Finding strategy to manage different learning challenges through craft community!
Interwoven, Neurodiversity and the Creative Mind is a CSM project that explores the links between our creative processes and neurodiverse minds and how those two things interlink. September 2023
INTER WOVEN
Like many neurodiverse people I find comfort in repetative craft activity anything that distracts, but also allows me to focus. My daughter Silva, who is dyslexic loves repairing, and uses it as a ‘mind’ mending technique, when she is stressed or overwhelmed, the results are really very intricate, complex and beautiful. So I was fascintaed to discover this CSM workshop initiative called INTER WOVEN, led by artist and educater Christopher Kelly, he shares his own experience with ADHD, and how he found crochet as a ‘coping stratergy’. I am drawn to how through craft activity, students with nerodiversity are able to connect and feel a sense of community through a shared experience. This is something really important for me to remember while considering how to support my students in shared studio activity. As discussed in this film, some students with neurodiversity find peer learning, and collaboration invasive. They may experience noise and social signals difficult to negotiate, and choose to self isolate. I am inspired by the thought that collaborative activity does not have to mean team effort, it can as evidenced by Inter Woven take the shape of a shared experience, through an inclusive activity.
I am also consious that neurodiversity learner needs are varied and complex, some students I experience have sensory challenges, noise, smells lights and others processing issues that cause stress and anxiety. The studio space as an inclusive space, could be improved to respond to complex these diverse needs. I draw on an article from WONKE, (Wheewell, Tiplady. 2023) exploring practical issues that neurodiverse learners would like to feel more at ease in the learning environment. I would like to explore how to make the studio a truly inclusive environment for my students. As I am seeing a connection that a growing number of my students do not work in studio, and choose to spend time in isolation. These students projects seem to be linked with ‘soft’ craft output. I will take inspiration from InterWoven, as a catalyst for introducing craft activity that compliments the course, and engages students with differents learning needs, within the studio. To consider well-being and relationship building, to support mental health.
Within MA Fashion Artefcat using hair as a material seems to resonate deeply with many students. Perhaps as hair is so deeply connected to cultural and emotional aspects of self. I would like to explore inclusive craft activity that may foster a deeper connection. I will build on this idea in one of my case studies.
The Image above: The Hand (2008) by Artist Jayoung Yoon is from her series Wearable Sculptures, made from interwoven fibre and hair as she explains in her artist statement “I use human hair as a primary medium to create two- and three-dimensional works, exploring themes of mindfulness, and interconnectedness. Human hair has the potential to embody both mind and matter.”
References:
Hamilton, L.G, Pettey, P. (2023). ‘Compassionate pedagogy for neurodiversity in higher education: A conceptual analysis’. Front. Psychol.,Sec. Educational Psychology, Volume 14. Available At: https://doi.org/10.3389/fpsyg.2023.1093290 (Accessed 10th January 2024).
In the article On the spectrum within art and design academic practice by Luca M. Damiani, Media Artist and Associate Lecturer, BA (Hons) Graphic and Media Design, LCC. Damiani shares personal experience through a series of artworks that aim to make visual neurodiversity, starting with an introduction and then moving through to an inside view of his brain responses as a neurodivergent artistic practitioner. The work is intended to create discussion around neurodivergent thinking, through the lens of his personal experience as a practitioner with Asperger syndrome.
The fact that neurodiversity is so ‘common’ and on some level expected within the artistic community it is astonishing how little we discuss the subject and allow space for understanding.
Damiani gives a short historical context to the neurodiversity as a term, as noted. ‘The term was first introduced in the late 1990s, neurodiversity means neurological diversity (Blume, 1998; Singer, 1999). It embraces many aspects of the brain’s functions and neurological diversity (Pollak, 2009), encompassing autism, dyslexia, dyspraxia, dyscalculia, Asperger’s and attention deficit hyperactivity disorder (ADHD). These are grouped by the different ways that neurons are connected, which brings differences in thinking, in seeing, in filtering, in analysing and responding to what surrounds us (i.e. sound, smell, light, colours, space, images, data, objects, etc). These differences in thinking affect aspects of perception and interaction, such as learning, literacy, speech, socialising, communication, relationships, talents and the ability to focus and concentrate. Each neurodivergent individual is different, even when diagnosed with the same condition as someone else. Each experience of the condition is unique’. (Damiani 2018).
This is incredibly helpful information, the key learning for me is each neurodiverse person is different! – this rang out, of course I know this intrinsically, but unless a student offers personal insight how can I understand the individual neurodiverse needs? without actual insight. I do personal tutorials at the start of term, sometimes information is shared, mostly I rely on instinct to support.
The fascinating aspect of this article is the way Damiani draws us into his visual pattern of thought, how he sees or uses his work to create a space for dialogue around the unique abilities of his neurodiverse brain. The focus on ability and potential is key as research on neurodiversity in art education have uncovered that art and design subjects have a higher proportion of dyslexia students, noted in the article (Bacon and Bennett, 2012).
I was fascinated to read an on-line article ‘The art of being dyslexic’, (The Independent 1997). A study by educational psychology Diana Appleyard conducted at CSM, researching the link between creative arts education and neurodiversity. She took an entire cohort of Art and Design Foundation students and following standardise test to detect a recognised learning difficulty, reported that over three quarters of the students (voluntarily) tested were found to have some form of dyslexia.
So, if I assume that much of the artistic community is or may be neurodiverse perhaps the dialogue around the subject and vast creative potential could be expanded, to support and celebrate the ‘new normal’. As already discussed in my blog ‘ Diffability’ I have experienced first-hand, as a student, and know UAL disability services are amazingly supportive. This is the support for, and that great, I am as a tutor more interested in the potential of neurodiversity as discussed by Damiani in this paper, to focus on ability and the potential to visualize the world in a different way, in the development of the individual. Understanding the individual and exploring diversity through their artistic practice with them is an exciting thought, and as I reflect it is how I operate already. I am inspired to develop a deeper understanding in my teaching practise. I can rarely say I know my students, not really know them. I see a side of the person that they present to me, if they are neurodiverse, they will probably be masking at most times, as I do. I have experienced students that can’t connect to their practice or focus on their work but will start to produce quietly in isolation when the brain triggers. No one student is the same – just as no ONE brain is the same.
References:
Appleyard, D. ‘The art of being dyslexic’, (1997) Independent On-Line, Available at: (Accessed 18th January 2024).
Damiani. L.M. (2018). ‘On the Spectrum Within Art and Design Academic Practice’ , Vol. 3 No. 1.pp, 16-24
Referenced From Article: See PDF Attached for links:
Bacon, A.M. and Bennett, S. (2012) ‘Dyslexia in Higher Education: The decision to study art’, European Journal of Special Needs Education, 28(1), pp.19-32.
Pollak, D. (2009) ‘Neurodiversity in higher education: Positive responses to specific learning differences’. New York: John Wiley
CONTEXTUAL BACKGROUND: In my role as Senior Lecturer on MA Fashion Artefact I am part of a teaching team and until now have been personal tutor to a proportion of the cohort. I have been asked to become Unit1 leader for 24/25 cohort. Most students on this course are from oversees, without English as a first language. They will have experienced a variation of learning styles, language challenges, from diverse social and economic backgrounds. Many working with learning difficulties.
EVALUATION: Until now, I have worked with my tutor group, and limited interaction with the whole cohort. Tutor groups are randomly assigned at the start of the year, without knowing student indivuals. As Unit Lead I am there to support all learners. I see an opportunity to build a ‘holistic’ support network. Inspired by the ideas of Felton and lambert of maximising opportunities for relationship-rich education; I propose opportunity for staff student informal interaction, and peer mentorship (Felten, P, Lambert, L.M,2020). The Scavenger hunt Workshop I introduced, is a positive peer and tutor experience, building on this, communication and belonging will be my focus. To enhance student learning of studio practise, I believe the physical space needs some care, at present the studio is untidy, and unloved; students need to be inspired, to take ownership. To be responsive to individual needs I want to facilitate ‘safe’ channels of communication (hooks,b. Freedom Forum 2016).
