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Rebelling together against the myth of the lone creative genius: how arts-based pedagogies enhanced community learning

by Katherine Friend and Aisling Walters

When we write about creativity, we often refer to the work of geniuses; [distancing] ordinary members of society from the act of creativity by reinforcing a perception that they could never be creative themselves (Dymoke, 2020: 80).

Digital story by Kate Shpota

The state of creativity

The damage wrought by the stereotype of a creative as an isolated genius seems likely to increase within the current context of the UK school system, where an overloaded curriculum and assessment driven pedagogies dominate. The 2023 State of Creativity report notes that creativity has been ‘all but expunged from the school curriculum in England’.  Educators across schools and departments in HEIs are attempting to resist the current educational practice which promotes students as consumers and centres our students as active producers in their own learning. Yet, as education policy from primary through to higher education continues not only to cut its emphasis on the humanities and creativity,  but also eliminate arts and humanities departments altogether, higher education runs a profound risk of further alienating students from the benefits of creative thinking and artistic practice.

Our undergraduates, being educationalists, use sociological and psychological lenses to understand the social and cultural landscape affecting both classroom learning and community education more broadly. Nevertheless, despite education being at the intersection of many academic disciplines (Sociology, English, Philosophy, History to name a few), students are often reluctant to incorporate alternative approaches into their learning and even less so into their assessments.

Fear and discomfort

As educators, we ask students to embrace discomfort when learning different theoretical approaches or understanding alternative viewpoints. But often, we do not ask them to embrace discomfort in operating outside of the neoliberal HE system, a ‘results driven quantification [which] directs learning’ (Kulz, 2017 p. 55). Within this context, learning focuses on the product (the assessable outcome), rather than the process (the learning journey). Thus, it is unsurprising that our undergraduates initially baulked at the idea of an assessment that incorporated a creative element, preferring essays and multiple-choice exams instead. Hunter & Frawley (2023) define arts-based pedagogy (ABP) as a process by which students can observe and reflect on an art form to link different disciplines, thus encouraging students to lean into uncomfortable subject matter and explore their place within in the wider world. To build more dynamic and critically analytical students, we had to simultaneously encourage an ABP approach so they would understand their academic and theoretical course content more fully while scaffolding their learning through a series of creative activities designed to engage students with different forms of learning and reflection. By incorporating cultural visits, mentorship, and creative assessments into the module, art enhanced subject teaching while encouraging students to think more deeply about their own practice (Fleming, 2012). Yet, incorporating practice was not enough, we were faced with the question: how do educationalists ask students to engage with their vulnerabilities around creative practice (the belief and the engrained fear that they cannot do art or are not good at art) and lead them to an understanding that vulnerability itself can be beneficial?

Perhaps, the most basic answer came by asking ourselves, are we, as academics, scared of implementing creative pedagogies because we are scared of showing our own vulnerabilities? What if we as educators fail at a task and our students see? What would happen if we became vulnerable alongside our students? Jordan (2010) argues that when vulnerability is met with criticism, we disengage as a self-preservation tactic. For Brown, acknowledging our insecurities offers a means of understanding ourselves, developing shame resilience and acting authentically. In our session, our vulnerability as lecturers was tested when engaging with textile art, specifically a battle with crochet. Our students saw educators who were not secure or competent in a task. This resulted in a small amount of mockery, but also empathy and offers of support. By stepping out of our comfort zone and embracing a pedagogy of discomfort (Boler 1999), we encouraged our students to challenge themselves. Romney and Holland (2023) refer to this as a ‘paradox of vulnerability’: by overcoming our own reluctance to be vulnerable with our learners we create connections and a sense of trust. We should add that the session explored women’s textile art as activism and the outcome, a piece of textile art, symbolically woven together by students and staff—all female.

Collective textile piece

Importance of community and connection

Once we examined theoretical and personal aspects of discomfort and vulnerability, to support and enhance our focus on creative practice, we drew on local cultural partnerships. The incorporation of cultural visits, mentorship from resident artists, and creative exercises enriched our subject teaching while simultaneously encouraging students to think more deeply about their own practice (Fleming, 2012). It also built an alliance between social scientists and colleagues in arts and humanities disciplines, capitalising on their expertise and years of honing ABP. Nottingham is a city where the legend of Robin Hood, outlaws, and rebellion intersect with vibrant cultural community. But many of our students do not engage with cultural spaces, leading to double disconnect, first from their own creative practice and second from the cultural sector altogether. Our students expressed their disconnect from the cultural heart of Nottingham was due to the spaces being ‘not for them’ or a worry that they would not ‘understand’ the art. By exploring the city centre as a group, walking from one site to another, we broke down barriers around these prohibited spaces.

