‘Unseen Intersections Configuration’ 27/05/2024Up date and save 05/01/2025
The intersections, of gender, sex, race, mental health, religion, faith are challenges for students.
Through a series of ‘Inclusive Practice’ workshops that I have attended this term-, Disabilities, Faith and the final workshop, Race. I have concluded, as teachers, technicians, and technical managers; we move among the student community and are not made aware of the ‘unseen’ issues that students are facing; the intersectionality that occurs: gender, sex, race, mental health, politics, religion, that impacts on their lives. These can be disabilities that are challenges for student’s educational journey.
There are students who will not reveal their disabilities publicly which can cause ‘barriers to inclusion’. We, as teachers must adjust and be critical in how we deliver our lessons that are accessible for all. The subtleties of non-verbal communication and the difficulties it can pose for some individuals is also very important for us to be aware of.
With reference to my ‘Micro-Teaching Part 2 ‘Reflection on my teaching and presentation of subject’. I would like to develop a physical tool in which the students can explore through touch and manipulation to reveal the ‘unseen’ disabilities they are facing and to encourage discussion within the student body; hopefully allowing those students the confidence to reveal their unseen disability and get the teaching support they need to complete their course with confidence.
I will support this with student feedback, a list of questions for students to answer to give me an idea of their learning experience. With specific questions for those students who have made us aware of their specific learning needs that we are trying to support. This way I can fully understand the students’ needs so that their learning is fully supported?
REFERENCES:
Intersectionality
Mapping the Margins: Intersectionality, Identity Politics, and Violence against Women of Color Author(s): Kimberle Crenshaw Source: Stanford Law Review , Jul., 1991, Vol. 43, No. 6 (Jul., 1991), pp. 1241-1299 Published by: Stanford Law Review
Citation: Thomas, Cate. 2022. Overcoming Identity Threat: Using Persona Pedagogy in Intersectionality and Inclusion Training. Social Sciences 11: 249. https://doi.org/10.3390/ socsci11060249 Academic Editor: Nigel Parton Received: 25 March 2022 Accepted: 30 May 2022 Published: 2 June 2022
(Disability and Race Ade Adepitan (-2021) web: https://www.youtube.com/watch?v=KAsxndpgagU
Chay Brown Intersectionality in Focus: Empowering Voices during OK Disability History Month 2023 (2023) web: https://www.youtube.com/watch?v=_yID8_s5tjc
Crenshaw, K (1991) Mapping the Margins: Intersectionality, Identity Politics and Violence against Women of Color, Source: Stanford Law Review, , Jul, 1991, Vol. 43, No. 6 (Jul.1991). pp.1241-1299
Aziz, R (1997) Feminism and the challenge of racism: Deviance or difference? In Black British Feminism, ed. Mirza, H. S. London, Routledge, pp. 70-77.
Choudrey, S. (2016) Inclusivity-Supporting BAME Trans People [Online]. Gender Identity Research & Education Society, 14 February. Available from:
Orr, S, & Shreeve, A 2017, Art and Design Pedagogy in Higher Education: Knowledge, Values and Ambiguity in the Creative Curriculum, Taylor & Francis Group, Milton. Available from: ProQuest Ebook Central. [1 January 2024] Created from ual on 2024-01-14:50:26
Sam, C 2016 ‘How do art design technicians conceive of their role in higher education’ Spark: UAL Creative Teaching and Learning Journal Vol 1 / Issue 2 (2016) pp. 62-69
Willcocks, J & Mahon, K,-‘The potential of online object-based learning activities to support the teaching of intersectional environmentalism in art and design higher education’
My immediate thoughts and actions on Workshop 3 & 4 Unit 2 Friday 10th May 2024
This workshop provoked deep, reflective thoughts on my religious beliefs and practices, and it’s taken some time to find the written words to respond to this workshop task set for us on ‘Faith’ and the teaching resources presented to us as a class.
The first thing that came out strongly during the lesson and was a learning outcome for me. We, as teachers, move among the student body delivering workshops, supporting student projects, and presenting lectures. I have come to a point of view that:
‘Faith’ and ‘Religion’ are unseen, in the student community.
Just like an ‘unseen’ disability. For example, mental health can be viewed as unseen or suffering from a medical condition like cancer. The outward signs are not always visible. We must be told by the student that they need help to support their condition. We have systems in place that a student can reach out for help through the University of the Arts London student support services. We are not told or made aware that we have students who follow a religious practice-that their faith may affect their educational experience and learning at UAL. A student’s religious faith can be the core of ‘their wellbeing’ and, any disruption to their ‘religious life’ can be detrimental. Through culture, religious dress, religious symbols, religious iconography, these are the visible signs that some students may wear, and the student’s attitude to their faith; may give us a hint or guidance in how we engage with that student or group in how we teach.
