Critically evaluate the potential for art and design practice to function as a transformative

medium through which some of the following issues can be meaningfully interrogated:
equity, diversity, and inclusion in education.

‘The Dinner Party’ – Judy Chicago (1979)

“Diversity is being invited to the party. Inclusion is being asked to dance” – Verna Myers
 Introduction
The school environment plays a huge role in the intellectual, personal, and spiritual nurturing of
our students. The NCCA (2007, p.3) described the focus of education as contributing “to the full
development of the individual… and for participation in his or her community and in society”.
Our schools are like ‘The Dinner Party’ (1979), with a diverse range of guests from all corners of
our society coming together at the dinner table; all wanting a good seat, to be included in the
conversations and given an equal share of the delicious food on offer. Students are the dinner
party guests, looking to be included in the school community, regardless of social class, religion,
gender, race, and ethnicity. As teachers, we aim to ‘host’ students in a safe and respectful domain,
responsible for the quality of education we ‘serve’ them.
In this essay, the focus will be on emphasizing the art and design classroom as a platform,
through which insightful investigations into topics such as equity, diversity, and inclusion can
take place.
Is a to be at to is be at to be at it is a to be be be be be be b be be be ebe be be ebe be ebe be be b
Acknowledging Personal Privilege
To achieve equity in our schools, we would require full transparency on our privileges and
biases, to establish how best to make the school environment as fair as possible. As a straight,
white woman of catholic faith, my attendance at an all-girl catholic school was not something
that was ever questioned or challenged. My gender, sexuality, religion, and social class all
aligned with the ethos of the school I attended, and my educational needs were met in
mainstream classes without the need for extra support. It is important to recognize that not all
students feel this sense of security within their school community.
As a majority ‘Roman Catholic’ country, Irelands’ schools mainly follow the ethos of the
Catholic church. Without looking into any policies and legislations, students of other, non-
Catholic religions are already marginalized by their school community.
The topic of sexuality is one that continues to be taboo in schools. The ideas of homosexuality
and transgenderism are still considered to be ‘disease-like’ by those who disagree with it,
something that if taught about in schools, will ‘infect’ their children.
Ireland claims to provide its young people with ‘free’ second level education. This is a double
standard statement. Upon further scrutiny towards schools’ admittance policies, we can see how
they can successfully attract the ‘right’ students for their ethos and discourage those who do not
‘belong’. With the cost of uniforms, art supplies, sports equipment, school trips, ‘voluntary
contributions’, exam fees and transport to and from school, second level education in this
country is far from ‘free’.
A student’s financial situation is not the only way that they can be oppressed within their school
community. Students coming from families and communities with little value on third level
education can affect motivation in students to apply themselves in school. A key example of this
in an Irish context, is the traveler community. Pressure from the traveler community on their
young people to conform to the standards set for them, has made them the most likely to leave
school at an early age, with 28% leaving before the age of 13 (according to the 2011 census).
As a student, I always felt supported and motivated to fulfill my dreams and build a career for
myself. As a teacher, I now must provide a space for students to be authentically themselves and
feel advocated for.
Lynch & Baker (2005, p.19) put it best:
“The failure of schools to acknowledge the cultural dissonance that exists between… students of
diverse class (and ethnic and racial) backgrounds exacerbates their educational failures and their
sense of alienation from the education process itself”
While issues surrounding inclusion, diversity, and equity run deep within the policies and
foundations of the education system, individual teachers can help to instill these values into their
classrooms by supporting and empowering each student.
be be be be be be be be be be be be be be be be be be be be be be ebe be be b be be ebe be be be
Discourse Analysis of ‘Looking at our Schools’
“Looking at our Schools” (2022) is a framework devised by the Department of Education, to set
out explicit expectations for effective teaching, learning, leadership, and management in our
schools. To keep student wellbeing at the core, schools require the harmonious collaboration of
students, teachers, and school leaders to create an environment built upon equity and inclusion
for all.
The LAOS document is rooted in idealistic values. Referencing the overview (p. 25) of the
document, it is clear there is a ‘want’ to maintain the system and hierarchy of school
organizations. A larger focus is given to setting expectations for school leaders, rather than
students and teachers (LAOS, 2022, p.25)
Taking LAOS at face value, it is easy to be persuaded by its visionary proposal of inclusion for
all, quality teaching and learning, importance of student wellbeing, and leadership for all; on
deeper analysis, we can see the benefits for schools in middle-upper class areas, with surplus
resources and funding; for students who do not require additional assistance in the classroom to
be included in the curriculum. In ‘Diversity at School’ (2004; p2), Lodge and Lynch discuss the
“lack of analysis of differences arising from disability, age, sexual orientation and other
statuses”, being the cause of limitations in policies and legislation.
Within the art classroom, we aim to not put a ceiling on students’ thinking. This includes
thinking regarding their own learning and wellbeing. It is important that as teachers we advocate
for our students, opening a dialogue between all members of the school community, in order to
gather “an insider perspective… (on) the ways in which education policies and systems impact
on them” (Czerniawski, G, & Kidd, W, 2011, p.389). This makes the art classroom the perfect
place to explore these topics; in a safe space for students to use their voice, engage with their
community, and promote physically inclusive spaces.
Be be be be be be be be ebe be be be be be ebe be be ebe e be ebe be ebe be be be ebe be be be b
The Student Voice
The art classroom is a space, unlike any other within the school community. It serves as a
platform for students to confront and investigate topics in a way that is comfortable to them.
“The arts can foster investigation into culturally relevant issues” (Filbin, D.N., 2021), and help
students to find their voice on the topics that interest them. Relevant to my own professional
practice, it is understandable that teachers are hesitant to facilitate conversations surrounding
sensitive subject matter, for fear of saying the wrong thing. Speaking on bringing the subject of
‘Black Lives Matter’ into the art classroom, Filbin (2021) expresses that “remaining neutral and
not addressing topics that are important to students further marginalizes them and perpetuates
injustice” (p.1).
In the LAOS document, the framework values the inclusion of all students, but like many
policies and documents, it “fail(s) to respect the autonomy and individuality of the student”
(Lodge, A. & Lynch, K, 2004). Curating an art curriculum that explores the student identity, and
makes visible the issues close to them, helps to foster a space where students’ diversity is
acknowledged and welcomed.
Be be be be be be be be be be be be be be be be be be be be be be be be be beb be b be be be be b
Community Engagement and Collaboration
Our local communities are a melting pot of different cultures, ethnicities, religions and social
classes. To broaden students’ understanding, it is important to not just listen to their own voices,
but look outside the four walls of the classroom to gather “social and communal understandings
of diverse perspectives” (Snepvangers, K. and Mathewson-Mitchell, D, 2018) . Using art to
bridge the gaps between students and members of the community can help reinforce their own
voice while taking into consideration the views and experiences of others. One way of
collaborating with the community is facilitating conversations between students and social
groups on issues and topics relevant to the community. Using processes like animation or poster
design, students can help to uplift the voices within their community that may be silenced.
Highlighting shared experiences can provide students with a sense of inclusion, not just in the
school community, but in their wider community also.

