Monday 24th April We meet our Academic support tutor Hamish – a British South Asian who did his pg Cert in 2019. He talks about the lack of representation in the institute. The blog tasks are about reflecting on ourselves, minimise interpretations, it’s about my critical thought, engagement & reflection, create dialogue, an understanding of what we are being introduced to, what we feel prompted in us, to have the more difficult conversations. Navigate those conversations, present those ideas back. What do I choose to bring to the table – so that Hamish can understand my positionality as a white, female, heterosexual, diabetic, mother of 3. Put it into context, get your ideas in line and signpost – consider what I want to say to myself as a writer. Apply to ourselves what we say to students, especially as we’re going on the same journey as them. ‘We don’t want to go where we are tolerated, I want to be included’ Terence B Leicester. Reflect on my positionality. Consider my expectations and individual diaspora as a ‘disabled’ diabetic. For my reflective report, create an artefact, something I identify with. Look at Bell Hooks & Freire – The challenge is to take into consideration how you reflect on what you are being introduced to. Also take into consideration, interact with each other to engage with other ideas & interpretations via comment on each other’s blogs. This unit is rooted in reflection via the people who work at UAL. Take into consideration their thoughts, ask questions, comment, have a conversation, agree or disagree – to challenge creates discourse. This is transformative work for a reason – confront & consider, reflect on this, interact with bias as an acknowledgement. Maintain motivation and independent learning – How do you want to learn? What do you want to get out of the pg cert? The expectation of requirements, how do you facilitate this learning? Bell Hooks ‘thinking is action’ find the answers to those external questions. What do you prefer to study? Do you use your time efficiently? Consider your mental physical health. Take into consideration the work that’s been asked of me. Intrinsic motivation – involves performing a task because it’s personal. Extrinsic motivation – involves participating to meet the unit requirements, I am motivated by both and keen to begin!
Monday 24th April 1. How could you apply the resources to your own teaching practice? 2. How could you integrate the research/work your students do on this subject into your teaching/professional practice? 3. Can you cite examples? You will share your thoughts within your groups and comment and share further resources you use in your own context. N.B You are expected to engage with your blogging task groups
UAL Disability Service Webpages The website clearly presents a range of resources the Disability Service offers students, including help to arrange reasonable adjustments, support and funding for studies. Disclosure and advice about how to contact the service and all they can offer is something I can support students through and advise them that we are here to help. Having been through this process myself, as an insulin dependent diabetic since the age of four. I understand how students might experience this, the help that is available to them, how to access it and the process they might go through to gain support. However, I do wonder how this information could be communicated to students who are yet to receive a diagnosis or are not even aware they have a disability, which is what happened to me. Personally, I was emailed the Disability Service details prior to starting my Pg Cert but having never considered myself to have a disability before working at Ual, I did not access this service until I had a health crisis. I plan on speaking to Becky at the Disability Service to find out if our undergraduates also receive an email without much explanation of who they can help. If so, I will make sure my students are aware of this fantastic service and that it is available throughout their time at Ual if required, In September, I will be teaching year 1 for the first time – this is something I could mention to all students as part of their first unit briefing, so that they feel they could talk to staff for reassurance or go directly to the service to take the first step on this journey. I feel as tutors, we should all have knowledge of this service, so that we can empower students to get the help that is available to them, in terms of resources, support and even a disability mentor. I will also mention to my Line Manager that we would benefit from a talk from the service about their offer and how we can communicate this to our students to develop this relationship.
In my teaching practice, I try to be aware and inclusive by making my lecture slides available pre sessions. Checking the work, I write & design through the accessibility scoring system available on Moodle, looking at closed captions for image references, colour contrast & legibility. I offer a variety of ways to experience my lessons, such as taking time out to discuss the individual needs of my students, they can often access a lot of learning through my lecture slides and the activities they are asked to participate in, if there is a reason, they have been unable to attend a session. I offer online tutorials if coming into college is a challenge and also check in on a regular basis, with the students who are supporting family members at home through various health conditions. Having attended training courses through Ual such as ‘Core principles in disability inclusion’ & ‘Deaf awareness’, I try to always face my students, speak clearly and avoid bombarding them with too many layers of information. I keep in mind the social model of disability at UAL and try to be aware of the barriers my students may face and how I can support them in a world that doesn’t always consider who we are or what we need. If a student comes in late, I keep in mind the visible and invisibleness of disability, I don’t judge or make assumptions but try to be supportive & kind through acts of compassionate pedagogy. Such as taking the time to review with them what they have missed, as we have no idea what may have caused them to be late.
