Being a male person of colour and teaching film and television production at the University of the Arts London, these discussions on anti-racism are very resonant, both in the professional and personal level, not only as an educator but also as someone who has navigated predominantly white professional and educational spaces. Insights from Garrett (2024), Bradbury (2020), Sadiq (2022), Orr (2022), and The School That Tried to End Racism (Channel 4, 2020) has really challenged me to critically reflect on my own positionality and practices, especially in a field where representation and inclusion are crucial but often lacking. These materials underscore the urgent need for critical reflection, structural change, and a commitment to inclusivity

Reflection on the Materials

I have worked for many years in a creative industry that is predominantly white and have suffered the consequences of racial bias, both overt and subtle. I am carefully aware that I have racialised identities that can affect career trajectories, something Garrett (2024) captures so poignantly in her research. I see parallels for the film and television industry in the concept of the ‘leaky pipeline’ in academia, which is something that really resonates for me in my current position as a technical educator. Lack of black and brown professionals in leadership positions, for instance, is a result of the systemic barriers that are present in both industries. Being in this position as an educator, I am in a position to challenge these inequities for the sake of students of color and also as a role model.

The School That Tried to End Racism (Channel 4, 2020) uses a powerful metaphor—a race where participants are positioned based on societal privilege—to reveal structural inequalities. Factors such as race and privilege visibly affect opportunities, putting participants like Russell and Sarah clearly in a disadvantaged position. These inequalities are not just abstract concepts; they are deeply felt realities that impact students’ sense of belonging and potential. What struck me in The School That Tried to End Racism (Channel 4, 2020) is how deeply systemic privilege influences opportunities in a way that feels almost visceral, like the visual metaphor of an unequal race where participants’ starting points are determined by societal advantages. These inequities I have seen to shape the starting lines for myself at times, and likewise for my students, some of whom come into university already burdened by the weight of systemic racism. These are things I now need to think about with respect to my students of colour, not only their studies but also their future careers. Frustration, isolation, and, occasionally, resignation: these are the emotional responses of participants in the Channel 4 documentary, responses I have seen in my classroom.

Reading Orr (2022) criticizing diversity initiatives like Advance HE’s Race Equality Charter has got me thinking about the difference between well-meaning policies and their real-life impact. Such frameworks as these are meant to tackle inequalities, but they are often formulated at such a level of abstraction that they have little to do with the actual experience of those supposed to be helped. I also share Sadiq’s (2022) concern that diversity training can sometimes be performative, even though that is consistent with my teaching philosophy, which emphasizes storytelling and experiential learning.

Race and racism is an issue that is very close to my teaching practice and something that I believe educators should consider. It is something that helps me to see what my role is as an educator and how I should interact with the students. One of my students of color once said that not seeing people of their race in the UK industry makes it difficult for them to envision themselves in this profession, something I understand all too well from my own journey in the profession. The dynamics in the classroom, curriculum, interactions, and institutional structures are all impacted by race as well. For instance, film and television, as industries, have for years been white-dominated industries that have pushed to the side the contributions of people of colour as filmmakers and technicians. This not only restricts the students’ understanding of the industry but also fosters exclusivity.

Going forward, when I teach, I’ll try to upend these norms with diverse voices prominent and students challenged to consider whose stories are being told and, more importantly, whose are not. But I also understand that those efforts are usually limited by the structures of the university and the industry that surrounds me.

Conclusion

Interacting with these materials has been a humbling and eye-opening experience. As a black person teaching in a white field, I have a responsibility to challenge systemic inequities—not just in my teaching but in the structures that surround it. My goal will be to make my students see themselves as creators and changemakers in an industry that often excludes them. The journey toward anti-racism is ongoing, but with intentional reflection and action, I believe we can create classrooms and industries that truly reflect the diversity of the world we live in.

References

Bradbury, A. (2020) A CRT Framework for Education Policy Analysis. [PDF] Available on request.

Channel 4. (2020) The School That Tried to End Racism. [Online]. YouTube. Available at: https://www.youtube.com/watch?v=1I3wJ7pJUjg (Accessed: 30 June 2024).

