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.
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.
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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 oflive 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);
Detailedmaps, 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 EroticsProfessor Ela Przybylo disclosing their new identity/positionality of being autistic, and inviting responses Towards a Neuroqueer Conference Manifesto/a/x.
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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.
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.
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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.
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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 bookNeuro-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.
