Inclusion

Building trust: working with Gypsy, Roma & Traveller students

Written by Christian Johnson

Christian works as a tutor with GRT (Gypsy, Roma and Traveller) students for Open Doors Education and Training, and is also a Policy and Campaigns Officer for The Traveller Movement.

I’m a tutor working for Open Doors Education and Training (ODET), a community interest company and educational provider offering funded and tailored education to Gypsy, Roma and Traveller children and young people. Having worked for ODET for over two years, one of the things we often hear from schools and other referral bodies, be that local authorities or youth service providers, is that they don’t know how to engage with different communities from Gypsy, Roma and Traveller backgrounds.

This is something which is unfortunately reflected in the data. When it comes to education, GRT (Gypsy, Roma, Traveller) communities have the lowest attainment rates of any ethnic group in the UK as well as some of the highest fixed term exclusion rates (21.26% for Gypsy/Roma in 2018-19 and 14.63% for Irish Travellers vs. 5.36% of all pupils) from UK schools. These figures are compounded by the well-known correlation between low educational attainment and exposure to the criminal justice system, often referred to as the ‘School to Prison Pipeline’, which extends to the GRT population. Almost 10% of children in the youth estate identified as GRT, which is extremely concerning when we consider GRT only constitute between 0.5 – 1% of the UK population.

In trying to address these widening disparities, we recently released an evaluation of one of educational programs, ‘Tutors for Young GRT’, in partnership with Leeds Beckett University titled ‘Building Trust, Stepping Together’. Through stories, poems and songs, researchers captured the voices and thoughts of a large cohort of GRT students studying with Open Doors Education across the country, distilling their findings into cogent and concise reflections on what works and what doesn’t. These conclusions represent fertile ground for other teachers and those working within education to develop their own approaches to engaging with young GRT.

Tutors for Young Gypsy, Roma and Travellers

In the wake of the pandemic and in response to the data available, ODET’s ‘Tutors for Young GRT’ program was created to provide the support needed to reduce the attainment gap between young Gypsy, Roma and Traveller students and their peers. Each student receives an hour a week of one-to-one lessons from their tutor over the course of a school year, focused on topics best suited to their needs and delivered remotely via Zoom. In designing the program, ODET was keen to ensure that digital access didn’t become a barrier to education – as it was for many students during the pandemic. With this in mind, the digital needs for each student are assessed upon joining the program and, if required, are provided with a suitable device to attend their lessons free of charge.

The tutoring itself is, paradoxically, both generalised but also tailored; encompassing all ages (provided they’re in full time education) and across all subjects. This broader scope gives us as tutors a greater flexibility to tailor our lessons to the needs and interests of the child. While we place an onus on core subjects, if a child is a particularly talented artist then we’ll try to help them cultivate their ability by assigning them a relevantly experienced tutor. The same goes for other subjects; it’s primarily about nurturing a passion for learning among the students and giving them the support they need to succeed, regardless of the subject.

Building Trust, Stepping Together

Compiling the voices and experiences of 135 students, alongside reports published by the tutors at the end of each lesson, the evaluation found the program to be successful in helping to address the educational inequalities faced by the Gypsy, Roma and Traveller young children and young people. These findings were broken down into several sections, each tackling a component of what helped the program’s delivery, and summarising the voices of the students.

Valuing learning despite school – There was an overwhelming sense from the students that learning was important. Many students recognised the importance of the core subjects but also expressed interests in the humanities, arts and music. The report found that despite a desire to learn, many Gypsy, Roma and Traveller young people leave school due to poor experiences in education, often stemming from issues such as bullying, instances of discrimination and racism, bureaucracy and digital exclusion. One student commented that ‘I prefer this (online tutoring through ODET) to learning in class because sometimes it can get a little tricky in class with other people, who can sometimes make it hard to concentrate’. This willingness to learn was reflected in the attendance figures from the program, which, on average hovered at a consistent 70%.

Quality Tutors – The report found that the one-to-one structure of the program was positively received. Consistent across the experiences shared by students, were mentions of the importance of tutors having confidence in their pupils’ ability and building productive and supportive relationships. Another point of emphasis was that students didn’t feel judged or pressured during their learning. One student mentioned that they liked that the tutors are not too “pushy”. I think it helps me learn faster because they never put pressure on us so we are able to focus more.

ODET’s tuition – Research has shown us that GRT communities are more likely to have poor experiences within the education system. Another key takeaway of the report was that the program helped students build confidence with learning, which then carried into mainstream learning. One student reported that ‘school has been so much easier since tutoring with [tutor’s name]. School feels like so much better and all the support I’ve been getting… I really hope our lessons can continue’. This was reflected in data aggregated from the tutors’ reports, which found that roughly 90% of students displayed a commitment level ‘at or above the expected level’.

