1. Pedagogies for Social Diversity and Difference in Art & Design
Aisha Richards
Terry Finnigan
Siobhan Clay January 2017

2. Task Things in Common
In groups of 3’s find out any things you may have in common They can be creative practice/points of inspiration/cultural capital Complete the venn diagram. You have 10 mins.

3. Diversity starts with you
Task One:
Some reflections…
Answer the questions individually
Task Two
Share some of the answers in pairs: Listening activity
Task Three
Whole group reflection on the activites

4. Introduction to Freire: pre-task
What are the central concerns of critical pedagogy?
In what ways does critical pedagogy relate to UK Higher Education?
How does critical pedagogy relate to your own practice?
Discuss one thing you have learned or surprised you from the film.
Discuss an aspect of critical pedagogy that you would like more information/clarification on.

5. Inclusive pedagogies Creating individual and inclusive space
Developing student-centred strategies
Connecting with students’ lives
Being culturally aware
(David M. 2010)

6. Critical Pedagogy
The educator must engage in critical thinking with the students in the quest for mutual humanization. They must be partners with the students in their relations with them.
(Freire 1970)

7. Critical pedagogy
There is no such thing as a neutral education process: is it an instrument to encourage integration and conformity OR is it a process by which men and women deal critically and creatively with reality and discover how to participate in the transformation of the world (Friere 1970)

8. Banking concept of education (Friere 1970)
the teacher teaches and the students are taught;
the teacher knows everything and the students know nothing;
the teacher thinks and the students are thought about;
the teacher talks and the students listen -- meekly;
the teacher disciplines and the students are disciplined;
the teacher chooses and enforces his choice, and the students comply;
the teacher acts and the students have the illusion of acting through the action of the teacher;
the teacher chooses the program content, and the students (who were not consulted) adapt to it;
the teacher confuses the authority of knowledge with his or her own professional authority, which she and he sets in opposition to the freedom of the students;
the teacher is the Subject of the learning process, while the pupils are mere objects.

9. Our Need for Change
The theoretical framework of critical pedagogy (Friere 1970) is grounded in the concept of social justice. Students and educators engage in dialogue and discuss their views in order to generate systemic change where culture and cultural capital can positively be present within everything we do.

10. The pedagogy of ambiguity in art and design
We need to support students transition from the safety of the concrete and the expected to the ambiguous and contingent in a way that feels safe…
There is a need to reconceptualise induction into a series of participatory encounters through the whole journey of education…
There is a need to develop meta-cultural sensitivity amongst both students and tutors….
Drew (2008)

11. Cultural Capital
Certain kinds of art can only be decoded, and appreciated by those who have been taught how to decode them.
The cultural capital of the working classes, and certain ethnic groups, is devalued and delegitimated
dominant groups make inequalities seem just, and natural, through notions of meritocracy - the idea that economic and educational ‘rewards’ are the natural result of ability and hard work, resulting in the misrecognition of the effects of class as the causes of class (Bourdieu 1984). Extracts from Burke & McManus (2009)

12. Social Justice Equal justice in all aspects of society
People having equal rights and opportunities
‘Education must be a force for opportunity and social justice, not for the entrenchment of privilege’ (David 2011)

13. Equality Act 2010: Public Sector Equality Duty 2011
The Equality Act 2010 requires us to think of certain identities as ‘protected characteristics‘.
To comply with the Act, we must demonstrate how we have eliminated discrimination, promoted equality of opportunity and fostered good relations between those who share a protected characteristics and those who do not.
This is called ‘due regard’ and essentially means to:
Remove / minimise disadvantage
Identify & meet specific needs
Encourage participation
Tackle prejudice & promote understanding
Whether identity is ascribed, negotiated or in transition – legally, we are now required to think of certain identities as ‘protected characteristics’.
These characteristics are afforded protection under the law from discrimination but also require public bodies such as ours to go further and to promoted equality of opportunity and nurture good relations between such groups.
This is legal terms is called showing ‘due regard’ and it essentially means to:
Remove / minimise disadvantage
Identify and meet specific needs
Encourage participation where this is low
Tackle prejudice AND promote understanding.

14. What characteristics are ‘protected’?
Age | Disability | Ethnicity | Gender Reassignment
Maternity and Pregnancy (Caring Responsibilities)
Religion or Belief | Sexual Orientation | Class
The legally protected characteristics are as follows:

15. Our Possible Future Students as globalized citizens
Inclusive
Challenging
Diverse
Open
Pedagogies of social justice

16. Case studies
What does the student believe and do that stands them in good stead?
How would you wish the student to develop his/her practice?
What aspects of the course environment serve this student?
What aspects of the course environment hinder or under-serve this student?

17. Unit briefing:
Read through the unit brief in pairs and write down any questions/clarifications you may have on a post it note
Group feedback

18. Artefacts: some examples… Inclusive curriculum Inclusive delivery Inclusive assessment How can they be used in the class as part of a workshop?

19. Intersectionalites

20. Meet your tutor group

21. What we take away.....