Could a lack of staff diversity be contributing to the BME attainment gap within Birmingham

School of Art?

4186 Words

Contemporary and Historical Contexts

ART6133-A-S1-2019/0

Selina Sagnia

S14138518

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Foreword

Here’s a picture of my sister and I looking like undertakers in training. She’s older, Louise, but

even by then I’d outgrown her. Adults would assume she was younger and of course, that always

made me feel victorious. I think it’s 1996, we’re stood outside a Cathedral in Manchester

pretending it’s not freezing. I remember losing my balance just before this; the poor grip of

pretty shoes failing fast beneath me. We smiled to our mother and held our dolls proudly.

22 years later my daughter clutches a doll that looks identical, Elsa, a fair skinned princess from

the billion pound franchise Frozen. Perhaps that’s why now, this picture is tough to look at. It

was taken at a time I began understanding what it meant to be Black, to not be the colour of a

protagonist. Disney never wanted me, nor did heros and happy endings. I was the colour of

trouble, the weakest link, the supporting role. My value was nothing and by 5, I understood this.

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As I navigated childhood a glass ceiling built its home above me, and still, it loyally keeps me

company today. There are moments I’m certain it’ll leave, but it doesn't - it’s stubborn like that.

It stays with me, disrupting my sense of self and worth. And as I enter the School of Art, looking

upon the all white staff that inspire me, it likes to remind me it was right all along. And

sometimes, I believe it.

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Contents

Foreward………………………………………………………………………………...2-3

Introduction

The Attainment Gap…………….……..…………..………………………………….…..5 Language & Definitions…………………………………….…………………………….6 Critical Learning…………..…………………………………………………………….7-8 Student Diversity……...….…….……………………………………………………...9-10 Staff Diversity…………………………………………………….………..………....11-12 Argument………………………………………………………………………………...13

Belonging at Birmingham School of Art

Being Understood……………………………………..……………………………...14-15 The Curriculum & Environment………………………………………………..…….16-17 Case Studies…………………………………….………………………………………..18

Findings

Conclusion...……………………………………………....…………………….........19-20 Recommendations………………………………………………………………………..20 Appendix………………………………………………………………………………....21 Bibliography….………..………………………………………………………………...22

4

The Attainment Gap

In 2018, Birmingham City University published an Access and Participation Plan to ‘‘support

success’’ within 5 identified student groups. Their aim, ‘‘to minimise or remove the barriers to

under-represented or disadvantaged students attending university and succeeding once there’’

(BCU, APP, 2018;1). BME students were, and still are, one of five groups identified. They make

up 52% of BCU’s student population: Asian (29%), Black (16%), Mixed (6%), Other (2%) and

each year, are outperformed by their white peers (BCU, APP, 2019;5). This is not a unique

symptom of BCU, unfortunately, this performance is seen across most UK Universities and has

been coined ‘The Attainment Gap’. The attainment gap typically measures BME retention, grade

outcome and employment once graduating. Again, all these see BME students fall behind their

white counterparts (ECU, 2017).

In the last decade, the UK has seen a surge in BME enrolment. Since 2007, BAME students have

increased by over 50% anchoring 22.7% of the UK’s student population (ECU, 2017). During

this time, pivotal research published by Broecke & Nicholls (2007) revealed that even once

controlling BME variables, such as age, subject and prior attainment, the gap still persists. This

study informed new approaches of conducting BME research, shifting away from the deficient

attributes of BME students and towards pedagogical ideologies (Alexander & Ardey, 2015).

Today, we see a very public pressure for Universities to understand what creates these disparities

and take action on catalysts that come directly from themselves as institutions (Sellgren, K.

2019)

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Language & Definitions

● Within my research, ‘attainment’ will refer to averages in grade outcome and withdrawal

from study. I will not be focusing on employment outcome or data.

● At times I will use acronyms ‘BSOA’ and ‘BCU’ to speak of Birmingham School of Art

and Birmingham City University.

