As a BAFA Y3 0.8 I co-lead AV Film Forum, a series of open discussions around film and sound screenings on Thursdays after teaching hours – 5 to 7pm – open to all Chelsea Fine Art students (BAFA/MAFA/GDFA/MACC) and guests. We have always gently pushed Y3 students to programme sessions. Still, in the last couple of years, especially after COVID, it has become rarer for students to volunteer to lead a session. When they do, most of them find it hard to plan anything beyond showing a film they like. After I joined as co-lead last year, I began helping students to find and access films to screen, but this year, a new system seems to be developing organically. Students volunteered to help me organise sessions rather than lead a session on their own. Looking at recent pedagogical research that focuses on co-programming as a form to reengage students post-covid, I’ve now offered to do one or two 1:1 sessions to help student develop their programme (find and select films/how to present clips/different ways to present/different ways to mediate discussions/etc) and offered to co-programme with them in any way they need it.(Neary et al., 2014; ‘How Do We Teach Literature When Students Won’t Read What We Assign?’, 2025)
When I started the ARP, I wanted to explore how co-programming could expand what students gain from these sessions. I was interested in co-articulating with students what skills they develop through this different mode of delivery. Potential skills mapped with the Year 3 leader were:
public speaking skills
research and critical skills
ownership of their research interest, practice and critical standpoint
mediation skills (introduction to pedagogical methods)
confidence to lead programming (our Y3 lectures on the 3rd term are potentially all programmed by students but in the last couple of years, we only had one or two students offering to programme them)
professional development
collaborative working skills
Instead, through the ARP, I found was that although students found the co-programming sessions useful, what stops them from engaging in programming extracurricular sessions is their excessive workload – our number of assessments keeps increasing and will increase more next year when we start our revalidated curriculum with an extra unit imposed by UAL, along with their increased part-time work and caring obligations. This disproportionally impacts students from working-class backgrounds and should be taken in consideration in terms of equity of access to the course resources.
I changed my research question after my first draft and workshop, so I had to rewrite my Ethical Action Plan. I realised that my initial project involved quite complicated ethical issues.
There were many issues with the first project I proposed, such as needing permission to collect data from a larger number of students (the Professional Practice sessions are open to over 300 students), involving three colleagues co-leading it, and the question never feeling entirely clear to me. I used feedback from that draft, group tutorial discussions, and the workshop to rewrite my question.
I used the feedback regarding the project’s breadth and methods to write my final Ethical Action Plan. I had a conversation with my tutor about the need to be clear about the questions I would use to set up the participatory conversation. From an ethics perspective, I realised that I should be aware of whether my questions could harm students or put them in an uncomfortable position. Although the participatory conversation ended up engaging only one student, becoming more of a semi-formal interview, the set of initial questions helped us stay on track and made me more comfortable engaging them in my ongoing analysis as the project developed.
My original Participant Documents drafts were unclear about when participants could opt out. Looking back now that I’ve seen other participant-facing documents, I wish I had rewritten the templates in a much more informal tone and made them much shorter and simpler. Even though I sent the documents by email and brought printed copies for students to sign, I don’t think they read them as carefully as they would have if I had made them shorter and clearer.
‘How Do We Teach Literature When Students Won’t Read What We Assign?’ (2025). (C19 Podcast). Available at: https://www.c19society.org/podcast (Accessed: 24 November 2025).
Schön, D.A. (1991) The reflective practitioner : how professionals think in action. 2nd ed. Aldershot: Ashgate Publishing Limited.
Ghaill, M.M. an (1988) Young, Gifted, and Black: Student-teacher Relations in the Schooling of Black Youth. Open University Press.
Neary, M. et al. (2014) Student as Producer – research-engaged teaching, an institutional strategy. Lincoln: The Higher Education Academy.
