Category: Reflection

During the session, we discussed the shift in higher education from training people for fixed professions to producing new knowledge and fostering critical thinking and inclusivity. As a Japanese person with a disability living in the UK, inclusivity and equality are the areas I feel most connected to.

Coming from Japan, I sometimes feel less confident discussing decolonisation, which often centres on conversations between Black and White communities, compared with discussions around racism, which I have personally experienced. However, I have noticed major changes in both higher education and the art world. When I was a university student over 25 years ago, I do not remember learning about many artists from B.M.A.E. background. Later, when working closely with artists and galleries, I witnessed the industry slowly beginning to represent more Black, Asian and female artists, gradually giving them deserved recognition. Working with The Gallery of Everything, which represents outsider artists, also widened my understanding of the question: What is art? Who decides? Do large established galleries define it, or can it come from outside traditional systems?

Hooks (1995) quotes Lucie‑Smith, noting that “the work of art is no longer seen as something which truly represents its time and is important to it unless it challenges the norms of that time.” I strongly agree. Sometimes it feels as though, unless you “bite back” at society, the work is ignored. Everyone has a voice, but the challenge is helping students recognise what their voice is. Does meaningful work always need to challenge society? If not, is it still valuable?

This also reminded me of a student who described herself as “boring” because she is a white, straight woman who does not have a disability or close friends from minority background. Her positionality make her feel her work is worthless. Some home students struggle with the theme of inclusivity; even mixing with peers from diverse backgrounds in a university environment can still feel unfamiliar to them. They often feel their everyday experiences are not as “strong” as more personal themes such as B.A.M.E. and LGBTQ+ identity, which can feel more immediate or visible and they feel disadvantaged. DiAngelo (2011) explains that racial segregation can feel invisible to those who benefit from it, which makes conversations about racism difficult. This may also explain why some home students who come from outside London struggle with this unit.

To address this, we need to create more safe space in our teaching to discuss white privilege and how racism elevates white people within social structures. However, Wilson (2021) notes that many students leave these conversations feeling hopeless or helpless. She also cites Diane Goodman’s observation that:

“Since we are asking people to question their fundamental belief systems, it makes sense that people feel threatened and act resistant.” (Wilson, 2021, cited in Goodman, 2011)

Wilson emphasises the importance of contemplative practices, such as meditation, mindfulness, compassionate listening and journaling to support students who struggle with these discussions and to help them engage more openly. My role is to guide and support all students in understanding that every perspective is valid and meaningful within a broader social and cultural context. Providing clear starting points—such as discussing whiteness and its influence on lived experience—can help students enter these conversations with greater confidence.

Reference

Hooks, B (1995) Art on my mind, Talking Art as the Spirit Moves Us, pp 101-107
Diangelo, R (2011) International Journal of Critical Pedagogy, Vol 3 (3) White Fragility, pp 55-70
Wilson, C (2021) A Contemplative Pedagogy: The Practice of Presence When the Present is Overwhelming pp 52-62

When I reflected on Object-Based Learning (OBL) by Dayna Tohidi, I immediately thought about my lecture “On Belonging” for Year 1 Fashion Photography students. This session helps students introduce themselves, share personal stories, and begin forming a creative learning community. Fashion plays an important role in this process because it is connected to art, identity, and belonging. Through clothes and accessories, students communicate who they are, where they come from, and which communities they feel part of. In the session, students create a diptych using a fashion item and a portrait to express these ideas. Hardie (2015, citing Hardie 2008) reminds us that “the student’s voice is communicated by objects” (p.139), which aligns strongly with the way fashion functions in this activity.

The OBL lecture encouraged me to rethink how I ask questions in my own teaching. In the past, I asked students, “What do you think it is?” but this often led to simple factual answers. OBL reminded me that focusing on “How does it make you feel?” produces deeper learning. This approach invites students to respond emotionally and intuitively, and encourages them to notice impressions, memories, and personal reactions. These responses vary depending on culture, age, identity, and lived experience, which naturally leads to richer and more inclusive discussion.

