Curriculum

I entered the classroom with the conviction that it was crucial for me and every other student to be an active participant, not a passive consumer…education that connects the will to know with the will to become. ― Bell Hooks

One mistake I’ve made over and over again: teaching traumatic events in history without understanding the need to embed them within a wider, and more empowering, social-historical narrative.

Picower’s work on the six elements of social justice has helped me understand the importance of sequencing, so that

1. students do not internalise the trauma of these events, and /or
2. see these events as the fault or inevitable condition of the victims’ existence
3. nor do these events define a people as powerless, voiceless, or lacking agency

Picower’s work is open source so that teachers can access it. And unlike most EEF research, it is qualitative – looking into case-studies of elementary curriculum sequencing – to examine the ‘how’ and ‘why’ of teaching material that addresses social injustice. The American elementary context is only problematic in the respect that Secondary teachers may need to collaborate across disciplines whereas Primary teachers have more flexibility within their own practice. This limitation aside, Picower’s work is game changing for middle and senior leaders with curriculum development responsibilities.

Her six steps for sequencing material related to social injustice are as follows:

1. Self love and knowledge: “provides students with the historical background knowledge to recognize the strengths and resiliency of their communities.”
2. Respect for others: “students gain respect for the history and characteristics of people different from themselves. By building on the natural empathy of children, teachers encourage students to care about “unfair” conditions that have affected others.”
3. Issues of social injustice: “a critical examination of how identities impact people’s lived and material conditions. Students explore historical and current issues of social injustice, allowing them to identify “isms” and to decide whether they find these “fair.”
4. Social movements and social change: “teaches students about how people have fought against oppression through social movements. Students learn that things don’t have to be how they are; unfair conditions can be changed, and students can contribute to that change.”
5. Awareness raising: “students engage in activities that increase the awareness of others in their community about the social issues they are studying.”
6. Social action: “students have the opportunity to experience what it means to struggle for justice by engaging in social action themselves.”

At Bristol Cathedral, our Decolonising Hub is looking at how we can work cooperatively across all disciplines to ensure these six points are used in an order which empowers students to change their world for the better. We noticed that no 1 & 2 are often combined when we teach any of our subjects as global disciplines. History, English, Geography, Citizenship and PSHE seem best placed to address 3 and 4. Art, Drama and Music seem well placed to contribute meaningfully to no 5 and 6. This year our goal is an exhibit that celebrates student work across the curriculum following Picower’s six steps.

As an example of how to do this in one discipline, our History department addresses this sequence in KS3 by teaching Africa Kingdoms in year 7, the Bristol involvement in the slave trade in year 8, and the Haitian Revolution in year 9. Students first learn about the academic, artistic and economic achievements of African kingdoms before learning about how Black Africans were exploited – so the limited Euro-centric narrative of the white man’s burden is robustly challenged. We also consider the cost of choosing oppression / exploitation over symbiotic trade and collaboration.

With the Haitian Revolution, students understand how an oppressed people were able to overcome tyranny. Black people are not simply represented as unfortunate victims saved by British emancipation, but as having agency and preceding British emancipation with their own by three decades.

To apply a micro-lense to sequencing, I’ve used Picower to think about how I present disturbing context for English texts in single lessons. For example, in the EMC’s excellent collection Diverse Shorts, the story “Brownies” by ZZ Packer addresses white beauty standards and the impact on young Black girls in 1980s USA. I use a video of the doll test to help students understand and empathise with the Black characters in the story.

This video shows several Black children point to a white (as opposed to a Black) doll when asked which is beautiful and good. The moment when Black children each identify themselves as the Black doll afterwards is deeply upsetting, and could serve to normalise these attitudes further if not preceded by content which shows this behaviour to be the likely effect of racist representations in mainstream media – and therefore in error.

So this year I started with the Black Panther’s Black is Beautiful movement in the 60s, and we looked at several examples of Black beauty across film and art (Step 1: Self Love / Knowledge and Step 2: Mutual Respect). Once we had looked at the qualities of these examples and why they were so successful in influencing style, we then discussed their awareness of these movements, and the extent to which Black beauty is mainstreamed in TV, film and advertisements. At this point, I showed the doll test (Step 3: Social Injustice).

Students were just as visibly moved by the doll test as in previous years, if not more so. But in our discussion afterwards, there was less a sense of defeat and pity and more of an understanding that feelings of inadequacy are down to mainstream media, and how race is represented. If Black beauty and excellence were represented more in the mainstream, the doll test might yield different results.

