Assessing learning and exchanging feedback

(Introduction & Background)Project objectives and Brief

At the start of each term the Performance Programme plans a series of key induction classes on various items of theatre equipment and computer software. The students are also introduced to workshops and theatre spaces and instructed in Health & Safety procedures and practices that they must adhere to when working in these areas. This is an important learning period where they will need this knowledge to progress through the course.

Evaluation I must deliver many learning outcomes during this period. With reference to Allan Davies (writing Learning Outcomes and Assessment Criteria in Art and Design) the article raises many questions and challenges my practice in how I assess the learning outcomes that I have set for students. Do they understand the aims of the workshop induction? Can I support their creative design ideas? Between tutor and student, are we able to communicate, discuss ‘abstract’ creative ideas? Is the oral information exchange – ‘fluid’? The theatre and workshop spaces are there to support the students design ideas and explore the possibilities of ‘performance’. The test I face is to ensure that the students have knowledge, technical skills, and confidence to pursue their ideas and accomplished creative objectives. To Assess this can be difficult at times as student’s expectations are high and may not be feasible and can be frustrating for student. Reference: ROT ‘Live at CSM Technical /Production meeting’. I have adapted my teaching so that I can assess design ideas and evaluate creative expectations.

Moving forward

Davies Allan and Reid A suggests ‘developing a strategy for assessment’. When I review the students final work which, can be a performance, an installation piece, or a large stage production. Before final presentation- my strategy is to give constructive formative feedback, this can be a group or 1:1 session. This will help review their work, evaluate design, and encourage further research and self-learning. The positive outcomes are students are not stressed or flustered or worried. They are comfortable to talk with each other. The student is more engaged and critical of the work achieved. I have also considered doing a group 360’ review in which the student will get feedback from their student colleagues so that their work is assessed ‘in the round’ from different perspectives. I will need to do further research on this to see if it feasible and done fairly as a positive feedback tool.

I have also noted during the student assessments- that I get feedback from students. They point out where they want more emphasis on certain aspects of my workshop induction i.e.  operation of theatre equipment or to give more detail on design/construction theory or the manipulation of materials. I will re-examine my teaching delivery and choice of subjects that is beneficial and appropriate.

Reference

Allan, D & A, Reid (2001) ‘Writing learning outcomes and Assessment criteria in art and design’ University of Brighton Faculty of Arts, issue 18: July 2012

Intensive weeks – Intercultural Practices and Performance Society, start date 15th of April to the 3rd of May 2024- Central Saint Martins. ) ONLINE COURSES

(Introduction & Background)

Project objectives and Brief

The aim of this project is to facilitate a two-week residency for two MA Performance Programme courses in which students will create group or individual performative work. This can be a performance piece, site specific installation or an exhibition. This work will be completed on the last week and will be assessed. Facilities used, the Black and White Laboratories and Gallery window space. These teaching resources are design for the students to explore their practices while the tutorials and workshops will help deepen their practice and have a better understanding of their work. Number of students 20 plus.

Evaluation

With reference to case study one and the microteaching classes I presented. It is very important for me that the resources and technical support are available, and the teaching brief is clearly drafted and easily understood, with clear instructions on what is expected during their residency. Because the students only have two weeks to deliver completed work. I have noted that the students are very ambitious and keen to create as much work as possible within this short space of time. In view of this I have adjusted my teaching, to first assess the scale of the student’s work aims, discuss with them manageable objectives so that students do not ‘overload’ in achieving learning outcomes. I am responsible for managing the teaching resources within the Performance Programme (rooms/equipment) and must book time for these resources to be available for students. This can put pressure on tutors in delivering lessons that involves teaching workshop skills or presenting design theories of performance staging. I find these types of workshops difficult to deliver as there is the ‘internal worry’ that the students will not be able to deliver the learning outcomes or show evidence of work within the time allotted.

Moving Forward

Positive learning outcomes that I have observed.

Lessons that are designed and crafted with clear learning outcomes (please refer to Case study one Giant Insect-practical elements) are best practices. A good, drafted project brief with specific teaching goals; theories in design, technical skills and set project learning outcomes helps focus the students learning. The Intercultural Practices and Performance Society are both online courses. This is difficult to support; especially if ‘object-based learning’ the use of large facilities i.e. theatre performance spaces- reference: (Willcocks J @ Kieran M) quote ‘However, we have also acknowledged the impacts of digital divide and understand that while some students respond well to the online environment, others may struggle either with the format of the learning or with their available technology’ is a major element to the course. Because of this, I must adapt my teaching to have online Team meetings and communicate through emails with students and tutors throughout the year, leading up to the two-week residency. It will be difficult to teach practical, technical skills online in how to use theatre facilities and workshops. But If I can prepare early and facilitate students learning needs and project objectives, this will help alleviate technical pressures on staff and tutors during the residency.

Programme workshop and theatre inductions within the first few days of student arrival. The challenges for me and my technical team is to find the time to prepare for the students’ arrival and have workshop and resources available to support the intensive residency. To be made aware of any students who have learning difficulties and to make sure that I have the right technical staff available to support students stage designs and exhibitions.

