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What’s love got to do with neurodiversity and HE art and design?

by Kai Syng Tan

A loveless storm and a love-filled symposium

On 18 November I was ill. I recovered in time to travel to Helsinki for a symposium two days later, but winter storms shut down the airport, delayed flights and lost luggage, including mine. The symposium director Dr Timothy Smith (image 2 below, to the left) had to step in to act as my wardrobe assistant. Like many neurodivergent academics, Tim works across an astonishing range of knowledges, including political science, fine art, public policy and pedagogy. But I’m quite certain that sourcing for clothes to fit 155cm grumpy people isn’t part of their typical repertoire.  

A symposium with person standing to the left holding a microphone; another in the middle, seated, in front of a projection with book cover and QR codes and next to a screen showing live captioning; more people in the foreground on different forms of seating and being
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Image 3: Fidget toys placed on top of a paper file that reads ‘UNIARTS HELSINKI’, with a name tag with a lime green strap and name ‘KAI’. 
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Image 2: A symposium with person standing to the left holding a microphone; another in the middle, seated, in front of a projection with book cover and QR codes and next to a screen showing live captioning; more people in the foreground on different forms of seating and being

Image 3: Fidget toys placed on top of a paper file that reads ‘UNIARTS HELSINKI’, with a name tag with a lime green strap and name ‘KAI’. 

Tim’s Neurodiversity in the Arts Symposium, which took two years of advocacy and planning, and draws on several more of research across neurodiversity and art education, took place at the University of the Arts Helsinki, modelling best practices for inclusivity, not just for neurodivergent folx. Universities, watch and learn. Yes it can be done. So, what does a symposium led by love look like in action? Let’s spell out a few ways how:   

  • Programming not to neo-liberalist but ‘crip time’ (Kafer 2013), enabling us to process our thoughts, with 30 minute breaks between sessions, and a 2-hour lunch break;
  • Employment of live professional CART (Communication Access Real-Time Translation) captioning – not the still racist AI captioning that does not grasp ‘non-standard’ accents (image 2, to the right);
  • Where divergent modes of being – including horizontally, in motion etc, not just seated or erect – are affirmed (image 2, foreground);
  • Inclusion of fidget toys in the goody bag (image 3);
  • Provision of quiet spaces – no, we’re not talking about a broom cupboard or first aid room doubling, but a (care-)fully decked out sensory rooms for group or solo use, with low lighting, different soft furnishings as well as more sensory objects for people to shut off, calm down and/or regroup (image 4);
  • Detailed maps, diagrams and instructions for ‘walking or wheeling’ to venues; including for a dinner, at a five-star hotel, which was a delicious vegan spread – and entirely free of charge;    
  • Priced at less than one-third the fee of a usual conference at €100 – and that’s for ‘participants receiving full institutional financial support’; otherwise, ‘please select the €0 fee option’;
  • Elevating and celebrating diverse body-minds-worlds whose research, creative and professional practice gather, collide and transcend disciplines, fields of knowledge, cultures, geopolitical borders, and specialisms and in the lineup. This includes shy*play, a pedagogical platform, collective, and art practice comprising teacher-researchers from Netherlands-Spain Antje Nestel and Aion Arribas, who invite us to ‘do neurodiversity’ (images 5a-5b); Estonian-UK PhD candidate Iris Sirendi discussing their Curating for Change curatorial fellowship at the Museum of Liverpool and urging – no, daring – the arts and cultural sector to step up and ‘crip the museum’ (image 6); US-Canadian-Polish feminist researcher and author of several books including Asexual Erotics Professor Ela Przybylo disclosing their new identity/positionality of being autistic, and inviting responses Towards a Neuroqueer Conference Manifesto/a/x.
Image 4: Sensory room, with low blue-green lighting, soft furnishings and soft toys
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Image 5a: shy*play’s Antje Nestel and Aion Arribas, both holding microphones and reading from papers strewn on a long table
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Image 5b: people ‘doing neurodiversity’ in different ways, including by displaying their creations on a wall that acts as a shared canvas
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Image 6: Estonian-UK PhD candidate Iris Sirendi at a long desk speaking to a projection with a slide with the heading ‘What’s Next?’ and a logo that reads ‘The Neurodiverse Museum’.
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Image 4: Sensory room, with low blue-green lighting, soft furnishings and soft toys