This level of thinking is not only ‘top band’ in terms of contextual analysis, but empowers students to challenge unfair and harmful narratives on the basis that there are better, richer narratives.

Many curriculum designers now recognise the benefits of sequencing knowledge using narratives for long-term memory (i.e. evidenced learning). But Picower’s work is also needed to unlock the agency of students to use that knowledge for meaningful social change.

I first realised I wanted to make books when I was five years old. I’d just bought Mr Greedy by Roger Hargreaves, from a stall in my school’s lobby. The purchase price was a mere 10 pence, and in that brief exchange of money for books, my life changed forever.

As I proudly held that little paperback, I experienced what I can only describe as sensory joy! The pristine shiny cover, the whiff of glue/ink on every page turn plus the satisfying creak from the spine as it inevitably yielded. I knew right then the magical process of creating books was a thing I must be part of. 

The problem was I was Black, and Roger Hargreaves was not. Neither were Jean and Gareth Adamson who created the Topsy and Tim series…or Roald Dahl, Eric Carle, Shirley Hughes, Helen Creswell, Ian Serraillier, Michael Bond, Edgar Allan Poe, or Henry Wadsworth Longfellow. These writers dominated my childhood experience and although their texts undeniably developed my literacy skills, they simultaneously dampened my ambition to work in publishing. Lack of exposure to diverse literature in my formative years meant I believed only white people were skilled enough, clever enough, and powerful enough to write and publish books. 

It wasn’t until GCSEs, when a radical history teacher introduced me to Toni Morrison, that I was finally exposed to Black authors. I devoured Morrison’s books, but the damage had already been done. My early literary experiences were deeply ingrained in my psyche and I had zero confidence in my abilities as a creative. 

Later, my A-level English teacher begged me to apply to Oxbridge, but fear of failure took over, and I refused. After all, in class we’d studied Shakespeare, Hughes, Wordsworth, Larkin, Chaucer…you see where I’m going with this! My parents didn’t envisage a publishing career for their Black daughter either so, eventually, I became a teacher, and the years rolled by. It took 25 years, from the time I bought Mr Greedy, to believe I was just about good enough to attend a publishing interview—and to my complete shock, I got the job!

I tell you all this so you understand the real impact of limiting access to multicultural resources on Black children’s outcomes. The literature we are exposed to when young plays a huge part in shaping our view of ourselves and the world around us. Publishers, educators, and parents need to be vigilant and discerning about the range of texts available to young readers to ensure they develop the self-confidence, self-worth, and drive to pursue their deepest desires. 

Which leads me to my next point: quality not quantity. Some Black books hitting the market, from white and Black authors, may check the diversity box but do not meet the high standards required for whole-class teaching. Teachers should not feel pressured to include Black texts—especially those written by celebrities—if they are not up to scratch. (I won’t name names!) 

As we’ve always done, regardless of the author’s ethnicity, texts need to be scrutinised for their suitability, otherwise we’ll just start pedalling backwards! The recent misjudged illustration, discovered by a student in one of AQA’s psychological textbooks, points up the need to evaluate all aspects of educational resources. 

So far on my book quest, I have encountered some inspirational like-minded teachers who are working hard towards change for the better. I would like to shine a light on some of them:

Calder Valley Books for Change: Amazing early years teacher, Ciara Sturges, has organised a much-needed crowdfunding initiative. Her aim is to raise enough money to buy quality diverse and inclusive books for every primary school in the Calder Valley, from Rastrick to Walsden. Follow her on Instagram and donate to her JustGiving page if you can. 

Jamel C Campbell is an early years educator, EY consultant and aspiring children’s author. He has worked in the industry for 18 years. Jamel is one of the UK’s Men in the Early Years Champions/Ambassadors. He has featured on numerous platforms as a keynote speaker and collaborated with many well-respected EY professionals. He stresses the importance of having men in the early years and a balanced workforce. He offers three training workshops for EY teams and settings, based around approaches to practice and staff wellbeing. Follow him on Twitter or Instagram. 

Jen Foster is a passionate educator and mentor who has released a refreshingly frank special-edition issue of her e-mag Foster Our Teachers, which focuses on diversity and inclusion in UK schools. It’s called ‘The Inclusion Issue’, it’s free to download and is written for teachers by teachers. It contains a great article about use of multicultural texts in the classroom. Follow Jen on Instagram to get the link to download the e-mag. 