Film Pedagogy
Buckland, W. (2008) ‘Film and Media Studies Pedagogy’, in R. Kolker (ed.) The Oxford Handbook of Film and Media Studies. Oxford University Press, p. 0. Available at: https://doi.org/10.1093/oxfordhb/9780195175967.013.0020.
Zielinski, G. (ed.) (2014) ‘DOSSIER: Film Festival Pedagogy: Using the Film Festival in or as a Film Course Introduction to the Dossier’, Scope, 26(1–3).
Kerns, S. and Yates, M. (2020) ‘Activist Praxis Meets Project-Based Learning: A Case Study of Student Involvement at the Chicago Feminist Film Festival’, Journal of Film and Video, 72(1–2), pp. 67–72. Available at: https://doi.org/10.5406/jfilmvideo.72.1-2.0067.
Chambers, J. (2019) ‘Exploring co-creation in practical film education from primary school to postgraduate study: Theoretical and auto-ethnographic perspectives upon teaching film practice’, Film Education Journal, 2(1). Available at: https://doi.org/10.18546/FEJ.02.1.03.
Swain, J. and King, B. (2022) ‘Using Informal Conversations in Qualitative Research’, International Journal of Qualitative Methods, 21, p. 16094069221085056. Available at: https://doi.org/10.1177/16094069221085056.
Stokrocki, M. (1991) ‘A Decade of Qualitative Research in Art Education: Methodological Expansions and Pedagogical Explorations’, Visual Arts Research, 17(1), pp. 42–51.
Scarsbrook, S. (2021) Artists and the art school: experiences and perspectives of fine art education & professional pedagogies in London art schools, 1986-2016. phd. Birkbeck, University of London. Available at: https://eprints.bbk.ac.uk/id/eprint/46286/ (Accessed: 22 September 2025).
Bresler, L. (1994) ‘Zooming in on the Qualitative Paradigm in Art Education: Educational Criticism, Ethnography, and Action Research’, Visual Arts Research, 20(1), pp. 1–19.
Price, M. and Kerschbaum, S.L. (2016) ‘Stories of Methodology: Interviewing Sideways, Crooked and Crip’, Canadian Journal of Disability Studies, 5(3), pp. 18–56. Available at: https://doi.org/10.15353/cjds.v5i3.295.
Geertz, C. (2003) ‘Thick Description: Towards an Interpretive Theory of Culture’, in G. Delanty and P. Strydom (eds) Philosophies of social science: the classic and contemporary readings. Open University. Available at: https://philarchive.org/rec/GEETTD (Accessed: 3 November 2025).
Jones, L. et al. (2010) ‘Documenting classroom life: how can I write about what I am seeing?’, Qualitative Research, 10(4), pp. 479–491. Available at: https://doi.org/10.1177/1468794110366814.
Phillips, D.K. et al. (2014) Becoming a Teacher through Action Research: Process, Context, and Self-Study. 3rd edn. New York: Routledge. Available at: https://doi.org/10.4324/9781315867496.
Gray, C. and Malins, J. (2016) Visualizing Research: A Guide to the Research Process in Art and Design. London: Routledge. Available at: https://doi.org/10.4324/9781315547923.
Epistemology
The Combahee River Collective (1977) ‘The Combahee River Collective Statement’. Available at: https://www.loc.gov/item/lcwaN0028151/ (Accessed: 24 November 2025).
Haraway, D. (1988) ‘Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective’, Feminist Studies, 14(3), pp. 575–599. Available at: https://doi.org/10.2307/3178066.
How can we support students to engage with programming and leading sessions?
At the BAFA in Chelsea, we have always supported and gently pushed students to take ownership of the course and to lead sessions, choose content, and invite guests. Since COVID, the take-up of those opportunities has gone radically down, with some of them having been removed from the curriculum as a consequence (the Y2 budget of £150 per group for 3 or 4 students to invite an expert to deliver a session for them).
