Month: July 2023

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Faith: Reflecting on ‘Religion in Britain: Challenges for Higher Education.’ Stimulus paper (Modood & Calhoun, 2015)

6379_lfhe_stimulus_paper_-_modood_calhoun_32pp-2Download

The three headings I chose to look at were:

  • ‘Multiculturalism’ written by Professor Tariq Modood
  • ‘The ‘vaguely Christian’ UK’ written by Professor Craig Calhoun
  • ‘Western European moderate secularism’ written by Professor Tariq Modood

Multiculturalism

Having read the text that provides an overview of the term ‘multiculturalism’ and its evolution since the 1960s, I believe that incorporating discussions and definitions of multiculturalism into my teaching practice will create an environment where students can express and navigate their views through their work in our increasingly diverse and interconnected world. This, to me, is paramount when considering the multicultural voices of our home and international students at UAL. It was interesting to learn that this was a term used only since the 1960s, to reflect the new social movements of the time.

To incorporate this, I could begin the session by reading the text aloud and encouraging students to share their experiences of ‘difference’, similar to my artefact workshop introduction. Allowing students to express dominant societal norms, such as masculinity or heterosexuality, from their perspectives can serve as a foundation for critical discussions on the implications of these biases within fashion, art, and culture. I could also give examples of organisations and brands that have embraced multiculturalist views to offer students concrete examples of its implementation and challenges.

Students could then undertake a design project with multicultural sensibilities at the forefront of research and development. For instance, developing work related to their opinions on how fashion can challenge “difference-blindness” and genuinely represent multicultural values.

Drawing upon my network, I could invite diverse voices to share their experiences and work related to multiculturalism. I currently programme visiting lecturer talks on the Master’s degree with a talk series called “Innovators”. These talks could evolve to become a creative workshop with the innovator around this topic.

By incorporating a discussion around multiculturalism and its significance in fashion and identity into my teaching, I aim to cultivate an environment where students not only become aware of diverse perspectives but also actively champion multicultural values and reflect them within their work. I would be interested to know of Tariq Modood’s background, and what provoked him to write this text. Given that there are no hard facts included in the text, I’m wondering if his opinion was influenced by personal experience, or if the text was researched and confirmed with data to back it up.

‘The ‘vaguely Christian’ UK’

I was most attracted to this text as I have felt an uncomfortability with religion being imposed onto children in school since I was young, attending a C of E primary and Catholic secondary school in the Midlands myself. After reading the text, two significant insights emerged for me. Firstly, the UK being ‘vaguely Christian’ is interesting to consider as a phrase. The subtle yet pervasive ways in which faith influences public life here in the UK without being overt, unlike some other countries, could be likened to the same ‘British’ subtlety often referred to surrounding discussions about race. Secondly, the text describes the blurring of religious and ethnic labels in the UK, which suggests that social identities imposed upon us often extend beyond spiritual beliefs, serving as markers for potential profiling. This felt like an obvious point; however, it was interesting to consider it when put in simple terms. I was unaware that the Archbishop of Canterbury coined the term ‘welfare state,’ which was interesting to learn. As a senior member of the House of Lords, the Archbishop can vote on law-making here in the UK. The text mentions Tariq Modood’s opinions on how other religious groups within the UK are said to be included in the ‘multicultural’ fabric of society yet, often portrayed, within popular belief, as demographics to be fearful of, particularly in the case of the Muslim community.

The author, Craig Calhoun, is an American sociologist who was Director and School Professor of Social Science and the London School of Economics and Political Science when the paper was published. Considering his positionality as a white American straight cis-male with a University degree from Oxford, his opinion would inevitably be influenced by these traits and experiences. I’d like to know how his faith and non-British background affect the religious and social commentary he writes about here.

In the context of my teaching practice, I would like to explore how these nuances around faith in the UK can inform discussions on multiculturalism and identity with students studying at UAL. I could incorporate sessions allowing students to delve into the intersections of their relationships to faith and fashion education, using their findings to develop an outcome. It’s fascinating when considering how pattern-cutting garments have colonial roots and how religion and fashion have influenced one another. It could be a great starting point for understanding the complexities of this process through a making project driven by an unobvious subject matter such as faith.

