Hello, my name is Miss Grant.

I'm so glad you've decided to learn with me today.

We're in our Modern Text unit, and our modern text is "Leave Taking".

We are looking at an intersectional analysis.

Today we're going to look at intersectionality in "Leave Taking".

We're gonna really understand what this term means, and how it can help our understanding of what Pinnock is trying to do in her play.

I can't wait to hear all of your fantastic ideas.

I'm gonna be your support and guide as we work through today's lesson together.

Let's get started.

So by the end of today's lesson, you're going to be able to explain what intersectionality is and how it applies to "Leave Taking".

So we're gonna look really carefully at this term in a range of different ways and range of different moments in this lesson.

And then we're going to apply it to different moments of "Leave Taking".

So you can have a really secure understanding of how this term opens up some of the ideas that Pinnock wants to explore in her text.

Now there are some key terms which are gonna help unlock our learning today and help us achieve our objective.

The first one is intersectionality.

Now I'm gonna put the definition up.

This is of course not the only time that we are going to look at this term, it's gonna be the focus for our whole lesson.

So don't worry if you don't absolutely understand it to begin with, because we're going to explore it at lots of different moments, and we're gonna do that together.

So intersectionality is a term describing how certain social categories, for example, ethnicity, class, gender, can combine together to create unique combinations of disadvantage or advantage.

And as I say, we're gonna return to this idea throughout the lesson, so don't worry if the first time you're seeing this term, you're not quite sure exactly how it applies to "Leave Taking".

Our second key term is marginalise, and this is when a society treats a person, or group of people, as if they're unimportant, isolating and disempowering them.

We've got the word oppression, which is unjust treatment often of a group of people.

And then finally, our final key term for today is universal, which is when audiences, regardless of time period or circumstance, can relate to the ideas or characters in a text.

Now we're gonna return to these keywords throughout our lesson.

We're gonna deepen our understanding of what each of them mean, and how they apply to "Leave Taking", why they're so important to the play.

So our lesson outline for today.

First of all, we're gonna look at Enid and Del's specific experiences.

We're also going to unpack, well, what's the source of their conflict, or one of the sources for the conflict, between Enid and Del, between mother and daughter.

And then we're going to look at Scene Two, so respond to Scene Two in light of intersectionality.

So we're gonna really apply this key term which we're going to explore throughout this lesson to a specific moment in the play.

Let's start off with Enid and Del's specific experiences.

So here's what Pinnock says about her mother's journey to England.

So this is the in the introduction to the play, which I found invaluable in terms of understanding "Leave Taking", and it's just always such a pleasure to hear a writer talking about their own work.

The introduction is so rich in terms of contextual ideas, autobiographical ideas, and also information about how Pinnock came to write the play.

So I'd really encourage you to return to it and reread it, especially after you've read "Leave Taking" for the first, second, or third time, because each time it will enrich your understanding.

Well, let's look at a short section of that introduction just now, because here's what Pinnock says about her mother's journey to England.

She says, "My mother migrated from Jamaica to the United Kingdom in 1959.

The shock and disappointment of those who migrated to the UK at that time has been well documented.

My parents' generation had been indoctrinated by a colonialist education that lionised, celebrated, all things British.

Despite their disappointment on entering a country whose environment was often hostile, no Blacks, no dogs, no Irish, they didn't complain and rarely discussed hardships.

After all, they've grown up on plantation villages where the legacy of enslavement was still evident in the wretched poverty they endured.

Jamaica achieved independence the year that my youngest sibling was born, 1962.

My parents marriage disintegrated a few years later, and my mother became a single parent to four young children at a time when there was still stigma, shame, attached to divorce." Now I'd like you to discuss, so this paragraph is packed with information about Pinnock's own mother, her mother's experiences, and her experiences in Jamaica.

And I'd just like you to discuss how do we see some of these ideas explored in the play? So have a think, cast your mind to the eight scenes of the play that you know so well, and think, well, how are some of these ideas that she references in her introduction, how are they explored in the play? Pause the video and discuss the question now.