My research question changed throughout the project from “What skills could students gain by co-programming AV Film Forum sessions?” to “Would a more individualised level of support through 1:1s increase the take-up and the depth of engagement of the students leading those sessions?” to “What is stopping students to engage with co-programming sessions?” and I leave the ARP with the question “How can we support students to engage with programming and leading sessions in the current increasing levels of workload and external financial and caring pressures?”
What I would really like is to reclaim the joy of making time to nerd out with students.
AV Film Forum sessions were ideal for this attempt because they exist outside of the curriculum and thus the assessments. Students could self-volunteer and pull out at any time. There is also a long tradition in film of co-programming with students and of the cinema space as a pedagogical space(Buckland, 2008; Zielinski, 2014; Chambers, 2019; Kerns and Yates, 2020). Students engage with AV Film Forum from a position of nerdiness about the things they really care about, which means our 1:1s are conversations between two experts preparing them to leave the institutional framework.(Moten, 2018)
Ideally, the ARP will help us as a team to nurture spaces to co-produce knowledge outside of the curriculum and help the students find their own way to share it
For the fifth week in a row, my student sent me a last-minute excuse for why he couldn’t come to college. Every week, he emailed me or texted me at the last minute, tummy issues, headaches, and transport problems. By that point, they had missed all the initial sessions to meet their tutor group, me and their writing tutor, the year meetings, lectures, and all the parallel optional sessions we offer to students. After several attempts, we started a conversation texting via Teams. Because they found it so hard to communicate in English, they suffered from massive anxiety and couldn’t bear coming to college.
My proposal addresses a specific language barrier affecting some of our Chinese BAFA Y3 students. Over the year, my student and I tried many different strategies—first, one-on-one sessions on Teams, followed by one-on-one sessions in person. Once we developed enough access intimacy, and trust, we started using Google Translate on my phone, which allowed for a sustainable rhythm in our conversations. (Mingus, 2011) I would speak on my phone, and he would read the translated text in Chinese. He would then speak in Chinese on his phone, and I would read what he said.
I am a tutor group leader and 0.8 Y3 member of staff in the BA Fine Arts at the Chelsea College of Fine Arts. We have a large Y3 cohort, with 163 students clustered in Tutor Groups of ten or eleven students. I’m responsible for three of those groups as well as general sessions and administrative tasks. My tutor responsibilities include coordinating with writing tutors, facilitating one-on-one and group sessions focused on the students’ art practice, and providing pastoral care. Just under half of our students are international, which means that pedagogically integrating such a significant cohort has a massive impact on the learning environment. Although UAL Attainment Profiles do not cover Asian international students, we are very aware of the barriers and lack of institutional support these students encounter on a day-to-day basis. (Internal Access Monitoring, no date).
We identified a handful of students experiencing similar issues with English language access. This was confirmed by other tutors in the year and across the course in general. It was noted that team members had identified this cohort since Foundation as having lower IELTS grades for admission due to recruitment goals. It’s challenging to verify this information, but the Language Centre’s survey on English language proficiency levels of international students, carried out this year, suggests that this is a broader issue at UAL.[2] We scheduled support sessions with a staff member who spoke Mandarin. This intervention was very successful.[3] It had full attendance by students who hadn’t been present in the course, and the students were incredibly chatty, happy, and relaxed. However, we didn’t have a budget to pay for extra HPL hours to continue those sessions or resources that would allow this member of staff to support them throughout the year.
By the time we reached my final group sessions of the year, which were smaller than the regular tutor group, we passed my phone around, and a student or I would read the English translation to the group. Over the year, my student’s mood and engagement with the course markedly increased; his writing and practice-based work improved considerably, and his marks improved by almost two bands from the previous year. Y3 requires a significant amount of writing, reading, and critical analysis, making it a very discursive program. A language barrier becomes incredibly prejudicial at this point. This is one of the reasons why most of the students who are diagnosed with Dyslexia or ADHD are only flagged and referred to Disability Services this year. Although these methods worked quite successfully in the end, “Academic life [..] at every university, is inherently social”. (Jack, 2019, p. 86) This method failed to address all the larger sessions, and it created a parity issue with my other tutor groups since our sessions were much slower.
