Thing I Learnt:
The first thing I learnt is the Case study 4, which is about encouraging a non- hierarchical collaboration.
Encouraging students to feel a sense of ownership over their environment can lead to increased time spent in the building. Regular meetings between students and staff to address issues and provide positive feedback can be helpful. This fosters a trusting and safe environment where students are more willing to share their work and offer critiques, taking risks in their creative practice.
Question/ Provocation I Have
However, in reality, achieving a non-hierarchical collaboration can be challenging.
In an ideal situation, of course, a ‘non-hierarchical collaboration’ would work very well. However, when a bunch of collaborators are put together, very often there organic leaders would emerge (usually the person who has the most experience in the industry, or simply the person who has the loudest voice). And, disappointingly, very often some students would feel unheard or overshadowed. in the group; and would prefer not to say anything (especially in a film-making project where people take their own opinions very seriously). In such cases, teachers may have to step in and encourage the students to respect each other voices and ensure everyone is heard.
I have been involved in a lot of film-making projects in my life (I used to work in Hollywood); and this is almost always the case. Especially in film-making industry, people often operate under a hierarchical structure for the sake of efficiency.
Regarding how I would apply these resources to my own teaching practice and integrate the research in my work, I believe that, nevertheless, this should not deter us from working towards a more egalitarian approach. Teachers can play a crucial role in cultivating communication skills and fostering respect among students. A truly non-hierarchical collaboration is really hard to achieve, but it is a worthy goal to strive towards.
Thing I Learnt:
According to the appendix A, there is only 3.6% of BME academic staff in the Creative Arts/ Design area. This is shocking number to see. Shades of Noir website shows that only 9.9% of academic staff are BME at the UAL (as noted on p.27 of the report “Inclusive Practice: Alchemy – Transformation in Social Justice Teaching”).1 The UAL is relatively more ethnically diverse compared to other schools, but the number is still far from representing the diversity of ethnic background in the society.
Question/ Provocation I Have
In Asian cultures (which I’m a part of), there is often little encouragement for individuals to pursue artistic careers. This is particularly true for first or second-generation Asians living in the UK, as their families may have a lower risk tolerance and prioritize more practical degrees, such as engineering, in order to maintain financial stability. Unfortunately, this cultural attitude towards the arts can result in fewer Asians pursuing careers in artistic fields, and this is a problematic issue.
So the question we have to ask here is: Is it true that the number here just reflecting a sociological fact? Students with BME background are already less likely to study arts/design. Surely, I agree that we should work to change the cultures. However, does it mean that the numbers should still be higher than the norm even though there are fewer Asian art academics to begin with?
Sing, It is great to see your solutions with possibilities of outcomes be reflected in your past experiences or lived experiences. You have a great grasp on education and how you as an individual and creative from an Asian community that is part of the 3.6% minority can reflect a difference to young Asian creatives wishing to explore the arts as a career.
You have given yourself some great questions to explore further, maybe for your action research project?