Decolonising Arts: Reflections on ethnography and Critical Race Theory

The context of this contribution to the PAWBL symposium is an ethnographically-oriented research and development Reimagining Conversations project at a creative arts and design university, characterised by institutional efforts to decolonise the university curriculum (Bhamba, Gebrial & Nişancioğlu, 2018) in addition to its creative agenda. Critical Race Theory as an approach to decentring dominant epistemological paradigms often draws on collaborative approaches to research, and according to Yosso (2005) there are deliberate moves away from a deficit approach to researching the other towards one of difference where those at the centre can learn and understand from the marginalised and under-represented. Yet, Critical Race Theory does not fully acknowledge the symbolic power of language, often treating it as transparent and unproblematic. Equally, ethnographic approaches to language and literacy research which pay attention to contextually sensitive and situated practices have not completely shaken off the ‘legacy of colonial ethnography’ argues Rampton (2019). Thus an opportunity for thinking and reflection emerges at the intersection between collaborative institutional language and literacy research on the one hand, and the decolonising arts movement [which] ‘seeks to challenge colonial and imperial legacies and drive social, cultural and institutional change’ (Decolonising Arts Institute, n.d.) on the other. This emergent thinking takes the form of a short talk on my affiliations, interactions and sharing with colleagues at the university, and to help me achieve this I draw on Zhu Hua and Li Wei’s (2020: 178) three epistemological dimensions they argue are crucial for research: creativity, criticality and collaboration.