Well done for a really careful discussion about how this introduction, or this moment from the introduction, impacts our understanding of the play as a whole.

Now, when we do some feedback, you'll be able to see how you can reference some of these ideas, how you can tie them so carefully to specific moments, or specific characters, in the play.

And that is a brilliant way to bring in context, so you can use Pinnock's own words in your writing about "Leave Taking" to help you develop your understanding about "Leave Taking".

So let's have a look at some examples, some of the things that you were discussing in the way in which these ideas from this introduction are explored in the play.

So you might have, well, "The shock and disappointment of those who migrated to the UK." Enid hasn't been welcoming or as accepting as Enid expected.

She still feels that she doesn't exist here.

That quotation from Scene Eight, from the final moments in the play.

So the shock and disappointment that Pinnock talks about in her introduction, we can see that in the play.

One example is through the character of Enid.

"My parents' generation had been indoctrinated by a colonialist education that lionised, celebrated, all things British." Well, at the start of the play, Enid won't criticise Britain, she celebrates all things British.

She says, "England being good to me".

that is in Scene Two.

So again, you can see how a really specific moment from the introduction can be linked to a really specific moment in the play.

"After all," Pinnock wrote right in her introduction, "they had grown up on plantation villages where the legacy of enslavement was still evident in the wretched poverty they endured." Now in Scene Four, we find out that Enid grew up in rural poverty, and Brod blames Jamaica's poverty on colonialism in Scene Two.

So again, linking a really specific idea in Pinnock's introduction to two actually here, two moments in the play, and had lots of people referencing Enid's growing up in rural poverty.

And of course, that powerful moment in Scene Two when Brod is very angry with the British government, not only because of the legacy of colonialism, but also his treatment at having to complete a naturalisation process.

"My mother became a single parent to four young children at a time when there was still stigma," which means shame, "attached to divorce." Now Enid acknowledges in Scene Two that she doesn't want her children to be looked down on because they are fatherless.

This is quite a small moment in Scene Two, it's near the end of Scene Two, when Enid and Del are having their really explosive, their violent fight, that fight that ends in violence with Enid slapping Del.

And it is a short moment, but it is an important one in terms of maybe understanding some of Enid's experiences and feelings in Britain.

And we can see that this is referenced in Pinnock's introduction when she specifically says, my mother was divorced at a time when there was still stigma, there was still shame, attached to the idea of divorce.

So well done for looking at that introduction so carefully, and really impressive to tie it to specific moments in the play.

And again, I'll say again that it is such a good idea to use some of these ideas from the introduction, and introduction, you know really well, a play, you know really well, in order to develop your understanding of some of the ideas in the play.

So a check for understanding.

This is gonna tie the discussion that we've just had about the character of Enid to one of our key terms for today, the idea of marginalisation.

So the idea that a person, or group of people, in a society will be looked down on, they'll be disempowered, they'll be pushed to the edges of society.

So arguably, the character of Enid faces marginalisation.

In what ways is Enid presented as marginalised? Is it A, as a divorced woman, B, as a second generation immigrant, C, as a Black woman in 1980s Britain, or D, as someone who is uncritical of 1980s Britain.

Now you're gonna think about the section of the introduction that we just read and our exploration of how that introduction impacts our reading of the play.

So pause the video and select your responses to this question now.

Well done if you selected A, as a divorced woman, and C, as a Black woman in 1980s Britain.

Relying on ideas that Pinnock explored in her introduction, and that she presents in the play as a whole in order to ground your ideas.

So in many ways, Enid is disempowered, she's pushed to the edge of society as a divorced woman because there's still stigma, there's still shame, attached to this in 1980s Britain.

But she's also a Black woman in 1980s Britain, and Pinnock references in her introduction the hostility that some migrants felt when they migrated from Jamaica to England.