Western European moderate secularism

In the text, two main points caught my attention. First was the concept of religion as both a public good and a potential societal disruptor, specifically when the lines between public and private applications of religion are blurred. This insight highlighted the multifaceted role of faith in societal structures to me, bridging welfare, education, and national identity, which here in the UK are closely interlinked. For example, the Archbishop of Canterbury is a senior member of the House of Lords and can vote on national law-making. Secondly, the term ‘radical secularism’ itself was interesting to learn. After researching to understand its meaning further, there were contradictions highlighted by Madood. The French word ‘laïcité’ made me consider the possibilities of varied embodiments of secularism across West European landscapes ad the rest of the world and how they influence how we educate and teach within University institutions. If religious bodies can influence national law-making, then who’s to say that educational institutions cannot? Could this fundamentally impact how we teach art and fashion from a Eurocentric perspective?

One question that arose for me is how other countries balance their historic religious ties with modern secular philosophies and if we, in the UK, could reflect on their models. This could be an interesting insight to integrate into my teaching practice. For instance, students could engage in a comparative analysis of secular models across Europe, drawing parallels and contrast within fashion. Furthermore, students could discuss the nuances of ‘radical secularism’ and ‘laïcité’, examining their implications in contemporary society and influence within their design work. By doing so, I would aim to enhance their critical thinking skills and foster a broader understanding of the delicate interplay between faith, politics, and identity within the European fashion system.

Bibliography

Modood & Calhoun, 2015. Religion in Britain: Challenges for Higher Education. Stimulus paper. Available here: http://www.tariqmodood.com/uploads/1/2/3/9/12392325/6379_lfhe_stimulus_paper_-_modood_calhoun_32pp.pdf [Accessed 30th July 2023]

Arizona State University (no date). Craig Calhoun. [online] Available at: https://calhoun.faculty.asu.edu [Accessed: 30th July 2023].

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Faith: Reflecting on Kwame Anthony Appiah’s BBC Four Reith lecture on Creed.

‘Creed’ (2016) The Reith Lectures, BBC, Radio 4.

What first came to mind when listening to philosopher and cultural theorist Professor Kwame Anthony Appiah’s Reith lecture on Creed is that it is delivered using highly intellectual language and subject-specific terminology. The talk was challenging due to its dense academic content, and due to its presentation on BBC Four, it could be assumed that the talk was intended for a more informed audience. After considering this, I reflected on how the accessibility of shared knowledge can ultimately impact who engages with it and how. This is significant when considering how lacking familiarity can hinder engagement with complex topics like Creed. Such reflections make me reconsider how I should approach discussions with my students, especially on topics like sustainability and the specific terminology used within the industry. Creed is interesting to consider within pedagogy as it’s less widely spoken about than, for example, race. However, according to the Student Profile Data at UAL (2023), 41.3% of students declared they have spiritual or religious beliefs. This statistic has increased by 1.34% since 2020. 

Despite my atheistic beliefs, I recognise and value spirituality’s role in shaping human experiences and perspectives. Just as Professor Appiah highlighted the richness of diverse religious interpretations, I view the broad spectrum of spirituality, including atheistic spirituality, as integral in fostering holistic understandings. My atheistic spirituality allows me to appreciate the depth and breadth of human belief systems without being tethered to any one doctrine.

An audience member criticised Dr Appiah for interpreting religious scriptures through the lens of 20th-century fundamentalism. I found this point particularly interesting as it describes the historical context of the talk. This criticism reminded me of Dr Francesca Stavrakopoulou’s research, which I came across a few years ago, suggesting that the Hebrew Bible was a compilation of creative writings because earlier societies did not clearly distinguish between fiction and non-fiction. This could be likened similarly to the speaker’s comment about how fundamentalism regarding religious texts depends upon the point in history. This makes me think about my pedagogical practice, as much of the teaching is always encouraged to reflect the zeitgeist. 