● Minority students will be described using the widely adopted acronym ‘BME’ (Black,

and minority ethnic). Another variation of this term finds itself within my research as

‘BAME’ (Black, Asian and minority ethnic). Both terms include the same pool of

enthncities and generally refer to a non-white hertiage. A preference of term is chosen by

author or institutional body, which is why both appear interchangeably within minority

research. Limitations of this definition are seen within ‘Critical Themes’(Advance Higher

Education, 2019).

● For the purpose of my research, ‘diverse staff’ will refer to BME academics. I will not

observe other diverse attributes such as gender, sexual orientation, etc.

● The role of a BME academics may be referred to as ‘Tutor’ or ‘Lecturer’.

● At times Universities may also be referred to as ‘Institutions’.

6

Critical Learning

I have identified several important themes within researching the BME attainment gap at BSOA:

1. Firstly, its true complexity; an agreement within studies the ‘gap’ manifests from several

influences before and during higher education (Dhanda, 2010; NUS & Universities UK,

2019; Singh, 2009; Steveson et al., 2019) Therefore, the factors I have chosen to integrate

by no means serve as a complete indication of all contributing factors to BSOA’s

attainment gap.

2. Secondly, there is criticism the word BME plays a problematic role in developing an

accurate and more sophisticated understanding of minority needs (Singh, 2009). Office

for Students (2018) described, ‘‘within every ethnic group there is a subgroup of

individuals who are more disadvantaged or underrepresented in higher education than

others in the group’’(OFS, 2018; 7). For example, 2017 saw 53% of Black students

graduate with a 2:1 or higher, however, 66% of Asian students achieved this (ECU,

2017). This 13 % difference is diluted when statics combine to form an overarching BME

percentage; a more thorough observation of demographics within BME’s will need to

continue to close this gap successfully (Singh, 2009). Additionally, these acronyms draw

emphasis to ‘visible’ minorities with the potential to exclude those marginalised in white

communities (Advance Higher Education, 2019). I am conscious, with this in mind, that I

have still chosen to look at BME research broadly. A decision I have made in order to

collect a robust amount of minority data to inform my writing. By doing this, I

acknowledge my research will not probe specific identities of a minority and instead,

attempt to thread commonalities between all BME’s.

3. BSOA student and staff records have proved difficult to obtain. I have been unable to

gain attainment data for BSOA and have no reference for student and staff diversity other

than my own experience of BSOA and the verbal confirmation of an existing attainment

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gap from senior figures. Because these are not appropriate references, I have chosen to

use averages in UK Arts & Design disciplines to ‘assume’ data for BSOA. I am aware

this is not best practice, however I feel this is reasonable given my limitations.

Furthermore, NUS & Universities UK (2019) stress the importance of transparent and

accessible diversity data - if this was implemented at BSOA, my difficulties would have

been avoided.

4. Lastly, the influence of my Black ethnicity and positioning as a current BSOA student;

together these acted as ignition towards attainment focused conversations at BSOA. As

attention grew around my research, students began approaching me to discuss race,

identity and their experiences at the school; a White student praising that I acted as a

‘‘conduit’’ for race relations in the School. These dialogues would start without

prompting, across all ethnicities, through email, the classroom and in passing. From this,

I draw reference to research by Dhanda (2010) demonstrating BME students play a vital

role in informing ways to improve their achievement and importance of safe spaces to

comfortably discuss issues of diversity (Berry & Loke, 2019; Universities, 2019).

Additionally, I am conscious research warns of the ethical implications of BME’s solely

tackling it’s Universities attainment gap. The Higher Education Policy Institute (2019)

reports concern it unfairly gives BME's responsibility to ‘fix’ the gap allowing

institutions to be less proactive (HEP, 2019; 24)

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Student Diversity

Birmingham City University has a student population of 24,600 (HESA, 2019). Within this, their

School of Art (BSOA) teaches traditional and contemporary Art practises between their Fine Art

and Art & Design courses. As the attainment gap predicts, Art practices see White students

outperform BME’s each year (HEA, 2018). In 2017, 79% of white students received a first

within ‘Creative Art & Design’ practices vs 63.4% of BME students (HEA, 2018; 144). As

explained within my ‘Critical Themes’ I will be assuming this attainment for BSOA.