We are living in a time were religion and politics are becoming hostile environments in the public forum. Where religious faiths are forced to be kept quiet or respond loudly if provoked. I see the intersectionality of gender, race, faith, politics, disability, trans and sex; especially women who are facing the brunt of discrimination at all levels (Aziz, R (1997) Intersections can also occur in a student’s life (C. Kimberle June 2018)
My Action: Awareness
These intersections on a person’s life, should not be a hindrance to student’s well-being within a teaching environment. Equality and diversity should be welcomed and supported. A student’s faith should not be an issue. UAL has created ‘quiet spaces’ at Central Saint Martins college, where students can carry out religious observances. This reflects the actions and awareness in Sabah Choudrey document ‘Inclusivity-Supporting BAME Trans People’. (Choudry Sabah 2016) which highlights how to improve awareness of ethnic communities, trans, race, religion, and gender. To break down barriers and create a holistic society.
It is important for me to be aware that intersectionality is complicated and very layered with its ‘intersections’- Faith, Race, Gender, Ethnicity, Disabilities and the ‘Unseen’.
Crenshaw, K (1991) Mapping the Margins: Intersectionality, Identity Politics and Violence against Women of Color, Source: Stanford Law Review, , Jul, 1991, Vol. 43, No. 6 (Jul.1991). pp.1241-1299
Society plays a significant and important role in the experiences of individuals with disabilities. There is still a lack of accessible buildings/infrastructure that disable students still encounter which make their learning and creative practices difficult to full fill. This can be viewed by some as systemic discrimination. This can limit opportunities and create obstacles and barriers. For our society, it’s important for us to design spaces that invites all types of disabilities, physical, mental and the ‘unseen’ into our buildings and all types of facilities. With inclusivity in mind. Ensuring that transport, building services are accessible to all. The intersection of disability, race and discrimination can have a powerful effect on a person life. This type of experience can come from multiple directions that society puts in the way for a person to ‘shine’.(Disability and Race Ade Adepitan -2021)
It is a difficult issue, for us as teachers to engage with and complicated at times when supporting a student needs if the disability is hidden and you are not made aware of it; like deafness, autism (not sure if autism is considered a disability but have placed references and links for further investigation and learning)..it requires creative approaches to address these problems.
For the deaf community. There are many challenges. And they must navigate them with resilience and determination in a society that can be very challenging. Visual communication is the key. Info-graphic communication can overcome Language and cultural barriers. It is important tool that can be used effectively and intend to explore as part of my teaching. (Christine Sun Kim 2023)
With reference to the video YouTube clip, ‘disability, and race’(Ade Adepitan -2021). We can see that change can be slow. And while society has progressed over the years to accommodate there is much to do. Advocating equality, challenging systematic biases-we must continue the fight for more inclusive policies and practices.
Regardless of race, creed or colour; opportunities should be available to all. As a Technical Coordinator Performance, Technical and Teaching Resources, working as Central saint Martins. It is clear that, we must be committed. The inclusivity and understanding the intersectionality of identities within the LGBTQ plus and the intersectionality of women of colour- the challenges faced by disabled individuals within the prevents people to fully participate in community events and feel safe and equal in society. (Chay Brown 2023)
The subtleties of non verbal communication and the difficulties it can pose for some individuals is also very important to be aware of. It underscores the need for greater understanding and accommodation of different communication styles within the community. To help this, there must be an emphasis on budgeting for accessibility. And to have good insights in making things accessible for those people with disability needs. As it will benefit them and everyone else. It is an important argument. To emphasize, priorities accessibility in all aspects of community planning and development.
The main out come of this blog on disability, gender, intersectionality for me is that we must work towards building ‘visibility and inclusion for all’. And to have the belief in ‘Inclusion first approach‘. must be our motto. If we are not working for all members of our community, including disabled trans people, then we’re not truly serving the community and society as a whole.
REFERENCES
Mapping the Margins: Intersectionality, Identity Politics, and Violence against Women of Color Author(s): Kimberle Crenshaw Source: Stanford Law Review , Jul., 1991, Vol. 43, No. 6 (Jul., 1991), pp. 1241-1299 Published by: Stanford Law Review
Citation: Thomas, Cate. 2022. Overcoming Identity Threat: Using Persona Pedagogy in Intersectionality and Inclusion Training. Social Sciences 11: 249. https://doi.org/10.3390/ socsci11060249 Academic Editor: Nigel Parton Received: 25 March 2022 Accepted: 30 May 2022 Published: 2 June 2022
(Disability and Race Ade Adepitan (-2021) web: https://www.youtube.com/watch?v=KAsxndpgagU
Chay Brown Intersectionality in Focus: Empowering Voices during OK Disability History Month 2023 (2023) web: https://www.youtube.com/watch?v=_yID8_s5tjc
Reflection on MicroteachingPart 2 after the presentation I delivered to my fellow colleagues in February 2024. I really wanted to revisit the subject again and present it to another group of students-in this instance my family. I felt it would be interesting to see if both groups reached the same conclusion. The introduction to the lesson was straight forward, they quickly grasped the concept of the lesson and started to work on creating their cubes. They immediately started to expand on their designs, so that they were not just ‘8 blocks’ of wood that hinged and transformed as my brief instructed. Instead they started to add additional blocks so that ‘8 block’ configuration was now becoming 10,12, and 14.