Image 5a: shy*play’s Antje Nestel and Aion Arribas, both holding microphones and reading from papers strewn on a long table

Image 5b: people ‘doing neurodiversity’ in different ways, including by displaying their creations on a wall that acts as a shared canvas

Image 6: Estonian-UK PhD candidate Iris Sirendi at a long desk speaking to a projection with a slide with the heading ‘What’s Next?’ and a logo that reads ‘The Neurodiverse Museum’

The above are just a few of the highlights from the in-person session on 22 November 2024, which complements an online symposium with a different programme a week prior on 15 November 2024 for those who prefer the digital interface, both of which are recorded with transcripts which all participants can freely access. 

I’m not singing the praises of the Neurodiversity in the Arts Symposium because I was the keynote speaker.

I’m saying the above as I’ve been a keynote as well as participant in more than 100 conferences – and I’m still allergic to them, not least as someone who is hyperactive and literally cannot sit still. I’m also saying this as someone who’s curated several, including one on running as an arts and humanities discourse that a 2014 Guardian article said ‘other conferences could take a leaf out of’, for its 8-minute sprint formats and multi-modal approaches including film screening, meditation sessions and run-chats.

But Tim’s conference was way better. The symposium is prioritising not just neurodivergent and queer – neuroqueer (Walker 2021) – perspectives. Following the positionality of multiply-minoritised researchers in higher education Angel L. Miles, Akemi Nishida and Anjali J. Forber-Pratt at the University of Illinois at Chicago and Vanderbilt University as expressed in their powerful open letter to White disability studies and ableist institutions of higher education (2017), the symposium focuses on research that counter ‘white supremacy and racism; colonialism and xenophobia; ageism; sexism and misogyny; cisnormativity and transphobia; and heteronormativity and heterosexism’.

And I’m sure that Tim, like me, wants other conferences to come, to even better ours. 

So, take our baton. Run with it.

Why neurodiversity? Why now?

‘Neurodiversity’ – broadly the coexistence of different ways of processing information, learning and being – has exploded as a buzzword in the past few years. If you didn’t know that 15-20% (Doyle 2020) of humans are autistic, with dyslexia, Tourettes, ADHD and other forms of neurodevelopmental processes, you will have run into the extensive media coverage, or seen your Gen-Z students or kids declaring their ‘neuro-spiciness’ on Tik Tok.

It is well-established that neurocognitive variants like dyslexia, ADHD and autism are over-represented in the arts and culture (above 30%, eg RCA 2001; Bacon and Bennett (2013); Universal Music (2020)). This is unsurprising, given how neurodiversity, innovation and change-making are powerfully entangled, being essential for human’s evolution, inventiveness, creativity and more. Networks, academic publications, research centres, educational research centres and conferences by/with/for neurodivergent creative researchers have been emerging in the last years too.

This year alone, I was external examiner for two creative PhDs by/for/with neurodivergence, and helped deliver one PhD candidate to the finish line and whom, since 28 November, can now add ‘Dr’ to their name, likely to the chagrin of those who think that only clinicians are ‘real’ doctors and experts. Collectively, these efforts are countering medicalised and deficit approaches to cognitive difference. By 2050, 1.94 billion of the 9.4 billion population will be neurodivergent – making neurodivergence far from a ‘niche’ phenomena or area of research, but one with substantive critical mass.

Those with social capital wear their difference as proud badges of honour. So far so ‘authentic’. 