I was the unit lead for a Self-Initiated Project for my third-year students this year on GB&I BA (Hons) and began by asking everyone to present something about themselves they were happy to disclose that no one in the class knew. During this session I shared my diabetes diagnosis and showed them a picture of closed loop insulin pump which often alarms during class – I hope that by sharing some of my positionality, I am making my sessions more inclusive and expose students to see that even with a long-term health condition, you can have a successful career. From what I have learnt during this unit I also need to consider intersectional identities and how I can make a space and sense of belonging for all as a community of learners.
Film by Christine Sun Kim The film begins with beautiful layers of sound that are engaging and enticing, it is only later that as the viewer we understand that the artist, Christine is deaf. Reminding us of the visible/invisible possibilities of disability. She speaks about the ‘ownership of sound.’ I’ve never thought about sound not belonging to everyone, perhaps that is because I take it for granted that I can hear. I feel we all have a notion of the idea of ‘otherness’ especially coming to university and all the new experiences we encounter. Children tend to learn their mother tongue from listening to those around them speak, but if that is not accessible to you, how do you learn what sound is? How might you explore this as an artist or graphic designer? Sound becomes a object, rather than a series of feelings, Christine’s work deals with the physicality of sounds, taking something familiar and making it unfamiliar. Using her experience of sound to communicate and connect, the constraints she felt as a child become freedom of expression through performance. Sound becomes a physical experience for her. I love the idea of ‘listening with our eyes’ her exploration & experimentation, she seemed so free. I would use this video as as a starting point for a discussion with my students, introducing them to the idea of positionality, getting them to think about their own and creating a project using somebody else’s, encouraging them to step outside their comfort zone, to explore another world and create something new in a different direction to the one they had imagined, perhaps involving speculative design.
I created a workshop this year where my students listened to different types of music, using letterforms as image they were asked to explore and express what they heard visually – to ‘make’ based on what they experienced and felt through listening. I think this connects with Christine’s idea of ‘listening with our eyes’. As graphic designers I wonder how my students can explore communication, type and language through the positionality of some international students who face language barriers in terms of expression. By using nonverbal language such as the act of making, we can gain an understanding of experience from a different point of view with the hope to build a strong sense of community through this shared learning. ‘The educator must engage in critical thinking with the students in the quest for mutual humanisation. They must be partners with the students in their relations with them. (Freire 1970.) ‘Education must be a force for opportunity and social justice, not for the entrenchment of privilege.’ (David 2011.)
#DisabilityTooWhite article/interview with Vilissa Thompson This article is about the hashtag campaign highlighting the disability community and facilitating dialogue about the lack of visibility and representation of disabled people of colour. I have recently watched several series on terrestrial UK TV and experienced far more diverse disabilities represented than in previous generations of programme making, for both adults and children’s television. Initially, I was impressed however, when I began to think about this in relation to my own white privilege and from reading this article I did think, ‘yes – where are the disabled people of colour represented in this story?’ Disability activist and blogger Vilissa Thompson says in the article ‘There is a lack of representation and diversity within the disability community from the organisations that are supposed to empower us as individuals.’ This is another article that would facilitate a fantastic discussion with my GB&I students, asking ‘what can we do to participate and elevate the voices of disabled people of colour? We need to pay attention to the images that we use in our designs and our representation of people of colour. As creatives, who will help build and participate in the future of the design industry, we must have these conversations so that it is something we all think about when making and embed these issues as part of our future creative process. Vilissa Thompson says ‘A starting point is to talk, to be inclusive and accepting, to have those conversations about disability and what it means to be of colour and disabled, and some of the disparities surrounding that’. I had an international student this year who created an independent wedding dress service to offer free dresses to those with a long-term health condition or disability, the project contained some excellent thinking however the imagery on the website featured all white representation with only a single image of a woman in a wheelchair, the chosen imagery lacked a genuine representation of the audience it was aimed at. Vilissa Thompson says ‘there is a great need and a great desire to diversify disability so that everybody can be included. That lack of representation really affects one’s self esteem and one’s ability to connect with all of their identities. It affects their ability to feel like they’re not alone and feel included in their disabled identity, in their “of colour” identity, in their other identities they have.’ It is really important for students to understand that positionality is about multiple elements of one’s self. In terms of discussion, we need to have the conversation about disabled characters being played by able bodied actors – ‘is it better to have accurate representation or is it better to have more representation that is not the ideal, that is not as inclusive or as empowering as it could be, because of these factors?’ A discussion about the discourse surrounding this in terms of a sense of understanding white privilege, able bodied privilege and being respectful to peoples individual truths. The activist asks us to ‘we need to figure out how to magnify their voices and their existence in the world’ as creatives we have an amazing opportunity to work in the commercial world and take this call to action onboard in the work that we create.