They challenged my lesson with many questions ‘ Why can we not build it like a tower that hinges? Why must they be joined together? Why can they not be stuck face to face? Why hinged?’ I was not prepared for these unexpected, creative ideas. I therefore adapted my teaching style to suit, and encouraged them to proceed with their design ideas.
I felt that this was a great opportunity for them to explore the material and for me to reflect on how I would change my approach in support student learning.
Below are some photos of what they created and attached a video clip of one of the many ‘8 wooden block’ configurations:
‘Continuing on from the article an aspect of intersectionality-some students was introduced to intersectionality forged by black feminists’ fault in 1970s and 80s Crenshaw 1989 in how social and physical identity’s such as race class gender physical disability and sexual orientation intersects to create or can increase in severity bitterness or violence; aggravates bad feelings towards certain groups in society.’
Do we as teaching practitioners have to be aware of intersectionality’s and all its ramifications of privilege, discrimination, or oppression.
Continuing on from the article:
‘These are just notes from the article that were of interest to me-background reading and listening to expert talks exploring how the colonial project was associated with the mass exploitation of the natural world as the event progressed, we anticipated that students would come to understand how the global impetus to investigate and record the natural world was closely linked to colonial models of invasion and extraction.(Willcocks, J & Mahon, K (2023)
We provided a variety of background reading and listening including Ted talks to podcasts and academic articles to introduce the sensitive topics. It was important for us to acknowledge that the legacies of colonialism play out in a very real and violent way for many of our students at CSM and we asked these participants in the unit to be mindful of how discussions around colonialism may impact others contact warning content warnings were shared with students throughout the throughout the lessons alerting them to the potential for the event to raise complex and difficult emotions for those with lived experience of racism the event began with a short tour.(Willcocks, J & Mahon, K (2023)
Online Learning
Teaching tool
Teams were also asked to come to the event armed with one interesting fact and one image to illustrate each of the above points and were required to upload these to an interactive global map offered by the Padlet platform; time was scheduled during the event to explore the map while evidence was provided of the ongoing impact of environmental exploitation in previously colonial seized nations.
The tool
Site of the production who made the image where and how?
Site of the image; It’s a visual content and composition?
Site of circulation; where and how the image travels over time and space?
Site of audience, where and how the image is encountered by the spectator or users?
Teaching tool
What you know about who produced this object?
What do you think motivated them?
Who would have consumed the object when it was first published.
How has the object travelled over time? or across the globe?
Who do you think is viewing it now? And what are they seeing?
How does your understanding of global power dynamics influence your understanding of the object full? Does it make you see the image differently?.
Be aware of student health, teaching and learning.
Quote from article ‘we used a combination of text and image-based tools include padlet worksheets and an interactive map a synchronous learning, resources including short films shared via Moodle portal a synchronous teaching including presentations and breakout discussions hosted in teams to deliver the colonial colonialism to climate crisis event. Knowing how diverse our student population is at ual with high numbers of neuro diverse students we were mindful that choice or format is key to making information more accessible instructions given during online. Their training and knowledge sharing sessions were key to helping us understand the need to break content up into shorter chunks, schedule regular breaks and use the chat and poles functions to build a sense of community. All online teaching sessions were recorded and made available. This provided opportunities for students to go over material they have found particularly useful and to review in their own time.
Below, I hope the diagrams visually explains the process.
Intersectionality
Synchronous learning means
Learning refers to a learning event in which a group of students are engaging in learning at the same time before learning technology allowed for psych Renault nios learning environments most online education two place through asynchronous learning methods.
To help answer the question, this infographic compares synchronous and asynchronous
What types of video do you need for your video channel strategy? With the move to virtual conferences and events, having a diverse mix of video content is more important than ever.
. Learn to define and apply each type of video — and discover how your organization can make the most of the changing media landscape:
Conclusion:
All the teaching and learning methods, data collection; to be aware of student needs online; is a lot for us to take onboard when delivering a class to students.
This to be studied further…
Reference
Willcocks, J & Mahon, K (2023) ‘in commerce the potential of online object-based learning activities to support the teaching of intersectional environmentalism in art and design in high education ’.’Art, Design & Communication in Higher Education’, (Volume 22) p. 187-207
Uncovering themes in qualitative data can be daunting and difficult. Summarizing a quantitative study is relatively clear: you scored 25% better than the competition, let’s say. But how do you summarize a collection of qualitative observations?