My proposed intervention is to expand on the methods I developed with my student so that (1) I’m better prepared next time and can intervene faster and more effectively, (2) I can share it with colleagues, (3) I can have a solution better fitted for group discussions and crits that HPL and guests can quickly implement and (4) it can also be used in larger sessions like lectures and year meetings.
My proposed intervention involves collaborating with the Digital Support Team and the Language Support Team to develop a live captioning method utilising the technology and techniques developed during the COVID-19 pandemic to facilitate digital access. A few years ago, I attended a series of Digital Access trainings that included the use of Microsoft Teams live captioning translation features. These allow live captioning to be set for a meeting, with the option to enable live translation to a different language locally. This would mean that my student could have joined any group sessions from the beginning and followed the live, translated captions on his laptop. Ideally, we would find a solution that allows him to speak in Chinese on his Teams, and I or one of the other students could read the translation out loud. This will require additional tools, such as clip-on mics for improved clarity, which are available from the AV Team for lectures and larger sessions and can be booked from the Loan Store. I’ve contacted the Digital Support team to discuss potential alternatives, as the live captioning translation for Teams is now only available in the Premium version.
This intervention would expand our access support for d/Deaf access.(“Friends & Strangers”, 2023) I’ve worked with supporting subtitling and closed captioning in a previous role and use some of those resources, such as audio description writing techniques, as part of writing pedagogical tools in the course. Through that period and my own experience as a non-native English speaker with a chronic illness that involves bouts of fatigue, I have come to understand that captioning, like most access infrastructure, can expand modes of engagement for a much larger population than the one it is initially aimed at.
As my PGCert tutor has pointed out, this intervention extends beyond my professional remit. As lecturers’ free support hours have been reduced over the years, these problems are likely to become more frequent. But I’m also a firm believer that the most effective interventions are always led on the ground and by the staff who are in direct contact with students. (Cussiánovich Villarán and Schmalenbach, 2015)
The efficacy of this intervention could be evaluated using both qualitative and quantitative methods, such as recording direct observations of engagement through attendance at sessions, workshops, and year meetings. It would also be possible, as we did this year, to routinely check with staff on the effect on their tutor groups. It will also be important to check with other students in the tutor group and attendance at open sessions. Part of the goal is to avoid alienating Chinese students by making them hyper-visible. Quantitative data can be collected through attendance and by mapping grades at the end of Year 3, as well as comparing them with the grades from Year 2. We already do this every year to identify biases in our teaching.
“Peruvians don’t make art. Peruvians don’t make theory.” For about a year and a half, my Latin American Studies PhD supervisor would find a way to convey this to me, the Peruvian PhD student.[4] As I mentioned in my blog post on race, having been a racialised English-language learner international student, I have a profound sense of political solidarity with the barriers and prejudices those students face. (Francke, 2025) There is a profound sense of dehumanisation in ignoring the language barriers that UAL itself has produced.[5] The lack of concern for the barriers those students face relates to how the college perceives them as consumers “buying” a degree, rather than active participants in a pedagogical environment. Low expectations are set up institutionally and repeated in larger political and social discourses that are being amplified in the media and becoming pillars of current fascist government trends, such as vilifying international student visas in the UK and the US.(Bradbury, 2020; Kiely, 2025; Moynihan, 2025) It is fundamental to me that, as an art course, we nurture an environment of epistemic abundance and create the conditions to learn together from everything that all of us bring to the course. It is by modelling treating every student as a full human that we can help our students develop as people and as artists.
Bibliography
Bradbury, A. (2020) ‘A critical race theory framework for education policy analysis: the case of bilingual learners and assessment policy in England’, Race Ethnicity and Education, 23(2), pp. 241–260. Available at: https://doi.org/10.1080/13613324.2019.1599338.