A comment from an audience member at SOAS University touched on Kwame’s identity as a gay man, prompting me to reflect on the intersections of my identity, religion, and feelings of exclusion. This could relate to my views of religion and feeling excluded, reinforced by Kwame’s later point, “I think many gay people have left religious traditions for this reason”. Grayson Perry was asked to speak as an ‘expert’ on identity. Controversially, students’ opinions on the Grayson Perry fashion and print project, which Grayson has hosted for several years at Central Saint Martins, have become negative. Feedback from students, which I’ve received first-hand, highlights their concerns that Grayson, despite his gender-related views, still categorises himself as a straight white man. Within fashion, identity is a recurring topic of research for my students. This also relates to the start of the lecture where Kwame discusses identity as a “boom in popularity in recent years” – where many individuals resonate with a social identity. Kwame’s later point describes how he thinks many individuals worldwide would be ‘sceptical of the claim’ that their religious identity is essential to who they are.

Thinking about implementing this into my teaching practices, a project surrounding religion could be an exciting starting point. Considering the current zeitgeist within fashion; Catholicism, Christianity, and Islam, in particular, have been referenced frequently. For example, Patrick McDowell’s “Catholic Fairytales” collection, released in 2021, or Hussein Chalayan’s Spring 1998 collection, a British designer of Turkish Cypriot descent, showcasing European models in yashmaks to explore his experience of growing up amongst a Muslim culture. There is also a rising popularity in modest dressing, which I have seen more of in recent years in student projects. This lecture could be the starting point for this project, prompting students to examine their personal and social identities and how these shape their fashion outcomes. Students could examine their outcomes by asking whether the result is educating, preaching, or discussing religious identity or identity, in general, should be a freedom of speech and expression within their work. 

Bibliography

‘Creed’ (2016) The Reith Lectures, BBC, Radio 4. [online] Available at: https://www.bbc.co.uk/programmes/b07z43ds (Accessed: 30th July 2023)

Murray-Nag, B. (2020) Patrick Mcdowell: How I Created My First Fully Digital Fashion Collection, Eco-Age. [online] Available at: https://eco-age.com/resources/patrick-mcdowell-digital-fashion-collection/ (Accessed: 30th July 2023)

Pounds, G. (2016) ‘Subverting The Avant-Garde: Nudity and Inferiority in Hussein Chalayan’s Spring/Summer 1998 Collecti’, The Courtauldian. [online] Available at: https://www.courtauldian.com/single-post/2016/03/04/subverting-the-avantgarde-nudity-and-inferiority-in-hussein-chalayan-s-springsummer-1998 (Accessed: 30th July 2023).

(2023). ‘UAL Student Profiles: Characteristics’. Available at: https://dashboards.arts.ac.uk/dashboard/ActiveDashboards/DashboardPage.aspx?dashboardid=5c6bb274-7645-4500-bb75-7e334f68ff24&dashcontextid=638264972209882060. (Accessed: 30th July 2023)

University of Exeter (no date). Staff profiles. [online] Available at: https://theology.exeter.ac.uk/staff/stavrakopoulou/ (Accessed: 30th July 2023).

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Faith: Reflecting on Faisal Hussain’s ‘Suspect Objects Suspect Subjects’ Exhibition BBC News article (2017) – SoN Resource.

I was drawn to this article because it resonates with my artistic practice. I often explore the value of everyday objects and our connection to them; a theme evident in my recent 2022 exhibition at the Sarabande Foundation, entitled ‘The Anthropologist’. Faisal Hussain’s 2017 exhibition explored how objects can illuminate the prejudice faced by him and other Muslim individuals.

My life partner is Muslim, as are many of our close friends. Because of this, we regularly attend art shows, exhibitions, and performances relating to the experiences of the British-South Asian diaspora, particularly in London. Growing up in Leicester, which is close to Birmingham, where Hussain’s exhibition was held, I’ve been surrounded by friends of South Asian heritage, mainly Muslim individuals. I’ve been acutely aware of the segregation felt by many in the Midlands. Many of the themes included in these spaces are connected to heritage, identity, and inequality, which are often framed as celebrations. However, the very need for these conversations highlights the underrepresentation of Muslim and South Asian communities. For example, there are no exhibitions relating to ‘the white diaspora experience’. 

