This project points toward a future of illustration education that is more open and more honest about contemporary visual culture. Students already operate across diverse influences, from childhood media, lived experiences and academic studies. Yet, acknowledging the conversations had within the focus group, these influences are not always acknowledged within formal teaching What is academia failing to recognise? Why is obvious cultural capital overlooked?
Three important points emerged during the focus group.
Firstly, there was a clear acknowledgement that manga and anime hold cultural weight. Even when described as “low art,” participants recognised their influence on visual language and popular culture. Regardless of how they are categorised, manga and anime shape a large proportions of student image making and consumption today.
Secondly, there does seem to be a gap or lack of understanding regarding the topic. Tutors feel as though there is no academic acknowledgement or support which then leads to uncertainty and unconscious bias against the art form. It is seen more as a problem within learning rather than a true art expression.
This lack of understanding or unconscious bias leads onto the anxieties surrounding manga and anime, particularly around violence or misogyny. Manga and anime are often scrutinised because they are visible as a single category, while similar themes in Western media are dispersed across film, television, fine art, and literature. There is no direct Western equivalent to manga or anime. Treating these concerns as unique to Japanese media risks reinforcing a Eurocentric lens that frames Western culture as neutral and others as excessive or problematic. Manga and anime should be approached with the same critical awareness as any cultural material, not exceptional suspicion.
What became clear is that manga and anime carry real pedagogical value, particularly within illustration and wider art and design contexts. Students gravitate toward this material because it reflects how they see the world and how visual culture functions beyond Western traditions. Taking this engagement seriously could help narrow the gap between institutional expectations and student practice. However, this engagement needs depth. Without care, inclusion risks becoming tokenistic or appropriative.
Using insights from the focus group, I have curated a custom Padlet page that acts as a digital reference resource. This resource could support tutors who feel unsure where to begin or further their knowledge on the subject. I can help guide tutors through the material, but the resource is also intentionally open. It invites collaboration, acknowledging that no single perspective can define such a broad field. Rather than presenting authority, the resource functions as an entry point.
Beyond illustration, this project contributes to broader conversations about inclusivity and relevance in art education. For me personally, it has confirmed that there is space for this work to grow. My next step is developing the project further through discussions with course leadership and exploring appropriate platforms for it to live.