In the discovery phase, exploratory research is often carried out. This research often produces a lot of qualitative data, which can include:
Qualitative attitudinal data, such as people’s thoughts, beliefs and self-reported needs obtained from user interviews, focus groups and even diary studies
Qualitative behavioral data, such as observations about people’s behavior collected through contextual inquiry and other ethnographic approaches Thematic analysis, which anyone can do, renders important aspects of qualitative data visible and makes uncovering themes easier.
Themes are key to understanding object learning it’s a gateway of illustrating large ideas. It is an efficient way of teaching and delivering focused learning it’s a good tool. A theme could be on the the weather as an example which is part of this document.
MY thoughts
One issue that does become apparent with online learning is that though it’s good at delivering teaching to a large body of people we’re not necessarily in the same room. There is the drawback of digital exhaustion, including screen exhaustion and disorientation online with poor Internet connection or disengagement from the subject based lesson. The digital learning spaces can only be used for a short period of time, and it is not an ideal method of teaching-especially, practical subjects and the manipulation of objects/materials that the online body host can share. One advantage is that different creative bodies and practises can share ideas all at once online; and the object or theme can be discussed. New design ideas, creative thinking can be explored. Introduction of objects to the learning experience might support students develop an understanding around the intersectional nature of the climate crisis.
My thoughts
Another word that keeps on cropping up is intersectionality its meaning-‘the interconnected nature of social categorizations such as race class and gender as they apply to give an individual or group regarded as creating overlapping and into the interdependent systems of discrimination or disadvantage’ an ‘awareness of intersectionality- we can better acknowledge the differences amongst us’. What is intersectionality in simple words ‘intersectionality is the acknowledgement that everyone has their own unique experiences of discrimination and
Reference
Willcocks, J & Mahon, K (2023) ‘in commerce the potential of online object-based learning activities to support the teaching of intersectional environmentalism in art and design in high education ’.’Art, Design & Communication in Higher Education’, (Volume 22) p. 187-207
How I can further improve the workshop sessions for students-with greater engagement with the college’s workshop resourcessupport my ‘doing and making’ and the ‘physical space’ pedagogy teaching (add Map of workshop)
These are my thoughts and observations to enhance the learning outcome of the project.
I would further enhance workshop and teaching experience for students by arranging Performance Design & Practice students to have greater access to the larger workshops within Central St. Martins using the 3D large and 2D small workshops (delivered by in house technicians of those facilities). Exposing students to; casting, painting, workshop machinery and making/construction techniques to help increase their making skills.
The Platform Theatre Assembly Workshop is not designed to stage or hold model making or prop maker classes as the space is too small and not convenient to set up tools or machinery due to the multi-purpose function – as storage of materials, theatre equipment.
This is referring to my pedagogy approach and best practice with special attention to the ‘studio environment’ which will always enhance the students’ learning. It is important to consider ‘class size’ and ‘student engagement’ with reference to ‘Graham Gibbs’ Maximizing student learning’
The studio space is our ‘physical space’ to support student learning- it creates collaborative engagement and 1:1 learning with tutor and student.
The workshop space with its equipment and tools will encourage the students to work safely and professionally within a workshop environment and develop competent skills in the use of tools and the manipulation of materials.
It encourages students to engage with each other and observe how they resolve ‘making/construction’ issues and design/material problems.
Another learning outcome of the workshop inductions is that the students gain ‘transferable skills’ that can be used later within the course curricular programme which can be further developed.
Student ‘Giant Fly’ made from diverse materials-very sculptural.
Reference
Gibbs, G (2024) ‘ Maximising student learning gain’ A handbook for Teaching and Learning in higher education’ page 16 4th edition
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.
Part One Observee to complete in brief and send to observer prior to the observation or review:
What is the context of this session/artefact within the curriculum?
This is final set up and staging of ‘Live At CSM’ in the Platform Theatre. This is a technical class where I will be engaging with theatre students, academic/tutors, practitioners, and technical staff. We will be reviewing theatre staging, induction in the safe usage of the theatre lighting and sound equipment and best health & safety practice in the space.
How long have you been working with this group and in what capacity?
This is a mixed group of students from across all three stages of the year Stage 1,2 and 3. I have worked with these students on group/course projects, 1:1 project tutorial, was workshop/construction instructor, delivering workshop inductions and health & safety advice, as Technical Coordinator/facilitator of theatre resources and supporting/delivering Performance Programme course curricular.
What are the intended or expected learning outcomes?
To have basic knowledge in the safe usage of the theatre lighting and sound equipment. To have instruction on Health & safety in using the space. To answer student questions, discuss student projects or staging of set designs in space.
What are the anticipated outputs (anything students will make/do)?
The students will be using theatre staging lighting & sound equipment and exploring performative ideas and design compositions in the theatre space.
