Shades of noir is a platform that centres marginalised voices and works towards creating a more socially just environments in the arts. Its resources are extensive and invaluable and, in the future, I would like to find ways to incorporate it into the curriculum. Sharing the online platform with the students as a resource they can explore seems essential to introduce them to the breadth of knowledge that lies within it, as well as making the students aware of programmes such as safe(r) spaces crit. I’d also like to take into consideration the curriculum support documents when developing lessons to make sure the content shared, and the method of delivery are inclusive, considerate, and ethical.

The outlines presented in these documents reflect the Frieran pedagogy presented in A Pedagogy of Social Justice Education by Hahn Tapper. The paper discusses Paulo Friere’s approach to education and social justice which begins with the identification and redefinition of power structures in the classroom. This can be done by shifting the dynamic of the student-teacher relationship from one of top-down knowledge sharing to a more participatory and equal approach. This is something have increasingly been trying to implement within my teaching practice, but I am especially interested here in the importance given to critical reflection, and how its implementation at various stages can help learning: ‘Authentic thinking, thinking that is concerned about reality, does not take place in ivory tower isolation, but only in communication.’ This emphasis on communication, on shifting my role from teacher to guide, on taking into account the students’ social identities, on including them in the discussions and encouraging them ‘teach one another’, I think is very powerful. This reminds me of the teaching model at the Jan Van Eyck Academy in the Netherlands where students are called ‘participants’ and teachers ‘advisors’.

This consideration of the language used and how it can perpetrate or break down power dynamics is compelling to me and relates to the Shades of Noir publication: Discourse: The Power of Language and Communication: ‘by starting to interrogate the use of language through various social institutions (educational, political, economic, family and religious) and media outlets, there then leaves space to analyse how the normalities of the use of language as an oppressive tool are intrinsically present through everyday instances.’ It is also something discussed in by Josephine Kwhali in her Witness: unconscious bias talk. The use of the term ‘unconscious’ when talking about bias provides a ‘get out of jail clause’ as it removes the perpetrator’s responsibility. Perhaps using Tate’s advice to use brackets around the ‘un’ would begin to question the use of the word (un)conscious and help to return the responsibility and accountability back to the person perpetrating discrimination. Understanding terminology and how it is used is paramount to developing inclusive teaching practices. This is why the terms of reference of SoN around Race is so important. It is necessary to make sure the language that I use is always inclusive, considerate and informed, to help me better define and understand how my position as a white female educator might impact the students I interact with, and how their identities might affect their learning experience.

Going back to the questioning of roles and power dynamics in the classroom, I am interested in how breaking down some of the hierarchical structures can help to create more caring environments where all voices are given equal importance. I wonder if this can go towards creating the more inclusive spaces discussed in the Retention and attainment in the disciplines: Art and Design paper. This paper highlights the inequalities in retention and attainment in Art and Design courses between White students and Students coming from Diverse backgrounds. The number are quite frankly shocking, and I am determined to question my own teaching practice and my responsibility within this issue. I would like to continue working in creating a space where my voice ‘guides’ rather than dictates, and where I celebrate student’s diverse identities rather than impose my own views. Every year, during tutorials, I experience first-hand how students perceive that my ‘preferences have a large part to play in getting a good grade.’ Not a year goes by without students asking me what they need to change in their projects to get an A. This culture of grade chasing I believe is also responsible in inhibiting and alienating student’s identities. The priority is shifted from a desire to learn and grow to a desire to please to tutor. This goes against the Frierean pedagogy discussed earlier since it reinforces hierarchy and power dynamics.

I have often questioned the role of assessment in art and design practices, where developing truly innovative and unique projects often require a level of risk taking that the fear of assessment inhibits. This links to Neil Currant’s Lecture earlier in the year on compassionate assessment, where he questions the often-accepted notion that there is ‘fairness in procedure.’ Learning might not necessarily be evidenced during assessment, and can sometimes happen later, or be internalised without being evidenced. The Retention and attainment in the disciplines: Art and Design paper shows that this might be especially true of students who comes from diverse backgrounds and experiences. Though I will continue to strive to make my teaching spaces fair, inclusive and safe I fear that UAL’s rigid graded assessments system will always fail to reflect a fair representation of where student’s are at and will continue to be a barrier to more inclusive pedagogies.