Garrett, R. (2024) ‘Racism shapes careers: Career trajectories and imagined futures of racialised minority PhDs in UK higher education’, Globalisation, Societies and Education. DOI: 10.1080/14767724.2024.2307886.

Orr, J. (2022) Revealed: The charity turning UK universities woke. The Telegraph [Online]. YouTube. Available at: https://www.youtube.com/watch?v=FRM6vOPTjuU (Accessed: 5 August 2024).

Sadiq, A. (2022) ‘Diversity, Equity & Inclusion: Learning How to Get It Right’, TEDxCroydon. Available from: [TEDx Talks].

Intervention Plan: Empowering Inclusive and Sustainable Practices Through Hands-On Training with VECTAR Sets

Introduction: My Positionality
As a person of colour, I have often reflected on the inequities I have witnessed and personally experienced within the industry. The obstacles that students from marginalized backgrounds face in terms of race, disability, faith, or economic challenges run very deep.

I know how underrepresentation and exclusion can damper creativity, repress opportunities, and prevent individuals from fully contributing to the craft they are passionate about.

I think it is my duty as an educator, but also as someone with lived experience of marginalization, to actively work to tear down these barriers in the classroom.

For this intervention, I hope to develop a learning environment that is equitable, empowering and sustainable; a place where students of all identities can feel confident and able to succeed.

The Problem: Intersectional Barriers in Film Education

In my role, I have seen how and why traditional practices in film and TV production education are not inclusive for certain students.

• The heavy, toxic materials we use for set-design are something that students with physical disabilities might not be able to use.
• Faith based needs such as prayer space or flexible timing are not considered.
• Students from racial and cultural backgrounds that are underrepresented are often left without mentors who can relate to them or left behind in leadership positions.

These are systemic inequities that are further exacerbated by the lack of attention to sustainability within our industry. We are teaching the next generation the basics of filmmaking, and in doing so, we have the responsibility of preparing them for a world in  which environmental accountability will be paramount. That’s where VECTAR Sets come in: a new material that allows us to tackle both sustainability and inclusion.

The Intervention: Hands-On Training with VECTAR Sets

The VECTAR Sets are lightweight, recyclable, and customizable materials which provide a sustainable alternative to traditional set-building resources like MDF and plywood.

My Goal is to give hands on training to students from all backgrounds especially those from marginalized identities so they can feel secure in using VECTAR Sets for sustainable set design and production. This intervention is both equitable and sustainable in that it guarantees that students have the tools and training they need to succeed while  being taught to lead with responsibility.

How the Intervention Works

1. Creating Accessible Training Sessions

In order to reach the source of the problem I have found that physical and cultural barriers can prevent  full participation. In order to address this:

• Lightweight Materials: VECTAR Sets are easier to handle, reducing the physical hardship for students with disabilities when constructing the set.
• Adjustable Workspaces: I will make all the workstations I will be using to be wheel chair friendly and  ergonomically friendly so as not to make anyone feel left out.
• Cultural Sensitivity: I  will also try to see that students’ faith based needs are met by providing quiet places for prayer and  being reasonable with the time in relation to religious observances.

For me this is not just about complying with the minimal requirements of accessibility that I am about to describe, it is about creating an environment in  which every single student feels welcome and supported.

2. Building Confidence Through Step by Step Training

 It has been my experience that it is possible to feel intimated when one is in new territory and  cannot see oneself in leadership positions. Therefore, the training will be designed to build skills and confidence in  a step by step manner.

•          Introduction to VECTAR Sets: I will begin by taking  the material — its properties, environmental benefits, and how it can replace traditional materials — out of the  mystery.

•          Practical Handling and Safety: Students will cut, assemble and paint VECTAR  Sets with tools and techniques adapted to their individual needs, all while I demonstrate proper usage.

 •         Creative Applications: Every student will have the opportunity to customize their work and discover how VECTAR Sets  can be used to achieve a more professional finish.

This hands-on approach to learning allows students to feel  secure trying things out, coming up with solutions and taking responsibility for their learning.

3.  Promoting Leadership for Marginalized Students

As someone who has been the only black person in some professional  spaces, I understand how important it is to see people of color in leadership positions. To ensure equitable opportunities:

• I’ll rotate leadership roles within training teams so students from marginalized backgrounds can gain experience directing, managing resources, and making creative decisions.
• I’ll create a mentorship structure where students can seek guidance from industry professionals who share their identities or values.

