I really enjoyed the first morning of the PgCert because it enabled me to view teaching in Higher Education from a much broader, profound, and inclusive perspective. It was fascinating to learn about some of the key reports that have shaped and influenced the higher education landscape, such as the Robbins and Platt reports. Moreover, it was so refreshing to speak with my peers about their teaching backgrounds and personal motivations for doing the PgCert.
I enjoyed the task where we had to summarise our articles for one another because it helped to break down intimidating academic texts and introduce the key themes and concepts of each paper. I chose Archiving Critically: exploring the communication of cultural biases by Grout (2019) because it was the most relevant article to my teaching practice. Before reading it, I had gained a basic understanding of how cultural biases were historically formed in archives through a UAL Short Course I did in Exhibition Design. Grout (2019) explains it well in her article: “The patriarchal structures that exist in society have resulted in the absence of women from archives…Even today, the archives sector recruits low numbers of professionals who identify as coming from marginalised groups.” When I started my job at the CSM Museum, my senior colleague, Judy Willcocks, also informed me of the prevalence of cultural biases in our collection and the actions we are taking to diversify it, such as acquiring objects through the annual Graduate Award and working with a Japanese student to decolonise the Japanese print collection catalogue.
However, this article consolidated the information I already knew and developed my understanding of cultural biases within archives. Prior to reading it, I didn’t realise that archives are often perceived as “neutral spaces which hold the ‘truth’ about a society or happening” Grout (2019). I also learned the meaning of cultural bias, which is “the way in which phenomena are interpreted and judged according to standards inherent to an individual’s own culture” Grout (2019). When I plan a workshop, I made a conscious effort to ensure the object selection I curate represents artists or makers from different genders, cultural backgrounds, and speaks to underrepresented sociocultural issues. This article made me reflect on my approach and understand the wider problem of under documentation in archival holdings that relate to gender identity, minority ethnic backgrounds, disabilities, and religion. It helped to assert the importance of the work we do with the Graduate Award to ensure the new objects we acquire better represent the diverse and evolving CSM student community.
The article highlights solutions to overcome cultural biases within archives that I will begin to actively implement in my workshops. For example, I will treat them as tools to “confront issues surrounding social inclusion” and “facilitate critical discussion” Grout (2019). This guidance is especially pertinent to workshops that include objects by controversial artists or makers, such as John Galliano, Eadweard Muybridge, and Eric Gill. I feel fortunate to have a manager who encourages me to confront and discuss uncomfortable truths about our collection with students.
References
Grout, H. (2019) ‘Archiving Critically: exploring the communication of cultural biases’, Spark: UAL Creative Teaching and Learning Journal, Issue 1, pp.71-75.