MOVING FORWARD:
Finding Shared Values: – Visual MINDMAP Workshop: This is a playful approach for peer interaction to start to feel comfortable with each other. Group brainstorm: Shared interest, values, concern, fears; Invite students to offer ideas of how they would like to work, determining atmosphere, working patterns, ideal learning environment. Outline a course shared mindset pin board, with key words and visuals.
Constructive Suggestion Box: – Students who find it difficult to communicate openly will have the opportunity to make constructive suggestions through an anonymous means – either sealed box or on-line portal.
Weekly Intentions: – Each week two students will propose a weekly key word, and visual to add to our shared group pinboard.
Respectful Studio Etiquette: – Build on the brainstorming, to outline a ‘studio etiquette manifesto’ as an inclusive studio practise. Agree on quiet space and times, to accommodate learners with noise sensitivity. Discuss personal space and working practise, housekeeping, practical and safety concern to ensure all cohort feel at ease to spend time in studio.
Peer Mentorship: – We already foster interaction between 1st and 2nd year students to a degree, by asking 1st years to support in final project completion. However, peer mentorship for 1st years, as an active intention (Felten, P, Lambert, 2020) could be built upon to ensure all students are aligned to peer support/advice going forward. I will test this idea during group tutorial session I will ask 2nd years to participate in feedback and advisory support and encourage peer familiarity allowing students to build relationships organically.
Rotating Tutorials: – During the first half of term I propose small group tutorials session, that will be rotated through all 3 members of the teaching staff, students are allocated personal tutors after staff have spent meaningful time with the individuals, (presently random selection from register). In this way we will be able to assess and support the cohort with greater consideration to learner style and individual needs. I believe this support the learner.
Technology Support: – I would like to support language challenges during instructional studio sessions through immersive Ai (Wei, L, 2023) voice to text on studio monitor. This is possible through the technology in place, but not utilized, at present, we assume digital equality and usage of personal devices.
CONCLUSION: To create a physical and emotional inclusive space for learning, it is critical to ‘know’ the individual, so communication and open dialogue opportunities are key. I believe through welcoming students, including them in decision making and co-created learning space I can better support ALL learners.
“How can institutions be strategic about maximizing opportunities for their students to experience meaningful relationships with faculty, staff, and influential peers?” (Felton, Lambert 2020).
Bamber, V., Jones, A. (2014) ‘A Handbook for Teaching and Learning in Higher Education’, 4th Edition, chap 11 Challenging students: enabling inclusive learning, page 17, Routledge
hooks, b., Powell, J. (2015) Belonging Through Connection, Othering and Belonging Conference, Available at: https://www.youtube.com/watch?v=0sX7fqIU4gQ (Accessed 29th March 2024).
Felten, P., Lambert, L.M. (2021) Relationship Rich Education, Available at: https://www.youtube.com/watch?v=WOWoWnl2Rq4 (Accessed 29th March 2024).
Wei, L, (2023) ‘Artificial intelligence in language instruction: impact on English learning achievement’, L2 motivation, and self-regulated learning, (2023) Volume 14, Sec. Educational Psychology, Availably at: https://doi.org/10.3389/fpsyg.2023.1261955 (Accessed 3rd April 2024).
I start my journey of enquiry regarding my own teaching (and learning experience) with Maslow’s hierarchy of needs. Still considered as a psychological benchmark even today his ideas are a central feature of leadership programmes and academic courses. The hierarchy of needs as first described in 1943 are encapsulated as follows: 1 – Biological and physiological – air, food, drink, sleep. 2 – Safety – protection from elements, security, order, law, stability, freedom from fear. 3 – Love and belonging – friendship, intimacy, affection, and love. 4 – Esteem – achievement, mastery, prestige, self-respect, and respect from others. 5- Self-actualisation – realisation of personal potential, self-fulfilment, seeking personal growth and peak experiences.
In my role as Senior Lecturer within MA Fashion Artefact and MA Footwear, I am part of a teaching team and personal tutor to a proportion of the cohort. There has been a growing number of over sees students on our course, who are predominantly studying far from home, and the majority without English as a first language. In consideration for creating an inclusive environment within our course, and with the context of displacement from the familiarity of home, family, and friends, it is critical to consider basic human needs for students to begin the process of settling within this new environment. I am intrigued to look more closely at the growing rise in literature around compassionate pedagogy. Most especially at how I might use this to be compassionate when explaining course content or giving feedback during tutorials and group sessions. Compassion can be defined as “a sensitivity to suffering in self and others with a commitment to try to alleviate and prevent it”(Gilbert, 2017). As I experience, teaching brings with it a myriad of challenges, it requires an open heart and mind, and being open to learning, through the process of compassion to myself, and to my students. Having recently been diagnosed with a specific learning difficulty, I am acutely aware of the diverse needs of students, although a specific diagnosis may not be shared or discussed (McLeod et al., 2019; Clouder et al., 2020), it is important it is for me to be open to signs of differing learning styles and needs, moreover be empathetic to individual care with patient attention.
I have always been fascinated with human psychology and have been drawn to the teachings of Maslow and Rogers and pay homage to the now infamous 5 hierarchy by A. Maslow and C. Rogers way back in 1943, then certain ‘needs’ must be fulfilled before this can be achieved. While it is not my sole responsibility as educator, I feel it is important to contribute meaningful on this learning journey and take steps to understand the individual learner. I draw focus to Maslow’s third hierarchical human need, feeling a sense love and belonging. Students will face a variation of challenges including diverse educational experience, cultural difference, and social inequality. UAL wide activity is very assiduous and attempts to be inclusive and build connections. In these primary months of campus life there are repeated contents heavy seminars and many emails delivered in fast succession. It has been observed that the activities provided to build community involve large numbers in loud atmospheres, and these immersive gatherings are prohibitive for some ‘neurodiverse’ individuals to engage and feel safe. I am inspired by the work of John A Powell, (Bioneers 2023) and the thoughts shared among artists, ecologists, academics, and scientist within the Othering & Belonging Institute, to pose and discuss difficult questions within the framework of love, understanding, mutual respect and compassion, and the important work of Dr. Terrell Strayhorn, who advocates that a student’s sense of belonging is not a just a basic need, but a fundamental human right. I aim to build a sense belonging in my practise, through compassionate pedagogy to create equity through shared experience and supporting all students beyond the fear of arrival, this will help to encourage a safe space for new ideas and diverse opinions to flow freely with love and compassion.
Clouder, L., Karakus, M., Cinotti, A., Ferreyra, M. V., Fierros, G. A., and Rojo, P. (2020). ‘Neurodiversity in higher education: a narrative synthesis’. High. Educ. 80, Available at: https://link.springer.com/article/10.1007/s10734-020-00513-6 (Accessed 10th January 2024)
McLeod, J. D., Meanwell, E., and Hawbaker, A. (2019). ‘The experiences of college students on the autism spectrum: a comparison to their neurotypical peers.’ J. Autism Dev. Disord. 49. Available at: https://link.springer.com/article/10.1007/s10803-019-03910-8 (Accessed 10th January 2024).
CONTEXTUAL BACKGROUND: As Senior Lecturer and personal tutor, within MA Fashion Artefact, I will become Unit1 leader for 24/25 and will have the opportunity to structure and deliver aligned studio workshops, to support Unit aims.
What people construct from a learning encounter depends on their motives and intentions, on what they know already and how they use prior knowledge. Meaning is therefore personal – what the learner has to do is the important thing. (Biggs 2003, p. 13).
EVALUTAION: I have seen a reluctance for students to occupy the studio space, independently outside timetabled session. This pattern of isolated learning has been evident since Covid 19, and particularly concerning, as Unit 1 emphasises self-directed study through studio practise: testing materials, iteration, prototyping, skill building. Through student centred learning, I would like to encourage a deeper connection to studio practise using peer learning and experiential workshops to support the intended learning. All activity will be aligned with the unit brief in support of ILO’s, drawing on constructivist theories of learning (Biggs 2003). Building a stronger community of meaningful relationship in shared physical space. (See CS 1, ‘studio etiquette’ to support diverse learners).