Now in Scene Two of "Leave Taking", Del and Enid argue.

Del says, "I hate it here." And Enid says, "You ungrateful." And Del says, "Grateful for what? This S-hole? A greasy job in a greasy cafe where they treat me like a dum dum." Enid says, "I work two jobs seven days a week to put food in your belly and a roof over your head.

I wear one dress, one pair of shoes with a hole in it so that you can dress like those children who have fathers.

People laugh at me, but they never laugh at you." And Del says, "But what can you give us that we can use out there? You don't see the police vans hunting us down, or the managers who treat us like we're the lowest of the low.

You're too busy bowing and scraping to your beloved England." Now I'd like you to discuss the range of reasons that Del feels angry at this moment in the play.

So pause the video, remind yourself of this argument between Del and Enid, and discuss the range of reasons that Del feels angry.

Pause the video and discuss the question now.

Well done for a careful rereading of that section.

And you're right that the first reason that Del feels particularly angry is because of her treatment in England.

She says, "they treat me like a dum dum." She feels that her treatment in her job is a reflection of her status as a second class immigrant, and that is also an aspect of racial discrimination.

But her anger is not just at British society who are not treating her like a British citizen, which she is, she was born in England, but she's also angry with her mother, and that anger sees her say, "What can you give us that we can use out there?" So she's saying, you are pretending not to see the racial discrimination from the police, from our workplaces.

You are too busy being really uncritical of England.

And Del is very, very angry at this, so she feels that her mother is not allowing for, or accepting, the experiences that she has in Britain.

Now the fight ends with Enid slapping Del, stating "People grow up in England think they can talk to you anyhow.

Well, they can't." And the fight and its resolution draw attention to the fact that Enid's experiences as a Black first generation immigrant from Jamaica are different to Del's experiences as a second generation immigrant, and a Black British-born woman.

So this fight is really drawing attention to the fact that they are having different experiences, Dell is saying, "You do not see what it's like for me out there." And Enid then says, you grew up in England and you think this means you can talk to me any way you can.

Well, you can't.

So that we've got two very different experiences here within the same family.

Now intersectionality, this key term for today, we want to understand this key term in order to achieve our objective.

We looked at it in our key terms at the beginning, we're gonna look at it again.

So intersectionality, a term coined by Kimberle Crenshaw, recognises that oppressions faced by different marginalised group intersect and create specific experiences.

So let's have a look at what that means for "Leave Taking".

So that's when Pinnock presents Enid's experiences as a Black first generation immigrant from Jamaica as different to Del's experiences as a second generation immigrant and a Black British-born woman.

She's exploring the different oppressions that Enid and Del face, which creates specific and differing experiences for them.

And this moment in Scene Two seems to really draw attention to the different experiences that they are having in Britain.

Now let's have a look.

So we're gonna keep returning to this idea of intersectionality, keep deepening and developing our understanding of it.

So just looked at it in relation to Scene Two, and let's see if we can apply the term correctly in relation to "Leave Taking".

So which statement correctly explores intersectionality in relation to "Leave Taking"? Is it A, Pinnock uses intersectionality to present the character of Del.

B, Pinnock reveals that Enid's experiences of oppression and marginalisation intersect in a different way to Del's.

Or C, Pinnock explores Del and Enid's experiences of oppression and marginalisation, showing that the two share the same experiences despite their constant conflict.

Pause the video and select your response now.

Well done if you selected B.

So Pinnock doesn't use intersectionality to present the character of Del, that is not the way to apply the term.

She's not using the concept to present a character, but she's instead looking at the ways in which Enid's experiences of oppression and marginalisation intersect in a different way to Del's.

And even though Del and Enid share some experiences of oppression and marginalisation, the point of intersectionality, so I'm looking at example C now, the point of intersectionality is to look at the way in which different oppressions intersect to create very specific experiences.

And Del's specific experience is different to Enid's specific experience of Britain.

So I'd like you to reread Scene Two from Del.