Over 3 years The Higher Education Academy commissioned a ‘What Works?’ programme

(Thomas, 2012) with participation from 22 institutions. The programme aimed to understand

approaches that improved attainment through the evaluation of case studies. Across all

institutions, the findings demonstrated one unanimous output; a sense of belonging was critical

to retention and grade outcome. Something the HEA has since named ‘vital’ for success and

within this, identified staff as key facilitators (HEA, 2015; 2). The ‘What Works?’ conclusive

report describes belonging as; the knowledge one’s identity is not only accepted, but valued,

included and encouraged, students see their identity and beliefs embedded within their learning

and institutional environment (Thomas, 2012; 12-13). Without this, a conflict between a student's

background and that of the institution can lead to a deficit in attainment.

The same year, Stevenson (2012) published a report that more specifically looked at a BME’s

sense of belonging. Similarly to Thomas (2012) it found BME respondents desired to have their

identity acknowledged within their institution and a failure to do so became a likely detractor to

engagement and attainment. From this, the suggestion of an inclusive “non-white” and

“non-western” curriculum was recommended (Stevenson, 2012; 18)

Umbachs (2006) research into ‘Faculty Of Colour’ published quantitative evidence that indicates

BME staff can provide this ‘sense of belonging’ to BME students. His data found BME staff

contributing a broader range of pedagogical learning than White staff; their teaching more often

including the diversity and identity of students. Although Umbachs research has limitations

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because of its US sampling, it is still widely accepted within UK BME reports to evidence the

value of a diverse staff population and their ability to create a BME centric environment

(AdvanceHE, 2018):

“Even after controlling for a number of individual and institutional characteristics, faculty of

color were more likely to interact with students, to employ active learning and collaborative

learning techniques, to create environments that increase diverse interactions, and to emphasize

higher-order thinking activities in the classroom.” (Umbrach, 2006; 337)

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Staff Diversity

When NUS & Universities UK (2019) asked BME students: “Which of the following, if any, do

you believe are relevant contributing factors to any ethnicity attainment gaps at your

institution?’’ the highest scoring answer read ‘‘A lack of diverse senior leaders’’ chosen by 78%

of respondents (NUS & Universities UK, 2019; 25). Their report describes staff and senior

diversity as a detrator in BME student experience and subsequent contributor to the attainment

gap. This common hypothesis has erected through consistent reports of BME students speaking

of their want for visible role modelling and a discontent from being misunderstood by their tutors

- explicitly described as ‘White’ or ‘British’. This is evidenced within The NUS Race for

Equality (2011) report, where a Black respondent contributes, “There is a standard way of

thinking that is hegemonically White, and students from ethnic minorities either have to get with

the programme or do worse” (NUS, 2011;21).

BME academics are disportionate in comparison to their White counterparts, contributing to only

9.5% of academic staff; 5.5% of senior roles and 0.8% of institutional heads (ECU, 2018;131).

This is reflected within Art and Design practices where 93.7% of academics are white and 8.9%

(455 academics) are BME (ECU, 2018; 158). Again I will be assuming this data for BSOA.

(ECU, 2018; 158).

Similarly to attainment, there are many variables to this disparity with new waves of research

shedding light on racism and discrimination faced by BME staff (ECU, 2011). This

overwhelming white workforce is acknowledged within research by Dhanda (2009) that suggests

a BME’s sense of belonging is compromised by too few academic “black faces” (Dhanda,

2009;34)

These studies present a BME’s strong desire to learn from diverse staff for both visible and

curricula motivation (Dhanda, 2009). BME research respondents express positive feelings of

seeing themselves reflected in staff whilst also calling for a more diverse learning experience.