My experiences working with Gypsy, Roma and Traveller Young People

The term ‘GRT’ itself is a broad umbrella, encompassing three varied groups (Gypsy, Roma and Traveller); each with their own distinct identities, variations and regional specificities. While there might be one broad term, the experiences of each student I’ve taught on the program have been resoundingly diverse. I’ve taught students who’ve left mainstream education in year 8 to be home-educated with their siblings, others who raise horses in their spare time; one young man who competes nationally for his age group in golf, and another who was awarded ‘student of the year’ in their school – the list goes on. In my experience, young people from Gypsy, Roma and Traveller backgrounds are, more often than not, high attainers, just not always in the context of mainstream education.

In a way, it’s a refreshing process to go through as an educator, for each lesson prompts you to reconsider and adjust your approach in order to better meet the needs of the child. Whether that’s through brushing up on your knowledge of golf terminology to teach spelling, or helping a student learn maths by designing a treehouse with them. This is where the format of the program, being one-to-one, really shines. It allows us as tutors, to tailor the lessons to the individual needs and experiences of the student, going at their pace while using material they’re passionate about. I realise it is a genuine rarity within the education sector, to have the scope and the time available to deliver lessons in this way, but it’s greatly needed for young GRT. In order to help address the widening attainment gap and allow these young people to go into the world confident and qualified to pursue a future they want rather than feeling like they’re on the back foot, programs such as these are absolutely essential.

One thing which is consistent across the students who’ve been on the program for a few weeks or more, is an amazing tenacity and genuine passion for learning. These students want to learn. Many just don’t necessarily see learning as synonymous with formal education. Several students have expressed this to me, that academic learning isn’t for them, that it’s for someone else.

This morning I received an email from a teacher in south London looking for poetry recommendations by Gypsy, Roma and Traveller authors she could teach to her year 7 class. I’m certainly no authority on GRT poetry, but it’s great to see educators recognising the importance of including positive Gypsy, Roma and Traveller representation in their curriculum. Including material from Gypsy, Roma and Travellers isn’t something teachers should ignore, but which they can find out about and incorporate. Because having texts, or paintings, or songs for that matter, from GRT artists, shows Gypsy, Roma and Traveller young people that education is for them, that it’s a path or stepping stone they can take to help them build the life they want.

Two of the key words which kept coming up in feedback for Leeds Beckett’s evaluation were patience and support. Many of the students reported feeling intimidated by school, that it was scary, lonely, and competitive. With many students, I noticed a dramatic shift in their attitude to learning after just a few weeks and I think this has a lot to do with just feeling comfortable. Having a historically difficult relationship with the UK’s education system, it’s important that teachers are patient, understanding and sympathetic of the structural barriers faced by many of Gypsy, Roma and Traveller young people and their families before them.

In talking about the report and my experiences as a tutor on the program, I hope to show others working with these young people that they want to learn, want to engage, and will do great things if given the opportunity.

For further information and guidance on techniques to engage with the GRT communities, I’d certainly recommend our recently released toolkit of best practice, titled BESTIE. Released in partnership with the National Youth Association, the toolkit provides a wealth of helpful guidance for practitioners working with young GRT in different contexts. You can find the toolkit here.

Two Years On: Where are we now?

Written by Hana Malik

Hana Malik is currently an Associate Senior Leader, Head of English with a passion for social justice, diversity and equity.

We decided, after the murder of George Floyd in the US, that we wanted our educational organisation to join the movement against racism and we turned our school towards the necessary work it took to be anti-racist. Now, two years on, I find myself asking where we are and what we’ve achieved, if we’ve made any positive changes to the lives of our staff and students and if our DEI work has moved us forward.

We have heard it before, and it is key to achieving success: DEI work is circular – it is evolving and the work is never ‘done’. It is vital therefore to reflect on progress and ensure the evolutions keep happening.

Ella Washington, an organisational psychologist and founder and CEO of Elevate Solutions (a DEI strategy firm), helps to clarify the ‘five stages of DEI maturity’ and how we might evaluate the work we are doing. The five stages are: aware, compliant, tactical, integrated and sustainable. She explains this in her upcoming book as well as for the Harvard Business Review: https://hbr.org/2022/11/the-five-stages-of-dei-maturity She has also spoken about the three Ps of DEI evaluation.

Purpose

The most important place to begin is with the why, especially because there is (not yet anyway) no standard of DEI in an educational setting against which you can measure your organisation. No teacher standards (although meeting the needs of learners is often cited as DEI adjacent) and certainly no Ofsted criteria under Quality of Education or Personal Development. I consider our school and think about where we were in 2020. Why did we join the movement? Did everyone know where we were going and why we were going there? Did everyone feel safe in joining the journey?