"He talks to me as if I can't speak English" all the way to the end, and I want you to create a Venn diagram with short quotations and notes using Izzy's model to guide you.

So in this way, at the end you're gonna have a Venn diagram which shows Enid's experiences of oppression and marginalisation, and how they are different to Del's experiences of oppression and marginalisation.

So there's an example there that Izzy has already done for you, that quotation that we looked at together earlier in this learning cycle.

"People grow up in England think they can talk to you anyhow." So her experiences of discrimination owing to her migration status.

So I actually find this quotation is incredibly sad moment in the play, because here we've actually got Enid admitting, even though Del is keen to say that her mother is not admitting that she faces any discrimination in England, actually Enid is saying, "People grow up in England think they can talk to you anyhow." It points to the idea that Enid is accepting that she faces racial discrimination, and that people in England think that they are somehow better than her.

But Del at this moment is so angry with her mother that she doesn't seem to accept that this actually is a moment of a reflection on Enid's part.

So a really nice quotation that Izzy has selected, I think a really rich one, and one that I would definitely draw on in lots of different essays, or discussions, or thoughts about "Leave Taking".

But I'd like you to reread Scene Two now from "He talks to me as if I can't speak English" to the end, so just a section of Scene Two, and then create this Venn diagram.

We've got that really helpful example from Izzy in order to help you create your notes.

So pause the video and complete those two tasks now.

Welcome back after a really lovely rereading of a section of Scene Two.

So I always love reading a play for the first time thinking what's gonna happen? How is this character gonna develop? What's the resolution gonna be? But I equally love rereading moments in a text and thinking, oh, what does this mean to me now? Now that I've read the whole thing, now that I've applied more contextual understanding, now that I've developed some of my ideas.

Now I've seen some really, really nice Venn diagrams, and I just want to look at another one of Izzy's notes, and just make sure that all of your notes meet that same high standard.

So here's another one of Izzy's notes.

This time she's focused on the character of Del.

She has selected, "He talks to me as if I can't speak English." And her note is, "is not thought of as British despite being born in England because she's Black." So some racial discrimination, an example of the oppression and marginalisation that Del is facing as a second generation immigrant.

So the second of Izzy's notes, it has a quotation, and it has a note about the quotation.

So I would like you just to check that all of the notes on your Venn diagram meet Izzy's standards.

So pause the video and just have a check through your Venn diagram, and just make sure that all of your notes meet Izzy's standards.

Pause the video and complete the self-assessment now.

Well done for just checking your Venn diagrams, making sure that they're full, they are clear, they've got all the quotations that you wish to take from that rereading of Scene Two.

And you're already building that understanding of intersectionality by looking at Enid's experiences of oppression and marginalisation as different to Del's experiences of oppression and marginalisation.

So let's now move on to our second learning cycle.

We're going to look at responding to Scene Two in light of intersectionality.

So all the discussion thoughts, rereading that we've done in learning cycle one are gonna be really, really important, and they're gonna be really useful in learning cycle two.

So Pinnock said of the most recent production of her play, "I hadn't read, 'Leave Taking' for several years when Madani Younis, artistic director of the Bush Theatre, told me that he wanted to revive the play as part of the theater's 2018 season.

He said that he and the Bush's creative team considered the play a classic of the canon of work by Black British playwrights, and that they felt it still remained relevant: Enid's predicament, the plight of many immigrants regardless of where they come from, caught between two worlds, reaching out for life in a new country, haunted by memories of what she has left behind." So just as we reread a section of Pinnock's introduction in learning cycle one, we're gonna rely on it again in learning cycle two.

Now I'd like you to discuss, just looking at this paragraph of Pinnock's own words, discuss why did Younis want to revive the play? Pause the video and discuss the question now.

Well done for identifying that there are actually two reasons why Younis wanted to revive the play.

So the first one is the fact that it is a classic of the canon.

So a really significant, important text that is reflected of the time period.