Brixton Black Women’S Group (2023) Speak Out!: The Brixton Black Women’s Group. Verso Books.
Bryan, B., Dadzie, S. and Scafe, S. (2018) The Heart of the Race: Black Women’s Lives in Britain. Verso Books.
Chicano! History of the Mexican-American Civil Rights Movement (1996). NLCC Educational Media.
Cussiánovich Villarán, A. and Schmalenbach, C. (2015) ‘La Pedagogía de la Ternura -Una lucha por la dignidad y la vida desde la acción educativa | The Pedagogy of Tenderness –A struggle for dignity and life from the educational action’, Diá-logos, 16, pp. 63–76.
Francke, A. (2025) ‘Unit 2 – Blog Task 3: Race’, 22 June. Available at: https://andreafranckepgcert.myblog.arts.ac.uk/2025/06/22/unit-2-blog-task-3-race/ (Accessed: 1 July 2025).
“Friends & Strangers” (2023). (Art21). Available at: https://www.youtube.com/watch?v=2NpRaEDlLsI (Accessed: 5 May 2025).
Garrett, R. (2025) ‘Racism shapes careers: career trajectories and imagined futures of racialised minority PhDs in UK higher education’, Globalisation, Societies and Education, 23(3), pp. 683–697. Available at: https://doi.org/10.1080/14767724.2024.2307886.
Gibson, J. (2025) ‘English Language Levels Survey – follow up’.
Internal Access Monitoring (no date). Available at: https://dashboards.arts.ac.uk/dashboard/ActiveDashboards/DashboardPage.aspx?dashboardid=c977e2c6-878b-48df-b8e7-aa2c5fe6a3fe&dashcontextid=637396550877188156&resetFilt=true (Accessed: 1 July 2025).
Jack, A.A. (2019) The Privileged Poor: How Elite Colleges Are Failing Disadvantaged Students. Harvard University Press.
Kiely, E. (2025) ‘Ed Kiely · Short Cuts: University Finances’, London Review of Books, 23 May. Available at: https://www.lrb.co.uk/the-paper/v47/n10/ed-kiely/short-cuts (Accessed: 25 June 2025).
Mingus, M. (2011) ‘Access Intimacy: The Missing Link’, Leaving Evidence, 5 May. Available at: https://leavingevidence.wordpress.com/2011/05/05/access-intimacy-the-missing-link/ (Accessed: 19 February 2024).
Moynihan, D. (2025) ‘The Attack on International Students’, Can We Still Govern?, 13 April. Available at: https://donmoynihan.substack.com/p/the-attack-on-international-students (Accessed: 25 June 2025).
Neill, A.S. (1990) Summerhill: A Radical Approach to Child-rearing. Penguin.
Steinberg, T. (2025) ‘Unearthing history at the Blackwell School’, e-flux Education [Preprint]. Available at: https://www.e-flux.com/education/features/638581/unearthing-history-at-the-blackwell-school (Accessed: 2 July 2025).
Tough, P. (2019) The Years that Matter Most: How College Makes Or Breaks Us. Houghton Mifflin Harcourt.
[2] “I notice from your survey responses that you have students on your course(s) who you would describe as having very low levels of English. I’m keen to investigate which language tests were used by such students in order to satisfy their English language entry requirement. The tests that we accept at UAL are under constant review and it’s important to note any possible relationship between a given test and low student proficiency as seen on their course. Any English language test which does not appear to accurately assess the proficiency of students can be reviewed and removed from the UAL list of accepted tests as necessary. This process of constant review helps to ensure that all students who enrol have the language skills required to be able to cope with the demands of their course.”(Gibson, 2025)
[3] I’m a firm believer than inclusion and access interventions that are enacted at a local level by members of academic staff tend to be much more effective that general measures imposed through administrative bodies. For example, Paul Tough chapter on the impact individual teachers have on Calculus grades in US Universities (Tough, 2019)
[4] The issues faced by racialised non-native English speakers academic staff are very similar to those of students. (Garrett, 2025)
[5] There is a variety of texts overing how pedagogy and language skills have been used historically in process of racialisation In the UK, examples are exemplified in Black Feminist struggles on schooling in the late 60s and 70s (Bryan, Dadzie and Scafe, 2018; Brixton Black Women’S Group, 2023) , Summerhill School’s attempts to introduce languages of their migrants communities in their optional curriculum(Neill, 1990), as well as the pressure against Welsh and Irish language in schools until recent years. In the US, a well know example is how Spanish was used as a tool racialise students who were pressured to abandon it and were forced to repeat school years as a given.(Chicano! History of the Mexican-American Civil Rights Movement, 1996; Steinberg, 2025).