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From this, we understand why HEA identify staff as ‘vital’ to belonging and see BME’s

confidently acknowledge this also. (Cousin & Cuerton, 2012) found that strong relationships

with a tutor enhances a BME’s trust towards an institution. They identified that negative

experiences with personal tutor, a feeling of oversight in culture and feeling of bias towards

white home students contributed to poor BME experiences in higher education. A continuation

of this is seen within the Neves & Hillman (2019) student experience survey that sees BME

students consistently more dissatisfied with teaching than their white peers and less trusting of

their institutions: “On each and every aspect, students from BME (Black and Minority Ethnic)

backgrounds are significantly less likely to be satisfied with teaching quality” (Neves, 2019)

The relations between BME students and staff builds their sense of belonging. However, it can

be argued that if that relationship fails to acknowledge, value or encourage a BME’s identity,

attainment will suffer. Diverse staff have the agency to not only provide these positive student

experiences but also enable non-BME staff to adopt more diverse approaches (Umbrach, 2006):

“a white member of a very diverse faculty is more likely than a white peer at a homogenous

institution to emphasize higher order cognitive activities and use diversity in their instruction”

(Umbrach, 2006; 338).

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Argument:

Birmingham School of Art employs few BME staff, with a teaching body that is predominantly

White. I believe this workforce creates a bias towards the familiar needs, environments and

frameworks of White students, creating a space for BME’s to learn and White students to

flourish. By ‘flourish’ I am describing a feeling of belonging at BSOA and specifically, how this

emotional currency transfers to better tutor relationships, greater engagement with the curriculum

and positive responses to learning environments.

I will focus on how this embodies an Arts institution and conclude with recommendations BSOA

can adopt. I have chosen to investigate belonging within two themes:

1. Being Understood - I will consider the limitations of a BME student being taught by

predominantly White staff and Artists.

2. An Inclusive Environment - I will consider how course content can act as a detractor to BME

engagement and understand how diverse pedagogies can challenge this. I will consider the

importance of BME’s feeling valued within University, and argue that a lack of diverse staff fails

to facilitate this.

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Being Understood

Orr, Yorke and Blair’s research in Art & Design pedagogies, view the subject as ‘‘co-production

and co-construction’’ (Orr, Yorke & Blair, 2014; 41). They describe both students and tutors

having equal “stakes” in the production of a students work. This concept finds itself within

Finnigan & Richards’ (2016) report of BME attainment in Art practices; “co-production”

becomes embedded with personal identities because the subject encourages individual responses

(Finnigan & Richards, 2016;6). This indicates that a students ability to successfully hold

on-going narratives about their personal beliefs and experiences become critical to their success,

revealing a relationship that cannot work without the other. This weaving of identity is evidenced

by Tangney (2013) who found Art & Design students created work with “emotional investment”

and “emotional consequence” (Tangney, 2013; 270). Her research revealed autobiographical

thinking within a students creation; an artwork created from “how the artist sees the world and

their place in it” (Tangney, 2013; 270). One student particpant explained, “it’s like taking your

clothes off in public” (Tangney, 2013; 270).

This “emotional consequence” was evidence when speaking to a current BSOA undergraduate

who explained a discomfort in storytelling their black narratives: “Sometimes during a tutorial, I

feel uncomfortable to fully express my ideas and speak freely. I have to translate them in a softer

way… that's why I like doing my research at home”. This student is experiencing a tension

between their identity and that of their tutor, peers and institution. Theuri (2018) writes about

this, describing it as a conflict between “master narratives” (Theur, 2018;159). The Institutional

space becomes the master, and the narrative of blackness, submissive, simply because

historically black people have always been:

‘marginalised communities, who must routinely manoeuvre within structures in society that are

oppressive, are subjected to master narratives such that they ‘internalise them to the extent that

members of marginalised communities begin to reproduce the master narratives’ (Theur,

2018;159).