In the video, Faisal displays an open suitcase packed with belongings he takes on regular trips to visit friends and family in Europe. He explains that every time he travels abroad, his suitcase undergoes “a second search or potential search” solely because of his faith. Although Faisal’s work creates a platform for these conversations, there is little known about his own viewpoints as an artist, as his output in this exhibition could be seen as a community-wide representation of the societal unconscious biases imposed upon Muslim individuals. While Faisal, as an artist, can communicate these feelings through creative outputs, this freedom of expression isn’t available for all Muslim individuals, especially women. I’ve observed firsthand while shadowing my partner on community projects with Muslim hijrah women: opportunities for business success and self-expression are largely discouraged and predominantly reserved for males.

Faisal Hussain’s ‘Suspect Objects Suspect Subjects’ exhibition exemplifies how I could include my practice with objects and explore our connections to them within my pedagogical approach. Hussain’s exploration of the prejudice surrounding everyday objects is a stark reminder of the depth and complexity of biases some of my students might face or inadvertently perpetuate. By exploring this questioning and encouraging artistic commentary, I could ask my students to confront their unconscious biases and their personal association with materials and objects. I can facilitate a more responsive, critically-engaged, and culturally-aware classroom environment by grounding my teaching in these tangible artistic and societal discussions. Faisal’s other works are related to themes of critical terrorism studies (CTS), cultural policy, and climate change. 

 (2017) ‘How a Muslim’s suitcase became art‘ [online] Available at: http://www.bbc.co.uk/news/av/uk-england-birmingham-41391091/how-a- birmingham-muslim-s-suitcase-became-art [Accessed 27th July 2023].

Hussain, F. (no date) ‘Suspect Objects Suspect Subjects‘ Faisal Hussain Website [online] Available at: https://www.faisalhussain.com/works/suspect-objects/ [Accessed 27th July 2023].

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Race: Reflecting on SoN’s Article ‘White Academia: Does This Affect You’ by Aisha Richards, Founder of Shades of Noir.

When reading this interview article with a Senior Academic at UAL, conducted in 2018, I couldn’t help but envision certain colleagues I have encountered as the anonymous academic being interviewed. Little information is given about the demographic of the academic being interviewed; however, it’s implied that they are female, white, and potentially someone of an older generation, considering they are in a senior administrative position.

My most striking takeaway from this article is that the responses are rife with stereotypes of white individuals who are unaware of their positionality and unconscious bias. I’ve always believed everyone should experience equality and equal opportunity; however, in 2018, I may have responded similarly to some of the questions Aisha asked, specifically relating to the people in my surroundings or awareness of racism and discrimination at UAL. This article echoes some points Josephine Kwahli made in her 2016 UCU “Whiteness Unconscious Bias” interview she participated in in 2016, explicitly surrounding the benefits of responding to the inclusivity zeitgeist that benefits the white middle-class women in charge, more so than the underrepresented and marginalised individuals at the centre point of the discussion.

Another notable point was the interviewee’s statement that all their colleagues are white, yet discussions about race, ethnicity and whiteness come up only “in relation to students’ numbers and experience”. My programme-wide role at Central Saint Martins was created with funds from UAL to bring awareness to social and environmental justice within the curriculum. In this role, I have repeatedly experienced conversations regarding student diversity, and in most instances, as an urgency to counteract the overall whiteness of the courses. As a Caucasian-European individual, I have experienced other white staff members stating “they have to be PoC” when recruiting for new job roles, for example. I have given more detailed references to this in my reflective essay about my teaching artefact. However, as Sustainability Lecturer, I must convey the historical and cultural connections to the global south and sustainability as a harmonious way of life from most cultures other than Caucasian Western. Being a white man, I recognise my limitations in this regard. Therefore, I am in a position where it’s essential to use this opportunity to create an open and honest dialogue where this acknowledgement is known to both students and staff members.