Engagement with Nottingham by Alisha Begum

Once inside the Nottingham Contemporary, the resident artists told their own stories of fear, worries of judgement, and expressed anxieties of creative practice, thus setting our students free from the myth of the genius artist – untouchable by self-doubt. This realisation allowed our students to relax and engage worry-free into the creative tasks.

Found poem by Alisha Begum
‘I object’ by Nicole Robinson

By joining in with these activities, lecturers and students learned alongside each other, tackling our insecurities regarding our creative abilities together as a learning community. Perhaps community was the most important outcome in the project as connection was central. Exposure to the cultural sites created a feeling of connection with the cultural heart of the city. Students also, perhaps more importantly, reported that they became more connected to an understanding of themselves as creatives, becoming more autonomous and engaged in their own learning.

Digital storytelling: Identity Crisis by Shahnaz Begum

Perhaps it is most appropriate to end this post with the voice of one of our year-two students—the transcript from a podcast created as part of her larger portfolio. She asserts:

Art in education is a goldmine of untouched opportunities [and can be] used to foster students’ holistic development, stimulate creative thinking and engagement with social justice. … and to my fellow Artivists, embrace creativity one canvas at a time.

Katherine Friend is an Associate Professor of Higher Education at Nottingham Trent University. Her work focuses on three themes: the underrepresented student experience on university campuses, the importance of undergraduate engagement in the cultural sector, and reconciling international and academic identities. Threading all three themes together are discussions of one’s ‘place’ and/or ‘space’ in HE and how social and cultural hierarchies contribute to identity, representation, and belonging.

Aisling Walters is a Senior Lecturer in Secondary Education at Nottingham Trent University whose research focuses on the development of writer identity in trainee English teachers, preservice teachers’ experiences of prescriptive schemes of learning, arts-based pedagogies, and students as writers. 


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Working environments: a short overview of the literature

by Nic Kipar

We rarely consider whether staff on our campuses are enjoying their work environments and are able to be their most creative and effective selves. We should ask individuals how they work best, to enable them to thrive. Staff should be given the freedom to experiment with different settings, without others imposing judgments based on their own limited perspectives. Here in the first of two blogs Nic Kipar reviews what we know from research about working environments; the second blog will look at what this might mean in practice.

Control over the workspace

A growing body of research underscores the significant role that control over the physical workspace plays in employee wellbeing, productivity, and job satisfaction. Studies consistently show that providing employees with autonomy over their work environment – such as control over lighting, workspace flexibility, and layout adjustments – can reduce stress and improve mental health (Colenberg et al, 2021). This sense of control fosters a positive psychological environment, as evidenced in both Swedish and Dutch Masters and PhD research. For example, Ghaemi Flores (2023) found that agile and activity-based workspaces, which allow for greater personal control, are rated more favourably by employees. Similarly, van der Vleuten-Chraibi (2019) observed that control over light levels even in shared spaces enhances workspace satisfaction and productivity.

Despite these benefits, the hierarchical tradition in workspace allocation—where higher-ranking employees receive designated offices—remains a barrier to the adoption of more flexible environments. Ghaemi Flores (2023, p44) notes that overcoming this cultural resistance is crucial for a successful transition to activity-based work settings.

Research also challenges the assumption that open-plan offices facilitate collaboration. Instead, these layouts often lead to increased distractions and reduced personal control, negatively impacting both productivity and employee wellbeing (Bernstein and Turban, 2018). Open-plan designs, especially cubicles, have been shown to disrupt natural collaboration, as employees may withdraw to avoid noise and distractions.

This body of research collectively suggests that providing employees with control over their workspace fosters a healthier, more satisfying work environment, positively affecting both personal and organisational outcomes.