I’ve always been interested in how the construction of the international student category at college connects language and racialisation processes. For example, it’s very common for US or students from Western Europe who are fluent in English are seen as outside that category. The university frames “international students” as a racialised term through their dehumanisation as a source of cash and funding for courses, or to be blunter, our dehumanisation. This characterization seems completely unmoved by generations of incredibly successful art careers led by international students at college. Students describe how they feel that they succeeded against the expectations and dismissiveness of some of their tutors. It’s common to hear academic and administrative staff refer to those students in a generalised pejorative way. For example, I’ve been to a training about name pronunciations that began with a 5 min Zoom open mic chat between the facilitator and a staff member in attendance discussing how international students bring the standards down and how the only reason we have them in our classes is because the university wants their money. This is also an example of how the dehumanization of racialised students is echoed in the dehumanization of racialised international staff in general, which were present in the call.(Garrett, 2025) The session then went on to explain to us how name pronunciation was essential because of the university’s decolonisation aims…On an anti-racist mandatory training, a member of staff raised the issue of how uncomfortable he felt about the way some of his team members spoke and treated Chinese students, only to be told that this was not a race issue that could be discussed in the session.
“The low expectations of the English-language learners are established right at the very start of their school careers, and stay with them through their seven years in primary school, solidified in the data which tracks them as they progress.” (Bradbury, 2020)
Low expectations are the key words here. The testing of EAL (English as Additional Language) learners English learners has parallels with the patronising expectations against international students at UAL, more specifically but not restricted to Chinese and brown students, who are evaluated in relation to British art education paradigms. Those paradigms are established through the foundations courses and are thus expanded to working-class black and brown students who come straight from 6th form. Expectations of ‘experimentalism’ (which is usually a gimmick and has a specific aesthetic and methodological form), the valuing of conceptual uses of mediums over commitment and development of the skill specificities of the medium, the overvaluation of discursive justification and contextualisation of the work through crits, the extreme work the term ‘criticality’ is expected to do, etc. These paradigms ignore the different art pedagogies that exist not just all over the world, but also in the different art worlds that exist in different communities in the UK, and the multiplicity of ways to make and think about art in the contemporary art world. Instead of treating diversity and abundance as a wealth of intellectual and aesthetic opportunities, the art school becomes a place of kinship making over pedagogy. (O’Brien, 28 June 2023) A place where to reify the ‘supremacy’ of an implied racialised British art school tradition.
Bibliography
Bradbury, A. (2020) ‘A critical race theory framework for education policy analysis: the case of bilingual learners and assessment policy in England’, Race Ethnicity and Education, 23(2), pp. 241–260. Available at: https://doi.org/10.1080/13613324.2019.1599338.
Garrett, R. (2025) ‘Racism shapes careers: career trajectories and imagined futures of racialised minority PhDs in UK higher education’, Globalisation, Societies and Education, 23(3), pp. 683–697. Available at: https://doi.org/10.1080/14767724.2024.2307886.
O’Brien, D. (no date) ‘The Fall and Rise of the English Upper Class – Houses, Kinship and Capital Since 1945’. (New Books in Critical Theory). Available at: https://newbooksnetwork.com/the-fall-and-rise-of-the-english-upper-class (Accessed: 22 June 2025).