Are there potential difficulties or specific areas of concern?
There should be no potential difficulties.
How will students be informed of the observation/review?
I will introduce you to the students and explain the reason why you are here observing my workshop induction.
What would you particularly like feedback on?
I would like feedback on the whole of my workshop induction class, from how I engage and speak to students.
How will feedback be exchanged?
I would like spoken feedback at the end of the session so that I can make immediate notes. If feedback is detailed, more than happy to have written exchange.
Part Two
Observer to note down observations, suggestions and questions:
I first observed Michael in a 121 tutorial with a students around the staging of an aerial performance. They were rigging some standing bars for an upcoming performance, working together through the H&S requirements to perform the piece safely.
Michael was guiding the student through the risks associated with the performance, taking care to work methodically through the set-up process, photographing its height and adjustments so it could be later recreated. As they went through the proposed performance, Michael continually scaffolded questions about the rig to the student: asking where the rig would best be staged, what height it should be adjusted to, if the student was confident in its set up so on and so forth. As the height was adjusted to the height suggested by the student, it became visibly more precarious. As a safe and sensible solution, they together discussed adapting the performance so that the rig would no longer shake during the performance.
Michael clearly has established an effective relationship with the students and was able to speak with authority while directing members of the group in and out of the conversation as was required. The atmosphere in the room was relaxed, with students clearly feeling comfortable that the solution for the rig required careful thinking through. Many students were busy with other work – I wondered if this was perhaps a result of previous instructions to get along with other tasks.
Michael’s relaxed, assured tone of voice is visibly well suited to this work. If he was too instructive or directive, then I could envision scenarios where students may become frustrated with the slower pace that is required to set up properly and safely for a performance. Instead, Michael clearly involves students in the whole decision-making process, teaching through practice, demonstration and staged and concise communication.
I then observed a 121 with another student who had booked time with Michael to review some H&S concerns they had about an upcoming show. Michael was careful before starting, to make sure he had a pen & paper to hand.
The student had previously held a performance at CSM where there was some staged tapdancing, involving flint on the shoes which during the performance caused sparks to fly. For their final major project, they were seeking to take this idea further, looking to build a scaffold structure in the studio theatre for a performance (5 performers) centring around building sites. H&S issues include working at height, off a scaffold structure, and angle grinding during the performance. They didn’t have all ideas set for the performance yet – they want to see what’s possible first in terms of H&S of the performance before moving forward.
Michael first listened to the student, and then asked for further inspirational images about what they envisage for the set-up of the performance itself. They advised that angle grinding would likely not be possible in the context of the performance within the college. He then flagged performing at height as a potential issue, asking what the performers would be doing within the rig and how proximate the audience would be to the performers. They also talked about some no-goes in the space: fire, haze, smoke.
In this 121, Michael assured the student that she was taking the right approach in flagging issues related to the performance. He was honest about the risk assessment process, talking the student through questions around insurance, liability, set-up and reminded the student that they need evidence from the performers that they can do the work that is required. They talked through some next steps: arranging a time next week to look first through materials.
My questions having observed both sessions are:
What happens in scenarios where students may become frustrated with the restrictions of working in the space?
Do students ever try to circumnavigate Michael and approach other staff with the same questions to get their desired result?
Part Three
Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:
Dear George,
Thank you for observing my ‘Live At CSM-technical /production meeting with students and 1:1 risk assessments and project/design consultations with students (Platform Theatre room M005 and Technical Office room N007’
I will take on board your advice as this has been very helpful in reviewing my teaching style and to improve future 121 and group student tutorials / workshops. This has been a great opportunity for me to have this type of feedback.
It is good for me to know that the way I speak to students and how I support them through being attentive to their design ideas which can be complex in its realisation, staging and performance. That line of communication is clear and understood.
I happy to hear that I have an ‘effective relationship’ and I create a ‘comfortable’ and ‘relaxed’ atmosphere so instruction and advice can be given to students.
With reference to:
“– I wondered if this was perhaps a result of previous instructions to get along with other tasks”. I have worked with this group of students over several months which has led to this final production week-where deeper engagement and teaching is required to finalise final technical rehearsals, dress rehearsals and final live shows.
Platform Theatre stage with aerial rig in the foreground.
With reference to questions:
What happens in scenarios where students may become frustrated with the restrictions of working in the space?
The students journey through conceptualising their designs to final design presentation, throughout this period the student will be attending production meetings (this is part of the course curricular). During these meetings the students design will be interrogated-this is will be an exchange of feasibilities in staging the design. Elements to be reviewed are materials, theatre staging/equipment etc. Any possible frustrations that the student may encounter can be discussed openly and a design compromised will be met with the resources that are available.
Do students ever try to circumnavigate Michael and approach other staff with the same questions to get their desired result?
Yes, students at times will navigate through other means, usually through other technicians or through their tutors.