‘Deaf Accessibility for Spoonies: Lessons from Touring Eve and Mary Are HavingCoffee’ by Khairani Barokka Khairani Barokka writes about her experience, learnings and reflections on her touring show about pain & fatigue presented in various forms in the UK, Austria and India. As a performer she wanted to make the show as accessible as possible in different cultures, while struggling with her own needs. The piece examines the intersections of accessibility and framing disabled performers from non-Western backgrounds in Western contexts. On an individual basis, Khairani explores the misconception of the experience she had with pain and what was perceived by others – we are all capable of doing this, assuming we know what life must be like for someone else yet in reality we know. very little. ‘The absolute facts of miscomprehension, the inability to transfer someone into our bodies to experience what we feel, were at the root of both the extreme chronic pain and fatigue.’ We must not make assumptions with our students or colleagues in terms of visibility/disability but be open and willing to listen, if the individual wishes to share.
Her PhD work involves – pain, visuality, art and the empathy gap. ‘The sheer impossibility of human communication is why we attempt to bridge it anyway, by writing, speaking, creating, by existing in groups, by sustaining ourselves for the attempt to bridge gaps.’ Through the show she created and performed Khairani both embraced and protected her disability speaking about pain and allowing it to be visual, touching on these intersectional issues.
She tried to make the work as inclusive as possible, deaf & hearing-impaired audience members were given iPads or iPhones with which to read the poetry and she only performed in wheelchair-accessible venues. The script was put on a Google Document with an accessible, shortened link projected onto a wall in some locations so that everyone could read her script. She wanted people to know academia and the arts, but it came at a cost to herself. ‘I’d paid such attention to how accessible the show would be for other disabled people who might want to attend, and because there had been no option of dedicated care given to me, I’d given up on my body being allowed to be free of pain.’
She reflects on all she learnt and proposes an intersectional, disability-aware exercise for her students, asking how, if they lived with chronic pain, they could continue to perform and produce whilst placing a premium on holistic self-care in sometimes complex circumstances, whilst maintaining an artistic practice? Asking for ‘understanding and catering for audience members, artists, producers, and all others involved who are disabled, including those who are disabled in multiple ways, within the framework of making a production accessible.’ An interesting premise we must consider at Ual. Accessibility for all including those with disabled identities and more than one impairment for both students and our staff. I also think it is important for our students to see themselves in our staff employed – I always briefly talk about being diabetic when I introduce myself with the hope that it will inspire students of what is possible inspite of a long-term health condition, and make accessibility and inclusivity an integral part of everything we do at Ual.
What does it mean to be a ‘disability practitioner’? by Annabel Crowley. SOAS/UAL.Terms of Reference Journal from Shades of Noir p122-123 I found this article interesting because Annabel speaks of her desire for disability not to be seen as other. I hope that as a disability practitioner myself – an insulin dependent diabetic, along with other team members teaching on GB&I – I have a colleague who is dyslexic and neurodivergent, we show our students a diverse creative community that is inclusive. Annabel is interested in the language we use around disability especially in her role as Equality, Diversity and Inclusion/Organisational Development interventions to policies, processes and institutional culture in the area of staff access and inclusion. Where her research explores critical pedagogy and inclusive learning and teaching practices. For both my students who have a ‘disability’ – this is such a huge diverse area of requirements for example wheelchair access, deaf students, ADHD needs and thinking about inclusive creative practice, I feel it is important that we promote design for inclusion not exclusion, but have discussions about what that might mean, setting project briefs that allow students to explore these issues such as the year two project Brand Futures: creating innovative campaigns on social issues utilising emerging technologies. In terms of language, Annabel’s concern is that the words we sometimes use are inadequate to describe what is really happening. Such as the term ‘adjustment’ implying that our overall environment is good enough. Adjustment places the burden on disabled people to know how to navigate complex processes or even to know is ‘reasonable’ as defined by the Equality Act 2010. The word ‘reasonable’ is hugely loaded in itself – it has a legal definition, but its opposite unreasonable, implies that people’s requirements tor access and inclusion can go beyond the limits of acceptability.’ These are complex, intersecting factors that make our experiences of disability vary so widely. Access to mental health services can be particularly difficult for ethnic minorities and there is often discrimination in those services, particularly for the LGBTQ+ community who are more likely to experience inequality of healthcare provision. As visual communicators we must be aware of these factors when designing and thinking about the language we use to communicate.