Towards the end of the article, Aisha Richards says, “I would love to interview you again in 18 months to see and hear of any changes?”. Out of interest and intrigue, I’ve looked for a follow-up article but have yet to find one. SoN’s resources since 2018 have been more resouce-driven, providing brilliant academic references; however, they have not continued publishing journals in similar formats.

Bibliography

Richards, A. (2018). ‘White Academia: Does this affect you?’ Peekaboo We See You: Whiteness. [online] Available at: https://shadesofnoir.org.uk/graduate-case-studies/my-shades-experience-mica-schlosser/ [Accessed 27th July 2023]

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Race: Reflecting on the Shades of Noir (SoN) Website & Resources

https://shadesofnoir.org.uk

After delving deeper into Shades of Noir’s resources through this Inclusive Practices Unit, I’ve discovered the wealth of information they offer academics and professionals to decolonise and educate their institutions. This educational resource has been beneficial for me to refer to throughout this unit, which I will continue to do in future.

The diversity questions on the Shades of Noir website are excellent. They are valuable tools not just for teaching practice but also for staff meetings and fostering open dialogues. Recognising the importance of such discussions in both academic and professional settings is essential.

I’m particularly impressed by the accessibility of their downloadable documents and their accessibility menu. Having been recently diagnosed with dyslexia, I’ve become acquainted with various methodologies that facilitate my interaction with content. Sadly, many institutions and organisations overlook such inclusive designs, defaulting to the traditional white background with black text, much like the UAL branding. However, Shades of Noir offers an experience that permits more efficient interaction with its invaluable content, making it an excellent feature for student accessibility.

The testimonials from students collaborating with Shades of Noir are profoundly moving. Listening to and reading their stories underscores the importance of the platform, which I will strongly recommend to all my students within my revised artefact submitted for this unit. I will also encourage my students to explore the site and get involved with SoN’s campaigns and volunteering efforts if they are able to do so.

Although I consider myself a BAME ally, I’ve never articulated my personal experiences surrounding race, unlike some white alums featured in the testimonials. There’s an intricate balance between voicing my experiences and understanding when to step back to let other voices be at the forefront, especially in conversations about race. This balance is something I grapple with continually. Many individuals closest to me, including friends, collaborators, and my partner, are PoC. Yet, I am continuously reflecting on and trying to understand my own experiences and feelings related to race.

Bibliography

Schlosser, M, (2017). ‘My Shades Experience – Mica Schlosser’ Shades of Noir. [online] Available at: https://shadesofnoir.org.uk/graduate-case-studies/my-shades-experience-mica-schlosser/ [Accessed 27th July 2023]

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Race: Reflecting on “Witness Unconscious Bias” Video with Josephine Kwahli

In the UCU “Whiteness Unconscious Bias” video, Josephine Kwahli describes her experiences and definition of “unconscious” bias. She questions how the persistent racism and biases experienced, despite countless anti-racist measures implemented by educational institutions, could hardly be termed ‘unconscious’. It is a compelling reminder of the challenges felt by marginalised individuals, particularly in identifying and combatting unconscious bias within academia.

While my experiences as a gay individual have undoubtedly shaped my understanding of prejudice and exclusion, I will never fully understand how Kwahli’s account feels first-hand. Khwali’s recalled accounts of racism, aged four, force me to reflect on the early moments of realisation in my own life about my sexual orientation and the segregation I felt throughout my childhood because of a trait I had no control over. Though different in context, these systemic biases towards any individual, other than the heteronormative cis white individual, are still present in our workplaces and every day.

Recognising Kwahli’s dual identification as both Black and a woman offers a deeper understanding of her intersectionality. Her perspective is a critical reminder of the continuous journey of compassion and learning that we must undertake to make all spaces genuinely inclusive. Kwahli’s critique of institutions rings particularly true here. If a young child can recognise and internalise racial biases without structured teachings, why are academic institutions positioning themselves as advocates for change when the beneficiaries of that change are primarily white middle-class women? As a gay white man, I am considered a majority demographic within the fashion industry, historically praised for dressing this demographic of Caucasian women. Kwahli’s mention of progress benefiting predominantly white middle-class women makes me question the fashion industry’s default beauty standards. Trends and inclusivity gestures often target non-white demographics when present in the zeitgeist; otherwise, these underrepresented groups are left excluded.