The lecture also made me reflect on creating a safe environment for this type of activity. Some fashion items are personal, and not all students feel comfortable sharing their history. Analysing objects can also lead to stereotyping if the question focuses too much on “what it is”. Tohidi suggested that a warning or gentle note before the activity would help prepare students. Asking “How does it make you feel?” instead of “What is it?” reduces the risk of cultural assumptions, and creates a more open and respectful space. Arao and Clemens (2021) highlight Holley and Steiner’s (2005) description of safe space as a place where students can ‘participate and honestly struggle with challenging issues’ (p.49), which is essential in a diverse group.

Reading about “brave spaces” by Arao and Clemens (2021) was particularly eye‑opening. I recognised myself in their description. As an international student in the past, I often hesitated to speak because I felt my perspective was different from others. I can sense similar hesitation in my students today. Many wait to hear others speak first, worrying that their answer may be “wrong”. I want to develop an active learning environment where no one feels judged, where all opinions are welcomed, and where difference is valued. Students do not need to change their opinions, but they should feel confident expressing them. OBL can support this by giving students something concrete to respond to, lowering pressure and making discussion feel more accessible.

I also reflected on the need for clearer visual methodology. We often ask students to analyse photographs, but the process is not always explained, which confuses many international students. Using “critical visual methodology” can strengthen discussion and help students understand how to “read” images. As Hardie (2015, citing Hardie 2008) notes, “understanding visual language is critical to their creative practice”, and learning to interpret objects can lead directly to stronger photographic work. Many students are technically skilled, but struggle to bring authenticity into their images. OBL can help them develop the sensitivity they need to create more meaningful work.

Overall, this reflection helped me understand how OBL can deepen visual analysis, support inclusive discussion, and build a more confident and diverse learning community. It has made me re-evaluate my own teaching practice and think carefully about how students feel, how they participate, and how I can provide clearer, more supportive structures for learning.

References
Hardie, K. (2015) Wow: The power of objects in object‑based learning and teaching, pp. 139–141.
Arao, B. and Clemens, K. (2021) From Safe Spaces to Brave Spaces, pp. 135–150.

I decided to observe my colleague’s lecture in following day after reading Macfarlane’s “The Charismatic Lecturer” (2004) in our PG cert workshop, and it made me rethink what “a learning experience” means. Her approach reminded me of Max in the reading—dynamic, questioning, and full of interaction. She was not simply delivering content; she was demonstrating how to learn. Continuously asking “why?” and analysing ideas aloud, she modelled the research process for students. This struck me because, while I often tell students to “keep asking why,” I rarely teach them how to do it.

Patrick Curry (2007) recalls the old medical joke, “The operation was a success, although the patient died,” and it has stayed with me. Teaching is not just about presenting facts; it is about enabling learning. As Dall’Alba (2005) explains—quoting Heidegger—“teaching is more difficult than learning because what teaching calls for is this: to let learn” (Heidegger, 1968, cited in Dall’Alba, 2005, p. 361). This was eye‑opening for me: I cannot simply learn by myself and tell students what I found; I need to learn with them.

Reflecting on my past lectures, I realise I focused heavily on delivering information and showing examples, but I did not analyse with students or demonstrate research techniques. My colleague’s session included practical tips, small questions, and constant engagement. She gave students space to think without forcing answers, maintaining eye contact and creating a safe environment for silent reflection. This aligns with Weeks (2018), who argues that listening without pressure fosters understanding.

Another insight from our PGCert workshop was the idea of “sharing your opinion first before asking for theirs”. This makes discussions feel more like conversations rather than one-way delivery, which I dislike. I plan to adopt this approach and integrate more interactive elements, such as collaborative analysis and research demonstrations. Students need to see how ideas branch out from initial questions—why they like a photographer, a technique, or an aesthetic—and how to search beyond Google or Pinterest. As researchers, we use diverse methods, and teaching these explicitly can empower students.