Wellbeing and working environments

The psychological dimension of workspace design is essential to employee wellbeing and productivity. Ruohomäki et al (2015) identify key factors, such as privacy, personal space, and control over tasks and schedules, as critical for reducing distractions and supporting mental focus. Research by Danielsson and Bodin (2008) further supports the idea that private and agile office environments contribute to better emotional health, largely due to the sense of control they afford employees. Lee and Brand (2005) also proposed that offering more flexibility and control over workspaces could lead to significant benefits for occupants. This is consistent with findings by Laughton and Thatcher (2019, p837) that shared offices and agile spaces promote psychological wellbeing more effectively than reservable spaces or open-plan offices.

Morrison and Macky (2017) applied the established Job Demands-Resources model to explore the demands of shared work environments and hot-desking arrangements and found that open offices increase cognitive demands on employees, leading to higher job dissatisfaction. Similarly, Cvijanovic (2019) found that customised workspaces are linked to higher job satisfaction and lower stress, although they do not necessarily enhance productivity. High social density within a workspace has also been shown to reduce perceived control (MacMillan, 2012). The study by Cobaleda Cordero et al (2019) of wellbeing related to working spaces also supports these findings.

The role of greenspace in workplace wellbeing

Access to greenspace within the workplace has been shown to positively affect employee wellbeing. Research by Bratman et al (2015) and Berman et al (2008) showed that walking in nature or even viewing pictures of nature can improve directed attention and cognition, the latter supporting the theory of Attention Restoration. (Attention Restoration Theory, developed by psychologists Stephen Kaplan and Rachel Kaplan in the late 1980s, proposes that exposure to natural environments can help restore mental focus and relieve “attention fatigue.” This fatigue arises when we rely on directed, or focused, attention for extended periods.) Gilchrist et al (2015) went further by finding that time spent in workplace greenspace, as well as views of natural elements like trees and flowering plants, significantly boosted wellbeing. Interestingly, the mere presence of these natural elements, rather than subjective satisfaction with the view, appears to be sufficient to yield benefits.

A systematic review by Ricciardi et al (2022) suggests that greenspace exposure may benefit cognition, according to recent advances in environmental psychology. The review included six longitudinal and 19 cross-sectional studies focusing on schoolchildren, adults, and the elderly. Most studies used the Landsat Normalized Difference Vegetation Index, which is a widely used measure of live green vegetation on Earth, calculated from satellite images, to measure greenspace exposure and examined outcomes such as academic achievement, global cognition, attention/executive functions, and memory. Although findings are inconsistent, they indicate a potential cognitive benefit from exposure to greenspace.

Activity-based workspaces

Activity-Based Workspaces (ABWs) are designed to offer flexibility by providing different spaces tailored to specific tasks, encouraging employees to choose environments that support their current work needs. Originally introduced to stimulate creativity in IT start-ups, ABWs are intended to facilitate both collaborative and focused work. However, Haapakangas et al (2023) found that the use of ABWs varies widely among employees, influenced by factors such as age, job role, and ergonomic satisfaction. High cognitive demands and collaborative tasks were associated with more active workspace switching, while distractions in ABWs led to frustration and a decrease in perceived environment fit. Haapakangas et al (2018) noticed that difficulties in locating available workspaces led to frustration and perceptions of time loss and recommend implementing real-time information systems to help employees locate suitable workspaces and accessible quiet zones to address privacy needs.

Clearly, there will always be a need for quiet working spaces, which also highlights the benefits of flexible working that includes home office work (should the individual wish to do so and has a quiet home office working space, which may not be possible for everyone).

The value of silence, and the value of controlled noise

Silence in the workplace offers numerous benefits, such as enhancing wellbeing, productivity, emotional regulation, and focus for all employees, but particularly for neurodiverse employees or those sensitive to noise. Quiet spaces reduce sensory overload and support productivity, especially for individuals on the autism spectrum or those with sensory processing disorders (Asselineau et al, 2024, Cox et al, 2024, Szulc, 2024). Open-plan offices, however, often contribute to decreased wellbeing due to limited privacy and excessive noise (Delle Macchie et al, 2018, Laughton, 2017).