But surprise, surprise – for the multiply-minoritised, their difference continues to be demonised, pathologised, infantilised, and/or policed. This includes teachers and researchers who draw on their neurodivergence in their teaching and research. That’s also why many aren’t out – or have/want access to diagnosis (which themselves have long waiting lists, are costly and more), etc, and often aren’t reflected in the official figures and studies. It’s also only recently been understood in leadership studies that when a white heterosexual cis-man expresses his ‘true self’, it’s just not acceptable, or even laudable. For those who are not straight, not white, not of the right class, or the right skin tone etc – authenticity comes at a high cost – including literally so. Being dyslexic, I struggle with normative approaches to reading and writing – but reading and writing are literally bread and butter for an academic! Disclosing that you cannot read or write would be tantamount to career-suicide, especially if you are on a fixed-term contract – if you have been able to survive the ableist, racist and sexist HE system at all, that is.    

Harvard, World Economic Forum, NESTA and other global bodies have been selling neurodivergence as the ‘next talent opportunity in the workplace’, ‘competitive advantage’ and a ‘neuroleadership’ antidote to in tackling wicked challenges for the Fourth Industrial Revolution — but without neurodivergent voices in this discussion, isn’t this objectifying and othering?

Then, there’s a certain cartoon-tycoon who has been dominating the headlines. When not firing their critics from their factories and firms, or firing rockets to colonise the moon and Mars, this person is firing spats on social media — before buying up the site to make it their temple for ‘unmoderated toxicity’. After firing pot-shots at child-free cat ladies, they’re asking ‘high-IQ revolutionaries’ to work for no pay for an incumbent government. The latter call is interesting because this person had announced that they are ‘with Aspergers’, using the outdated terminology still instrumentalised by certain ‘high-functioning’ autistic people, to denote that they are a genius — ie a high-IQ revolutionary themselves!    

Why neurodiversity, love and HE art and design?

As an autistic child-free cat lady, it’s my duty to ask other neurodivergent artists, academics, activists and allies within Higher Education (HE) to do more and do better, to call out on dangerous neurodivergent figures and approaches, and to counter that with love. If Machiavellian misfits and messiahs weaponise their neurodivergence, so must neurodivergent movers and shakers dis-arm them.  

Image 7

Caption: Love-led guidelines for to make spaces more inclusive, in diagram form with 8 blocks of texts. From Tan, Kai Syng. Neurodiversity In/& Creative Research Network shared, LIVE, CO-CREATED Community Guidelines since 2022

For several years, I’ve researched into and discussed the need to dismantle harmful narratives of neurodiversity. Through an art-psychiatry project, founding of a global 435-member network for neurodivergent innovators, I’ve urged for a decolonial  — ie shift of focus away from knowledge and practices in the West and global north — and intersectional — ie consideration of a how multiple, complex contexts interact and intersect  — approach. We’ve come up with love-led guidelines for activities (image 7). I’m editing a publication with a major academic publisher, which is possibly the first book with openly neurodivergent academics ranging from early career researchers to established, newly-‘out’ professors, to discuss our research through the prisms of neurodivergence and creativity (c2027). Along the way, we are introducing and foregrounding neurodivergent approaches to knowledge, creative research and writing with play, lived experience and more, thus challenging the dominant, normative habits demanded by the academic publishing industrial complex that emphasise the linear, causal, and ‘neutral’.   

On this SRHE platform, I’ve previously discussed a neurodivergence-inspired pedagogical approach to transform HE culture, illustrating how this isn’t just an armchair exercise or a theoretical pontification from the ivory tower, with examples I have led, such as a four-day festival for Black History Month 2020 in Manchester. To mark Valentines’ day this year, I discussed the need to build love into HE curricula – standing on the shoulders of great artists, activists and teachers before us, like bell hooks, Paulo Friere and James Baldwin.