There were great successes in this area, especially in 2020 and 2021. Now however I must admit that our commitment to DEI has become something of an ‘extra’ improvement priority. Not because we don’t believe in DEI, but because, like all schools, the reality of exams, Ofsted, sky-high bills, mean that we are juggling countless balls and it has been hard to hold on firmly to the DEI one. Most important perhaps is the question of whether our why has changed and if as leaders we can be courageous enough to acknowledge that and realign the vision.

Pitfalls

This can be difficult, but honest reflections and consideration of barriers and pitfalls will contribute to successful and sustained DEI work. Were leaders vulnerable and open about why we’d started this journey thereafter building confidence and trust in the staff body? Did staff have a secure and shared language about DEI? Were changes manageable and sustained?

We’ve fallen into some predictable pitfalls. The one that is arguably most challenging is that we have stopped communicating our vision and goals for DEI. Is it still on our school improvement plan? Yes. Do we all know why it’s there and what change might entail? No. Secondly, the work of DEI cannot fall to one person. A DEI champion is great, but what happens when they leave? We know how important middle leaders are in delivering change, and it is in that room we can ensure that DEI is sustained.

Progress

The all-important ‘this is progress’ stage. The curriculum, the outcomes, the senior leadership team. We want to see progress across all elements of our organisation. So, what does progress look like? What does it look like in the short term and the long term? How can we find out where we are now and where we need to go next?

We do have a more diverse and representative SLT. We do have a more inclusive recruitment process from blind CVs to diverse panels. Our students do learn about a wide range of topics; from kabaddi in PE to reframing migration. There are boxes we can tick now, that is true. But we know our work is far from ‘done’. We will need to return to the question of what progress looks like for us and go from there. If schools are microcosms of the society we live in, we need to think carefully about what DEI in a socially just and equitable world looks like. We can then build the change we want to see.

When Does Identity Matter?

Written by Mahlon Evans-Sinclair

Mahlon Evans-Sinclair is an experienced educator with extensive participation in the fields of learning, professional & personal development, and EDI (Equity, Diversity and Inclusion).

A good rule of thumb is being able to articulate its relevance to yourself.

I often read many stories/recollections that involve identity markers as a descriptor.

I’ve reasoned with the many manifestations of how people use them and figure that whatever the expression, the main reason is to draw attention to something that seemingly has relevance to the story… but does it always…

A former colleague would often tell stories and when an identity descriptor would come up, they would often pause and say ‘and (e.g. race) is relevant to the story here because’… At first it would take me out of the story as I would wonder what the point of drawing attention to it was for, but the more I heard it being said, the more I felt comfortable and more understanding of its intention – It was a signifier for both the storyteller and the audience that the inclusion of this marker was intentional and why.

In thinking about how we use markers in education, sometimes we implicitly state things and expect that others instinctively know what we mean, or we (un)intentionally ‘add weight’ to the meaning of our stories by throwing in unexplained identity markers as though they are adjectives.

Consider for example that one of the students in a class has a learning difference that needs to be taken into account. It makes sense to say, ‘and this status matters here because (it will help with your planning/seating arrangements/conversations with them and their family)’. Consider that the same student happens to be the only non-white student in the class. Would stating that there’s a ‘Black kid with dyslexia’ in the class be helpful in the same way?

It’d be useful to think about what you’re actually intending to state.

– Is the race as important as the learning difference?

– Do the race and the learning difference compound?

– Are there no other ways of describing the student?

You could say that this would be simply solved by knowing and using the student’s name – yes(!) – however, we don’t always do this, especially when retelling a story to an audience who may not have the same level of connection to the subject matter.

So, consider when telling a story that involves an identity marker (such as race, gender, age, sexual orientation, physical or mental difference, etc), add in a clarifier of ‘their identity matters here because…’ and see if it actually does.

Diverse Educators: A Manifesto - Book Review

Written by Madeleine Spink

Madeleine completed a PGCE in Citizenship at the IOE after studying at the University of York and Goldsmiths. Madeleine now teaches Sociology, PSHCE, Oracy and History at Langley Park School for Girls in Bromley.

Diverse Educators: A Manifesto is edited by Hannah Wilson and Bennie Kara, with contributions from over 100 educators, structured around the Equality Act 2010.

It starts with a quote from Maya Angelou that “diversity makes for a rich tapestry, and we must understand that all the threads of the tapestry are equal in value no matter what their color.” The books format is best described as a tapestry. It is made up of ten chapters, one for each of the nine Protected Characteristics (Age; Disability; Gender Reassignment; Pregnancy and Maternity; Marriage and Civil Partnership; Race; Religion and Belief; Sex; Sexual Orientation) with a tenth chapter exploring intersectionality.