Interestingly, silence can have the opposite effect on some, with controlled noise being beneficial for some individuals and tasks. Research on ADHD (Sikström and Söderlund, 2007; Söderlund et al, 2007; Söderlund et al, 2010) suggests that moderate background noise may enhance focus by helping the brain filter distractions. ADHD is linked to unusual functioning of the brain’s dopamine system, a neurotransmitter crucial for motivation, attention, and learning. Under typical conditions, stable dopamine levels allow the brain to regulate its responses to new stimuli, “dampening” reactions to prevent overstimulation. However, in individuals with ADHD, dopamine levels are lower than average, which causes the brain to overreact to external stimuli, leading to heightened sensitivity and difficulty filtering out distractions. In environments with moderate stimulation (like gentle noise or activity), people with ADHD can often focus well. This phenomenon, known as “stochastic resonance”, suggests that a moderate level of noise can improve cognitive performance by making it easier to distinguish important signals. Though it may seem counterintuitive, the right amount of noise can push a weak signal over a “detection threshold,” allowing it to stand out more clearly.

Stochastic resonance, observed across systems from biological networks to electronics, demonstrates how controlled noise can sometimes enhance performance. In the brain, this effect helps neurons respond more effectively to subtle stimuli. For individuals with ADHD, who typically have lower dopamine levels, computational models suggest that a slightly higher level of background noise may be needed to achieve this beneficial effect, enabling the brain to filter out distractions. However, both extremes – very quiet (low stimulation) or highly chaotic (high stimulation) environments – can impair focus. Empirical evidence supports this theory, indicating that tailored environmental adjustments, such as specific levels of background noise, can help individuals with ADHD better manage distractions and maintain concentration.

Studies by Vostal et al (2013) also highlight the need for adjustable acoustic environments for those with ADHD, as a controlled level of noise or visual simplicity can improve task engagement. In classrooms, Batho et al (2020) found that quiet zones or low-level background noise are beneficial, depending on the cognitive task – findings that may be relevant to workplace design as well.

It is not only the noise or activity in an environment that can be beneficial; the environment itself plays a crucial role. Kat Holmes notes that “the objects and people around us influence our ability to participate” (Holmes et al, 2018, p2). Certain settings can create a sense of belonging, such as the feeling of being part of a learning community in student study spaces, which can enhance concentration and productivity. Humans are inherently social beings, shaped by evolution to thrive in environments that support connection – provided there are also sufficient opportunities for solitude and silence when needed.

Summary

This short literature review underscores the importance of control, flexibility, and environmental sensitivity in workplace design. The research suggests that workplaces need to cater to individual preferences and diverse needs to create supportive and inclusive environments that foster both personal and organisational success. No preference is better or worse, it all depends on the individual and what works best for them.

Nic Kipar leads the Academic and Digital Development team at the University of Glasgow. She played an instrumental role in the creation of the James McCune Smith Learning Hub, focusing on inclusive active learning. Nic co-leads the Enhancing Learning & Teaching Practice workstream, contributing to the university’s Learning & Teaching strategy and planning for the upcoming Keystone building, which will feature large interdisciplinary labs. Nic also chairs a working group on Pedagogy in Superlabs, pioneering these innovative spaces for the university.

References

Asselineau, A, Grolleau, G and Mzoughi, N (2024) ‘Quiet environments and the intentional practice of silence: Toward a new perspective in the analysis of silence in organizations’ Industrial and organizational psychology, 17(3), pp 326-340

Batho, LP, Martinussen, R and Wiener, J (2020) ‘The Effects of Different Types of Environmental Noise on Academic Performance and Perceived Task Difficulty in Adolescents With ADHD’ Journal of attention disorders, 24(8), pp 1181-1191

Bayne, S (2024) Future of learning spaces University of Edinburgh: Learning & Teaching Design workshop,  28.10.2024

Bayne, S, Wood, H-R, Simmonds, R, Drysdale, T, Murray, E, Lamb, J, Christie, B. and Nicol, . (2024) Futures For Our Teaching Spaces: principles and visions for connecting space to curriculum Edinburgh: University of Edinburgh

Berman, MG, Jonides, J and Kaplan, S (2008) ‘The Cognitive Benefits of Interacting With Nature’ Psychological Science, 19(12), pp 1207-1212

Bernstein, ES and Turban, S (2018) ‘The impact of the ‘open’ workspace on human collaboration’ Philosophical transactions of the Royal Society of London. Series B. Biological sciences, 373(1753), pp 1-8

Bratman, GN, Daily, GC, Levy, BJ and Gross, JJ (2015) ‘The benefits of nature experience: Improved affect and cognition’ Landscape and Urban Planning, 138, pp 41-50

Champion, L. (2024) RE: Evolution is based on variation. Personal communication to Kipar, N., 05.11.2024