These efforts are about more than just representation—they’re about fostering a sense of belonging and empowerment.

Addressing Intersectional Barriers

Through this intervention I will address the following inequities in my classroom:

•  1.        Disability: I will ensure that students with physical disabilities can participate fully in every aspect of set design by using lightweight materials and adaptive tools.
• 2.         Faith and Culture: I will create an inclusive schedule and make sure that training spaces respect cultural and religious practices.
• 3.         Race and Representation:  I will actively mentor students of underrepresented racial backgrounds, and encourage them to tell their stories and take on leadership positions.

Why This Matters to Me

I know the challenges of navigating an industry that wasn’t designed with people like me in mind as a person of color. This intervention is my way of breaking down those barriers for my students. I hope to give them the confidence and skills to not only succeed but also transform the industry into a space where everyone can thrive, by teaching them to use sustainable materials like VECTAR Sets and creating an inclusive learning environment.

Critical Reflection on the Sustainable Production Materials Intervention Plan

As a film and television technician at the University of Arts London (UAL) I work with students across a diverse cohort of undergraduate and postgraduate programs. I am responsible for giving technical support and training  to help students to meet the requirements for this changing industry. The curriculum of the university focuses on  creativity, technical excellence and innovation; however, inequities emerge because of systemic barriers that marginalized students  face. These include restricted access to facilities and materials, underrepresentation in positions of power, as well as  a dearth of cultural and faith based representation in the learning environment. Furthermore, sustainability in production practices  is not well addressed both in the curriculum and the industry, despite the growing global concern for sustainable production  practices.

Growing up as a person of color, I have learned the hard way what inequity and  exclusion look like. I have always been in environments where I felt like I was walking through fog,  unable to see the number of people who looked like me. This knowledge has really made me understand how  I should approach my teaching and this assignment. I understand that students from minority groups—be it by  race, disability, faith or socioeconomic status—face more challenges in getting the same opportunities in the learning  process. My positionality makes me feel for these students and hence I feel obligated to fight for them  so that they can be comfortable in their learning environment.

Initially, I was to address the  issue of neurodiversity in higher education, but after having a conversation with my tutor,  Carys, and my peers, I understood what needed to be done. The new intervention I am proposing  is about introducing sustainable production materials, particularly VECTAR Sets, to film and television production. This  change has enabled me to link sustainability with inclusion, so that the new materials can be easily used by  students of all races and conditions.

The Intervention Plan

This is an intervention that involved the organization of a hands on workshop to train students on how to  use VECTAR Sets. These are lightweight, recyclable and customizable materials that can be used as  a sustainable option to the traditional set building materials such as MDF and plywood.

The workshop was designed  to:

•           Improve the confidence of students in using sustainable materials.

•           Touch on issues  of accessibility for students with physical disabilities.

•           Encourage leadership and collaboration among students from minority groups.

 •          Encourage environmental awareness in the film and television production industry.

First Workshop Execution:

 •          Planning: After getting the permission from the course leader of BA Film and Television I used the recently  bought VECTAR Sets to design the workshop. The session began with an introduction to the materials,  then a step by step training on how to assemble and use them, and a group activity where the  students built small scale sets.

•           Participants: The workshop was composed of undergraduate students  of different ethnicities. The training focused on teamwork, role rotation and creative problem solving.

 •

            Feedback:

The participants appreciated the availability and flexibility of VECTAR Sets and agreed that these materials were  easier to work with than the conventional ones. However, some students suggested that more time should have been  allowed to explore ways of customization.

Challenges Encountered:

1.         Initial Intervention Focus: The initial focus on  neurodiversity had to be completely readjusted after feedback from Carys and peers. It was challenging  but ultimately rewarding to have to start over with a new intervention.

2.         Resource Constraints:  Coordinating access to VECTAR Sets and making sure that all participants had the right materials, required careful  planning and collaboration with the course leader.

3.         Cultural Sensitivity: The additional logistical considerations for  accommodating faith based needs such as scheduling flexibility for prayer were necessary.