My keynote at the Neurodiversity in the Arts Symposium was entitled ‘Neuro-Futurism and Reimagining Leadership’.  My performance-lecture was based on my book of the same title, subtitled ‘An A-Z Towards Collective Liberation’. Grasping how systemic oppressions are interconnected and how liberatory approaches to education must be joined up is vital in this discussion. I postulate a new intellectual agenda and action plan for ‘leadership’ as discourse and practice anchored in visual arts and arts education. Re-claiming the subject from business or arts management, and away from a trait/talent hinged on individualism, hierarchy, genes or luck, the book – and my performance – entangles critical leadership studies with socially-engaged art and relational aesthetics, embedding neuro-queering, futurity, and Chinese Daoist cosmology for the first time, to introduce ‘neuro-futurism’ as a beyond-colonial, (co-)creative change-making framework.

The participants of the symposium grasped this, responding by describing the performance-lecture as ‘phenomenal’. Brazilian artist-researcher Fran Trento, a postdoctoral researcher at the Department of Geosciences and Geography at the University of Helsinki, even took live notes and pictures to add to their mobile participatory art installation, and wheeled it around, further spreading love in HE – literally (Image 8). If it hadn’t been snowing so heavily, Fran would have wheeled their installation outside, beyond the ivory tower, to make visible what the abstract yet very simple four-letter word – love – can look like.  

Image 8: Dr Fran Trento standing next to their mobile installation that comprises a jacket onto which participants can make marks onto, scrolls of film, and a pail with cameras and other creative and critical tools to dismantle harmful narratives and approaches
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Image 9: A signboard ‘Neurodiversity in the Arts Symposium’ covered in snow, in a street raging with a snow-storm with cars passing by in front of a building across the road.
Image 9

Image 8: Dr Fran Trento standing next to their mobile installation that comprises a jacket onto which participants can make marks onto, scrolls of film, and a pail with cameras and other creative and critical tools to dismantle harmful narratives and approaches

Image 9: A signboard ‘Neurodiversity in the Arts Symposium’ covered in snow, in a street raging with a snow-storm with cars passing by in front of a building across the road

And love is critical if we want to dis-arm and dismantle violent master (sic) narratives and approaches of neurodivergence. If neurodivergence is a superpower — a trope I have also critiqued as, while useful, it can be reductive/fetishistic, and capitalised by the ‘high-functioning’ to self-select into an elitist club that excludes others — then there are also villains and Machiavellian messiahs who abuse their (super)power. The irony is — and yes, autistic people can grasp irony — is that these self-proclaimed ‘anti-establishment’ ‘outsiders’ are often the very personification and product of the system,as poster boys of capitalism and more. Remember the call for ‘weirdos and misfits’ outside the Oxbridge set to join Number 10 – by figures whose pedigrees were archetypal of the ruling class — private education, Oxford degree, political strategist to a prime minister similarly outfitted?

Now that’s weird!

Braving storms ahead

My luggage got lost – again – on my way back to the UK, but academic and arts and cultural workers must lose neither our focus or hope. As hatred becomes even more mainstreamed and normalised, minoritised body-minds and approaches will remain hardest hit. There will be storms ahead (image 9). We – and that includes you – must step forward and step up. As US author Octavia E Butler (1947–2006) warns, unless we build ‘different leadership’ by ‘people with more courage and vision’, we’ll ‘all go down the toilet’. That’s why the Black science-fiction bestseller, who was also dyslexic, wrote story after story that reimagined different, better realities. 

To not go down the toilet, we must disarm those who weaponise their neurodivergence. Here are some of the things that neurodivergent academics, artists, activists and allies can do:  

  • Shift your curricula to elevate and celebrate efforts that are truly leader-ful, joy-ful and equitable, and directed towards collective liberation. I’ve named several in this article. No excuses.  
  • Stop the hierarchy of normality – within neurodiversity groups in and beyond HE too – that props up antics that are white supremacist, patriarchal, misogynist, racist, transphobic, homophobic, xenophobic, colonialist, capitalist, ableist and extractive. Stop fuelling the misfits and messiahs with ill-intentions. 
  • Instead, invest in and donate your time, energy and skills to support love-led efforts. If you have a voice/ platform and can afford to, mobilise it to push back against the violence. People in senior management paygrades, make use of your position/proximity to the top of the food-chain to action positive change beyond lip service or generic policy statements about the civic duty of HE, and bring to life its promises about equity, social justice and inclusion.