Fortunately for me as ‘Technical Coordinator, Performance Technical and Teaching Resources’- As one of my duties, I must enforce a high standard of Health and Safety regulations and safe usage of all the theatre stages and resources that I manage. The highest priority that I must maintain that all users are safe and Risk Assessments Method Statements ‘RAMS’ are adhered.
No student work will be staged until I am fully convinced that the design is safe and that the students, performer technician/staff are not in danger.
Until I sign off the RAMs and happy with the design and performative work, no performance can commence.
Record of Observation or Review of Teaching Practice
Up date and save 05/01/2025
Session/artefact to be observed/reviewed: introduction to the White Laboratory room J005 to Performance Programme theatre students,
Size of student group: From 5 to 15 students (sign up session)
Observer: Karen Matthewman
Observee: Michael Ste. Croix
Date: 22/02/2024
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.
Part One Observee to complete in brief and send to observer prior to the observation or review:
What is the context of this session/artefact within the curriculum?
This is an introduction to the White Laboratory room J005 to Performance Programme theatre students, that have not had a workshop induction in the safe usage of the theatre lighting and sound equipment and best health & safety practice in the space. This is a sign-up session.
How long have you been working with this group and in what capacity?
This is a mixed group of students from across all three stages of the year Stage 1,2 and 3. I have worked with these students on group/course projects, 1:1 project tutorial, was workshop/construction instructor, delivering workshop inductions and health @ safety advice, as Technical Coordinator/facilitator of theatre resources and supporting/delivering Performance Programme course curricular.
What are the intended or expected learning outcomes?
To have basic knowledge in the safe usage of the theatre lighting and sound equipment. To have instruction on Health & safety in using the space. To answer student questions, discuss student projects or staging of set designs in space
What are the anticipated outputs (anything students will make/do)?
The students will have the chance to use the lighting & sound equipment and explore ideas in its use.
Are there potential difficulties or specific areas of concern?
There should be no potential difficulties apart from the odd shyness from some students who do not want to touch equipment. Which is always strange to observe but I do encourage students to get familiar with equipment and develop confidence.
How will students be informed of the observation/review?
I will introduce you to the students and explain the reason why you are here observing my workshop induction.
What would you particularly like feedback on?
I would like feedback on the whole of my workshop induction class, from how I speak to the way I engage with the students.
How will feedback be exchanged?
I would like spoken feedback at the end of the session so that I can make immediate notes. If feedback is detailed, more than happy to have written exchange.
Part Two
Observer to note down observations, suggestions and questions:
I watched Michael’s video as I was sorry to miss his live session due to being ill. Michael graciously recorded an extract so I could watch and listen later. This reflection is based on that video and accompanying notes.
Commentary
As the video starts you are explaining the various safety considerations clearly and calmly but what I particularly liked is you always gave the rationale for why a safety rule is a rule.
I wondered at times if you could turn these into questions to help them be more memorable For example. ‘We can use some types of tape on the floor, but not gaffer tape. Can anyone think of why?’
There is a lot of oral explanation and I wonder if for some students if this is a lot to take in, but you speak clearly calmly and in plain English. I can’t see- maybe there is written support on slides or posters for those who need a bit more visual reinforcement?
Asking concept questions to check understanding is one way to check how much has been absorbed. e.g ‘so we talked about 3 main safety concerns. Can anyone list them?’
You go on to explain the working of lighting and ask if anyone has used them before. You answer questions well. You break down (what to me are) quite complex sequences in simple and easily understandable chunks.
Students are gathered around and very motivated, asking questions and taking notes.
You use gestures and changes in voice to help enhance understanding.
You are very encouraging to allow students to experiment: ‘Who wants to have a go?’ ‘You can’t break it!’
Your main method is oral explanation accompanied by physical demonstration. Most of the time you are in the ‘driving seat;’ with control over the equipment while letting students touch the equipment at times.
The lesson moves through different phases and it is clear that by the end the students have had a thorough demonstration of what otherwise would be a daunting piece of equipment and will definitely have the courage to work with that in their future projects.
Summary
You are clearly an effective and experienced facilitator and technical demonstrator. You are able to give clear directive ‘commands’ where necessary in terms of safety consideration while also encouraging an atmosphere of playful experimentation.
I was trying to think of a few ideas that might help:
One thing might be for you to think how you could change your ‘role’ at times during such demonstrations. Could you scaffold micro- tasks and hand them to individual or groups of students? Could you change your physical positioning, so you are less in an instructional role and more in an observational role?
Could you ‘gamify’ the tasks by for example splitting into groups and asking each group to demonstrate a specific sequence to show the other groups? Could you make a set of ‘playing cards’ that if picked mean a certain light sequence needs to be shown.
These are just ideas that may or may not work in your context, but it is fun to think of different ways learning can happen, isn’t it, and might be a motivating form of formative assessment.