Extended Activity: Key Advice for tutors. Words by Tiff Webster Terms of Reference Journal from Shades of Noir p28-29 This article by Tiff Webster gives 9 suggestions of practical processes and actions tutors can put in place to assist students from diverse populations & backgrounds in terms of handling their mental health. She talks about the impact of being in Higher Education on her well-being, the over analysing and self-doubt that crept in, alongside health issues and money worries that eventually lead to counseling to help alleviate all she was struggling with. Tiff realised that the burn out she experienced was reflected in her peers and through conversation & collaboration, wrote a list of recommendations for tutors to assist students from diverse backgrounds to help them with the mental health.
I already have some of these actions in place such as talking to students about their experience, especially if there is a sudden decline in attendance. She recommends spending time to find out why attendance has been lacking, is the student struggling with mental health we need to ask, ‘Are you ok?’ If the answer is yes ask again, are you sure you are ok? If help is needed, I need to offer options for support – services where students can really get help. I need to make sure that my knowledge of these services is up to date. Tiff recommends promoting the peer mentoring scheme at Ual – I did not know about this until reading this article but I will certainly find out about this service and mentioning it in future tutorials. This feels similar to talking to students about the Disability service in group sessions which doesn’t currently happen. Remind students of the Arts SU and other groups they can join to make connections and feel less isolated. I feel i build a good rapor with my students who have shared their caring duties for family members this year. ‘Just wanted to say how much love and support you gave me, just like an English mom here!’ ‘I just wanted to say a massive, massive thank you for everything you have done for me throughout third year, you were a teacher but also a friend to me and I am super super grateful for you always checking up on me each lesson and being super understanding about my situation with my father.’ I try to check in with them on a weekly basis, to make sure they are ok, if they need any help and what can I do, such as offering an online tutorial if getting into college is a challenge. I will certainly look into using Shade of Noir as part of my teaching practice. This article has been very helpful and I will look to sharing this with my teaching team.
I’m nervous about this unit now I understand what’s required, but this this term will be really interesting & challenging. On a personal basis, I have never considered myself to be disabled. I always ticked ‘No’ on job applications, but it turns out diabetes, which I’ve had since the age of 4 is a long-term chronic condition which Ual considers to be a disability. When applying for my job as a 0.6 I ticked ‘Yes’ to a box with ‘Diabetes’ – an autoimmune condition put in the same category as having cancer or being HIV positive, I’m not sure how I feel about any of this but it does make me relook at my aspects of my life. The form also asked if I was pregnant – I found this surprising and intrusive, I didn’t think you were allowed by law to be asked questions like that. It’s also so interesting to think about visibility and invisibly in this, and about the decision to share/not share as an emancipator moment.
As a group we struggle, adjusting to the new learning experience of being online. As a group in unit 1 we became very close, I loved meeting such an incredible group of educators and getting to observe several in their teaching practices at Chelsea School of Art and the London School of Fashion – I learnt a lot from these experiences. The Session is challenging, discussing heavy ideas in context, I missed the joy of being in person, meeting colleagues and learning from them.
No one has understood or managed to do all the pre-tasks – it was too much work. We discuss this and are advised to start with the ones that interest us, the more you are able to do, the more you will get out of it. This is social justice education, from multiple viewpoints, to learn to be more inclusive. The pre tasks are part of the learning to digest difficult & uncomfortable learning content without an audience. We find it hard to converse online and read the chat – the session feels unfamiliar and initially we don’t enjoy this experience – it feels quite uncomfortable, but the session is packed full of information that I digest and take onboard.
We are told that no one is here to catch you out, learning is about making mistakes. We exist in a work culture where we are expected to know everything. All sessions are dialogic spaces, engaging with the resources to benefit from the discussion. We are being given the gift of time – to process the information & discuss, this is where the learning happens, with the opportunity to share our perspective. Consider multiple ways of looking at things. ‘This is your day to better your practice’ – brilliant. We are told ‘Give yourself time to digest it, the content is heavy and sensitive – theory, behaviours, beliefs, be gentle with yourself.’ I appreciate this advice.