Cobaleda Cordero, A, Babapour, M and Karlsson, M (2019) ‘Feel well and do well at work: A post-relocation study on the relationships between employee wellbeing and office landscape’ Journal of corporate real estate, 22(2), pp 113-137

Colenberg, S, Jylhä, T and Arkesteijn, M (2021) ‘The relationship between interior office space and employee health and well-being – a literature review’ Building research and information: the international journal of research, development and demonstration, 49(3), pp 352-366

Cox, CB, Krome, LR and Pool, GJ (2024) ‘Breaking the sound barrier: Quiet spaces may also foster inclusivity for the neurodiverse community’ Industrial and organizational psychology, 17(3), pp 350-352

Craft, A (2005) Creativity in schools: tensions and dilemmas London/New York: RoutledgeFalmer

Cvijanovic, M (2019) The relationship between workspace and office placement and workforce productivity and wellbeing Doctor of Philosophy, Walden University, Minneapolis, Minnesota

Danielsson, CB and Bodin, L (2008) ‘Office Type in Relation to Health, Well-Being, and Job Satisfaction Among Employees’ Environment and behavior, 40(5), pp 636-668

Delle Macchie, S, Secchi, S and Cellai, G (2018) ‘Acoustic Issues in Open Plan Offices: A Typological Analysis’ Buildings (Basel), 8(11)

Ghaemi Flores, S (2023) From cubicles to collaboration: A study on the transformation of government office spaces driven by cost-efficiency, digitilization, and modernization Master of Science, KTH Royal Institute of Technology, Stockholm

Gilchrist, K, Brown, C and Montarzino, A (2015) ‘Workplace settings and wellbeing: Greenspace use and views contribute to employee wellbeing at peri-urban business sites’ Landscape and urban planning, 138, pp. 32-40

Haapakangas, A, Hallman, DM, Mathiassen, SE and Jahncke, H (2018) ‘Self-rated productivity and employee well-being in activity-based offices: The role of environmental perceptions and workspace use’ Building and environment, 145, pp 115-124

Haapakangas, A, Sirola, P and Ruohomäki, V (2023) ‘Understanding user behaviour in activity-based offices’ Ergonomics, 66(4), pp 419-431

Holmes, K (2018) Mismatch: how inclusion shapes design Cambridge, Massachusetts: The MIT Press

Laughton, K-A (2017) The Effects of Workspace Office Layout on Aspects of Employee Wellbeing MA, University of Witwatersrand, Johannesburg

Laughton, K-A and Thatcher, A ‘Health and Wellbeing in Modern Office Layouts: The Case of Agile Workspaces in Green Buildings’ Proceedings of the 20th Congress of the International Ergonomics Association (IEA 2018), Florence, Italy: Springer International Publishing, pp 831-840

Lee, SY and Brand, JL (2005) ‘Effects of control over office workspace on perceptions of the work environment and work outcomes’ Journal of environmental psychology, 25(3), pp 323-333

Lin, Y-S (2020) ‘Possibility Thinking’ The Palgrave Encyclopedia of the Possible Cham: Springer International Publishing, pp 1-9

Morrison, RL and Macky, KA (2017) ‘The demands and resources arising from shared office spaces’ Applied ergonomics, 60, pp 103-115

Ricciardi, E, Spano, G, Lopez, A, Tinella, L, Clemente, C, Elia, G, Dadvand, P, Sanesi, G, Bosco, A and Caffò, AO (2022) ‘Long-Term Exposure to Greenspace and Cognitive Function during the Lifespan: A Systematic Review’ International Journal of Environmental Research and Public Health, 19(18)

Runco, MA (2007) Creativity: theories and themes: research, development, and practice Amsterdam; Boston: Elsevier Academic Press

Ruohomäki, V, Lahtinen, M and Reijula, K (2015) ‘Salutogenic and user-centred approach for workplace design’ Intelligent Buildings International, 7(4), pp 184-197

Sikström, S and Söderlund, G (2007) ‘Stimulus-Dependent Dopamine Release in Attention-Deficit/Hyperactivity Disorder’ Psychological Review, 114(4), pp 1047-1075

Söderlund, G, Sikström, S and Smart, A (2007) ‘Listen to the noise: noise is beneficial for cognitive performance in ADHD’ Journal of Child Psychology and Psychiatry, 48(8), pp 840-847