On that latter note, I’m seeking to curate a 3-day international summit in 2026 that re-imagines HE art and design as a change-making and future-making force through neuroqueer, social justice and leadership prisms. This welcomes anyone with a stake in the arts and culture, higher education, social change and inclusive futures, to get together to explore the coexistence of different ways to (un-)learning and being in the world, to share best practices about inclusion, and to collectivise and co-create action plans for more inclusive futures within and beyond the art school and HE. Through quickfire provocations, transdisciplinary speed-dating, reverse-mentoring, co-creation of toolkits, skateboarding tours, running-discourses and other embodied forms of engagement, we will not just learn about ways to make ‘reasonable’ adjustments for neuro-divergent students and staff, but to learn about their innovative approaches, and thus reimagine ways to understand and do ‘leadership’, so as to make positive changes, within and beyond art and design and HE. This shift in paradigm to position art and design higher education is aligned with – and can amplify – other ongoing efforts in the sector, such as the Creative Education Manifesto. Get in touch if you’re keen to help do the work.

All that said, clearly, neither Tim’s symposium or my proposed summit are the only or last word in this matter. You, too, can lead with love, if you don’t already. Prioritise an intersectional approach to neuroqueer the curricula, towards dis-arming stories and approaches that are white supremacist, racist, colonialist, xenophobic, ageist, sexist, misogynistic, classcist, transphobic and heteronormative.

CREDITS: Photographs by Kai. Photograph of Kai by neurodivergent artist-curator-activist-PhD-candidate Aidan Moseby

Kai Syng Tan is an artist, academic, author, and agitator who adores cats and alliteration. Their book Neuro-Futurism and Re-Imagining Leadership: An A-Z Towards Collective Liberation re-imagines leadership as a co-creative, neuro-queered practice centring anti-oppression and futurity: it was published in Summer 2024. See here to join the book tour. Sign up here to participate in the CHEAD Leadership Programme taster entitled What’s love got to do with leadership? led by Kai as a new CHEAD Trustee, which will feature a response by Pascal Matthias, Associate Vice President EDI and Social Justice, University of Southampton and Co-Founder at FACE (Fashion Academics Creating Equality). Kai is Associate Professor in Arts and Cultural Leadership, University of Southampton, UK. All views here are their own.


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Unmasking the complexities of academic work

by Inger Mewburn

Hang out in any tearoom and you will hear complaints about work – that’s if there even is a tea room at the end of your open plan cubicle farm. Yet surprisingly little is known about the mundane, daily realities of academic work itself – despite the best efforts of many SRHE members.

Understanding the source of academic work unhappiness is important: unhappy academics lead to unhappy students and stressed-out administrators. If we know more about academics’ working lives, we are better placed to care for our colleagues and produce the kind of research and teaching our broader communities expect of us.

To understand more about academics’ working lives, we are embarking on an ambitious research project to survey 5000 working academics and would love you to take part.

Who is doing the ‘academic housework’?

Higher education institutions are major employers and substantial contributors to national economies. Yet there is a notable lack of comprehensive research on the practicalities of academic work, particularly with respect to how we bring our ‘whole self’ to work.

Just about everyone in academia is dealing with some aspect of their lives which affects how they do their work. Some are neurodiverse, with neurodiverse teenagers at home. Others may have a disability and are part of an under-represented group. More of us than you would think face financial precariousness and just being a woman can result in being given more of the ‘academic housework’. The impact of these various circumstances can be negative or positive from the employer point of view. For example, we know that neurodivergent academics spend a lot of energy ‘masking’ to make other people’s work lives easier, often at the expense of their own wellbeing (Jones, 2023). But we also know that including neurodiverse people in research groups can increase scientific productivity. At the same time, many neurodivergent people avoid disclosing for fear of stigma (even the word ‘disclose’ suggests that individuals should feel shame for merely being who they are).

