Spaeth and Pearson (2023) suggested that, in UK creative arts education, barriers are usually systemic rather than caused by individual shortcomings. They noted that the learning environment is designed for an ‘implied student’ who is neurotypical, familiar with local culture, and confident in English. They also point out that misunderstandings can happen when neurotypical or local staff do not understand how neurodivergent or international students communicate.
International students are often perceived as lacking because they lack knowledge of local culture, a perception that is mistaken for a lack of skill or motivation. As a result, they may be undervalued or excluded from creative work. I have noticed that when neurodivergent students take longer to process information, it is often seen as a lack of ability. In theatre and arts groups, taking part often means being quick with words and able to keep up with fast-paced jokes or irony. Ghosh (2021) found that international students often stay on the sidelines because they lack the ‘cultural capital’ needed to participate in these unscripted social interactions, even when their English is good.
Another feature of arts education is the use of open-ended tasks and ambiguity in teaching. While this is intended to encourage creativity, it can be overwhelming for students new to the UK, who require clear guidelines to feel comfortable taking creative risks (Davey, 2016).
This action research project explores how language barriers and peer networks affect international students’ participation and sense of belonging in UK higher education, particularly in creative arts contexts. As an educator from a Pan-Asian background with a neurodivergent profile, I reflect on how my positionality informs inclusive teaching practices. Using a short questionnaire and interviews with international students, I will analyse how linguistic, cultural and institutional factors shape classroom dynamics and students’ confidence to participate.
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