This unit is about transforming/changing an aspect of what we do in terms of diversity as Art & Design practitioners, we are asked to consider – What can you do to make a change in inclusive practices for your teaching context? How does critical pedagogies relate to UK HE and to your own practice? What are the central concepts of critical pedagogy?At its core to fulfill the values of the professional standards framework – identifies education as being inherently political and therefore, not neutral – seeks to empower students through enabling them to recognise the ways in which dominant power operates in numerous and often hidden ways.
Shades of Noir
How does this influence your current teaching practice?
How does your participation on this unit affect every aspect of your personal & professional relationships?
What is inclusive practice and what are the benefits?
The challenge we are being tasked is to embed social justice pedagogy into an Art & Design school.
Student led campaigns to decolonise – inform your teaching practice and the learning experience.
Critical Race Theory A theoretical framework in the social sciences focused on the application of critical theory, a critical examination of society & culture, to the intersection of race, law and power. White supremacy and racial power are maintained as true, the law may play a part in this – investigate how the possibility of transferring the relationship between law & racial power.
Our need for change Students and educators engage in dialogue and facilitate change through learning & teaching each other. How will I put that into my space? Switch the teacher/learner hat.
The pedagogy of ambiguity in Art & Design Participating encounters through the whole journey of education. Teaching practice to apply and re-evaluate my teaching practice.
Cultured capital Devalue certain ethnic, working class groups. Dominant groups.
Social Justice Equal justice in all aspects of society People have equal rights & opportunities.
Paulo Freire 1970 Inclusive pedagogies – creating individual inclusive spaces – developing student centered strategies. Application of inclusive practice. Raise awareness of intersectionality etc. It’s an ideal, small steps.
Task 1 – Positionality We learn about Positionality – social, political, the context that creates your identity in terms of race, class, gender, sexuality and ability status. It describes how your identity influences and potentially biases your understanding of and outlook on the world. Shaping the scope of your study, defining your world view on your research topic. As researchers we need to be conscious of our background, experiences, values & assumptions: how they will affect our research, being conscious of our own biases, making them explicit within our research papers through reflective/reflexive comments. This positionality is known as reflexivity/positionality statement.
I must consider my positionality – how my background shapes my view of my research. As a white woman from a middle-class family. I completed a 2-year BTEC, a 3 year undergraduate degree and 2 year post graduate course in the Netherlands. I was the first in my family to go to university. and received a grant to support my studies the last offered in the UK. I didn’t have to worry about how to pay for my studies – we were paid to learn which looking back is just incredible. In acknowledging who I am, my limitations and how they affect the research I conduct, I illuminate my biases by recognising, talking about them and try to eliminate them.
I have multiple hats as a teacher, maker, pg cert student and can see from multiple viewpoints – be aware. ‘Examine who I am in relation to the community that I live in and lead me to consider how I’m commenting on that through my personal practice’ says Joe during our session online. I must write my narrative and consider why my role is important. How can I use this to be more inclusive with my students? As academics we don’t often get the time to think and better our practice, we fortunate to have the opportunity to do so.
We learn that you can acknowledge your positionality within your paper as a statement wherever it fits – introduction, method section, discussion, throughout your paper. or at the end of your study as a conclusion, a personal vignette – before you begin your paper, talking about your positionality, as an introduction to you as a personal statement. We can be standing on the same planet but from very different viewpoints.
Task 2 – Critical Pedagogies. Racial & Social Justice The educator must engage in critical thinking with the students in the quest for mutual humanisation. They must be partners = a cycle of teaching and learning. There is no such thing as a neutral education process. Banking concept of education – Freire 1970 experienced growing up. Teacher confuses the authority of knowledge. Freire says it’s not a neutral process, power. Practice being, articulating professionally in those difficult spaces with students and colleagues. Race, fragility, white. Equality act 2010 – protected characteristics of age, disability, race & gender.