The book is collaboratively produced and mixes personal and professional experiences. Educators generously sharing their experiences and learning include primary and secondary teachers from all age groups, backgrounds and life experiences. The book develops the readers empathy to the diversity of educators, as well as the diversity of opinion of people within each protected characteristic. For example, the chapter on disability includes personal experience, the need for disability in RSE, practical tips to involve students in curriculum planning and data on the permanent exclusion rates for disabled students. It feature’s ACT’s own Lee Jerome on Intersectional Citizenship as a status, a feeling and a process. The chapter on Transgender inclusion is also insightful and talks about Lucy Meadows, whose death should not be forgotten by teachers who have followed her into the profession.

Deep questions are asked throughout, and the contributions informed my thinking about whose responsibility inclusion is, whose work it often ends up being and whether inclusion work is for the long term or ‘en vogue’. I would have loved to have seen a chapter talking about working class teachers existing in the middle class school environment, and how this identity intersects with the protected characteristics.

The variety of editing and writing styles did make the manifesto lack cohesion and feel inaccessible at times. The structure takes time to get used to, and can be navigated either by starting with the editors overview and selecting the sections that appeal to a particular interest, or by focussing on the key takeaways and ‘contributions’ to the manifesto at the end of each chapter. This changes depending on how the chapter has been edited, and some chapters are referenced while others lack referencing. It is a tapestry of a book, to capture such a variety of perspectives is a huge achievement, but not everything will appeal to everyone.

Diverse Educators is a book to dip in to, reference and use as a guide to practical steps that can be taken to inclusion. It would be a good choice for a staff book group and comes with a reading guide and questions. There’s a lot of ways this resource can be used and shape teaching, learning and the school environment.

More isn’t enough

Written by Charles Golding

Charles Golding is a creative director and filmmaker, a disruptor with a passion for change.

CARGO, Charting African Resilience Generating Opportunities, was launched in 2018 to address the lack of inspiring African and African diaspora narratives in education. Since then, awareness has been raised of the bias in representation in the current curriculum.

In the wake of the resurgence of the Black Lives Matter movement in 2020, many groups and organisations have sprung up to address the inequality and lack of diversity in business and education. We cannot be sure whether these organisations were echoing the zeitgeist or capitalising on the moment. Either way, we are now in an unprecedented time where diverse resources and educational tools are available on a scale unimaginable a few years ago. From major publishers, academics and celebrities, it seems many people have thrown their hat into the ring to help address the perceived lack of Black history within our classrooms.

When CARGO began its journey into the world of education, we made a number of conscious decisions that would help define our focus and ambition. As Lawrence Hoo, CARGO co-founder recounts in the BBC documentary The Classroom Revolution: “At school, we weren’t taught white history.” This is an important distinction with the language we use to describe our work.

We choose not to categorise the material we created with the binary simplicity of racial politics. We put language at the heart of our material. For example, we use ‘of African and African Diaspora heritage’ rather than ‘Black’; ‘of European heritage’ rather than ‘white’; ‘enslaved people’ rather than ‘slaves’. Our choice of words help to humanise often dehumanised narratives and define our direction.

Another important distinction is our focus on engagement. We do not want our material to feel like a traditional classroom resources. We approach the creation of CARGO Classroom resources with a desire to create material that will engage, educate and entertain.

Beyond our drive to address the inequality within the secondary school system was a realisation there was a need to energise and enrich the dusty and often antiquated environment of teaching in schools. We understood there was a void beyond racial inequality that spanned generations. The traditional institutions that have governed the distribution of educational material are no longer fit for purpose and have become out of touch with the needs of today’s students. Pupils are demanding change, and all too often, are taking control of their own learning. Due to this demand, we are now developing KS1 and KS2 primary school resources as an addition to the CARGO Classroom KS3 secondary school resources currently available.

No longer can the current frameworks and structures that have governed learning be adequate to fulfil the ideals and aspirations of the coming generations. We want to create materials that would be appropriate for children raised in the age of mass media and gaming. In an environment where information is more accessible than ever before, we know it is important to elevate our material to compete with the ever-changing landscape of digital media.

The CARGO Classroom resources utilise rich, illuminating content from contemporary illustrations, engaging narrative poetry and cinematic videos. We acutely realise the importance of broader representation within teaching and the cross-cultural gains that can be made through a deeper knowledge and understanding. However, the information is only part of the puzzle with the method of delivery and context of the learning being equally as important if we are to inspire engagement and retain learning.

