Navigating Cultural Sensitivity: Meeting the Diverse needs of Learners in Fine Art.
Contextual Background
Within Camberwell’s Foundation Fine Art Painting specialism, understanding and responding to the diverse needs of students is imperative. The student body comprises a significant number of overseas students with varying cultural backgrounds, learning styles, artistic practices, and aesthetic preferences. Recognising and supporting these differences while fostering an inclusive and concerned creative community is essential.
Evaluation
As a Tutor at Camberwell’s Foundation within the Painting specialism, I facilitate independent and collective Studio practice through presentation, contextualisation and critique, in one-to-one tutorials, assessment feedback and crits, integrating culturally responsive teaching practices, recognising diverse needs and perspectives of my students. Considering the ‘goods of student development’ (McDonald & Michela, 2019, pg.13) whilst engaging with student’s work and studio progress, sharing refences, resources and research with students where there is potential for constructive cultural understanding and valuable insights. However managing cultural learning styles, practices and supporting diverse needs can be challenging. I aim to enhance the relevance and meaningfulness of my teaching approaches to all students.
Moving forwards
I intend to deepen my understanding of cultural sensitivities and support of culturally diverse learners by incorporating various strategies and practices into my teaching approach:
One-to-One Tutorials: Firstly, getting to know students individually and understanding their unique backgrounds and experiences is important. Using a culturally inquisitive approach, listening to their perspectives, as Maxims suggests, ‘Through art we can know another’s view of the universe’ (Proust, 1948). By utilizing different communication formats, verbal, text and visuals, I can tailor my guidance and support to create a more inclusive environment.
Group Critique: I plan to enable group discourse encouraging diverse perspectives and interpretation. As Cunliffe (1996) suggests, understanding how worldview, culture, and artistic styles relate, can deepen students’ understanding of cultural themes and meanings within their work. Where participation is challenging, fostering open dialogue about cultural differences and providing fair participation opportunities, I aim to promote empathy, understanding and mutual respect among peers.
Feedback on my peer observation highlighted equipping students with effective communication and decision-making skills. ‘Dyadic reflective practice’ suggested strategies such as: offering more time, written components to ensure participation to all students, such as post-it-note feedback (Race, 2001)
Personal knowledge and development: McDonald and Michela (2019) advocated ‘teachers who pursue ongoing growth contribute positively to their student’s development. I shall continue to prioritize knowledge and development, involving ongoing reflection in teaching practices and actively seek feedback from students to ensure that I am effectively meeting their diverse needs while navigating cultural sensitivities. By embracing a reflective and responsive approach to teaching, I can create a more inclusive learning environment where all students feel represented and valued.
Managing Sensitivity and Vulnerability: I shall focus on providing tailored support and accommodations for students with diverse learning needs. This may include offering alternate assessment methods or additional resources to ensure accessibility for all students.
My goal is to create an inclusive, supportive learning environment for all students, to continuously refine my teaching practice. By integrating culturally responsive teaching practices and diverse perspectives, I aim to enhance student engagement, cultural awareness, and artistic expression, ensuring that my practice evolves, to meet the developing needs of my learners.
References
Peer Feedback I gave to A.Reading for her Observation (2024), Camberwell UAL.
Cunliffe, J. (1996). Critical studies in art and design education. The Journal of Art and Design Education, 15(3), 119 & 128
McDonald, K., & Michela, E. (2019). The design critique and the moral goods of studio pedagogy. Design Studies, 62, 1-35. Pg. 13
Proust, M. (1 Jan. 1948) Maxims. Columbia Univ. Press
Race, P. (2001). A briefing on self, peer and group assessment. LTSN Generic Centre.
Stephens, T. (2024). Observation reflection, Unit 1.