Storytelling as a multicultural and ethical act. Online workshop series between the UK and Mexico.
This intervention report reflects on the proposal of a series of online workshops, a collaboration between the Bachelor’s in Design of Fictions and Transmedia Narratives at IBERO (Mexico) and the MA in Animation at LCC, course in which I’m an ASL. The aim is to create a shared, practice-led learning environment where students can explore the power of storytelling as an emotional, ethical, and multicultural act.
The context for this proposal arises from my background as an alumnus of both courses and my strong relationships with the respective course leaders. It also draws on my positionality and experience with international collaborations. Before joining UAL, I spent two and a half years in two of the International Collaboration Offices at the National Autonomous University of Mexico (UNAM) in the United Kingdom[1] and Germany[2]. There, I learnt that the internationalisation of HE institutions is not an end in itself; it is a mechanism through which professionals with a global vision are trained, capable of generating cutting-edge knowledge that meets the needs of present and future generations. Internationalisation is a process that evolves according to the University’s objectives and the development of the global world. (UNAM Alemania 2021).
The idea for the workshops comes after talking with Clara Chan, a friend and the Visual Effects Supervisor at Sony Animation, following the completion of her first personal animated film (in which I also had the honour to work on) after 22 years of working on other people’s stories. This led me to reflect on how differently we tell stories when we are telling our own experience versus when we are telling someone else’s story, and on our responsibilities as creators. I find this topic to be particularly important and often overlooked in both the industry and education. The truth of a work depends on the integrity of the maker; it’s not a magic technical thing (Gordon Quinn, 2013). I believe that the responsibilities we hold as creators and filmmakers are sometimes forgotten. This is why I want to discuss these dilemmas with students.
Wong (2024) notes that one of the key elements of a successful global collaboration is the strategic alignment of the institutions’ goals. The Global Engagement Strategy of UAL states that “by providing access to inclusive globally connected education and research with international collaboration and engagement oriented to delivering positive change in the world.” (UAL, Global Engagement Office, 2024). This aligns perfectly with Ibero’s internationalisation vision, which seeks the development of programs aimed at fostering global skills and competencies that enable the university community to make a significant contribution to society (Universidad Iberoamericana, n.d.).
Due to the strong focus on social justice at both universities, I see significant potential for this collaboration. Ibero is a university that emphasises a Humanist education, and all students across courses are required to take compulsory subjects on social justice, human rights, climate crisis, etc. What is missing is the connection between theory and practice within each of the university’s programmes, as these subjects are delivered uniformly to all bachelor’s students, regardless of whether they are studying engineering, design, or law. I think it can sometimes be hard for students to see the potential application of all this knowledge in their own practice.
On the other hand, during my time in the UK and at UAL, collaboration in general feels overly complicated and often causes problems. Trahar and Hyland (2011) also described problems with intercultural interactions in diverse groups and difficulties with group work in the UK, although students found the experience rewarding. Perhaps it’s a cultural phenomenon, but in Mexico, collaboration is more deeply embedded in education, as students are expected to work on group projects from the early years of basic education. This makes collaboration easier and more natural; although it’s not perfect, it doesn’t cause panic among students or staff. Because of this, I believe it is a valuable opportunity for students to learn various working methods, including those in an international context. During a peer review discussion about this project, I got the fantastic suggestion that, since collaboration can be tricky, it would be good to hold two separate sessions with students from each university to prepare them for meeting each other. I’m implementing this, as it’s also a good opportunity to discuss the potential biases each of them might have towards the other, as well as their expectations for working together. Cultural literacy is essential to understand and respect different cultural contexts and practices (Wong, 2024a).
Another great suggestion I’m implementing is to have students create a ‘collaboration manifesto’ in the first session, when they meet each other. A study in Canada found that effective intercultural group work requires teaching the process of working with others, which includes intentionally preparing, forming, and evaluating group outcomes (Reid and Garson, 2017). This manifesto would allow them to define what works for them and establish good collaboration practices. Additionally, it can be referred to later if any problems arise.
While talking to another colleague, she mentioned that she wasn’t sure this collaboration would work well in person, but that the fact it was online made the project easier, as it can sometimes be harder for students to be in a room full of strangers and be expected to collaborate. Harris (2022) poses the question: Could the digital classroom be an opportunity to accommodate those with more introverted learning preferences, and even to embrace their silence? The fact that students are in an online space might foster a sense of anonymity, encouraging them to discuss interesting topics more smoothly and feel less anxious or threatened. I think it’s important to normalise different participation styles by allowing students to share personal experiences only when they feel comfortable. Sometimes this means controlling my anxiety about having a room with no cameras or mics on and understanding that fostering a safe online environment might involve that. Having cameras and mics off might reduce the sense of vulnerability and awkwardness among the less confident, as well as increase their sense of agency. It is worth noting here that the chat box is a reassuring presence” (Harris, 2022).