I agree with the references’ articulations of how the way religion impacts the perceived (de-) humanisation of a subject always already intersects with their other identity categories (either imposed or self-ascribed). (Kwame Anthony Appiah: Is religion good or bad? (This is a trick question), 2014; Challenging Race, Religion, and Stereotypes in Classroom, 2016; Rustamova, 2022; Rekis, 2023) I would be more invested than some of them, though, in how, more often than not, it is read as a proxy for race and class.
It made me sad that Simran Jeet Singh felt that he needed to follow a respectability politics strategy and that it was on him and his actions to prove certain stereotypes wrong.(Challenging Race, Religion, and Stereotypes in Classroom, 2016) It makes me concerned about the classroom pedagogy he practices and how it might push students to think that this is the only way to react to their dehumanisation. I hope my students don’t feel it is ever on them to disprove the prejudices we might hold as a community. That’s collective work that should be done as a group in a space held by the tutors.
Having grown up in Peru and Brazil, it has always surprised me how rarely religion appears in teaching here and how much students think it is something you must leave out the door before becoming an artist or an intellectual. During my education in Brazil, religion was always present. Liberation pedagogy was very present, and its relation to Liberation Theology was openly discussed. My primary and secondary school was run by liberation theology nuns who were fierce Marxists and feminists and openly talked about how my middle-class private school existed mainly to provide money for the school they were really invested in. A free school for d/Deaf children, which they ran. This meant we usually had d/Deaf students, and everything was organised so seamlessly that even in a country with massive prejudice against disabled people, none of the access infrastructure felt like a favour. It feels very different to have grown with a clear association that certain forms of radical and sophisticated political thought can’t be or have chosen not to be separated from religion. That religion is not an epistemic void.(Rekis, 2023)
In the UK, it’s weird to me how Paulo Freire is discussed with no mention of his Christianity. In art history in Brazil, we read biblical passages in order to understand medieval painting. We explored the fusion of Judaism and Hellenism, which became Christianity and then Neo-Platonism, to understand ideas of light in constructing gothic churches and aesthetics. Islam restrictions on representation and the symbolism of the cave in order to look at calligraphy, abstraction and the Moorish churches of Spain. How can you understand Brazilian music, performance and theatre traditions without studying Candomblé and Umbanda? How can we read philosophy and use Kant’s aesthetics (not that I’m a fan of his), ignoring his Lutheranism? I’ve become more aware of not unconsciously erasing the religious context for intellectual and art practices when I bring them to my students. Why would you read Judith Butler without considering her Judaism? Sara Ahmed and Rehana Zaman’s writings on their practices and thinking in relation to Islam? Evan Ifekoya’s work as a spiritual practitioner and her relation to Yoruba religion? Paul Thek and Peter Hujar’s Catholicism?
Bibliography
Challenging Race, Religion, and Stereotypes in Classroom (2016). Available at: https://www.youtube.com/watch?v=0CAOKTo_DOk (Accessed: 23 May 2025).
Kwame Anthony Appiah: Is religion good or bad? (This is a trick question) (2014). Available at: https://www.youtube.com/watch?v=X2et2KO8gcY (Accessed: 23 May 2025).
Rekis, J. (2023)’‘Religious Identity and Epistemic Injustice: An Intersectional Account’’, Hypatia, 38(4), pp. 779–800. Available at: https://doi.org/10.1017/hyp.2023.86.
Rustamova, F. (2022)’‘Islam, Women and Sport: The Case of Visible Muslim Women – Religion and Global Societ’’, Religion and Global Society – Understanding religion and its relevance in world affairs, 22 September. Available at: https://blogs.lse.ac.uk/religionglobalsociety/2022/09/islam-women-and-sport-the-case-of-visible-muslim-women/ (Accessed: 23 May 2025).