As part of the BBC’s ‘Classroom Revolution ’ documentary, Lawrence visited two children who had been excluded from mainstream education. These students were categorised as hard to reach and subsequently hard to motivate and engage. Their teacher, Rebekah Leese, decided to structure an activity around one of the CARGO Classroom lessons. What you don’t see in the film is as the lesson continues, tutors from other classes gathered in the corridor in amazement as they attempted to look through the windows of the classroom. They couldn’t believe the children stayed engaged for as long as they did. Rebekah remarked: “We are lucky to maintain their concentration for 20 minutes; they were engaged for over an hour.” We now understand one of those students is pursuing history as a subject for further study. Obviously not every classroom will benefit from such a monumental learning experience as a result of CARGO Classroom resources. However, the context and delivery of resources should remain at the forefront of our desire to rejuvenate the landscape of modern learning. It isn’t enough to just supply the material and tell different stories, it’s about how you tell those stories and how we can maximise engagement. We are not interested in ticking boxes; we are here to pull down barriers and broaden ambition.

For more information about CARGO Classroom, please visit www.cargomovement.org/classroom

On Disability #IDPwD2022

Written by Matthew Savage

Former international school Principal, proud father of two transgender adult children, Associate Consultant with LSC Education, and founder of #themonalisaeffect.

“My own heart let me more have pity on; let

Me live to my sad self hereafter kind,

Charitable…”

(Gerard Manley Hopkins)

In many ways, I have enjoyed my return to face-to-face consultancy, and to the buzz, warmth and joy of human interaction. However, I have also realised something else: on Zoom, I was not disabled. On Zoom, I could still walk and run, swim and cycle. On Zoom, I did not need my wheelchair, crutches or mobility scooter to move around. On Zoom, nobody would have known I was any different.

In recent months, I have been to restaurants with friends and colleagues, and I have developed an interesting habit. As soon as I am seated, I ask that my scooter and crutches are taken away out of my view and the view of others. I do the same when I am speaking to an audience too. Somehow, I seem to think that, if my disability is hidden from view, it will no longer exist.

When I first became ill, the talk was all of diagnosis and recovery. Medics were optimistic, and friends and family still asked that I “stay positive”. However, with time, the medics started to lose hope, and friends and family, not knowing what to say, chose, instead, to say nothing. It feels increasingly like my present has become my future, the two intertwined.

Although often relentless and ablaze, my pain is silent: mixing medication and mind muscle, I try to ensure that nobody knows. Similarly, I have managed to mask my encroaching stammer so far, although I know I will start to lose that battle soon. But people see my inability to walk before they see me; and, therefore, try as I might, it cannot be hidden.

This has presented me with a problem. As my disability becomes my body, I cannot be ashamed of one without being ashamed of the other too. Like many who have survived childhood trauma, I have a lot of shame, but I have realised that I cannot be ashamed of my disability. And that, as long as it is a guest in my house, I must welcome and embrace it as myself and, in so doing, love it too.

#DisabilityAwareness #DisabilityPride

Desire to study diverse drama and playwrights in schools not matched by current educational landscape

Written by Margaret Bartley

Editorial Director for Literary Drama at Bloomsbury. Since 2002 she has been the Publisher of the Arden Shakespeare and now has editorial responsibility for Bloomsbury's digital platform Drama Online, the Methuen Drama imprint, and the Arden Shakespeare. She is Bloomsbury’s representative on the Lit in Colour Advisory Board and sponsor of Bloomsbury Academic’s Diversity, Equity and Inclusion working group.

90% of drama texts taught at GCSE and 96% at A Level English Literature are written by white playwrights

New research released today by Bloomsbury Publishing, through its Methuen Drama imprint and as part of its Lit in Colour programme, illustrates the popularity and contradiction of teaching drama texts for English Literature at GCSE and A Level in today’s secondary schools in England and Wales.

Drama (excluding Shakespeare) is not compulsory in the GCSE English Literature specification, yet 93% of teachers who responded to Bloomsbury’s survey choose to teach a drama text to a GCSE class. Under 2022 curriculum specifications, drama texts by white playwrights account for 90% of drama texts taught at GCSE and 96% at A Level English Literature. This contrasts with 93% of teachers who said they would like to see a more ethnically diverse range of writers offered by exam boards. This desire from teachers is met with student demand. Of the teachers surveyed, 65% said there was a demand from their students to study more ethnically diverse writers.

Launched in 2020 by Penguin Books UK, alongside race equality think tank The Runnymede Trust, the Lit in Colour campaign aims to support UK schools in diversifying the teaching of English and to increase students’ access to texts by writers of colour and from minority ethnic backgrounds.

Bloomsbury’s Methuen Drama imprint has a world-class play portfolio and playwright relationships that complement and expand on the original Lit in Colour campaign. The programme’s aim is to introduce new plays to the curriculum, offering students access to more diverse, representative and inclusive work, opening up the ways in which all drama texts can be studied, creating new ways to explore plays and contributing to wider discussion and representation in the classroom.