But the second reason is that the play remains relevant because of Enid's predicament.

So the idea that many immigrants, regardless of where they come from, are feeling the same conflicted feelings that Enid feels in the play, and so seeing that portrayed on stage is really, really important in terms of people understanding their own experiences as well as the experiences of Enid.

Now here's what Pinnock says of audiences' responses to "Leave Taking".

She says, "After the first performances of the play at the Liverpool Playhouse Studio, women from different cultural backgrounds collared me to say, 'That's my story.

I'm Enid', or, 'That's my mam.

She's just like Enid.

'" I'd like you to discuss.

So Pinnock's Enid is a unique character, but in what ways is she also universal? So this is one of our key terms from the beginning of the lesson, the idea that regardless of time period, people can relate to a particular text, or particular character.

So Pinnock's Enid is a unique character, but in what ways is she also universal? Pause the video and discuss the question now.

Well done for really showing a deep understanding of this term universal, and absolutely Enid's a unique character, but people, audiences really seem to respond to her, they seem seem to say, I can see myself reflected in Enid, or I can see my mother reflected in Enid.

So regardless of time period, regardless of cultural backgrounds, as Pinnock herself says in her introduction, we can see that the character of Enid really speaks to audiences.

But we must balance the idea that "Leave Taking" is universal with the idea that the play explores very specific experiences.

So we're gonna return again to this idea of intersectionality, and we're gonna balance it with this idea of universality.

So the play is universal.

"Enid's predicament, the plight of many immigrants regardless of where they come from." And, "women from different cultural backgrounds collared me to say, 'That's my story.

I'm Enid.

' Or, 'That's my mam.

She's just like Enid.

'" So we do have this idea of universality.

The play is universal, it speaks to people regardless of time period, or cultural background.

At the same time, the play explores very specific experiences.

So Enid's experiences as a first generation immigrant and a Black Jamaican-born woman, and Viv and Del's experiences as Black British-born women.

So we can look at this kind of duality here, we've got the universality of the play, and the idea that it explores very specific experiences, and we don't need to select one isn't right and then the other is wrong, and we can hold these two ideas in our minds at the same time, we can see that Pinnock has managed to create a play that is both universal and very, very specific.

So although Pinnock writes about the plays universality, she also writes, "I started out wanting to write about the daughters, this new breed of Black British woman, but ended up fascinated by Enid, and the complexity of her relationship with England, her daughters, and herself." So we've got the idea that it is universal, but now we're gonna look back at the idea that there are some specific experiences that are being explored.

And I'd like you to discuss how does Pinnock emphasise how Enid's experiences are different to her daughters? So we have touched on this in learning cycle one, we looked at that fight between Enid and Del, and the fact that that fight is kind of rooted in the idea that their experiences of England are different.

Let's have a look at this introduction now.

So how does Pinnock emphasise that Enid's experiences are different to her daughters? Pause the video and discuss the question now.

Well done, a really, really nice discussion here where we're really starting to deepen our understanding of intersectionality, and we can see, yes, we know the play's universal, but let's also think about these really specific experiences and the way in which the different oppressions that the characters face, how do they intersect? So Pinnock calls Viv and Del this new breed of Black British woman, perhaps referring to the fact that they're the children of first generation migrants who relocated to Britain post World War II.

Viv and Dell are about to leave home and begin their lives as adults.

So this is their experience of Britain is growing up in Britain, and now they're about to leave home.

By contrast, Enid has a different relationship with Britain, a country she was not born in.

She's experienced life in Jamaica under British rule, and she's a mother.

So her experiences are completely different to her daughters and they intersect in a different way so that she has a different experience of Britain than Viv and Del.

And this is often where their source of conflict lies within the play.

So again, let's have this check for understanding.

So we're really deepening, all the time, our understanding of intersectionality.

Why does Pinnock call Viv and Del "this new breed of Black British woman"? I want you to read through all three responses, all three possible responses, and then select which you think is correct.