MOVING FORWARD:
Innovating Material Use: 1 day workshop – Material application and techniques will be introduced through demonstration, and instructional visual worksheet. (To support students with diverse learning or language challenges). Then students will be guided to research in the library, and apply these techniques using non-conventional waste materials, (provided or found in college) – Students are supported in session by technical staff. This is a workshop to encourage innovative problem solving, material testing, model making.
Problem Solving Through Craft: playful workshop, over 2 days to support hands-on making process and material exploration, through Peer Learning: Working in small teams (3-5) students will be challenged to make an artefact (protype) in response to a problem, with a physical (associated to body) and emotional element (linked to wellbeing). Students will work together to decide on a design, materials, and the craft technique/s, (that associates to the elements). This activity will help facilitate critical thinking and imaginative solution, test ideas quickly and through collaborative exchange and pull-on shared knowledge. Outcomes will be presented at the end of two days in an informal studio (inclusive) crit.
Emotional Toolbox: To encourage deeper understanding and analysis of concept development I would propose a more challenging series: of experiential workshop, focused sessions to support material innovation and studio methods. Each workshop will be conducted in groups of 10. Using OBL as a method of engagement (Hardie, K. 2010). Students will create a set of tools (individually or in collaboration) over a period of 4 half days, using found objects. This Set of tools is aimed to deepen engagement in their chosen process/technique and will culminate in a set of emotional tools (see draft brief attached).
Well-being Worshops: As studio practise evolves over the term co-creation of specialist craft activity for smaller groups, led by students will be discussed and encouraged. Crochet, weaving, Evidenced in research by Interwoven (See Connecting Through Craft Blog.)
Process Support: I propose students collate a regular studio dairy entry of reflective learning and photographs of studio practise, to be posted on a process blog. (See case study 3: Alt. Ass.Task). The continuous recording and analysis of study practise as research method, submitted as part of assessment task, will support learning. (de Freitas, N. 2002).
CONCLUSION:
I believe it would be beneficial alongside to introduce these aligned activities within Unit 1, to encourage students engagement with the physical studio space and shared values. The learning through enquiry and play will associate studio practise with creative mindset, fostering community, and providing tools to record process, ultimately result in stronger project outcomes.
Image: Process picture of Glass Shoe Artefact, Georgina Goodman, 2017.
References:
Barrett, E. J.(2007). ‘Experiential learning in practice as research: Context, method, knowledge’, Article in: Journal of Visual Art Practice
Biggs, J. (2003) ‘Teaching for quality learning at University’ (2 nd ed.). Buckingham: Society for Research into Higher Education and Open University Press.
Bovill C (2020) ‘Co-creating in learning and teaching: the case for a whole-class approach in higher education’. Higher Education 79(1): 1023–1037.
de Freitas, N. (2002) ‘Towards a definition of studio documentation: working tool and transparent record.’ Working Papers in Art and Design 2, ISSN 1466-4917
Kador, T, Chatterjee, H, (2020), ‘Object Based Learning and Well-Being, Exploring Material Connection’ , Chap 2 ,Pedagogic Prescription, Art and design teaching practise and object led well-being): p.17, Routledge.
As an educator and creative practitioner, I am fascinated to question, how and what facilitates the ‘learning and teaching of creativity’, (not really possible in a sort blog post! – but here goes…..) Afterall, as Senior Tutor working at master’s level, I see I have the potentials to act as a catalysis (Biggs, J. (2003) ‘Constructive Alignment’), to; encourage creative and critical thinking, pose questions that elicit multiply answers and innovative solution to real world issues, ALL while I support inclusive learning, and help ALL students ‘succeed. This is a BIG ask! But, I am asking my students to imagine what ‘could be’ and propose scenarios that speculate on a future that may feel quite scary. This requires bravely and courage, I am there to support this journey. This I propose engages the divergent brain, but the convergent brain is also needed to analyse and organise findings, (George Land, 1968, Head Start).
Depending on individual learning experience and cultural background, creativity, or divergent brain activity is not always valued in mainstream education, Students want to know ‘how they should’ do something, what will score high marks. I observe that neurodiverse students, are more adept at using the divergent brain, to propose unique scenarios and project content. However, find organising and analysing critical information challenging. So, the greatest goal is to find the sweet spot between the divergent and convergent brain, to support diverse needs and learning styles.
This brings into question what variation of tools I use, in supporting learning; By questioning, (Socratic method: Reich, R., May 22, 2003) will I cause confusion? through ‘critique’ will I cause stress? and will me feedback be understood, if the student is challenged with diverse learning needs, or with language barriers. I know I need to critique and questions project work, use critical pedagogic approach (Connor, P., (2024), The Socratic Method: Fostering Critical Thinking,) while supporting and encouraging through engaging in compassionate pedagogy. Afterall, the part of the brain that we want to re-ignite is the ‘divergent’ section, the area where imagination can run free to find answers to complex questions. I see this an on-going throughout me teaching, through student/tutor collaborative sharing of ideas, through meaningful peer exchange and relevant learning activities, appropriate verbal, and written feedback, to foster an inclusive, creative space. (Biggs, J. (2003) ‘Constructive Alignment’)
CONCLUSION (still in neurodivergent process!):
I believe creativity is within ever person, and with time and gentle probing, through the right method of questioning without judgement, open discussion and respecting difference of opinion, creativity grows like a tree once outside the bounds of mainstream education. The research conducted by Dr.George Land started a controversial debate on the nature versus nurture mindset. Creativity and imagination, fuelled by the divergent brain engagement is thought to diminish as we grow older. Land poses this is due entirely to the rewarding and value placed on the convergent brain through formal education development. I believe that by encouraging both through questioning and critiquing compassionately. (Socratic Method, and Critical Pedagogy), students will reach a deep understanding of their creative potential.
The Growing Roor Heel – A Sketch by Georgina Goodman – 2016
THE SCIENCE:
In 1968, George Land conducted a research study to test the creativity of 1,600 children ranging in ages from three-to-five years old who were enrolled in a Head Start program. This was the same creativity test he devised for NASA to help select innovative engineers and scientists. The assessment worked so well he decided to try it on children. He re-tested the same children at 10 years of age, and again at 15 years of age. The results were astounding.
“What we have concluded,” wrote Land, “is that non-creative behavior is learned.”
PERCENTAGE TEST RESULTS FOR CREATIVE GENIUS BRAIN:
Test results amongst 5 year olds: 98% were considered GENIUS! Test results amongst 10 year olds: 30% Test results amongst 15 year olds: 12% Same test given to 280,000 adults: 2%
George Land – The Failure of Success – TedX December 2011
References:
Biggs, J.B. (2003). ‘Teaching for quality learning at university’. Buckingham: Open University Press/Society for Research into Higher Education. (Second edition)
Divergent thinking, characterized by the generation of multiple creative solutions or ideas, is closely aligned with the concept of neurodivergent brains, which refers to individuals whose neurological development and functioning differ from typical or neurologically typical individuals. Here’s how divergent thinking is aligned with neurodivergent brains:
Varied Cognitive Processes: Neurodivergent individuals, such as those with autism spectrum disorder (ASD) or attention deficit hyperactivity disorder (ADHD), often exhibit cognitive processes that diverge from typical patterns. These cognitive differences may include enhanced pattern recognition, unconventional problem-solving approaches, and unique perspectives—all of which contribute to divergent thinking.
Enhanced Creativity: Some neurodivergent individuals demonstrate heightened creativity and innovation due to their atypical cognitive processes. Their ability to think outside the box, make novel connections, and generate unconventional ideas aligns closely with the essence of divergent thinking.
Nonlinear Thought Patterns: Neurodivergent individuals may engage in nonlinear thought patterns, characterized by tangential thinking, associative reasoning, and nonsequential idea generation. These cognitive traits facilitate the exploration of multiple pathways and possibilities, essential aspects of divergent thinking.