Other findings from the research illustrate the important role drama plays within English Literature at secondary school study:

- There are currently just 2 drama set texts by Global Majority writers available at A Level English Literature
- With the right support and resources in place, 84% of respondents said they would be likely to choose a new drama text for GCSE English Literature
- We asked teachers about the support they need when teaching drama set texts: the top three resources listed were recordings of performances (67%), model student answers to exam questions (65%) and resources on social/cultural context (57%)

66% of survey respondents said they would like more support to teach texts that tackle issues relating to race or ethnicity

- 0% of students answered an exam question on a play by a Global Majority writer in England in 2019*

In England in 2019*, 79% of GCSE English Literature candidates answered an exam question on a drama text, 349,337 students (65%) answered a question on An Inspector Calls in 2019 assessments

Margaret Bartley, Editorial Director for Literary Drama at Bloomsbury, commented: “The landscape of teaching drama in English schools has remained largely unchanged. Our research shows that there is real appetite for change and that publishers, theatre makers, examiners and teachers need to work together to deliver change to the curriculum. If we empower teachers to switch texts with confidence, students can continue to benefit from the positive impact and influence of studying plays. In the future, those plays will better reflect the student cohort and ensure students see themselves represented in the texts they study. Bloomsbury is committed to playing our part in delivering this change through our proactive programme of new play text publishing, supported by the resources teachers and students need to study and enjoy them.”

Change is coming – what should the future look like?

Real change is coming. Just two years on from the Lit in Colour campaign, efforts are being made by all five major awarding bodies in England and Wales to diversify the set texts within both GCSE and A Level specifications for English and Drama. By 2025 English Literature students in England and Wales will have the option to choose from 10 new modern play texts by writers of colour at GCSE and A Level.

The importance of live performance

Drama can be more accessible than other genres and many enjoy the interactivity that the format brings. A 2015 curriculum change to English Literature removed the necessity for a student to watch a live production, leading to systemic changes in the teaching of drama texts as part of the English curriculum, which are difficult for teachers to counter.

Teaching drama as an experience through live performance is critical in the successful introduction of new plays. When diverse texts are performed in theatres and included on the school curriculum, more could be done to engage with the playwrights themselves. There needs to be more opportunity for playwrights to talk about their work and context, and for schools and teachers to engage with playwrights directly.

Having access to staged performances through services such as Bloomsbury’s Drama Online, which has collections of filmed live performances including those from the National Theatre and Shakespeare’s Globe, is vital to bringing teaching to life, inspiring debate and illustrating what the author or playwright is trying to convey.

Empowering teachers to take a different approach

The research shows a clear desire among teachers to expose pupils to a diverse range of literature, driven by the need to reflect the student cohort and ensure students see themselves represented in the texts they study. There is also a desire to share diversity of thinking and hear voices other than their own. Importantly, this needs to represent a variety of backgrounds and to portray a range of lived experiences including, but not limited to, race-related issues.

Introducing new play texts to the classroom is a big undertaking and requires time and energy from teachers who are already stretched and time-poor. It is clear that teaching a new text is a significant undertaking for teachers who need to create new schemes of work and lesson plans, and research the text’s critical and performance history. Research responses show that teachers prefer to refer to past papers and evidence of the approach taken in assessment for benchmarking their teaching plans. This understandably means teachers often choose to teach the familiar and reliable options with which they have had positive learning and exam outcomes in the past.

Giving teachers the tools they need will empower them to teach new texts and approaches with greater confidence, helping them achieve the success they want for their students.

Teachers also told us that they have more freedom at Key Stage 3 (KS3) to choose diverse texts, as the curriculum is not limited by exam specifications. Teachers can therefore introduce drama texts from diverse writers at KS3 and build confidence in the teaching of these texts, before being limited by exam specifications at higher key stages.

There is also an opportunity to teach the familiar set texts differently, while they remain on the syllabus, by reframing how they are taught. Alongside new texts from diverse writers, existing texts can be taught through a different lens that resonates more with today’s students, such as gender, identity or class. Given the predominance of plays like this, reframing the way established canonical texts are presented offers teachers and students enriching ways to engage with them alongside newer texts.

Methodology

This report draws on research from multiple sources: a quantitative survey, in-depth interviews, roundtable discussion and desk research. Participation was entirely voluntary. Research was carried out by independent research company Oriel Square Ltd and supported by Insightful Research. The online survey, carried out in June 2022, targeted teachers of GCSE English Literature in England and Wales. Of the 141 respondents, 16.3% identified as Black, Asian or of Multiple Ethnic background, compared to 10.4% of teachers in England. Interviews were conducted with a sample of four teachers, selected either because they were taking part in the Lit in Colour Pioneer Pilot programme, ran in partnership with Pearson Edexcel, or because they had responded to the survey and agreed to take part. As a response to the teacher research, Bloomsbury, the National Theatre and Open Drama UK hosted a roundtable discussion with stakeholders from publishers, awarding bodies, theatre organisations, and practitioners, authors and playwrights to discuss how the drama and theatre community could support schools with the teaching of diverse drama texts.

