Meeting my tutor group was really positive. It was good to finally meet fellow students as those working across different colleges in a variety of roles.
As our group gradually shared our positions at the university and what we had read, I learned that each person had something intriguing to say and had explored a diverse range of pedagogic approaches within arts education. There were a variety of perspectives that included a community of enquiry, ‘not knowing’ (as a practicing artist/lecturer) and what this means, using play in the learning environment, archive and memories, a range of pedagogic theories and how to develop research within a particular artistic practice (architecture).
My role with Language Development has given me the opportunity to dip in and out of the different colleges at UAL over the years so it is fascinating to meet and discuss with lecturers and technicians who have a role within the disciplines I am often attempting to understand and decipher along with my students. There is a tendency for myself and some of my colleagues to feel that our roles can be misunderstood. In that as English Language Tutors/Lecturers (the title in itself is not clearly defined and varies across our field) this defines us in a certain way. For example, that we teach or correct grammar, or that we can help students to speak up ‘they don’t speak’, or that we are the ‘fixer’ by correcting English language mistakes. However, it is unsurprising that given that learning English previously comes historically from a hegemonic position it can be seen as such. Given this I find myself (as I am aware some of my colleagues also do) positioning my role as one that encompasses much more than improving language level and ability. Rather building confidence for international students and their ability to communicate in either written or spoken form as I facilitate learning in studio and beyond. In other words encouraging students to literally find their ‘voice’ as well as expressing themselves artistically through what is required for assessment as part of a progressive inclusive learning environment. In turn I see my role as also one that can and should potentially act as a bridge to a student’s understanding of being a student within a UK art university or even within the preferred ‘western’ heuristic teaching and learning approach to coursework and assessment.
Given this, I also take the view that myself and colleagues consider decolonising the curriculum of great importance. By our daily encounters with students who bring a cultural capital from many diverse rich creative places across the world we see how inclusivity is needed more than ever for the large cohort of international students we teach. Nevertheless, I do not see this perhaps in terms of a high brow status as Bordieu may consider it, as ‘high culture’, rather what can a student’s point of cultural reference bring? Whether that be art, music or literature. What is their story?
Through this approach I consider it possible to garner empathy within the various learning spaces students occupy.