Unique Perspectives: Neurodivergent individuals often bring unique perspectives and insights to problem-solving and creative endeavors. Their atypical ways of processing information can lead to unconventional solutions and innovative approaches, enriching the creative process and fostering divergent thinking in collaborative settings.
Overall, the alignment between divergent thinking and neurodivergent brains underscores the importance of recognizing and valuing cognitive diversity in fostering creativity, innovation, and inclusive learning environments.
References:
Armstrong, T. (2010). Neurodiversity in the classroom: Strength-based strategies to help students with special needs succeed in school and life. ASCD.
Grandin, T. (2013). The Autistic Brain: Thinking Across the Spectrum. Houghton Mifflin Harcourt.
Koenig, K., & Williams, K. (2017). Neurodiversity in the classroom: Strength-based strategies to help students with special needs succeed in school and life. ASCD.
Lai, M. C., & Baron-Cohen, S. (2015). Identifying the lost generation of adults with autism spectrum conditions. The Lancet Psychiatry, 2(11), 1013-1027.
DESIGNING INCLUSIVE ASSESSMENT – ALIGNING COMMUNICATION
CONTEXTUAL BACKGROUND: Within the MA Fashion Artefact, I will be taking on the responsibility of Unit leader and re-formulate the brief for UNIT 1 24/25. I see this as an opportunity to consider how to communicate expectations, align feedback, and offer alternative mode of assessment, inclusive for ALL learners.
EVALUATION: At present assessment for Unit 1 consists of: studio crit, portfolio presentation, 3D prototypes. I question how to support neurodiversity and language challenges through fair assessment. I have historically experienced a student with ADHD, omitting completed work from her portfolio, misunderstanding assessment tasks in the brief. Drawing on constructivist theories of learning (Biggs 2003). I question if the brief could be more accessible, aligning communication of learning expectation to support outcomes. Inclusivity for all students means that alternative assessment task supporting diverse outcomes is offered. ‘The Studio Crit’ potentially offers valuable student learning, but worryingly not positive for all, (Spencer, Williams, 2021). I propose to reposition our Crit as inclusive experience for all.
GOING FORWARD:
De-colonising The brief: – Accessibility to information to students with language challenges, and neurodiverse students with processing issues. – Simple language (personal voice) easily translatable through Ai tools, mitigates misunderstanding. – Instruction written in short sentences with bullet point. Key points highlighted to emphasise importance (facilities Neurodiverse learners – Dyslexia Style Guide, 2023,)
Visuals and references to consider culturally relevant to the cohort.
To mitigate ambiguity the assessment task clearly mapped to intended learning outcomes aligned to assessment criteria.
Alternative Assessment Task: As alternative to digital presentation, students can create a blog, a record of continuous learning. This is a far more valid task, and the team will gain Insight to individual learning styles through weekly posts of studio practise, and reflections. Tutors post comments and responsive feedback, fostering on-going support. I believe this builds a valuable record for professional development.
Inclusive Crit: – Students will collaborate to prepare the studio as a pop-up gallery and present 3D work for tutors. Without the formality and digital stress of presentation, the crit will be a lively active space, for peer review and tutor feedback. Student will contextualise their work with a short statement outlining process to outcome. If students feel too anxious, they may choose to pre. record a statement, and answer questions.
Active Space: Students free to leave, move around the room, crochet, or sketch to facilitate processing and concentration, and wear headphones.
Alternatively, Crit – (On-Line/in person) offered to students with extreme anxiety, or vulnerable in respect of protected difference (Equality Act 2010)
Crit support: – Peer mentor session to support presentation skills, self-esteem, build confidence.
ALIGNED FEEDBACK
Recorded Feedback – During the crit students receive verbal feedback, followed by written feedback, that we strive to deliver in a timely way, in practise this is challenging, and invariable students receive information at staggered times. Research shows students want more feedback and immediate feedback (Brook, 2008). I suggest voice to text verbal feedback delivered immediately following the crit. AI translation tools will be supported.
Formatted Feedback: – It is researched that students may not understand feedback received, I believe we can help with ‘feedback literacy’ (Brooks, 2008). At present, 3 tutors deliver feedback in a variation of format and lengths. I propose a’ fair’ formatted assessment feedback (to ensure parody across cohort). Staff collaborate to agree on an aligned marking matrix – directly associated to learning outcomes:
CONCLUSION Creating an INCLUSIVE Assessment experience is only possible if there is recognition and respect for diversity, alighted communication throughout from brief to completion then feedback becomes the icing on the cake, to encapsulate learning, and facilitates continuous growth.
This OBL microteaching session was delivered digitally and as such I researched ways that OBL has been utilised in virtual and physical space, and in various contexts: Studies supporting positive learner experience and association to wellbeing (Kador, T, Chatterjee, H, (2020) at (UCL), the innovative teaching through OBL within the design context by Dr. Kirstie Hardie and the ideas behind ‘Emotional Response’ or extra-rational response, to OBL practised by Judy Willcocks college’s museum and study collection head at CSM, these sources influenced me greatly.
I will use this research to inform OBL within the context of my own teaching practise where Fashion Artefact and Footwear students are encouraged to consider material, form, and process throughout their master’s studies. I draw on the ideas of John Dewey (Dewey 1980: 35). , and borrow the term ‘sense activity’ (Barret, E. (2007) for these experiential learning workshops. Through Mindul, Spiritual Pedagogy, inspired by James Moffett, with the on-going intention to build community (Belonging blog post) and inclusion between our cohort from diverse socio-economic and cultural background, some with differing learning needs.
The flow of experience that runs its course to closure or fulfilment through processes of adjustment to our environment and objects in the world. In artistic experience, as in everyday experience, ‘action, feeling and meaning are one’ (Dewey 1980: 35).
Dewey, John (1980), Art as Experience, New York: Perigee (First published 1934).
MICRO TEACHINGBLOG POST:
SESSION: EMOTIONAL RESPONSE OBL WORKSHOP
This 20 minute digital session using OBL as teaching method aimed to evoke emotional response and ignite personal narrative, associative thought, and contemplation. Through the sharing of a found object, and insight into my own creative process (collecting found objects daily). Participants (5 total) were invited to engage through visual and verbal interaction. Response and participation while welcomed, was not mandatory. Participants had agency (cameras optional) over the level of their involvement. This workshop was attended by fellow tutors and academic observer from PG Cert, results and feedback are analysed to reflect this.
I use instict and lived experience to inspire my teaching practise. I specifically selected and analysed the object used, I see this as an authentic intention, as the action of finding, inspired workshop questions and visual content. Reflecting on why I choose to collect daily objects, I suspect it is a response to personal trauma and how through the action of collecting, connecting with nature and walking on the beach I am healing through my found objects. (Bat, M., Megides, O. 2016). I chose a mindful approach to this activity, and to share personal insight and vulnerability.
Point Clear Bay Essex coast – my daily walking spot.
This is the object I found on the beach that sparked me to formulate this workshop. For me this is a very unusual oyster shell, and I see loads every day – it looked almost like a vessel or small shoe. I was inspired to research how shells ase formed, and was excited to discover that scientist are still not entirely sure how sea creature make shells. They are known to be Calcium Carbonate, the same compound as the pearl. Crushed they could be used as substitute aggregate in mortar, as a sustainable, renewable building material, but shockingly they are NOT utalised to full potential, instead large amounts are illegally dump by oyster farm accross the word. I am inspired to test crushing and creating a compound from the oyster shells I see on my beach. Watch this space……
TIME PLAN: 20 Minutes
Time plan meticiously considered to allow space for contemplation and interaction. I have attached below an explanation of how I considered the flow of this workshop. In practise the time was very challenging to manage.
Visual content was clean, and simple, with expance of white space. I showed the same object at different angles, and talked through each slide, using the written prompts. I explain in more depth my rationale (KEY CONSIDERATIONS) for the style and tone presentation. I used slow, gentle tone of voice, a space for reflection, and then asked question. This is a sample of my slides – full WORKSHOP SLIDES PDF above.