What a fabulous and enjoyable workshop and I am very sorry I couldn’t be there in person.
Part Three
Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:
Dear Karen,
Thank you for observing my introduction to the ‘introduction to the White Laboratory room J005 to Performance Programme theatre students’,
I will take on board your advice as this has been very helpful in reviewing my teaching style and to improve future workshop introductions/workshops. *This has been a great opportunity for me to have this type of feedback. I believe I am in the unique position to record my lesson so that I can review my style of teaching and correct where the lesson needs improvement.
Thank you for noting the health and safety aspect of the introduction the White Laboratory. I think this is one of my strongest points in my role as Technical Coordinator Performance and Teaching Resources is paramount. I am glad that came across OK.
The workshop is very instructional and that it is not very engaging for student to participate with the equipment when reviewing the video. In future I will plan and structure the session with written key points for me to follow where I give the students the opportunity to be more interactive and playful with the equipment and the laboratory space.
This will include:
The introduction will be more structured. List of questions and instructions.
A written, structured workshop plan that I will follow with key points highlighted for students to engage with equipment.
I will try to reduce where appropriate-the oral explanation. ‘So that students stand and listen’. Try to create more oral engagement with students.
I will have written information to hand out to students that will contain key learning outcomes and direct them to further learning information/resources for them to take away and read. On the wall there is a notice poster above the equipment that gives instructions how the equipment is used. This includes QR codes to different elements. This is a great opportunity for student research and learning. I pay more attention to this resource for students.
I agree that I should pose questions and set tasks for students to encourage them to talk amongst themselves and share their learning as they resolve tasks. ‘Learning by doing’.
At some point in the class when I feel the students have a good understanding in operating the equipment. To have the roles turned around. They play with the equipment, and I stand and observe as they discover what the sound and lighting board can do. By doing this, I listen and answer their questions while they operate. As the observer, I can help and support, while they playfully create sound and lighting effects.
**The next time I present another introduction to the White Laboratory, I will break the student body into smaller groups so that everyone will be able to access the equipment within the allotted time I have in the space.
Above is photo of lighting and sound board equipment.
Below are structured key points that I will deliver at my next presentation. ‘Introduction to the White Laboratory room J005 to Performance Programme theatre students’
Introduce myself, the name of the course they are attending and why they are here taking this workshop induction.
Written information to be handed out to students explaining the course. Give out additional learning material where appropriate.
Introduction to Health and Safety and the use of the space.
Look at basic equipment in the space, lighting, and sound boards. Karaoke machine and microphone. Any theatre scenery in the theatre space.
A closer look at the lighting and sound boards and how to use them.
Ask students questions. Field students’ questions.
Show students information poster above lighting board. Explain what the information is i.e. the use of QR codes.
Break students into smaller groups. Set tasks i.e. ‘create a lighting state’, ‘connect a device to soundboard’. Combine the use of a microphone to soundboard.
The student groups-each to have turns on the equipment to explore and play.
Discuss with the student body their design ideas and future projects in which lighting and sound is involved. Field any other questions related to the workshop session.
NOTE TO ME:
*Looking at my video recording can be a helpful tool to review and reflect on how you present your lesson and teaching.
** Teaching issue. All tutors encounter a ‘time allocation to a space or resource’ that can be restrictive and an issue when delivering presentations, workshop Inductions and discussing abstract design ideas/design theories. Explanation of complex equipment and demonstrating its use.
Not having time to use equipment can be a problem- space bookings can be limited to an hour due to room booking and availability. Lessons have to be structed and to the point to make the best of time allocated and class learning successful.
Record of Observation or Review of Teaching Practice
Up date and save 05/01/2025
Session/artefact to be observed/reviewed: Carbon Literacy Training
Size of student group: 10-12 staff
Observer: Michael Ste-Croix
Observee: George Barker
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.
Part One
Observee to complete in brief and send to observer prior to the observation or review:
What is the context of this session/artefact within the curriculum?
Carbon Literacy Training is a one-day course accredited by the Carbon Literacy Project. It was designed in January 2023, and we have offered the course to all UAL staff since April. Over 300 staff have now completed the course and gain certification as carbon literate. The course is designed to induct staff into approaches and goals of environmental science by giving space for them to think through their work and/or discipline and steps they may make to reduce their carbon impact or ecological footprint.
How long have you been working with this group and in what capacity?
The course runs as a one day intensive, and so this is a new group of staff. They have no pre-existing relationship with one another.
What are the intended or expected learning outcomes?
By the end of the day, staff will have an enhanced understanding of the science of climate change and its relationship with a wider ecology. They will have interrogated and better understood the complexity of carbon footprinting, and spent time unpacking frameworks of justice and their interrelation with climate action and education. By the end of the day, learners will also understand carbon in the context of our institution.
What are the anticipated outputs (anything students will make/do)?