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It can be argued then, that if BME students attempt to explore their identity, they are producing

work at odds with the “master narrative”. We begin to see Yorke and Blairs idea of

“co-production” unravel as BME artists struggle to navigate dynamics of power and race when

their tutor is complicit within “master narratives”; a tension that at times results in catasphrophic

detriment and a BME surrenders their cultural authenticity. Sabri (2014) describes this conflict as

feeling “at odds with the tutors aesthetic sense” (Sabri, 2014; 20). Sabri’s case studies reveal that

once a conflict of culture manifests, students may choose any resolution’ to resolve it. An asian

participate explaining “sometimes you have to suck it up and do what they want” (Sabri, 2014;

20).

An intimate relationship between student and tutor finds itself at the core of Art & design

disciplines (Orr, Yorke & Blair, 2014). It is no wonder Sabri (2017) acknowledges this, naming

it “the most powerful factor in students creative and intellectual growth’’ (Sabri, 2007;2). Even

outside Artistic disciplines, evidence demonstrates tutors are crucial to development HEA

(2012). With this in mind we can see how a BME’s tension of valuing a tutors development but

simultaneously needing nurturing sympathetic to their identity can cause, distress, lack of

engagement and poor attainment. Thuer (2018) describes these “master narratives” as “a barrier

impeding participation in and experience of HE art and design for Black African students”

(Theur, 2018;161).

“I was continually confused, uncomfortable and at times disturbed. I would have discussions

with my mostly white peers and tutor - where discussions no longer felt like important

discussions for my artist development but rather history lessons on colonialism, post-colonialism

and black oppression” BSOA BME Graduate.

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Curriculum & Environment

Discomfort in identity work may also explained through the Art curriculum and a lack of race

relations within. The NUS believe a “liberated” curriculum encourages these relations, helping

“students reflect on their identity and their place in society’’ (NUS, n.d; 4). However, according

to a 2011 NUS report, 43% of Black respondesnts felt their curriculum did not reflect issues of

diversity, equality, and discrimination and 32% felt unable to bring Black perspectives into

lectures, seminars, and tutorials (NUS Race for Equality, 2011;20). The report describes a

BME’s struggle with a eurocentric curriculum describing students felt: “frustration that courses

were designed and taught by non-Black teachers, and often did not take into account the diverse

backgrounds and views” (Race for Equality, 2011; 4)

Within Liberation, Equality, and Diversity in the Curriculum the NUS draw attention to the

meaning of curriculum, explaining it extends further than ‘what is taught in classroom or

assigned as reading but the entire way in which learning happens’ (NUS, 2015;2). Curriculum

should ensure every student, no matter their background, has inclusive and relevant learning

environments, with content that aligns with and encourages diverse learning and thinking (NUS,

2011; 2). A move towards this culturally inclusive style of teaching is more popularly known as

‘Decolonizing the Curriculum’. This means, racial dialogues no longer sit at the periphery of

curriculum but make up its fabric for all University students. The narratives surrounding race no

longer become a BME matter but collectively a student and institutional one. Inclusive

pedagogies, as David et al. (2010) explains, “involves creating individual and inclusive spaces,

developing student-centred strategies, connecting with students’ lives and being culturally

aware”. Because of this, all students needs are accommodated, increasing chances of academic

success.

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Umbrach’s (2006) research into Staff diversity shows us BME staff have the agency to bring in

identity pedagogies and attract white staff to assume those values too: ‘‘the diversity of faculty

acts as a symbol of an institution’s commitment to diversity’’ (Umbrach’s, 2006; 338). He

explains that the visibility of BME staff helps embed a culture where diversity is ‘‘highly

valued’’ and in turn, staff align priorities of diversity within institutional goals.

Because BSOA has very few BME Staff, none muslim or black for instance, this diverse

‘role-modeling’ is not seen. Take for instance, an invitation to ‘Christmas tree decorating’

organised by BSOA staff in December 2019. All staff and students were invited to participate in

the decoration of this tree but there was no mention of Diwali just one month prior. Another

example can be seen in BSOA predominantly European field trips.