Söderlund, GBW, Sikström, S, Loftesnes, JM and Sonuga-Barke, EJ (2010) ‘The effects of background white noise on memory performance in inattentive school children’ Behavioral and Brain Functions, 6(1)

Szulc, JM (2024) ‘Embracing silence: Creating inclusive spaces for autistic employees’ Industrial and organizational psychology, 17(3), pp 357-359

Tasler, N (2024) RE: Aladdin Personal communication to Kipar, N 05.11.2024

van der Vleuten-Chraibi, S (2019) Lighting in multi-user office environments: improving employee wellbeing through personal control PhD, Eindhoven University of Technology, Eindhoven

Vostal, BR, Lee, DL and Miller, F (2013) ‘Effects of Environmental Stimulation on Students Demonstrating Behaviors Related to Attention Deficit/Hyperactivity Disorder: A Review of the Literature’ International Journal of Special Education, 28(3), pp 32-43


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Using Tentacular Pedagogy to change the HE culture

by Kai Syng Tan

From Leonardo da Vinci (whose trans-disciplinary inventiveness was attributed to his ADHD) to bell hooks (whose professorial role drew on her activism and poetry practice), history has no lack of examples of how creative and neurodivergent processes have produced insights to catalyse social and culture change. There are also growing calls for interdisciplinary and creative approaches prioritising equity, diversity and inclusion (EDI) to solve wicked global challenges (AHRC 2022, WEF 2016).

However, the ‘dog-eat-dog’ culture of Higher Education (HE), austerity measures and more are leading to harmful consequences, and stakeholders with protected characteristics are worst affected (Berg, Huijbens, and Larsen 2016; UKRI 2021; Bhopal 2020; Blell, Liu and Verma 2022).  Creative arts (CA-HE), often deemed less valuable than STEM subjects, are particularly threatened (Puffett 2022, Redmond 2020), evidenced in the closure of departments, and exacerbating the already tense relationship between the CA-HE and HE (Elkins 2009). Furthermore, research suggests CA-HE is elitist (Annetts 2018; Starkey 2013), racist (Orr 2021; Tan 2021a), and failing neurodivergent students and staff by not paying enough attention to their mental wellbeing (who are over-represented in CA-HE at around 30% in the student population, in Bacon and Bennett 2013; RCA 2015).

Octopuses and Tentacles

I have been cultivating ‘Tentacular Pedagogy’ (TP) for 24 years as a HE teacher and consultant. Prioritising creative thinking, leadership and EDI, this teaching and learning practice draws on the octopus’s extraordinary composition of three hearts and nine minds. My keynote lecture for the European League of Institutes of the Arts Teachers Academy argued for a polycentric, transversal, (co-)creative teaching/learning approach which aims to make CA-HE more inclusive. In doing so, and following artist-academic James Elkin’s (2009) call to use creative research to inform and transform HE, TP rallies CA-HE to play a more (pro-)active leadership role within HE and beyond in nurturing a more creative and compassionate future. UNESCO (2021) have called for HE to ‘repair injustices while transforming the future’ by 2050, with a new ‘social contract’ that prioritises ‘human dignity and cultural diversity’, plus ‘care, reciprocity, and solidarity’.

Three Hearts and Nine Minds

TP features three EDI tenets and nine dimensions. TP’s heart(s) lies in neurodiversity, decolonisation (and the related notions of anti-racism and internationalisation), and intersectionality. Neurodiversity has remained largely ‘invisible’ in HE (Tan 2018), even though it has been called a ‘competitive advantage’ or ‘the next talent opportunity’ for organisations (Harvard 2017, WEF 2018). This is a missed opportunity, given HE’s ‘omnicrisis’ (Gill 2022). Activating research about how creativity, neurodiversity, and leadership interrelate (Tan 2021b; Tan 2019, Baron-Cohen 2017; Lesch 2018, Abraham et al 2006), TP cares about teaching/learning with/from/for/by marginalised ideas, methods and communities, who are often excluded from HE and syllabi. Surviving – even thriving – within hostile systems, TP purports that these communities are already creative and leader-ful by nature and design, and CA-HE should learn from them. TP also allies with other minoritised communities to address all social oppression (Obasi 2022, Walker 1983). Just as each tentacle of the octopus is an independent mind, TP’s nine embodied ‘minds’ teach/learn through nine Cs.