Benefits for our employers can come at a great cost for us as individuals. While a body of literature exists on factors that affect student academic performance in university settings, there is no equivalent focus on university staff. The literature on students helps us design appropriate processes and services to try to even out the playing field and help everyone reach their potential. But we do not show this same compassion towards ourselves. The existing discourse on academics as workers tends to revolve around output metrics and shallow performance measures. This narrow focus fails to capture the full spectrum of academic labour and our lived experiences.

Our research aims to fill this gap by exploring how academics experience their work from their own perspectives. We seek to understand how the production of knowledge occurs, how academic work is constructed and experienced through daily practices, with a specific focus on academic productivity and distraction. We want to see how various bio-demographic factors interrelate and impact feelings like overwhelm and exhaustion.

Why this research matters

The importance of this study is multifaceted:

1. Informing Policy and Practice: By gaining a deeper understanding of academic work patterns, institutions can develop more effective policies to support their staff and enhance productivity and wellbeing.

2. Addressing Inequalities: The COVID-19 pandemic has highlighted and exacerbated existing inequalities in academia. Our research will explore how factors such as gender, caring responsibilities, and neurodiversity impact academic work experiences.

3. Adapting to Change: As the higher education sector continues to evolve, particularly in the wake of the pandemic and the rise of digital technologies like AI, it’s crucial to understand how these changes affect academic work practices.

4. Supporting Well-being: By examining the interplay between productivity, distraction, and work intensity, we can identify strategies to better support academics’ well-being and job satisfaction.

5. Enhancing Knowledge Production: Ultimately, by understanding and improving the conditions of academic work, we can enhance the quality and quantity of knowledge production in higher education and make better classrooms for everyone.

A comprehensive approach

Our study employs a mixed-methods approach, combining a large-scale survey with follow-up interviews. This methodology allows us to capture both broad trends and individual experiences, providing a nuanced picture of academic work life.

The survey covers a wide range of topics, including:

– Perceptions of academic productivity

– Experiences of distraction and focus

– Work distribution across research, teaching, and administration

– Impact of factors such as neurodiversity, caring responsibilities, and chronic conditions

– Use of technology and AI in academic work

– Feelings of belonging and value within the academic community

We are particularly interested in exploring how these factors intersect and influence each other. For instance, how does neurodiversity impact experiences of productivity and distraction? How do caring responsibilities interact with gender in relation to the number of hours worked and where the work takes place? And who thinks AI is helpful to their work and how are people ‘cognitively offloading’ to machines?

Call for participation

The success of this research hinges on wide participation from across the academic community. We are seeking respondents from all career stages, disciplines, and geographical locations. Whether you’re a seasoned professor or a new PhD student, whether you identify as neurodivergent or not, whether you love academic life or find it challenging – your experiences are valuable and needed.

Moreover, this research provides an opportunity for self-reflection. By engaging with the survey questions, you may gain new insights into your own work practices and experiences, potentially leading to personal growth and improved work strategies.

Looking ahead

The findings from this study will be disseminated through various channels, including academic publications, teaching materials, and potentially, policy recommendations. We are committed to making our results accessible and applicable to the wider academic community.

We stand at a critical juncture in higher education. As the sector faces unprecedented challenges and changes, understanding the nature of academic work has never been more important. By participating in this research, you can play a crucial role in shaping the future of academia.

To participate in the survey or learn more about the study, please visit the survey here: https://anu.au1.qualtrics.com/jfe/form/SV_eEeXg1L3RZJJWce.

Professor Inger Mewburn is the Director of Researcher Development at The Australian National University where she oversees professional development workshops and programs for all ANU researchers. Aside from creating new posts on the Thesis Whisperer blog (www.thesiswhisperer.com), she writes scholarly papers and books about research education, with a special interest in post PhD employability, research communications and neurodivergence.

Reference

Jones, S (2023) ‘Advice for autistic people considering a career in academia’ Autism 27(7) pp 2187–2192


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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