method is called Qualitative Research. Informal conversations or unstructured interviews with participants. Qualitative research all about open-ended discussions, where the researcher and the participants just chat it out. This way, they can dive into topics, experiences, and how people see things without sticking to a strict set of questions.
Even though we call it informal, there still needs to be a bit of structure. To give the discussion some kind of direction, I need to focus on what exactly I want to ask. My plan was to send out some general points about what I wanted to talk about. This gave the participants a heads-up so they could decide if they were up for a chat and maybe even prepare a bit beforehand.
I really enjoyed the more casual conversations and felt it worked for me and my topic of discussion.The conversations were flexible, and as the topic of personal support and professional development via a book fair is quite niche, i was able to gain deep insights by just having a natural, relaxed chat with the participants. we were able to discuss personal experiences, unique perspectives, and meanings that might not have come up in a more structured, or formal setup of email survey, or secondary data.
As Koro-Ljungberg (2016) pointed out in THIS article, different projects and research plans need different approaches. Sometimes, the data leads researchers down unexpected paths. So, even though you plan your research method, sometimes you’ve got to be open to taking detours and exploring new spaces to get what you need.
After each conversation, I used something called Conversational Analysis (CA) to dissect all that was discussed.
Conversational Analysis is a sophisticated method used to delve deeply into the intricacies of communication within conversations. It focuses on dissecting various elements, such as the specific words used, the timing of pauses, shifts in tone, instances of interruptions, and other subtle nuances that construct and convey meaning during social interactions. The goal is to comprehend how individuals convey and interpret messages through their communication. I feel a natural tendency toward this and so I was confident to employ CA as my main method.
However, Conversational Analysis does have its challenges. One significant issue is the necessity to address and confront personal biases. Acknowledging and managing one’s own predispositions is important to maintain the integrity and reliability of the any findings. Allowing biases to influence the analysis can potentially skew the outcomes, undermining the credibility and validity of the entire research project. A meticulous and conscious effort to mitigating biases is needed to ensure the research remains impartial and credible
I read papers by Emanuel A. Schegloff and Gail Jefferson, Charles Goodwin and John Heritage. Each of them discussed how Conversational Analysis tries to unpack the social rules and conventions that make conversation flow smoothly. Illuminating an invisible structure that shows how we communicate with one another.
This felt really essential to my research, specifically with my belief that certain events, like a book fair, can create a level playing field between students and industry professionals. These events give students the chance work alongside professionals as equals, creating this cool space where connections just naturally click.
ARP – The Idea
Featured
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”.
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,
ARP – initial thoughts
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.
Tutorial with Shura
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.
IP3 – Race
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
IP2 – Faith
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
IP1 – Disability.
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.
https://www.arts.ac.uk/students/student-services/disability-and-dyslexia
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.
https://www.huffpost.com/entry/confronting-the-whitewash_b_10574994?guccounter=1
“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