Kwahli’s insights remind me to utilise my privileges by giving space to less-represented people. As part of a marginalised societal group, I must leverage my understanding and platform to support and uplift others and ensure that inclusive dialogue and representation are present within my pedagogical approaches. It wasn’t until the Black Lives Matter Movement in 2020 that higher education institutions began proactively verbalising racial biases, especially towards Black and minority women or the working class. Apart from these, your essay does a commendable job of juxtaposing your experiences with those expressed in the video and shedding light on the systemic biases prevalent in academia and the fashion industry.

As diversity, eurocentrism, and nepotism become more open discussions within fashion academia and the industry, we should encourage environments where these varied voices can coexist. We must decentralise away from European fashion Universities such as Central Saint Martins being looked to as spearheading the future.

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Disability: Reflecting on UAL Disability & Dyslexia Webpages

Reflecting on the UAL Disability Service Webpage. 

I found UAL’s claims about embedding Inclusive Practices on the UAL webpage intriguing, especially in how they provide accessible tools and resources for dyslexic and disabled individuals. Recently diagnosed with dyslexia, I’m adjusting to new online working methods and am discovering the array of accessibility tools available. This awareness arose from my enrolment in this course. Without it, my staff status wouldn’t have made me eligible for assessment.

The UAL Disability Service Webpage showcases some accessible working tools. Examples include mixed mediums with videos paired with transcriptions, calming visuals, and links to external resources such as AccessAble (AccessAble, 2023). However, UAL’s stark black-and-white online branding sometimes hinders comprehension and navigation. This isn’t the case with all UAL platforms. For instance, the Access, Support and Facilities for Disabled Students at UAL downloadable PDF (UAL, August 2021) and Moodle offer customisation options like preferred display colours, text size, language, and font (Moodle, 2023). It was an enlightening experience discovering these tools during my dyslexia screening with a UAL advisor.

Yet, I question why such accessibility isn’t universally available across all UAL online communications or even offered to staff when grading via Moodle. Offering such features would significantly improve the marking process, especially for individuals like me. This creates greater difficulties for myself when considering the department’s marking requirements, where dyslexia isn’t accounted for in terms of workloads and teaching preparation. Additionally, it’s concerning that some long-standing tutors in the department aren’t mandated to provide formal feedback. When I sought clarity, I was simply told, “they are old school.”

Upon further exploration, I’ve identified discrepancies between certain aspects of the UAL PG Cert course and the primary UAL site. The language in UAL’s texts is notably dense, which could pose challenges for some users, particularly for disabled international students whose first language isn’t English (Odeniyi, V, 2023).

Given my experiences, I feel well-positioned to use the Disability & Dyslexia UAL webpage as a resource when working with students who have disabilities or learning difficulties. By sharing my journey with the site and detailing my screening and support sessions, I hope to instil comfort and confidence in them. It’s worth highlighting that many celebrated artists and creative thinkers, like Pablo Picasso (Succeed with Dyslexia, 2022), navigate the challenges of dyslexia.

Bibliography

AccessAble (2023), University of the Arts London (UAL). AccessAble Website. Available at: https://www.accessable.co.uk/university-of-the-arts-london-ual (Accessed 26/07/2023).

Moodle (2023), Homepage. Moodle Webpage. Available at: https://moodle.arts.ac.uk/login/index.php (Accessed: 24/07/2023)

Odeniyi, V. (2023), Reimagining Conversations. University of the Arts London. PDF (online). Available here: https://www.arts.ac.uk/__data/assets/pdf_file/0032/359339/Reimagining-Conversations_FINAL.pdf (Accessed: 24/07/2023).

Succeed with Dyslexia (2021). 4 Fabulous Famous Artists With Dyslexia. Succeed with Dyslexia. Available here: https://www.succeedwithdyslexia.org/blog/the-famous-artists-you-didnt-know-had-dyslexia/ (Accessed: 24/07/2023).