Returning to the focus of this collaboration, it aims to create a shared, practice-led learning environment where students can explore the power of storytelling as an emotional, ethical, and multicultural act. To define what a narrative is, Richardson (1990) describes narrative as both “a mode of reasoning and a mode of representation,” and Kreiswirth (1992) considers narratives as “human constructs that operate by certain conventions.” I like these two definitions because they discuss narratives as something connected to our society that is shaped and also shapes the way we perceive the world. Narrative ethics regards moral values as an integral part of stories and storytelling because narratives themselves implicitly or explicitly ask the question, “How should one think, judge, and act—as author, narrator, character, or audience—for the greater good?” (Phelan, 2013/2014).
Through four to six co-taught sessions and one reflective closing, students will undertake a structured journey from narrative fundamentals to animated expressions of identity, justice, and emotional experience. The workshops explore how stories are shaped across cultural contexts and how visual and movement-based storytelling can convey complex emotional and social meanings.
The idea is that each session builds progressively—from developing narrative concepts and visualising emotions to experimenting with animation techniques and discussing the ethical implications of representing others’ stories. Whether or not we live with stories or ontologically exist narratively, each perspective provides different ways of understanding story and experience. For instance, if we metaphorically view narratives as tools for living, we can see how/why they fail particular situations (Adams 2008). Because of this, I want students to think and at the same time question things like: What are the ethical responsibilities, if any, of storytellers to their audiences? What are the ethical dimensions of the narrative’s techniques?
Invited talks by international industry professionals, such as Clara Chan, Kate Jessop (BIAF), Beff, and Loop the Loop Collective, will be held during each session, providing real-world context and creative inspiration related to that day’s topics. Final outputs include visual narratives, animation experiments, and a shared digital exhibition or showcase. This project also lays the groundwork for future academic exchanges and shared curriculum development between the two institutions.
Through developing this proposal, I have gained deeper insight into the complexities and responsibilities involved in designing intercultural, practice-based learning experiences. This process has highlighted how storytelling can serve not only as a creative tool but also as an ethical and social practice that engages students in self-reflection, cultural dialogue, and responsible authorship. One of my key learnings is the importance of intentionally preparing students for intercultural collaboration—not only through creative exercises but also by addressing their assumptions, biases, and collaborative expectations in advance. Indicators of success would include the depth of intercultural dialogue, the ability of students to articulate ethical considerations in storytelling, and their comfort navigating different collaboration styles. Optional anonymous feedback would also provide insights into students’ personal and cultural learning journeys.
This process has made me more aware of my positionality as an educator working between two cultural contexts, as well as my previous work experience and how I can apply both in my current practice. I recognise my responsibility in facilitating spaces where students feel both safe and challenged, where diverse storytelling practices are not homogenised but valued for their unique cultural and emotional dimensions. Ultimately, I view this project as an opportunity to contribute to more conscious creative education, where internationalisation is not just about mobility but a meaningful intercultural exchange rooted in care, criticality, and collaboration.
[1] Based in Kings College London, London.
[2] Based at the Freie Universität Berlin, Berlin.
References:
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Chicago Humanities Festival (2013) Gordon Quinn: Ethics of Documentary Filmmaking. YouTube video, 54 minutes. Available at: https://www.youtube.com/watch?v=_981ZEM99e0
Harris, K., 2022. Embracing the silence: introverted Learning and the Online Classroom. Spark: UAL Creative Teaching and Learning Journal, 5(1), p. 3.
Kreiswitth, M. (1992). Trusting the tale: The narrativist turn in the human sciences. News Literary History,23(3), 629-657.
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Trahar, S and Hyland, F (2011) ‘Experiences and perceptions of internationalisation in Higher Education in the UK’, Higher Education Research and Development, 30 (5): 623-633.
UNAM Alemania (2021) Quinto Aniversario: celebración de la colaboración académica entre Universidad Nacional Autónoma de México y Alemania. México: UNAM Alemania. p. 9. Available at: http://www.alemania.unam.mx/Recursos/5TOANIV_U-A_ESP_DIG%20(3).pdf
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