Sarah Nuttall

South Asian student teachers enter Initial Teacher Education (ITE) in England in significant numbers, yet their completion rates remain disproportionately low. This study examines how racialised, cultural and institutional dynamics shape teacher learning, professional identity formation and developmental trajectories for nine South Asian student teachers on primary ITE programmes at a one English university. Guided by Gunaratnam’s racialised identifications (2003) and Serrant Green’s ‘Silences Framework’ (2011), semi-structured interviews explored how participants negotiated belonging, interpreted mentoring and managed scrutiny of cultural or religious dress during school placements. Findings show that racialised microaggressions, pressures to assimilate and limited cultural support constrained confidence, pedagogical agency and identity consolidation. Mentor relationships and school placement processes emerged as sites of racialised professional learning conflict, influencing progression and, for some, reconsideration of teaching as a career. The study highlights the need for culturally responsive mentoring, equitable placement practices and antiracist teacher education environments.

A website providing information and support for autistic women and non-binary people.

This article explores how autistic people experience theatre, showing that exclusion often comes not from individuals but from the way theatre spaces are designed and understood. Using audience feedback from Chameleon (Telling, 2025), an autistic-led production, we look at how common ideas about autism shape both what audiences expect to see on stage and how autistic people are treated in the theatre. Misinformation sets expectations about how autistic people should look, behave, and communicate, and these expectations influence how autistic presence is interpreted. We show how casting autistic performers, designing sensory‑aware environments, and inviting ongoing audience feedback can challenge these assumptions. Many audience members described barriers such as heat, glare, noise, and seating, revealing how often autistic discomfort is blamed on the person rather than the environment. We argue that autistic‑led theatre offers a different model: one that treats access as part of the creative process and presents autistic experience without softening or translating it. In doing so, it encourages audiences to rethink their assumptions and recognise autistic ways of being as valid and meaningful.