Task 3 – Intersectionality We’re asked to refer to the protected characteristics, we experience & are reminded that we can easily make judgements that are incorrect: identify presumptions or biases. I found this very uncomfortable. It made me examine my ocular bias, decision making based on limited visual information supplied by an image versus face-to-face with conscious or unconscious bias to make assumptions based on our positionality. The questions are impossible to answer. How we see people – we must make an effort to avoid relying on an ocular bias, we want to find out about people rather than presuming. Thinking about the protected characteristics – this exercise feels like a trick, some in the group are angry about it. As an educator how can I be more aware of those characteristics and provide an intersectional approach? Regardless of sharing what you think, you are still making those assumptions, we do that with students – be aware of the decisions you are making – delivery, content I engage with or not, why does it matter? Think about what is happening in your mind in terms of your position as an academic. All the images we were given to ‘read’ are those of senior academics including the Vice chancellor at UAL and the race & class activist Akala. ‘Don’t judge a book by its cover cover’ ‘everyone has biases and it’s important to be aware of them’ are some of the comments in the chat during this session. Try not to make assumptions outside the reflective context of working. UAL has made me much more aware of this practice, its part of how our brains work, is this need to know someone’s heritage linked to our own positionality? Ask students what is important for me to know about you in and outside of UAL that might impact how you experience and move through the year? What support do you need from me? Create a speculative framework. Speculating through this exercise enables us the freedom to share assumptions that still let all our different biases and preconceptions surface. Dismantle this – what makes it uncomfortable? – It makes you realise other people judge you. There is also the fear that we will be judged for the way we think or make assumptions. Making statements about others when we should be listening without assumption. ‘Disability is often hidden’ We are not aware of how much of this we do this. Interconnecting nature of social catergorisations of race, class and gender. How they apply to a given individual or group. Create overlapping and interdependent systems of discrimination or disadvantage – through the awareness of intersectionality, we can better acknowledge and ground the differences among us.
Task 4 – Case study A. Jaydin – A Mature Students Experience. Shades of Noir: Journals p191-193
What do you take from the case study? How would you have dealt with it?
Do you know if there is an institutional policy to refer to this scenario? Jayden had a lack of support from tutors, this was a failing of the university, despite the situation being escalated into every aspect of student’s life. We must support students directly, Jayden started to feel so uncomfortable that they stopped coming to class. There should have been one-to-one support much earlier on. Set ground rules – how do students take responsibility, not put pressure on other students? This student had a terrible experience and was then penalised for it. They used her for her skills of organisation, ability to meet deadlines and understanding of what was required on the course. The student interaction felt like bullying, as a tutor to talk to the tutee, decide to intervene, make sure the student feels supported. The tutor and course leader need to get involved. Read guidelines. We are advised to tell someone if there is repeated bullying and harassment, this can be done anonymously by staff and students – report racist, misogynistic homophobic behaviour. Always push it up to the next level, speak to your line manager, there is a process for grievances but it’s very stressful. A university must believe in inclusive pedagogy but must do something when problems occur. Shades of Noir – integrated in the curriculum but it’s no longer part of Ual. Created and directed by Aisha Richards but she’s since left, it is now its own company. We must make some room and do the work. Using the case studies, we can look at the approach that was taken and use it to see how we would respond to difficult situations. In this case study some students were not integrated, I see it a lot with our Chinese students and consider what I can do to improve this.
Mixed reactions, this reminds me of the experience I have wearing a closed loop insulin pump for the last year. It alarms when my sugar levels go out of range, it’s very loud, everyone asks if it is a fire alarm? I’ve had people copy the noise in shops, not realising what it indicates. I feel self-conscious but more annoyed now than embarrassed. I own my disability and make sure people can see it – I want them to question me in the hope of raising awareness to always be kind and see the benefit of the doubt.
Case study B.It Started with the Teacher. Shades of Noir: Journals p158-160 Students claimed ‘there is no such thing as racism anymore’ the student was left to defend herself, with no staff support, she was undermined in her opinion. Poor facilitating of the session: set up/outline ground rules/house rules students should reflect & be respectful of other thoughts and opinions. The staff came across as well educated in the area but by allowing the student to educate the class, they invalidated and diminished that person’s views. The teacher could have challenged other students to question: why don’t they think? – provide evidence, unpack the more uncomfortable question of ‘why?’ Gain an understanding of other people’s opinions.
Case study C. Sticks and Stones May Break My Bones… Shades of Noir: Journals p105 Appropriate action was taken. It took a while to get there. The students knew how to get help, staff member was ignorant. Cams – academic misconduct.
Task 5 – Ual data Explore the links – Data dashboard. Make observations that you feel are significant. Consider how they impact your professional practice. Ask WHY it does and WHY it doesn’t? Develop an understanding of key concepts, theories, the law which shapes this unit and the stories/her stories/his stories attached. Give yourself the time & space to make this a meaningful experience.