If BME staff are needed to ensure BME perspectives are embedded, BSOA is at conflict with

creating relevant and appropriate responses to its diverse cohorts. BSOA must act accordingly to

educate it’s staff of their limitations. However, research by Steveson (2012) demonstrates how

difficult this can be. Staff describe the tensions that arise when facilitating the needs of diverse

groups, race is often described as difficult to talk about and staff can feel attacked or blamed.

Staff speak of institutional changes being motivated from senior levels, and since ECU (2018)

shows us that only 5.5% of BME’s are at these ‘senior levels’ this creates barriers in motivations

being diversely aligned.

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Case Studies:

1. Shades of Noir, Safe Space Crits (UAL)

Founded in 2009, ‘SON’ helps create inclusive curriculum and diverse pedagogies within

its UAL’s Art practices. Although originally at UAL, Shade of Noir now advise other

Arts educators and regularly feature as examples of good practice within BME research

(Finnigan & Richards, 2016). ‘SON’ have created ‘Safe Space Crits’ for BME artists to

comfortably express their work in an environment they do not feel conflicted with. These

crits are only facilitated by BME Artists and are easily bookable online.

2. Tell Us About It’ (UAL)

Instead of focusing on negative detractors, UAL collects experiences from high achieving

BME’s in Art, within a project they call ‘Tell Us About It’. By doing this it uses a BME

student centric approach to inform UAL’s teaching and methodology. (Finnigan, 2009).

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Conclusion

I believe the research I have gathered provides a strong body of evidence to support my

hypothesis. A lack diverse staff means teaching pedagogies may fail to resonate with BME

students, creating barriers to participation and engagement; at times, this may be diverse in

visibility or diverse in pedagogical teaching. A BME students experience of positive and relevant

learning at BSOA may be limited because it’s white teaching demographic are unable to respond

to for-see cultural needs effectively. In turn, this curbs a BME’s sense of belonging and

ultimately their attainment.

It is thought that BME staff are able to disrupt repetitive pedagogies with inclusive teaching that

does not solely reward those with pre-existing ‘Cultural Capital’. BME Art narratives will draw

from their identity and so may bring sensitive topics that conflict with, or speak critically

towards BSOA’s eurocentric dominance. It can be argued that a BME student will experience

more anxiety holding a dialogue, when their tutor and institution emulate such dominance. By no

means am I suggesting White tutors are ill-equipped to effectively teach BME students, however,

when it comes to exploring cultural narratives tutors must be conscious of their limitations and

provide support accordingly; it must promote a self reflective attitude to question traditional and

non-traditional teaching pedagogies while accelerating its diverse priorities.

BSOA must reflect on its environment where ‘coloured’ staff take on domestic roles as ‘the

help’, like it’s cleaners and security guards. If this continues a BME student will never see

themselves reflected in staff and assume the school holds no priority to diversity.

Within my research I understand the importance of not seeing BME’s as one homogeneous

group. It is essential that research continues to disassemble these acronyms to gather a richers

understanding of cultural and individual needs.

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The potential of BME academics is an exciting and challenging one. BME research continues to

indicate the value of diverse teaching for the pluralistic world we live in today. However, as said

within Alexander and Arday (2015) the only way real change will galvanize is if BME students

and academics are invited to sit at the dinner table instead of simply being on the menu.

Recommendations:

● Offering BME students who explore identity work crits and feedback with BME

academics and Artists (outsourced if necessary).

● Creating an inclusive ‘culture calendar’ that informs staff of religious or cultural dates

e.g. Ramadan that may see their students fast, and therefore may need additional support

during this time.

● Less eurocentric aligned field trips, workshops and curriculums.

● Establishing on-going feedback from high BME achievers.

● An honest and transparent dialogue of attainment, diversity and strategies within the

school from first year of student induction.

● An in house BME support role.

● An honest approach of staff limitations directly addressed to students.

● Rethinking policy - joining the Race Equality Charter.

● Ensuring every advertised position has a diverse shortlist (recruiting headhunter to

facilitate if necessary).

● Setting a safe environment for staff and BME students to speak about difficulties.

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Appendix

Both Birmingham School of Art BME quotes have been permissioned by each contributor.

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