‘…appreciate our rich and varied literary heritage…’ 

Primary National Curriculum in England: Framework Document, Dec 2014

Something uncontrollably visceral stirred in me as I watched the global resurgence of the Black Lives Matter movement, with George Floyd’s dying face indelibly imprinted on my mind. I became perplexed and frustrated wondering how I, a stay-at-home-mum in leafy white-middle-class Richmond, could make my voice count; make a real difference for my people in this long uphill struggle against racism, injustice and inequality. I thought about my past work—my teaching and publishing careers—and how this might drive me to support change.

I completed a groundbreaking primary teaching course back in 2001: groundbreaking because at that time, I believe, it was the only PGCE course of its kind with multiculturalism at its core. Back then, I was fervently taught the importance of embedding cultural diversity into every aspect of my teaching practice. Scrutiny of the white-male-scientist trope and Eurocentric teaching resources was radical but also necessary to ensure all children encountered positive images from their own racial/cultural heritage in the classroom. (I continued to challenge these issues during my time working as the only Black editor at a well-known educational publishing company.)

Back to the present, and deep into the throes of Lockdown One and homeschooling, two things happened that really crystallised my thinking. Firstly, my mixed-heritage son confidently asserted that ‘all people in Africa live in huts’. I was taken aback by this and on further questioning realised he had acquired this misconception from reading his big ‘fact’ book. 

I promptly researched for better books, and found not much in the way of age-appropriate reads, finally settling on Africa Amazing Africa by Atinuke which, although not perfect, offered a somewhat more nuanced depiction of life in individual African countries. 

Secondly, one morning, I opened our home school pack and read: ‘We are learning about national treasure, Sir David Attenborough’. My heart sank! I love a bit of Dave…who doesn’t? But I couldn’t help thinking this was a missed opportunity. How far had education come in terms of diversity and representation since 2001? How many Black zoologists/naturalists were being overshadowed by Sir David, and not being studied in schools? How will children who look like my son be inspired to pursue a science career if white men still dominate their early learning experiences? I know that great work is being done so what’s going wrong? I decided, there and then, I wanted to do something specific to promote the use of diverse and inclusive resources in schools.  

My personal insights within the context of the Black Lives Matter protests made me realised we need to go further in terms of accessing multicultural educational resources, especially Black literature. Black History Month is not enough; the odd book pack including the much overused Handa’s Surprise is not enough! 

Regardless of how many Black children are in the class, more lessons and resources must reflect Black people as a matter of course, if we are to thoroughly challenge systemic negative racial prejudices and make a real difference for our children’s futures.

Publishers have a huge part to play in this disparity. The Centre for Literacy in Primary Education’s ‘Reflecting Realities’ report in 2019 stated that from the 11,011 children’s books published only ‘743 were found to have BAME presence’. This seems dire but until the situation improves, we need to ensure children are accessing the wealth of wonderful BAME books that have already been published. 

I know teachers are tired and stressed by ever-changing government initiatives and ridiculous workloads and, now even more so, due to the unprecedented uncertainty that Covid-19 brings. I salute you! I could not do the job now under such tough conditions. But I do hope that somehow you will muster the energy to continue to be vigilant and reflective regarding your inclusive offerings. Comprehensive use of culturally diverse texts will instil a sense of self-worth, self-confidence, pride, motivation and belonging in Black children, which is more crucial now than ever before. 

So, my blog has a new purpose: instead of critiquing theatre, I am reviewing as many Black children’s books as I can, in the hope I can support primary teachers and parents. Each book is linked to the EYFS and KS1/KS2 curricular, where appropriate, to offer ideas as to where it could be incorporated naturally within teaching and learning. In doing this, I hope to promote use of quality texts by brilliant Black writers and illustrators, such as Laura Henry-Allain, Trish Cooke, Lucy Farfort, Dapo Adeola, and Nathan Bryon. 

I’ve also added a Black Children’s Book Directory which I’m constantly updating, and a teacher Resources section. 

One day it will be commonplace for us to truly reflect our rich, diverse literary heritage in schools. Whether you’re a teacher, parent, publisher or bookseller I’d really love to hear about any recommendations of books you may have; feel free to send them to me. This blog is just the start of something—who knows how far it will go—let’s just keep going! 

Support

If you find my blog helpful and would like to support my mission to get more quality Black children’s books into UK primary schools, then you can buy me a coffee here. Your donations, however small, will mean I can review more books and devote extra time to this mission. It will also help me to promote small independent bookstores instead of linking my reviews to Amazon. I appreciate any support you can offer. Thank you!