Theoretical Underpinnings

Several key theories of inclusion are drawn upon by the intervention:

1. Intersectionality: (Crenshaw, 1989): I designed the workshop to address disability, race, faith, and socioeconomic barriers, with the knowledge that students experience overlapping forms of  marginalization. For example, lightweight materials reduced physical strain for students with disabilities, and flexible scheduling accommodated faith tools, based adjustable observances.
2. Universal Design for Learning (UDL): By incorporating accessible tools, adjustable workstations, and hands-on training, the workshop aligned with UDL principles to ensure all students could participate fully.
3. Social Justice in Education: Equitable access to resources and opportunities is at the heart of this theory. Introducing free or substantially discounted VECTAR materials helped address the financial inequities that might otherwise keep low income students from future adventures in filmmaking.

Responding to Inequities

This workshop directly addressed inequities in my teaching context.

• Disability: The lightweight  of VECTAR Sets made them easily portable for students with mobility issues. Inclusivity was ensured  through adjustable workstations during the training.
• Faith: Quiet spaces were designated for prayer and  the schedule was sensitive to religious observances.
• Race and Representation: Leadership roles were rotated through  students so that students from underrepresented backgrounds had the opportunity to lead projects.
• Economic  Barriers: All students were able to participate regardless of financial constraints with access to free materials.

Peer and Tutor Feedback

Feedback from my peers and tutor was very useful in the refinement of the intervention. My tutor for this unit, Carys Kennedy encouraged me to think about positionality, sustainability and achievability of the intervention plan, this led to the change in my initial focus which was neurodiversity to sustainability through VECTAR Sets. Peers pointed out the need to ensure that the workshop did not become a one off event, rather it should be part of ongoing initiative, and so I have sought approval for further training sessions. Their insights also emphasized the need for evaluation mechanisms to measure the impact of the intervention.

Evaluation of the First Workshop

I have assessed the outcome of the workshop based on the feedback of the participants

• Increased Confidence: Students stated that they feel more comfortable with using sustainable materials and several of them are eager to employ these skills in future projects.
• Accessibility: Though none of the participants of the first workshop is physically disabled, it was obviously pointed out that students with disabilities will feel included with the use of lightweight materials and ergonomic tools that made set construction more accessible.
• Collaboration and Leadership: Rotating leadership positions created an inclusive environment and provided an opportunity for students from minority groups to receive valuable experience.

Implications and Next has Steps

The success of the first workshop has several implications:

1. Expanding the Program: The workshop will now be part of an induction program for all undergraduate and postgraduate students in film and television production. This ensures sustainability and inclusivity are embedded across the curriculum.
2. Documenting Impact: I plan to  produce a 10 minute documentary on VECTAR Sets, describing their advantages and uses. This will increase awareness among students and faculty at UAL, and also elsewhere in the world through the university’s  website.
3. Evaluating Long Term Impact: I will do ongoing evaluations to find out how  VECTAR Sets affect student learning outcomes, confidence and sustainability awareness in the long term.  Surveys, focus groups and project analysis will be used to measure impact.

Action Plan

Short Term Goals:

1. Conduct the next round of workshops with new feedback.
2. Begin the pre-production process for the VECTAR documentary and have students help in the storytelling process.

Long Term Goals:

• Team up with other departments to include VECTAR Sets in interdisciplinary projects.
• Promote the usage of sustainable materials in professional productions through industry partnerships.

Reflection on My Practice

This intervention has been a transformative experience for both my teaching practice and personal growth. I have learned  the importance of listening to the feedback, of being flexible, and of centering the needs of the  marginalized students. As a person of color, there is a deep responsibility that I feel to create spaces  where students of all backgrounds can thrive. In a way, the challenges I faced in developing this intervention  were valuable learning experiences,equity and sustainability being necessary to actually transform education.

References

• Crenshaw, K. (1989). “Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory, and Antiracist Politics.” University of Chicago Legal Forum.
• Rose, D. H., & Meyer, A. (2002). Teaching Every Student in the Digital Age: Universal Design for Learning. ASCD.
• hooks, b. (1994). Teaching to Transgress: Education as the Practice of Freedom. Routledge.