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Black faculty members navigating the tenure process in higher educational settings, especially historically Black colleges or universities (HBCU), quickly learn within their careers that the job at hand requires a lot of time, energy, and persistence. Extant literature highlights the difficulties Black scholars face in such settings; however, it is vital to shedding light on the positive aspects that occur daily. This chapter highlights a component of collaboration that is often under shadowed in the educational setting, the faculty–graduate student partnership. Given the lack of resources and infrastructural elements that often plague HBCUs, in comparison to other institutions, faculty members inadvertently and unconsciously establish partnerships with advanced undergraduate and graduate students. Without the assistance of young, emerging scholars, tenure-earning faculty may struggle with maintaining a healthy work–life balance. Moreover, forging strong partnerships with mentees aids in faculty and student development alike. This narrative encompasses the views, experiences, and perceptions of a young, tenure-earning faculty member. Additionally, past and present graduate students provide insight on perceptions of faculty–student interactions and their subsequent development as scholars, researchers, and clinicians.

Using oceanographer Rachel Carson's study The Edge of the Sea (1955) to contextualise tidal spaces, this chapter discusses how constantly shifting and eroding coastlines act as a site for writing, re-writing and performing acts of cultural and personal memory. It also considers the ecological impact of human activity on tidal spaces and their more-than-human inhabitants.

14-18 NOW's Pages of the Sea, directed by Danny Boyle, invited communities around the United Kingdom to meet on their local beach to commemorate those who were lost in World War I by marking portraits in the tidal sands. Choreographer Chloë Smith's Tidal, performed in Berwick-upon-Tweed in 2015, was commissioned as a commemorative work but became an act of personal memorialising when Smith's brother drowned prior to the event. Performance company Curious's Out of Water (2012–2014), invites participants on a dawn-walk to the shoreline exploring memory, time, genealogy and water through song and movement. My own collaborative site-responsive work, Tide Times (2018), created with electroacoustic composer Tim Cooper for the tidal island of Cramond, explores the multiple identities of place over time. Tide Times encouraged audiences to create their own tidal poems and artworks through a series of invitations in treasure chests hidden around the island.

In explicating these aforementioned artworks, which explore ideas of remembrance using tidal spaces, this chapter will also acknowledge the forgetting that is implicit in performing these actions. What can the legacy of commemorations traced in such a transient and precarious space as a tidal zone be? This chapter argues that while shorelines provide sites for large and small scale acts of public remembering, they are simultaneously acts of forgetting as the twice daily tides cause inevitable erasure.