Teaching inclusively means embracing student diversity in all forms — such as race, ethnicity, gender, sexual orientation, disability status, gender identity, socioeconomic background, ideology, and even personality traits like introversion — as an asset. It means designing and teaching courses in ways that foster success for all our students. It further means mindfully removing barriers for traditionally underserved students by actively fostering a sense of belonging, providing equitable access to course materials, and creating a safe classroom environment.
The Inclusive Communities of Practice (ICoP) was created a few years ago with the Office for Diversity, Equity, and Community Engagement hosted various speakers to spark conversation about inclusive excellence. Through those workshops, an email list was created called the "Inclusivity Network". As ICoP evolved, a mission was created: to provide opportunities where faculty, staff and students can talk openly about addressing issues of inequity and oppression, and work on developing inclusive practices for everyday lived experiences on campus, in the classroom, research environments, and in the workplace. The course is listed in Canvas.
CU Boulder recognizes its obligation to redress systemic racism and to foster a campus culture that confronts racism and promotes equity for students, faculty and staff. CU Boulder commits to taking a series of immediate actions in advance of the Fall 2020 semester. These actions are CU Boulder’s initial response and will be augmented with other actions that will occur in the Fall and Spring semesters, as well as long-term actions that will extend into Academic Year 2021. Additionally, these actions will be coordinated as part of the implementation of the Inclusion, Diversity and Excellence in Academics (IDEA) Plan, approved earlier this year, through which we will drive priorities moving forward.
The mission of the BU Center for Antiracist Research is to convene varied researchers and practitioners to figure out novel and practical ways to understand, explain, and solve seemingly intractable problems of racial inequity and injustice.
Inclusive teaching practices require us to engage the wealth of intersecting social identities and positionalities that faculty and students bring to the classroom. Whether face-to-face or online, inclusion must not be an afterthought. Rather, it should permeate every aspect of curriculum and course design, classroom management, and assessment of teaching and learning.
Black Lives Matter Foundation, Inc is a global organization in the US, UK, and Canada, whose mission is to eradicate white supremacy and build local power to intervene in violence inflicted on Black communities by the state and vigilantes. By combating and countering acts of violence, creating space for Black imagination and innovation, and centering Black joy, we are winning immediate improvements in our lives.
We work to help leaders change their world—and the world needs changing. The killings of George Floyd, Breonna Taylor, Ahmaud Arbery, and the loss of far too many Black lives to list, have left our nation anguished and outraged. While now is a time for grief and anger, it is also a time for resolve. Find resources to learn what you can do to create a more just and equitable world.
Essay by Catherine Grant and Dorothy Price (published Jan. 22, 2020) Whilst postcolonial studies and critical race studies have been informing and challenging the shape of art history for several decades, new generations of students, scholars, critics, curators, collectors, artists and audiences are seeking radical re‐evaluations of the academy and those cultural institutions who hold themselves up as standard‐bearers of our collective cultural heritage. But, what, if anything, is specific about the current moment's demands to reassess how universities, museums, and galleries teach, research, collect and exhibit? How can art historians, curators, collectors, museum directors, artists and writers respond to the call to decolonize art history? How can we draw from the rich legacy of postcolonial, feminist, queer and Marxist perspectives within art history, and what are the new theoretical perspectives that are needed?