Learners will be expected to produce knowledge throughout the day, through group activities, discussions and play. By the end of the day, learners will be set a task: to commit to two actions within the workplace that they can commit to over the next 12 months that will reduce their planetary impact.
Are there potential difficulties or specific areas of concern?
Climate change is a difficult and sensitive topic to tackle, especially in an institutional context. Depending on the personal circumstances or experiences of learners, some of the content covered may be emotionally triggering, or cause further emotional responses like anger, frustration, dismissal, or disavowal.
How will students be informed of the observation/review?
We will do self-introductions at the start of the session.
What would you particularly like feedback on?
The sections you will be observing may include:
09:30 – 10:15, Welcome, Warm-Up, Briefing
10:15 – 11:30, Environmental Literacy
I would value feedback on if the warmer can be improved or thought through in a different way, as well as any observations about the nature of the content (both visual in terms of slides and in teaching delivery).
How will feedback be exchanged?
Please write down any observations below.
Part Two
Observer to note down observations, suggestions and questions:
George Barker-Record of Observation or Review of Teaching Practice.
On arrival. To room EB-13O9. Ten students expected.
Set up of space.
Room EB-1309 is an excellent space.
2 x large 98” monitors in space with webcam setup, Laptop computer, large conference table. On the table are teaching and resource learning material for students to access. Tea and coffee available for students.
Room set up EB-1309 is an excellent space. With teaching material and books on display
As students arrived, George said hello to each student, welcomed and introduced them to the class. Had a great memory in remembering each student’s name. George created an excellent atmosphere for teaching. Students started to engage with each other, explaining who they are, and which department/colleges they’re from and job roles.
George started the workshop by explaining who he was and how the carbon literacy training session will be run throughout the day.
George speaks with a clear voice, with an open body posture. He is always facing the students with good eye contact. Introduced me to the class and explained that we are both doing a PgCert ‘theories, policies and practises in art design and communication ‘and that I am observing his class.
Because George has created a great ‘teaching atmosphere’ the students immediately responded to the class programme, started answering and posing questions; engaged with work tasks set and explored/investigated the teaching material displayed and presented.
Students started to share information learnt to class colleagues.
George explaining one of his carbon charts
George is a very good listener, attentive to students’ questions. Very knowledgeable on the subject, takes time to explain elements of the course. Patient with students questioning and gives full complete answers. If he is not sure on the question, he will find a way to find the answer and will give feedback later. Good presentation teaching material; good imagery, charts, graphs, pictures. Please see examples below:
He explained college aims and objectives concerning carbon literacy. Presented and explained information clearly. Open for interruptions from students with questions.
Posed questions to students and broke them up into smaller groups to discuss certain topics; to further investigate certain issues related to carbon and to further enhance learning through discovery of the subject.
Engage with individual students with one-to-one discussion/teaching. Very attentive, paid close attention to student answers and quires.
Conclusion:
With reference to George’s feedback request, I cannot see how he can improve on the warm-up as he has staged and created a teaching atmosphere to deliver his training session that encourages students to engage with each other and to feel at ease.
His student facing pose and attentive engagement with students kept the students focused on the subject.
The learning material and AV equipment was very good, and the teaching material was easily understood.
This was an excellent Carbon literacy Training session.
Challenges
The only issue that I can comment on is, will you be able to have the same facilities and equipment available for all your training sessions. Will a new location and equipment quality effect teaching delivery.
Part Three
Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:
With this Carbon Literacy course, I am privileged to be able to consistently have opportunities to update my teaching practice and the content which I deliver on the course. This is the thirtieth time I have run the course. As a result, the training has come a long way over the past year of iteration and development. I feel Michael has landed at a point where I feel I have honed my delivery and expertise of the taught content. Therefore, the feedback Michael has given here is extremely affirmative.
With this group, I observed that there were some staff members who assessed their understanding of environmental science and climate change as quite low when we went around the room for our warmup exercise. So, I was pleased to read from Michael that the taught content was comprehendible and easily understood. The group on the day had plenty of questions and I was mindful of the balance between time to answer these, while also completing the taught content. It is encouraging to hear from Michael that I come across as an attentive tutor. My goal through the course is to encourage group enquiry as much as possible so I’m pleased this came across.
This observation has affirmed the value of my course and outlined some of my pedagogical strengths in communication style. While this group all opted in to take the training, I will be challenged further when I take the exercise into a space where it has been mandated by a line manager or the institution. When this happens, I can expect to encounter more disengaged or resistant learners. Some may directly challenge the approach I have developed to the content, or from a discipline which directly contravenes and contradicts some of the objectives of carbon literacy, which centre around emissions reduction through strategies of reduction and de-growth.
This feedback has spurred me onwards to continue doing what I’m doing and to challenge myself by offering the course to different types of learners. I am also keen to offer the course to UAL students, so this is a next step for me to arrange.