I shared my own insight as a series of comments and enquiry, to prompt interest. I did note share my emotional reaction as this point, as I didn’t want influence participants how they should interpret the exercise, or object, before I posed my workshop questions.
Workshop Questions, and reflective activity, posed after slides, follows by contempletion and discussion.
REFLECTION & ANALYSIS:
During the research of this workshop, I read about vulnerability in teaching – so despite feeling exposed delivering to PG Cert peers, I rationalized my vulnerability was a necessary discomfort for emotional exchange, and dialogue to evolve.
Following the slides, I posed questions and invited response, the time between ( Time Plan Detail), questions was difficult to control as participants were more eager to share insights between questions, this was not planned. Going forward I would reduce questions or add extra time for group interaction.
Following the questions, time was allocated to discuss insights and responses. At this point, the session started to unfold into more analytical and associative thought, and towards emotional response of the activity rather than the object, (reflected in the feedback). This was unexpected, but I view this as a positive result and take note this object ‘sparked’ associative thought for one person, a happy place and memory for another, and a clearing of worrying thoughts for another. The discussion could have expanded, all participants had meaningful contributions, time again was an issue. I view these high levels of engagement due to these participants, going forward I will observe how my students respond, to analysis and refine.
Using the feedback received from participants and tutor, I will develop this mode of teaching, as I recognise the power of objects to forge connection, explore personal narrative, and association through ‘extra rationale’ response. Perhaps a workshop resulting in a physical outcome. The digital space allows privacy and control, and while this may facilitate expressive freedom, I see great potential as ‘in person’, to include haptic immersive experience, (as researched by Dr. Kistin Hardie) and introduce drawing as a tool of expression (following the feedback received from Emma). If I deliver this workshop on-line, the idea of showing the object in hand, using verbal description only, (suggested by my tutor), could ignite imagination with deeper discussion, and interaction. There are challenges asking students to share openly or connect emotionally, (consideration to cultural and language fluency) but most especially within restricted time.
The other micro teaching session were very rewarding, offering diverse approaches to teaching using OBL. There are aspects of each I valued: being challenged to speculate and problem solve playfully, by Emma, I see this as beneficial to my students, to connect to a personal object, as initial inspiation by James as this could be aligned to personal artefacts, and the technical learning through an object by Fflur, I see as very relevant in my teaching. I can see how OBL is a flexible tool, and could be adopted to engage learners to conceptualise ideas, solve problems and discuss complex issues, safely
REFERENCES:
Barrett, E. (2007) ‘Experiential Learning in Practice as Research: Context, Method, Knowledge’, Journal of Visual Art Practice, Vol 6, No 2, pp. 115-124, Intellect, Bristol, UK
Bat Or, M., Megides, O. (2016) ‘Found Object/Readymade Art in the Treatment of Trauma and Loss’, Journal of Clinical Art Therapy, 3rd Edition.(Issue 1), Volume3,
Boler, M, (1999) Feeling Power: Emotions and Education. London: Taylor and Francis.
Hardie, K. (2015) ‘Innovative pedagogies: Wow’: The power of objects in object-based learning and teaching; Higher Education Academy
hooks, bell, Powell, (2015) ‘Belonging Through Connection’ ,Othering and Belonging Conference Available at: https://www.youtube.com/watch?v=0sX7fqIU4gQ (Accessed 20th January 2024).
Kador, T, Chatterjee, H, (2020), ‘Object Based Learning and Well-Being, Exploring Material Connection’ , (Chap 2 ,Pedagogic Prescription, Art and design teaching practise and object led well-being): Routledge
Kador, T, Hannan, L, Nyhan, J, Terras, M, Chatterjee, H& Carnall, M. (2018), ‘Object-based learning and research-based education’: Case studies from the UCL curricula. in J Davies & N Pachler (eds), Teaching and Learning in Higher Education: Perspectives from UCL. UCL IoE Press, London, pp. 157-177 Available at:https://www.pure.ed.ac.uk/ws/portalfiles/portal/75690605/MT_Objectbasedlearning_lastgoodcopy.pdf (Accessed 20th January 2024).
Marine, J., Rogers,P., Blau,S.,Kelly,K. (2023) ‘Toward a Re-Emergence of James Moffett’s Mindful, Spiritual, and Student-Centered Pedagogy’: 21 (Studies in Composition and Rhetoric): Peter Lang
Prown, J.D, (1982) ‘Mind in Matter, An Introduction to Material Culture Theory and Methods’: The University of Chicago Press Available at: https://www.jstor.org/stable/1180761 (accessed 20th January 2024).
Willcocks, J. Central Saint Martin’s, Museum & Study Collection, ‘Object-based learning and the modern art school curriculum’ Available at: https://www.youtube.com/watch?v=M3O7MM5WuFo (Accessed 20th February 2024).
EXTRAPERSONAL REFLECTION:
On the day I encountered a technical challenge with the digital file just before the session. although I was able to start the session on time, I feel compelled to reflect on this situation. The session was designed to be a mindful calm space, and this triggered a stressful situation for me, and my tutor. With thanks to the supportive guidance of my tutor, this was overcome and somehow, I gathered my thoughts to present the workshop. This sparked one of my significant learning experiences of the day. The way I was treated as a student was with empathic energy, and in response I was able to compose myself in time to deliver my slides. In the past, with my tutor hat, I have not been so patient or compassionate with students facing these challenges. I will be mindful to respond differently, in the moment, to poor planning and unforeseen circumstances. This was a mindful, compassionate approach, and I will strive to embrace and integrate this in my teaching practise.
Feedback from my tutor Carys, I really enjoyed this session and I am grateful for the supportive group dynamic accross all the micoteaching session – skillfully conducted by Carys.
Session Reviewed: SCAVENGER HUNT WORKSHOP Brief and ‘The Found Object’ intro. slides. Size of student group: 20-30 people Observer: Rachel Marsden Observee: Georgina Goodman Date: March 2024
Note: This record is solely for exchanging developmental feedback between colleagues. Its reflective aspect informs PgCert and Fellowship assessment, but it is not an official evaluation of teaching and is not intended for other internal or legal applications such as probation or disciplinary action.
What is the context of this session/artefact within the curriculum?
This session – The Scavenger Hunt Workshop (and introduction slides) are delivered at the start of term during the initial MA Fashion Artefact Unit 1 – Mastering studio Methodologies. This workshop is positioned to introduce students to ideas around the potential of material, and ethical use of material in the wider context. Students on the MA Fashion Artefact are (predominantly) from overseas, and most have not studied in the UK before. Students are from a diverse studio practice background; metal – textile – product – architecture – gemology – accessories, and as much their shared knowledge of materials and process is limited. This is an immersive activity that aims to unite the cohort in a shared experience. The workshop is aimed to support Unit 1 learning outcomes.
I have been working within MA Fashion Artefact as a senior lecturer for two years, and prior to this as a HPL for 3 years. I also teach MA Footwear and have done this for 8 years – the two courses are very much related and can have similar outcomes (footwear artefact, diverse material use, practice-based research. I will be delivering this workshop to MA Footwear as part of their Unit 2. This workshop will be amended for that discipline, but the activity of collecting and recording with remain
How long have you been working with this group and in what capacity?
The students attending the workshop (brief for November 2023) are from MA Fashion Artefacts. – I may have had limited contact in this first term with the cohort attending the day – They will have been at the college for 6-8 weeks into the first term. During this term we conduct tutorials in small group session – no one on one interaction. The students have been in large group peer learning sessions, classroom based and smaller workshop inductions sessions. I am personal tutor to a third of the cohort.
What are the intended or expected learning outcomes?
Specific items to be collected recorded and analyzed (outlined in brief).
Through the act of collecting and holding in hand – it is hoped that students will start to consider materials in a new way – with sustainability and ethical use at the core.
Note: This is an experimental workshop, and the intended learning outcome is open to individual interpretation and under review. I am gathering information through observation to the experience, this is the 2nd time I have conducted the workshop but the initial expectation to this activity would be: To build community and sense of belonging. To foster collaboration and connection to each other – Would this be seen as a learning outcome?