Creativity, Community and Co-Creation

TP celebrates creativity, community and co-creation. This concerns creative thinking (Krathwhol 2002, Marton and Säljö 1976) encompassing everyday creativity and disruptive invention alike (Kaufman & Beghetto 2009). TP engages with external communities toform unique learning communities. Learners include peers, professors and professionals within and beyond CA-HE and HE, including psychological and social sciences and third sector organisations. TP also foregrounds multi-directional and anti-hierarchical learning. Often gathered in the same learning environment together, TP’s diverse learners, including the ‘teacher’, learn via collaboration.

Creativity, Community and Co-Creation were exemplified in the 75th Anniversary Celebrations of the 5th Pan African Congress in Manchester(PAC75) for Black History Month 2020. Led by Manchester Metropolitan University in collaboration with the Universities of Manchester and Salford, and local arts bodies, PAC75 marked Manchester’s impact on global history in nationhood and Black Lives Matter through a programme celebrating diverse leadership and intersectional engagement through culture. In 18 seminars, performances, and workshops black students chaired sessions with elders like Afua Hirsch and Kwame Anthony Appiah (Princeton), elevating their self-worth and leadership. Materials produced continue to be used, for example in Manchester’s ‘Remaking Modern British History’ MA, and at the University of Ghana.

Collage, Can-Do, Curiosity

TP cultivates novel, meaningful synergies between diverse and/or disconnected body-minds, subjects, disciplines, classes and cultures, driven by ‘productive antagonisms’ (Latham and Tan 2017). TP itself collages pedagogies like undercommons (Moten and Harney, 2013), and STEM-to-STEAM movements (Pomeroy 2012, Eger 2011). Following the shapeshifting octopus, TP also nurtures a can-do attitude. Agility, resourcefulness and enterprise are cultivated through role-play, advocacy, volunteering and action-learning. As an artist-teacher-reflective practitioner (Thornton 2005) and a REF-submitted researcher, I conjoin teaching/learning with scholarship, research, knowledge exchange, community/ industry/public engagement and widening participation. Furthermore, like the adventurous octopus, TP teachers/learners are exploratory and ‘ill-disciplined’ (Tan and Asherson 2018). Using play and interdisciplinarity, ‘deficits’ become positive action.

The ethos of collage, can-do and curiosity are played out in the Neurodiversity In/& Creative Research Network. The Network was set up to continue conversations and actions started by an art-psychiatry project #MagicCarpet (National Coordinating Centre for Public Engagement Culture Change Award 2018) that I led at King’s College London. I invited a #MagicCarpet participant to co-lead the Network. Today, this global alliance embodies bell hooks’ ‘beloved community’ (1996) that affirms — not eradicates — difference. It comprises 360 neurodivergent people, including the inventor of neurodiversity, sociologist Judy Singer. Local and spinoff groups that members lead like the Kansas City League of Autistics and the Scottish Neurodiverse Performance Network empower HE staff and students to connect and advocate for themselves and others. Applying TP’s ‘cross-species’ learning through intersectionality, the Network is an evolving hub, and models what an inclusive teaching/learning ecosystem looks like. Its masterclasses and seminars foster best practices in teaching/learning and research between and beyond CA-HE. HE teachers, students and researchers and professionals aside, members include activists, policy-makers, clinicians, CEOs and entrepreneurs who learn from/with one another as critical friends. Unusually, the Network welcomes self-proclaimed ‘allies’ too, which protects those unable/un-ready to disclose their difference. To counter exceptionalism and racism, which is not uncommon in other disability/neurodiversity-led communities (Barbarin, 2021; Russell, 2020; Mistry, 2019; Tan, 2019; Rashed, 2019), the Network welcomes racially-diverse people, and those with neuro-differences beyond the ‘classical’ remits of neurodiversity like stroke and PTSD.

Established in response to the pandemic, the Network attracted 150 members by April 2020, hinting at how CA-HE has hitherto failed neurodivergent teachers/learners. The Network has ignited pathways to improve teaching/learning practices and cultures, empowered neurodivergent HE stakeholders, and led to further work such as a dance commission ‘Dysco’ for Southbank Centre by a Glasgow PhD student (Watson 2021) and a journal article by a US neuroscientist (Zisk 2021). Members tell their own stories, instead of being ventriloquised, commodified or white-washed by others. Mobilising their new-found confidence, skills and knowledge, members forge new initiatives, and lead further changes at local, institutional and sectoral levels, to collectively make CA-HE and HE more equitable. For instance, a member, as Jisc Head of Strategic Support Unit, founded Jisc’s first ever neurodiversity group, which is now 100 members strong. That group is supported by Jisc’s new EDI director, while the member has gone on to become a Trustee of the National Attention Deficit Disorder Information and Support Service. Members will co-produce A Handbook of Neurodiversity and Creative Research (2024) with a major academic publisher, with reviewers describing it as a ‘distinctive’ and ‘valuable’ intervention with a ‘very high scope of impact’ to HE.