University of the Arts London (2021), Access, Support and Facilities for Disabled Students at UAL. PDF. (Online) Available here: https://www.arts.ac.uk/__data/assets/pdf_file/0023/30767/Access-Support-and-Facilities-for-Disabled-Students-at-UAL-PDF-302KB.pdf (Accessed 24/07/2023)

University of the Arts London (2023), Disability & Dyslexia. Available at: https://www.arts.ac.uk/students/student-services/disability-and-dyslexia. (Accessed 24/07/2023).

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Disability: Reflecting on #DisabilityTooWhite Interview with Vilissa Thompson

The #DisabilityTooWhite campaign, created by Vilissa Thompson, has prompted me to consider the intricate intersections of disabled, marginalised individuals of colour. This systemic lack of representation diminishes their visibility and significantly impacts their self-esteem and self-identification.

Integrating this interview and the hashtag into my teaching pedagogy could involve designing a project where fashion communication students must create a social media campaign with a core focus on addressing an audience that experiences a specific disability. This could enable the students to cultivate a well-rounded understanding of representation and inclusivity and foster improved consideration for accessibility within their work. An initial exercise for this would involve students analysing a chosen company’s social media content over a specified period and identifying the portrayal, and lack of, disabled PoC representation and accessibility tools.

The interview was published in 2016, almost a decade ago. Because of this, it makes me consider how the hashtag resonates today and question the progress made since then concerning intersectional identities and disability in our current social landscape. Incorporating Thompson’s comments on the backlash and the role of allies would further enrich our classroom discourse. Emphasising the importance of active listening, acknowledging privilege, and understanding the intricacies of allyship are points to note when discussing this.

More generally speaking, this movement will provide a tool to emphasise the role of digital advocacy in modern activism. Given my focus on sustainability, it’s crucial to take this on board moving forward. Using #DisabilityTooWhite as a case study, I could instigate more conversations surrounding how such movements can amplify marginalised voices, challenge the status quo, and drive societal change.

On a personal note, I admire Thompson’s unwavering commitment to addressing this void. Her endeavour is a reminder of educators’ crucial role in embedding diverse representation and accessibility into our curricula.

Even if accidental, the #DisabilityTooWhite campaign underscores the urgency to prioritise diverse representation of disability in our academic discourse.

Bibliography

Blahovec, S. (2017) Confronting the Whitewashing Of Disability: Interview with #DisabilityTooWhite Creator Vilissa Thompson. Huffington Post. Available at: https://www.huffpost.com/entry/confronting-the-whitewash_b_10574994?guccounter=1 (Accessed: 27 July 2023)

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Disability: Reflecting on Christine Sun Kim’s process film.

After watching the film about Christine Sun Kim’s work and practice, it’s fascinating to understand how she integrates her personal experience into her work and uses her disability at the centre of her processes. It’s inspiring to reflect on how this could influence my teaching methodologies, ensuring that, pedagogically, I provide an inclusive learning experience. It also initiates a dialogue with students about adopting a multisensory approach to communication, recognising that audiences will interact with their work in diverse ways.

In my current role, I prompt students in a specific upcycling workshop to engage with the tactile nature of garments they’re repurposing. Drawing inspiration from Christine Sun Kim’s film, I could enrich this workshop by delving deeper into the broader realm of sensory experiences, such as a series of shorter activities focusing on the physical senses. Recognising how these focused experiences shape our engagement with materiality could get them thinking about how they can also be aware of accessibility.

Christine’s practice offers valuable insights for educators teaching students with deafness or other physical disabilities that may limit their learning experiences. If I were to screen Christine’s film about her journey, I could initiate a dialogue surrounding the importance of inclusivity in audience engagement and the benefits of viewing our practices from diverse perspectives with students.

The movie touches on Christine’s challenges with language during her early years – navigating the complexities of her parents learning English while also trying to understand sign language. Language barriers resonate with many students, especially those for whom English isn’t a native tongue and who are new to the UK’s academic system. Embracing the idea that creative endeavours serve as universal communicative mediums — transcending linguistic and cultural boundaries — could significantly bolster my connection with these students.

Available here: https://vimeo.com/31083172 [Accessed on 29th July 2023]