Pause the video and complete the check now.

Well done if you selected C, because they're recently grown up children of someone who, like many from the West Indies, migrated post World War II.

So if we look at A, because of the intergenerational conflict between them and Enid, a conflict only made worse as they both try and leave home.

Well, intergenerational conflict, it's a universal theme we can see in many, many different families across many, many different texts.

And this is not why Pinnock calls Viv and Del "this new breed of Black British woman".

It is rooted in contextual ideas, the idea that they are recently grown up children of someone who, like many from the West Indies, migrated post World War II.

B, because they're first generation immigrants.

This is incorrect.

They are second generation immigrants because they were born in Britain to a parent who was born in Jamaica.

Now Izzy writes, "Arguably, Pinnock presents the intergenerational conflict at the end of Scene Two as a powerful expression of the specific experiences Del and Enid face in 1980s Britain." So Izzy has gathered all of her ideas that she's gathered across the lesson to write this incredibly powerful topic sentence.

She's focused on the intergenerational conflict, she's focused on a moment from Scene Two, but she's really thinking about the idea of intersectionality because she's written it's "a powerful expression of the specific experiences Del and Enid face in 1980s Britain." Now I'd like you to develop Izzy's argument using the three sentence starters below.

The first is more specifically, the second is furthermore, and the final is ultimately, Pinnock uses this scene to.

Now I've got some prompts in order to help you complete those sentence starters.

So when you are using more specifically, I'd like you to refer to a moment in Scene Two, and explore its significance.

Now you've got some fantastic notes about Scene Two, because you completed the Venn diagram in learning cycle one.

Furthermore, I'd like you to strengthen your argument by making another reference to the text.

It could be another reference to Scene Two, or you might want to look elsewhere.

And finally, ultimately, Pinnock uses this scene to, and I'd like you to consider Pinnock's intentions, and see if you can use a keyword.

So we've got Izzy's incredibly powerful argument, and you are gonna develop it using the three sentence starters below.

Pause the video, get your laptop, get your pen, your paper, whatever it is you are writing on, gather all of your brilliant ideas from the discussion we've had throughout this lesson, and develop Izzy's argument using the sentence starters below.

Pause the video and I'll see you back here shortly.

Welcome back, well done for applying such hard thinking to your writing, and making sure that this complicated idea is really, really grounded in your text.

It was lovely to see people have their Venn diagram out in front of them, and their copy of the text, and making sure that all of their ideas are really, really rooted in what we find in this play.

Now I'd like you to self-assess using the questions below to guide you.

So we know we needed to develop Izzy's argument.

So when you use the sentence starter more specifically, have you explored a moment in Scene Two, for example, Del's anger at Enid? We know we have to use the sentence starter furthermore.

Have you explored another moment in the text that develops your argument? Now, of course, this can come from Scene Two, it's a really rich scene, particularly that fight between Del and Enid, but there might be another moment in the text that you think would be really helpful.

And ultimately, Pinnock uses this scene to, and have you explored what Pinnock might be asking us to consider using keyword like intersectionality, or intersect, oppression, or marginalisation? So pause the video, read through your paragraph, make sure that it is developed, it's got references to the text, and that that final sentence really refers to Pinnock's intentions.

Pause the video and complete the self-assessment now.

Well done for reading through your paragraph so carefully holding yourself to really high account, and making sure you're using those keywords, key term that you might have come across for the first time in this lesson really, really accurately.

In summary, Enid's experiences of oppression and marginalisation are somewhat based on Pinnock's own mother's experiences.

Scene Two explores Del and Enid's differing experiences of oppression and marginalisation.

Intersectionality is a term coined by Kimberle Crenshaw.

It recognises that oppressions faced by different marginalised groups intersect and creates specific experiences.

The universal themes and characters in the play must be balanced by the specific experiences of Pinnock's characters.

It has been such a pleasure to work through this lesson with you today, and I look forward to seeing you next time.