Circulation, Courage and Curating Change

Neurodiversity is a subset of biodiversity (Singer 1998); ergo, TP ‘re-pays’ nature and society, prioritising ‘zero waste’ in natural and human resources, and enacts ‘Look, Think, Act’ to ‘sustain reform in teaching/learning ecologies’ (Patterson et al, 2010). To enrich the 3Rs (writing, arithmetic, reading), TP ‘up-cycles’ frameworks like ‘Curiosity, Compassion, Collaboration and Communities’ (Orr 2021), rhizomatic learning (Guerin 2013) and ‘tentacular thinking’ (Haraway 2016). TP seeks to dismantle colonialist ‘monuments’ and master’s narratives (Lorde 1984). Its ‘unruly’ tentacles celebrate ‘multiplicity in knowledge production’ (Zarabadi et al, 2019; Branlat et al, 2022) and, like the audacious octopus and ADHD-er, power towards unknowns. Last but not least, TP is about curating change. ‘Curating’ originated in care, and octopuses have thrived for 300 million years: TP nurtures future-facing models of leadership marrying compassion and vision. I seek to embody such a change-maker in what/how I teach/learn. As an outsider gate-crashing into environments historically shut to others like myself, I use my privilege to open doors for others, and make them co-leaders.

Circulation, Courage and Curating Change are enacted in a new MA Creative Arts Leadership for which I am Programme Leader, to be launched in September 2023 at Manchester Metropolitan University. Prioritising decolonised and environmentally-conscious models of change-making, the MA is with/for/by teachers/learners to generate personal, organisational, and social change, and addresses gaps in current HE offerings in leadership development and arts management/policy. Using examples like MMU alumna artist-turned-suffragist Sylvia Pankhurst, the MA counters the danger of a ‘single story’ (Adichie 2009) of how ‘leadership’ is taught/learnt. The MA entangles creativity with business acumen, sustainability and inclusion.

The mission of the study of art and design is to develop ‘cognitive abilities related to the aesthetic, ethical and social contexts of human experience’ that ‘contributes to society, the economy and the environment, both in the present and for the future’ (QAA 2019). Amid multiple threats to CA-HE, Tentacular Pedagogy’s nine ‘tentacles’ can extend teaching excellence in CA-HE and HE. TP’s ‘three hearts’ of neurodiversity and how it intersects with race and gender, manifested in the examples above as subject and teaching/learning approaches, and in collaborating with neurodivergent teachers/learners, illustrate how a more inclusive CA-HE can foster a legacy of teaching excellence and make HE thrive. 

Dr Kai Syng Tan PhD FRSA SFHEA is an artist, curator, academic, consultant, agitator, change-maker, volunteer and gatecrasher who is known for her ‘long-established expertise in using creative research as a form of critical co-creation of knowledge’ that ‘challenges dominant frameworks in and beyond the academy’ (AHRC review 2021). Her keynote lectures, op-eds, exhibitions, creative interventions and more have been featured at MOMA (New York), BBC, Biennale of Sydney and Tokyo Design Week. She has (co-)led projects with budgets from £0 to £4.8m (opening and closing ceremonies of ASEAN Para Games 2015). Her creative leadership innovations include extending ‘Running Studies’ through her RUN! RUN! RUN! Biennale. Apart from being the first artist on the Editorial board of the British Journal of Psychiatry Bulletin, Kai is a trustee board member of Hear Me Out (charity for detained migrants), and was Expert Panel Advisor for Media Authority of Singapore (2007-2012). Having taught/examined/consulted at more than 100 universities worldwide, Kai is a Senior Lecturer at Manchester School of Art.

Kai is grateful for the feedback and critical friendship of Susan Orr,  Stephanie Aldred, Chrissi Nerantzi and Laura Housman in developing aspects of Tentacular Pedagogy