I realize while writing this I do not know or understand the learning outcomes and find it difficult to justify academic thinking – I just know this workshop is inspiring and ignites sparks. The students (and me) love the day, it is fast becoming a highlight in the timetable (word of mouth between cohorts).
Learning Outcome considered: To support the Unit 1 Learning outcomes highlighted bellow: As a possible link
LO1 Apply a systematic and informed understanding of your identified area of research and enquiry in your study proposal. (enquiry, process, communication)
LO2 Critically analyse, evaluate and implement a self-negotiated scheme of work. (enquiry, knowledge)
LO3 Develop a body of work through independent study, that demonstrates an innovative and creative approach to material, process and artefact in the context of fashion design. (process, communication)
LO4 Utilise relevant technologies and materials, to demonstrate advanced studio methodologies and skills that interpret and resolve complex design issues. (process, realisation)
LO5 Communicate ideas through written, visual and spoken presentations to critically reflect your practice. (process, communication)
What are the anticipated outputs (anything students will make/do)?
Students will gather a specified number of scavenged items as set out in the brief. They will also record through journaling, photos, film thoughts and emotional response to the day. They will be encouraged to collect actual found objects (approx. 3 items) that will be taken to a subsequent workshop in the studio, The Cold Connection workshop. In this workshop they will respond to the objects and problem solve how to connect these materials together through cold connection methods.
The students will collect objects and research the actual material origin and specifics
The students will collate and present findings in a chosen format to be decided by the individual teams.
Students have a personal challenge to gather 3 objects that they will use in workshop/practice-based activity following this day.
A short written or verbal reflection on an emotional reaction to the day. Minimum 3 words.
Are there potential difficulties or specific areas of concern?
Some students are reluctant to get dirty or engage in unfamiliar activities or travel to a new area of London. I endeavor to provide local information and historical context for them to consider before the workshop.
Health and safety issues: Risk assessment
The potential hazardous materials on the beach – I supply gloves and hand sanitizer.
The correct clothing and footwear to wear in wet or slippery conditions.
I try to be as informative as possible with maps and safety information regarding tide times and suggested clothing.
This is a large group activity of 20–30 people – so the collaborative element between group members is key to the overall success. I allow the cohort to select their working teams and encourage individuals to pick people they do not already know.
This workshop is not assessed – Challenge: how to keep engagement in the task
How will students be informed of the review?
As this is a review of an activity that has already taken place, it was not necessary to inform students on this occasion, as no live observation took place: This is a review of teaching resources.
Student Communication and information Resources:
Presentation to introduce the activity 1 week before the workshop
Brief and local research/maps/tide time supplied 1 week ahead of the workshop,to allow questions and concerns to be discussed.
The students are informed in the brief that they will be expected to work in their teams to analyze findings and present the results.
Delivery of Outcome:
Following the workshop, the students gather as a whole group and present the findings to each other and the course leader (and myself). The format of the presentation is not prescribed, other than to take a creative approach to collating information. The results are in a variation of styles. This has proven to be extremely exciting, some examples are very physical, presented in museum artifacts boxes, some pdf layout. Verbal feedback at this informal presentation follows the Cold Connection workshop – so often we see a real affiliation with the research method of scavenging. They are given at least 2 weeks to prepare these presentations.
What would you particularly like feedback on?
Content and practical elements of the day – and any feedback you feel would enrich the experience – I am open to all feedback.
The learning outcomes I have attempted to map to the UAL marking criteria, but this is not communicated to the students – as this is not an assessed assignment. Would it be advised to use the language in the formal way or is this ok to be a loser feeling directive.
I am not sure of the formal way to communicate the intention of the workshop – i.e. formal learning outcomes in academic terms. Would this be beneficial?
Workshop Feedback To Students:
Following the workshop, groups will collate their findings and do a 15 presentation, followed by group discussion, tutor and peer feedback in an informal studio Crit.
The students attending this workshop will be given verbal feedback only but peer written feedback is suggested on the day – I encourage group discussion and enquiry, collaboration, and opinion throughout the process.
Observer/Observee Feedback:
Initial in person discussion, followed email exchange of written feedback and teams meeting.
Part Two
Observer: Rachel Marsden Date: 26th March 2024
Review of Scavenger Hunt Workshop: suggestions and questions:
I reviewed ‘The Found Object (An Introduction to The Scavenger Hunt Workshop)’ slides and the ‘Scavenger Hunt Workshop’ brief. Below, I have provided some reflections, questions and signposts – do not feel the need to respond to all of this in Part Three of the form, rather shared for future consideration.
Thanks for sharing these resources, George. On first look, the slides are clear and crisp, minimal, simplistic, black font / text on a white background. I note you use different font types and sizes, where you might want to take a more consistent approach here thinking about the Dyslexia friendly style guide that might provide some pointers on readable fonts, heading and structure, colour and layout and more (there is also a PDF guide here). I’ve also provided some further links below about creating accessible digital content and documents that might inform both the slides and brief.
Following this, you share several images of artworks and found objects – brilliant to see the diversity of artists shared here. The works / images are worthy of captioning and referencing including where images have been sourced in both the slides and the brief. This could be considered as part of a commitment to decolonising referencing and citational justice, to not erasing rather platforming voices / histories through their formal acknowledgement (going further than the brief descriptions provided). This article might be a good starting point – ‘The rise of citational justice: how scholars are making references fairer’ (happy to send a PDF over if wanted / trouble accessing). Captioning and referencing also sets an example in terms of intellectual property and copyright to students not only of the works but of the photographic images. The academic support online course ‘From idea to industry: valuing your creative rights’ course might be of interest to students.
The introduction and instructions on slides 2 and 4 are concise and practical, positioning the brief as not linked to formal assessment (slide 4). As such, is the session co-curricular, extra-curricular, extended curricular session – how might it be defined in relation to the curriculum? Does it complement the curriculum or have a separate role / motivation as part of the course? In turn, slide 4 starts to reveal some informal learning outcomes for the session – I feel there’s an opportunity to develop learning outcomes with participants / students that might also reflect the experimental nature of the session that “inspires and ignites sparks” AND the group / personal outcomes as stated on page 2 of the brief (I think some marrying up of these can happen). A couple of other suggestions – I think the word methodologies is worthy of a definition / discussion, and in the context of / its relationship to the research method as they’re often confused and used interchangeably. And I see you share an image of the November 2023 cohort on slide 3 – did you get consent from all participants / students that it was ok to take and use the photo as part of future teaching? It’s a lovely celebratory picture!
In relation to the brief, again you have varying font types and sizes – some font sizes are quite small. Jumping into the workshop outline on page 2, the list of what to prepare, bring and group outcomes are clear and concise. The travel guidance you provide is helpful – maps, visuals, weblinks to the locations are so welcomed! I wonder if you could go a step further to think about accessibility – say the use of websites like AccessAble – and links to safe / resting spaces, seating, public toilets etc. It’s a long day 9.30am to 4.30pm – so could refuelling, rest, reflection, contemplation breaks be encouraged and embedded into the session to then feed into the group or personal outcomes too?
The Scavenger Hunt List on page 6 starts to highlight some important health and safety and ethical dimensions, considerations of equity, and relationships to human and non-human things (including the built and natural environment) – this is largely shown in the guidelines of the game. This shows the potential for the Scavenger Hunt to more explicitly link to climate, social, racial justice and more – although I can see this running through the background of the session…bring to the surface more (though this may happen in discussions on the day?). In turn, the brief raises some questions about equity – is it ok to expect participants / students to spend money (even if a limit is set)? Might this disadvantage some participants / students from the start (bearing in mind they’ve already had to cost travel to attend the session)? Is digital equity assumed in respect of ’you can photograph’ and that everyone has a camera or camera phone?
What a playful and fun brief George! Do you get formal or informal feedback from participants / students on the session and their experiences? I’m interested to hear what sings and resonates from the comments above, and how the session might further develop in the future. I also had the thought – what if this was done with your team? I’d love this!