Reducing hierarchy is also crucial. It does not mean becoming friends but creating mutual respect and opportunities for shared learning. I learn from students’ opinions as much as they learn from mine. Teaching should involve both voices. As Dall’Alba (2005) explains—quoting Heidegger suggests, teaching is about “letting learn,” and that requires openness, flexibility, and humility.

Moving forward, I aim to combine my structured approach with interactive strategies that demonstrate research processes, encourage questioning, and invite dialogue. By doing so, I hope to create a classroom where learning is collaborative, curiosity thrives, and both teacher and students grow together.

References

Macfarlane, B. (2004) Teaching with Integrity: The ethic of higher education practice. London: RoutledgeFlalmer, pp.101-105
Curry, P. (2017) Enchangment of Learning and ‘The Fate of our Times’. (A draft of a paper in Angela Voss and Simon Wilson (eds), Re-Enchanting the Academy (Seattle: Rubedo Press, 2017) 33-51.)

Dall’Alba, G. (2005) Improving Teaching: Letting Learn. Higher Education Research & Development, 24.(4), pp. 361-372.
Weeks, D. (2018) Listening Without Anticipating: Creating Space for Understanding. Educational Review, 70(3), pp. 345–360.

During our PGCert workshop, we read Macfarlane’s The Charismatic Lecturer (2004), which examines how charisma and personality influence perceptions of teaching quality. This prompted me to reflect on my own teaching style and compare it with colleagues. I often identify more with Stephanie’s approach—structured, research-driven, and focused on delivering content—while my colleague is closer to Max, who creates lively, interactive sessions full of activities and real-world examples. Macfarlane’s critique reminded me that while charisma can energise a classroom, effective teaching requires more than performance; it demands inclusivity, depth, and space for reflection. This reflection makes me consider how I might balance structured delivery with interactive approaches while staying true to my teaching identity.

In our discussion, we explored the meaning of silence in classrooms. Silence does not always signal disengagement; it can mean students are processing ideas internally. Karen Harris (2022) highlights that participation is not limited to speaking out loud, and Weeks (2018) reminds us that “listening without anticipating and articulating an immediate response provides space for understanding ideas, perspectives, and experiences that may differ from one’s own.” This resonates with my own experience—coming from Japan, where I was raised to listen and avoid conflict, I naturally prefer listening over speaking. Choosing to study and teach in England was partly driven by my desire to hear diverse opinions. Listening feels fascinating to me, even if it seems selfish, because it allows me to learn from perspectives I might never encounter otherwise.

Language also plays a role. Academic language can feel complex and sometimes requires translation, which slows responses. One international student told me she struggles with technical terms during sessions. I relate to this because I often need time to process English before responding. Silence, therefore, can be a sign of engagement rather than absence.

These reflections remind me that participation looks different across cultures. Some students thrive in verbal discussions; others engage through quiet reflection. As educators, we need to create spaces where listening is valued as much as speaking. Silence can be productive, and forcing speech may not always lead to meaningful learning. Instead, strategies like small group work, written reflections, or digital tools such as Padlet can help students contribute in ways that feel comfortable.

Ultimately, my teaching philosophy is shaped by two values: respect for diverse voices and curiosity about different perspectives. I believe passion and openness matter more than neutrality, as long as we respect other views and avoid imposing our own. My goal is to create a learning environment where students feel free to think critically, whether through speaking or silent reflection, and where listening is recognised as an active, valuable part of learning.

References

Macfarlane, B. (2004) Teaching with Integrity: The ethic of higher education practice. London: RoutledgeFlalmer, pp.101-105
Harris, K. (2022) Embracing the Silence: Introverted Learning and the Online Classroom. Spark: UAL Creative Teaching and Learning Journal, 5(1)
Weeks, D. (2018) ‘The value of silence in schools’. Available at: https//Edutopia.org/article/value-silence-schools (accessed 14 January 2026)