*2019 assessment data was used in the research as the most reliable data, as COVID-19 interrupted live exams data and 2022 data is just being published

Media enquiries: to Ginni Arnold, Head of Corporate Communications at Bloomsbury on ginni.arnold@bloomsbury.com or 07968730247.

Editors’ Notes

Bloomsbury English and Drama for Schools list includes:

The popular Student Edition series and GCSE Student Editions and Guides featuring plays for more than 14 core set texts for GCSE and A Level English Literature and Drama such as Blood Brothers, A Doll’s House, DNA, The Crucible, and An Inspector Calls.
The Arden Shakespeare Third series for A Level and beyond, and Arden Performance Editions for performance and study.
The RSC Shakespeare series, including The RSC Shakespeare: Complete Works and 36 individual play editions.
New Mermaids series for classic play editions including Doctor Faustus and The Duchess of Malfi.
The ever-growing Plays for Young People series which offers age-appropriate plays by a diverse selection of contemporary playwrights for young people to perform and study.

Find out more at Bloomsbury.com/DramaForSchools and @MethuenDrama

About Bloomsbury

Bloomsbury is a leading independent publishing house, established in 1986, with authors who have won the Nobel, Pulitzer and Booker Prizes, and is the originating publisher and custodian of the Harry Potter series. Bloomsbury has offices in London, New York, New Delhi, Oxford and Sydney.

About Lit in Colour

Lit in Colour was launched by Penguin Random House and The Runnymede Trust in October 2020. The campaign aims to ensure English literature better reflects contemporary culture and society, to increase understanding around racial equality and to give students access to a diverse range of authors and books.

Lit in Colour published a major piece of research: https://litincolour.penguin.co.uk/ Diversity in Literature in English Schools in June 2021 which reviewed the current state of play in English Literature education and made practical recommendations for change, carried out by an independent team at Oxford University’s Department of Education.

Find more information at penguin.co.uk/litincolour and @PenguinUKBooks

About The Runnymede Trust

The Runnymede Trust is the UK’s leading independent race equality think tank. We generate intelligence to challenge race inequality in Britain through research, network building, leading debate, and policy engagement.

Runnymede is working to build a Britain in which all citizens and communities feel valued, enjoy equal opportunities, lead fulfilling lives, and share a common sense of belonging.

In order to effectively overcome racial inequality in our society, we believe that our democratic dialogue, policy, and practice, should all be based on reliable evidence from rigorous research and thorough analysis.

@RunnymedeTrust |runnymedetrust.org

The 3 Cs of DEIB Work: Consciousness, Confidence, Competence

Written by Hannah Wilson

Founder of Diverse Educators

Our Journey

When I am running training on DEIB (Diversity, Equity, Inclusion and Belonging) for different stakeholder groups, I suggest that they see this work as a journey. The DEIB journey is one we go on individually and collectively, personally and professionally. The journey is non-linear and quite messy – different people will go off on different routes to reach the same goal and people will get on and off at different stages. This journey is a marathon and not a sprint, so we need to pace ourselves and we need to sustain our commitment to the work.

Motivation to go on this journey is great, but it is the habits that we unlearn and relearn, that will enable the DEIB vision to become embedded into the provision. This is where we see impact and we can make change happen. Moreover, this journey has three parallel lanes. The 3Cs of Consciousness, Confidence and Competence are my way of breaking down the different things that we need to develop in ourselves and each other.

Our Consciousness

Def. the state of being aware of and responsive to one’s surroundings; a person’s awareness or perception of something.

We need to start here, fighting our bias for action as educators like to do and get busy finding solutions to problems. But we need to start with the being. We need to become aware of ourselves, of each other and of the environment in which we are existing.

Consciousness is about exploring our own identity, recognising our own bias and navigating our own power and privilege. We need to become conscious of what we have not experienced, of what we have not been exposed to, of who we do not know.

We talk about getting ‘comfortable with being uncomfortable’ because we need to do the ‘inner work’ before we can start the ‘outer work’. We need to start with understanding ourselves on a deeper level.

The call to action is to be able to look in the mirror and to understand who we are and what shapes our thinking/ behaviour.

Our Confidence

Def. the feeling or belief that one can have faith in or rely on someone or something; the telling of private matters or secrets with mutual trust.