Part Three
Observee Reflection on comments and Questions: Action plan on the feedback exchanged:
Thank you Rachel I welcome this valuable feedback and your insight, some of which I have not previously considered. I created this workshop, in response to introducing an inclusive activity, so I am excited to respond and action your advice- particularly the point highlighted in blue:
RE: accessible digital content and documents that might inform both the slides and brief.
Regarding the type and layout of slides, I was thrilled to read the dyslexia advice on layout and readable presentation. As I reflect on my graphic style, I am influenced by my former learning in magazine publishing, I now recognise this is distracting in the teaching context. I will review all my presentations as I suspect this will be an issue throughout my digital materials. I note that I choose to use black on white, rather than the UAL black background, as a personal preference, to accommodate my own learning difference. I will from now consider ALL participants. I will seek guidance from the attached resources, as advised, and discuss with my mentor, via study support.
RE: decolonising referencing and citational justice, to not erasing rather platforming voices
Regarding the imagery, I am very conscious to select diverse inclusive content to illustrate my presentations and acknowledge that it is not good practise to omit the correct image source, (head bow) as educator I need to be setting example and displaying ‘appropriate’ referencing practise. I am aware that there is a general apathy for correct image referencing, in fact students rarely know anything about the image embedded in their portfolios, and this is something I find frustrating. So, I want to address this ethical issue as a matter of urgency – thank you!
As such, is the session co-curricular, extra-curricular, extended curricular session – how might it be defined in relation to the curriculum?
I acknowledge that the learning outcomes need to be clear and focused, even though this is not an assessed element it has been meticulously considered to support the Unit 1 LO’s. I have designed the workshop as relevant activity to support their unit, so I need to be more consistent and specify align the outcomes. I would say it is co-curricular, as it links to subsequent studio activity.
did you get consent from all participants / students that it was ok to take and use the photo as part of future teaching?
The class photo, I did elicit informal consent, but did not ask all participant to sign a release, this is something I will do going forward.
so could refuelling, rest, reflection, contemplation breaks be encouraged and embedded into the session to then feed into the group or personal outcomes too?
I have not embedded time sensitive breaks into the brief, but at the start of day, we gather on the shore, I suggest individual reflective and group time, coffee breaks – encourage group autonomy. On the walk between the beach and the market, there is a public toilet, However, I will research further resources. At the market there is a church yard/green space, for rest and picnic. This information I verbally informed, but I will full proof the brief as you suggest.
…the potential for the Scavenger Hunt to more explicitly link to climate, social, racial justice and more – although I can see this running through the background of the session…bring to the surface more (though this may happen in discussions on the day?)
I note that the underlying climate, social racial and environmental issues are imbedded in my brief, this is a very conscious decision. I use the objects as tools to discuss this on the day, connect with individuals, conduct meaningful conversation, start ‘difficult’ conversations in an informal setting – ignite sparks! However, this workshop does have the potential as a catalyst for important learning, so I will consider including this as a learning outcome, or verbal reflection.
is it ok to expect participants / students to spend money (even if a limit is set)?… Is digital equity assumed in respect of ’you can photograph’ and that everyone has a camera or camera phone?
Upon reflection, it is not appropriate to ask students to spend money as part of the workshop, I will omit this from the brief. I am assuming that all participants have mobile phones (all this cohort did have mobile phones) but I will be mindful not to assume digital equity – Instead, as they are working in a group, I will enquire/suggest one member records finding and shares content by email to the group.
Record of Observation or Review of Teaching Practice
Session Reviewed: MA Fashion Artefcat – Scavenger Hunt Workshop Size of Group: 20-30 people Observer: Emma Hamshare Observee: – Georgina Goodman Date: March 2024
Note: This record is solely for exchanging developmental feedback between colleagues. Its reflective aspect informs PgCert and Fellowship assessment, but it is not an official evaluation of teaching and is not intended for other internal or legal applications such as probation or disciplinary action
Observee to complete in brief and send to observer prior to the observation or review:
Context of this session within the curriculum:
This session (The Scavenger Hunt Worshop) is delivered at the start of term during the initial MA Fashion Artefact Unit 1 – Mastering studio Methodologies. This workshop is positioned to introduce students to ideas around the potential of material, and ethical use of material in the wider context. Students on the MA Fashion Artefact are (predominantly) from overseas, and most have not studied in the UK before. Students are from a diverse practice background; metal – textile – product – architecture – gemology – accessories, and as much their shared knowledge with materials and process is limited. This is an immersive activity that aims to unite the cohort in a shared experience.
How long have you been working with this group and in what capacity?
I have been working within MA Fashion Artefact as a senior lecturer for two years, and prior to this as a HPL for 3 years. I also teach MA Footwear and have done this for 8 years – the two courses are very much related and can have similar outcomes (footwear artefact, diverse material use, practice-based research. I will be delivering this workshop to MA Footwear as part of their Unit 2. This workshop will be amended for that discipline, but the activity of collecting and recording with remain. The students attending the workshop (brief for November 2023) are from MA Fashion Artefacts. – I may have had limited contact in this first term with the cohort attending the day – They will have been at the college for 6-8 weeks into the first term. During this term we conduct tutorials in small group session – no one on one interaction. The students have been in large group peer learning sessions, classroom based and smaller workshop inductions sessions.
What are the intended or expected learning outcomes?
Specific items to be collected recorded and analyzed (outlined in brief)
Through the act of collecting and holding objects in hand – it is hoped that students will start to consider materials in a new way – with sustainability and ethical use at the core.
Note: This is an experimental workshop, and the intended learning outcome is open to individual interpretation and under review. I am gathering information through observation to the experience, this is the 2nd time I have conducted the workshop but the initial expectation to this activity would be: To build community and sense of belonging. To foster collaboration and group connection to each other – I not define this as a learning outcome – but it is an intention.
Learning Outcome considered: To support the Unit 1 MSM Learning outcomes:
LO1 Apply a systematic and informed understanding of your identified area of research and enquiry in your study proposal. (enquiry, process, communication)
LO2 Critically analyze, evaluate and implement a self-negotiated scheme of work. (enquiry, knowledge)
LO3 Develop a body of work through independent study, that demonstrates an innovative and creative approach to material, process and artefact in the context of fashion design. (process, communication)
LO4 Utilise relevant technologies and materials, to demonstrate advanced studio methodologies and skills that interpret and resolve complex design issues. (process, realisation)
LO5 Communicate ideas through written, visual and spoken presentations to critically reflect your practice. (process, communication)
What are the anticipated outputs (anything students will make/do)?
Students will gather a specified number of scavenged items as set out in the brief. They will also record through journaling, photos, film thoughts and emotional response to the day. They will be encouraged to collect actual found objects (approx. 3 items) that will be taken to a subsequent workshop in the studio, The Cold Connection workshop. In this workshop they will respond to the objects and problem solve how to connect these materials together through cold connection methods.
The students will collect objects and research the actual materials
The students will collate and present findings in a chosen format to be decided by the individual teams.
Students have a personal challenge to gather 3 personal objects that they will use in workshop/practice-based activity following this day.
Are there potential difficulties or specific areas of concern?
Some students are reluctant to get dirty or engage in unfamiliar activities or travel to a new area of London. To ease any initial concerns I provide local information and historical context for them to consider before the trip.
Health and safety issues including:
The potential hazardous materials on the beach – I supply gloves and hand sanitizer/information in brief:
The correct clothing and footwear to wear in wet or slippery conditions.
I try to be as informative as possible with maps and safety information regarding tide times and suggested clothing.
This is a large group activity of 20–30 people – so the collaborative element between group members is key to the overall success. I allow the cohort to select their working teams, and encourage individuals to pick people they do not already know (this is not always easy).
This workshop is not assessed or compulsary, so engagement in the task needs to feel desirable. (up until this point I have had 1 absence at my workshop over two years) – but I would like to update content – so this remains a focus for me.
How will students be informed of the observation/review?