Promoting Inclusive Physical Spaces

The LAOS (2022) framework’s principle of ‘Centrality of Students’ Wellbeing’ sets a standard
for the “crucial role of schools in promoting and nurturing students’ wellbeing through their
practices in the key areas of school environment, curriculum, policies, and partnerships”. When
attempting to start conversations surrounding inclusivity, diversity, and equity in the art
classroom, it is important to create an atmosphere in which students feel safe enough to do so.
“Trust is a problematic, complex and contested concept” (Czerniawski, G, & Kidd, W, 2011,
p.284), and creating a safe atmosphere can help promote a respectful and inclusive art classroom.
Visibility plays a huge role in the inclusion of all students in the classroom. Using diverse artistic
references, coming from different social classes, religions, genders, ethnicities, and sexualities,
can “create aspiration among students from backgrounds that are under-represented”
(Czerniawski, G, & Kidd, W, 2011, p.391). Bringing to light the work of diverse artists can help
open students’ minds to how difficult issues can be examined through visual means.

Conclusion
In the hustle and bustle of a busy classroom, when it comes to policies and documents, such as
the LAOS framework, it can be hard to implement the ideals set out fully. While many of the
standards can happen naturally within the school, many of them require careful consideration,
resources, and training. Upon deeper scrutiny of the LAOS framework (2022), the disparities and
cracks become clearer, in relation to the reality of the school community.
Despite this, the art classroom is a great platform to help seal these cracks. Through exploring a
diverse range of artists, subject matter, and processes with students, we are “making it possible
for students to gain exposure to diverse perspectives in an atmosphere of honesty, respect, and
empathy” (Graham, L.P, 2021). The art classroom is a place that welcomes diversity and
adversity, as a space for students to not only listen, but challenge the ideals of others and the
world around them in a creative facet. Allowing students, the freedom and autonomy to find their
own voice is the first step to immersing values of inclusion, diversity, and equity into the school
community.

References
Czerniawski, G and Kidd , W (2011) Student Voice Handbook : Bridging the
Academic/Practitioner Divide. Bradford: Emerald Group Publishing Limited. Available at:
https://search.ebscohost.com/login.aspx?direct=true&db=e000xww&AN=411462&scope=site
(Accessed: 3 December 2023).
Filbin, D.N. (2021) ‘Discovering How Black Lives Matter: Embracing Student Voice in the Art
Room’, Art Education, 74(1), pp. 19–25. doi:10.1080/00043125.2020.1825596. (accessed 8
December 2023)
Graham, L.P. (2021) ‘“Safe Spaces” and “Brave Spaces”: The Case for Creating Law School
Classrooms That Are Both’, University of Miami Law Review, 76(1), pp. 84–162. Available at:
https://search.ebscohost.com/login.aspx?direct=true&db=ofm&AN=154038512&scope=site
(Accessed: 12 December 2023).
LAOS 2022. Looking at Our Schools 2022: A Quality Franwork for Post-Primary Schools.
Department of Education (accessed 1 December 2023)
Lodge, A. and Lynch, K. (2004) Equality and Power in Schools, ProQuest Ebook Central -
Reader (ul.ie) (accessed 7 December 2023)
Lynch. K, & Baker, J (2005) “Equality in Education: an equality of condition perspective”
Theory and Research in Education, 3 (2): 131-164. Available at:
https://ncca.ie/media/2575/lynch-and-baker-2005-equality-in-education-pre-print.pdf (accessed 5
Decemember 2023)
Snepvangers, K. and Mathewson-Mitchell, D. (2018) Beyond Community Engagement :
Transforming Dialogues in Art, Education, and the Cultural Sphere. Champaign, IL: Common
Ground Research Networks ([Transformative Pedagogies in the Visual Domain]). Available at:
https://search.ebscohost.com/login.aspx?direct=true&db=e000xww&AN=1918965&scope=site
(Accessed: 12 December 2023).
Taylor, P. G., Carpenter, B. S., II, Ballengee-Morris, C., & Sessions, B. (2006). Interdisciplinary
approaches to teaching art in high school. National Art Education Association (Accessed 7
December 2023)