With increased awareness, we recognise that we do not have all of the answers. So we need to get confident in acknowledging that we are not the expert and that we need to listen to and learn from others. As we grapple with new concepts and new language, we need to model that we are going to get it wrong, that we are going to need support and feedback, and that we will make mistakes, but we will learn from them.

Confidence is about getting curious and asking more questions. We need to listen to others, to their lived experience, in order to expand our own perspective. We need to have the confidence to discover some hard truths about our organisation.

As we become confident engaging with the subject matter, we then need to become more confident in what we say and what we do. We need to stand up and speak out on issues impacting our community, we need to call in and call out behaviour and language that is not inclusive.

The call to action is to be willing to be courageously open and vulnerable.

Our Competence

Def. the ability to do something successfully or efficiently; the quality or state of having sufficient knowledge, judgment, skill, or strength.

With consciousness and confidence, we can then start developing our competence. In order to do the work in realising our DEIB intentions and bringing our vision to life, we need to develop new skills.

‘We don’t know what we don’t know’ until we start the learning journey. By slowing things down we can be more intentional in identifying the gaps in knowledge and in planning the training to close these gaps over time.

Being competent means that we develop muscle memory, we practise until the new skills feel natural and automatic e.g. diversifying the curriculum/ library, reviewing policies/ processes and practices through a DEIB lens, holding courageous conversations, showing up as an ally.

The call to action is to invest time and resources into ongoing training for yourself and others.

Our Commitment

So as we head to the end of the year, we invite you to reflect on the journey you have been on with your DEIB work. Where have you become more conscious, more confident and more competent? And how have you cascaded this learning to others?

Working with Gypsy, Roma, and Traveller Young People

Written by Karen Self

Karen joined the NYA in late 2020 as a Youth Work Specialist. She is a JNC professionally qualified youth and community worker and qualified trainer. Karen has worked in the youth and community field for over 25 years, including managing and leading activity across a range of sectors and environments.

Karen Self, Learning and Development Manager, National Youth Agency, describes why she is so passionate about the new Gypsy, Roma and Traveller CPD course for youth workers and others working with young people looking to ensure their services are inclusive.

‘’The most important piece of advice for any youth service hoping to engage with young Gypsies, Roma and Travellers is to go out and meet and talk to the young people, their families and others in the community.’’ This statement, from our recently launched CPD course ‘Working with Gypsy, Roma, and Traveller Young People, might seem obvious if you’re a youth worker, but how well do you really understand Gypsy, Roma, and Traveller communities?

Perhaps you’re already working with Gypsy, Roma, and Traveller young people but not realise that you are because, contrary to the common misconception, some 78% of Gypsy, Roma, and Travellers in the UK live in permanent bricks and mortar housing (according to the 2011 Census)

Furthermore, do you fully appreciate the challenges the Gypsy, Roma, and Traveller communities face?

This question takes me back to my work directly with young Roma people, as well as managing teams that have worked with the local Roma community. I recall that it was essential that the team gave their absolute commitment to building trusted relationships within the community over a period of months, even years. Yes, we faced many challenges, the young people we connected with were often discriminated against by peers and members of the community, a mutual lack of cultural understanding often led to conflict with other young people, there were also worries about our intentions and our own concerns about the risk of exploitation of Roma young people by others; however, over time the work flourished, and we witnessed many successful outcomes for young people. We found that by focussing on their similarities with other young people – like football, music and dance – we were able to improve relationships and understanding amongst young people and by working with partners in the community and in the local secondary school we were able to tackle some of the more complex issues.

Our work with a group of Roma young people was successful because the lead detached youth worker was knowledgeable about the communities they worked alongside; they always strove to understand their needs and experiences and were committed to developing trusted, yet boundaried, relationships and instilled these values in their team of detached youth workers.

Would a course have improved the team’s and other professional’s knowledge and understanding? Most definitely! That’s why I’m so passionate about the two Gypsy, Roma, and Traveller CPD units the National Youth Agency has produced alongside ODET (Open Doors Education & Training).

The second course provides insights into successful activities to engage young people from the Gypsy Roma and Traveller communities, including.

The importance of youth work with the community and effective approaches to engagement, social inclusion outreach, diversity, integration, and multi-agency work all with a focus on promoting pride and the visibility of cultures.
How to identify and analyse participation barrier challenges.
Examine good practice examples in youth work settings and how to develop inclusive practice in their own settings.

Including case studies, useful templates, and a wealth of resources, the ‘Working with Gypsy, Roma and Traveller Young People’ CPD is a must for any Youth Worker or any other professional working with young people who wishes to provide meaningful, trusted, and inclusive services.

You can access the CPD Parts 1 and 2 on the National Youth Agency website at www.nya.org.uk/academy-cpd/