N/A – This is review of workshop brief – no stsudents presnts for this task.
How will students recieve Feedback?:
The students are informed in the brief that they will be expected to work in their teams to analyze findings and present the results.
Following the workshop, the students gather as a whole group and present the findings to each other and the course leader (and myself). The format of the presentation is not prescribed, other than to take a creative approach to collating information. The results are in a variation of styles. This has proven to be extremely exciting, some examples are very physical, presented in museum artifacts boxes, some pdf layout. Verbal feedback at this informal presentation follows the Cold Connection workshop – so often we see a real affiliation with the research method of scavenging. They are given at least 2 weeks to prepare these presentations.
What would you particularly like feedback on?
Content and practical elements of the day – and any feedback you feel would enrich the experience – I am open to any and all feedback.
The learning outcomes – while I have attempted to map to the UAL marking criteria, but this is not communicated to the students– as this is not an assessed assignment. Would it be advised to use the language in the formal way or is this ok to be a loser feeling directive.
I am not sure of the formal way to communicate the intention of the workshop – ie formal learning outcomes in academic terms.
How will feedback be exchanged?
I assume this means between us – as such I’m guessing it is by email/written or discussion?
The students attending this workshop will be given verbal feedback at presentation and throughout the workshop – (tutor and peer feedback.)
Part Two
Observer suggestions and questions:
Observer: Emma Hamshare Date: March 2024
I thoroughly enjoyed examining the materials on the Scavenger Hunt workshop for MA Fashion Artefact students and I found the workshop very inspiring.
I thought the slides and briefing were clear and well organised.
They provided clear overview of the session explaining order of events, including what students would gain from the session. Also, what would be expected of them. I think that the community building through low-pressure teamwork is essential especially when most students are coming from overseas.
The scavenger hunt list itself is clear and describes the task. I think it a particularly good thing that other outcomes are not prescribed as it is often where students are given the openness, space, and time to reflect and interpret in their own that we see the best results in creativity. Also, that the day is simply about gathering, thinking and analysis on why they chose these objects, or their significance can come later.
Including artists’ work in the slides effectively contextualises the scavenger hunt, creating a rich learning experience. George is clearly very knowledgeable about materials, art and objects. The inclusion of work by African Yoruba artists and outsider artists is great, reflecting a commitment to teaching for equality and diversity. This also adds depth to the workshop encouraging students to see beyond the object itself.
For accessibility it would be good to increase the text size on the presentation slides. Only for the information that is most important, Georgia could also make some of the keywords bold so that students know that they need to understand or translate that word in particular.
I also loved the Cornelia Parker perspective that, ‘The objects are landmarks in people’s lives’. The tactile, clear and open-ended nature of the scavenger hunt list encourages students to enquire, reflect, interpret forming a basis for their creative work and for physical design and sourcing methods needed later on in the course. The workshop’s emphasis on getting students outside and into the dirty real world is commendable, as for these students it is especially vital to engage with, be curious about and deal with, tangible, physical objects to see, touch, feel, and gather.
Having also seen the beautiful pieces of work created by the students at their end of year show, it’s clear that this fundamental exploration of and engagement with objects leads to tangible embodied enquiry and high-quality emotional engagement with materials.
It was an absolute delight to see the photograph of you with your students and their bags of scavenged items on the beach! Top of Form – The session serves as an inspiration for my future teaching practices. Getting out of the building can prove tricky when our cohort is around 120 students, but this inspires me to find ways. Particularly for being outdoors. Thank you for sharing your work with me!
Thoughts on Learning outcome:
Below are some thoughts on the LO’s combined with your desired outcomes, and a couple of quotations from our object-based learning reading that I thought might be relevant in verbalising the benefits of your workshop:
Critically analyse, evaluate and implement a self-negotiated scheme of work – This one sounds to me like it’s in the broader context of the unit and this workshop would be foundational in enabling students to do this. Or this workshop is perhaps a mini version of what they need to do, so it can provide new frameworks for how they approach using materials and objects.
innovative and creative approach to material, process and artefact in the context of fashion design – The workshop definitely does this ! ‘In the context of fashion design, -can also be – in the context of the body’
• Analysis of the different materials found (real names) – Not just stone – metal – wood – try to identify the actual material.
• Creatively categorize your material: – You may choose type – shape – colour – feel – This is your choice to determine the best way to present finding,
Communicate ideas through written, visual and spoken presentations to critically reflect –
I think this part must also happen in the workshop that follows on where students have to bring the objects and materials they found and work with/ discuss them. But also in –
Ideas To Follow-up:
Willcocks, J. & Mahon, K. (2023). The potential of online object-based learning activities to support the teaching of intersectional environmentalism in art and design higher education. Art, Design & Communication in Higher Education, 22(2), 187. https://doi.org/10.1386/adch_00074_1
Lange and Willcocks (2021) have also argued that object-based learning has an increasingly important role to play in contributing to the decolonial agenda, challenging the myopic viewpoints which alienate a large proportion of the student community. – P 190
Brockway (2002: 6) explains how plants like sisal, rubber, tea and sugar became a significant source of wealth and part of the ‘comprehensive system of extraction’ developed by the emerging colonial powers. During this period, Indigenous agricultural systems were destroyed, local labour forces were exploited and large scale, export orientated monocultures replaced more sustainable farming practices. The Colonial desire to map, understand and exploit the natural world for economic gain, often at huge scale, is now seen by scholars and Judy Willcocks | Kieran Mahon 192 Art, Design & Communication in Higher Education environmental activists as the genesis of the current climate crisis (Drayton 2000; Brockway 2002; Macmillan Voskoboynik 2018). – P 191
Part Three
Observee reflection on the observer’s comments response/action plan to feedback exchanged:
I am so grateful for the generous feedback that Emma has given, in response to the teaching materials from my SCAVENGER HUNT WORKSHOP. Receiving constructive feedback, that both outlines the areas of strength, and provides specific examples of where I might consider improving the information, is immensely helpful. In response to the workshop introduction slide show: I will address the text scale in my slides, as accessible and inclusive experience is of tantamount importance to me.
I am encouraged by the observation by Emma of my conscious inclusion of diverse materials and visual content within my workshop slides. I try to include diverse source material, most especilly ‘outsider’ artist or marginalised female artist. However, I am now reflecting on whether I am fully engaging in culturally inclusive visual examples. I am also aware that the visual examples do not reflect the MA Fashion Artefact cultural mix. I will amend my visual examples to include, Indian, Chinese material/objects.
As I reflect on Emma’s feedback –‘The objects are landmarks in people’s lives’ the above point, feels very satisfying, as I realise that in creating this experiential workshop I have, instinctively use John Biggs’ ‘Constructive Alignment’. The Scavenger hunt is indeed an effective learning experience that encourages students to explore their knowledge and understanding of materials; the social, ‘The objects are landmarks in people’s lives’ economic, and environmental issues we are asking them to analyse. I will consider how I can build on this experience and imbed further other learning activities that would support the unit learning, Certainly on the day of the worshop, difficult discussion around the water and transportation of goods and people in contemporary and historical context is introduced for discussion.
I am also inspired to understand that this activity falls within, an object-based learning experience. By the nature of asking students to collect object, analyse object through haptic experience, the learning, as I observe spills beyond the workshop. As I have shared, several students take this research method, and material focus through to their final projects. As Emma observed two students were inspired through emotional connection to the found objects and included these in their final Masters project. This is something I am particularly proud to evidence.
I am incredibly happy that this workshop serves as an inspirational idea, for Emma to get her students outside the building. I am passionate about field trips, and external activity beyond the studio. Most especially activity that builds friendships and peer learning. Due to classroom size and technical restriction, it is exceedingly rare the entire cohort are in one place, at the same time. Students have shared how much they enjoyed the social aspect of the day, forcing new friendship, and conversing with new people. This activity helps to build a sense of community and fun. I think having fun – being playful is really important.
I would welcome discussing how we might device an activity for your 120 students. Yes, this is challenging, but not beyond the realms of possibility!