Below is image of space booking to deliver workshops/teaching projects.

Note to me:

It is important for me to note how vital teaching facilities, material resources, equipment etc. A good teaching design brief and established learning outcomes are in place before the project starts.

References

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 Volume 2 intellect Limited 2023 (ADCHE 22(2) pp. 187-207

Ste. Croix, M (2024) CASH STUDY ONE: Knowing and responding to your students’ diverse needs. Making Workshop:  Giant Insects! PGERT pp 2 17/03/2024

Making Workshop:  Giant Insects!

(Introduction & Background)

Project objectives and Brief

This project is to introduce students to using hand tools and a range of materials that can be manipulated to create an insect. Through the making they will discover construction techniques. The project is aware of student diversity i.e., language, (to be aware how we communicate to students through written and oral information) ethnicity and disability. To ensure that students can demonstrate technical skills and are comfortable in a ‘workshop environment’. This is a technical project delivered by me and a fellow technician.

Evaluation

Some of the insects that were made by students (example below) did not have experience, knowledge, or craft skills in manipulating materials, i.e., card, plastic, wood etc. Some students were hesitant to start making as they did not fully understand the written brief or oral instructions from the tutors. Some students, whose first language is not English had some difficulty in understanding certain instructions in how to use certain tools and to navigate a workshop environment.

Technicians and tutors must navigate and support diverse student needs and deliver workshop curricular: reference (Clare Sams 2016 How do art and design technicians conceive of their role in higher education?) But more importantly for me and my teaching practice is closely linked to the workshop environment and is the starting point for a lesson or project to be introduced to students: reference (Orr, S, & Shreeve, 2017). And how do I support students who have difficulty in understanding instructions and navigating a workshop environment.

Moving forward

All the insects made were impressive and imaginative in the choice of materials used. But there were students who were having difficulty in creating their insect.

First, students should have pre-workshop induction to tools and exposure to a range of making materials. An introduction of workshop machinery, cutting milling tools and hand tools. Students to be given the opportunity to experiment and explore materials on their own and discover construction techniques with technicians closely guiding them. It is important that communication of ideas and processes are delivered clearly by technicians taking on board student diversity i.e. project briefs are written clearly and in plain English and hard copies given to students on day of project (email copies also sent) to make understanding easier. Make clear what the project objectives and learning outcomes are. Identify students who have difficulty in understanding and engaging with project.

I adapted my teaching style by giving 1:1 demonstration to individual students in the use of tools, giving guidance in construction techniques. To speak in a clear voice when sharing information and pay particular attention and attentiveness to students’ questions (when an idea or instruction is not understood) whose first language not English and communication of ideas can be difficult or too abstract to understand.

The will these new adaptations in my teaching and develop them as part of my practice through other projects that are scheduled in this academic year.

Reference

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’

Making Workshop:  Giant Insects!

(Introduction & Background)

I want to deliver my teaching skills through ‘doing and making’ with one-to-one engagement with students during workshop session. Communicating practical skills using objects and materials to support teaching and encouraging students to think their way through ‘design a construction problems’ and find solutions.

This project is to introduce students to using hand tools, diverse range of materials, manipulation and using construction techniques. To support students’ diversity- through, language and written information (to also be aware of; disability, gender, ethnicity and sexuality. To communicate and demonstrate technical skills and expose students to ‘workshop experience’.

Project objectives and Brief

The introduction of materials, tools and the develop skills in construction. The understanding of materials in preparation for main model making project (MA Character Animation) to be devised later in the term. 2023 summer.

The students were briefed to make an insect by using materials that are freely available within the Platform Theatre Assembly Workshop. It was also an opportunity for students who were not familiar with the ‘workshop environment’ and the range of material usage-where theatre technicians are available to guide them through different construction techniques. Each student was assigned a task to choose an insect of their choice to be made and to be used in a performative piece play or stage setting. Students were asked to bring a picture of the insect to the workshop.

With a series of lengthy discussions with course tutors on learning outcomes of the workshop classes with emphasis on-tool usage/technical skills, material experience, material manipulation, ‘animation of insect’, with further exploration of the workshop experience. My fellow colleague Michael Breaky, who will be delivering the workshop course with me; we should end up with a selection of giant in sects in the workshop.

Evaluation

Looking at the end results of the insects made by students (example below) I became aware and very apparent that students did not have enough experience or knowledge in the use of material or tool skills in the manipulation of materials, i.e. card, plastic, wood, and miscellaneous objects combined with tools hand tools- hammer, saw, craft knife & scalpel, cutting board, electrical hand tools. How to stick/attach diverse materials together. The students we’re not trained or had technical working knowledge or experience of a workshop environment. It became clear to me that students should have a pre-introduction/ pre-workshop inductions and training in the use of tools and greater exposure to material usage. I.e.  an introduction of workshop machinery, cutting milling tools and hand tools. Students to be given the opportunity to experiment and explore materials and how they can be manipulated. I believe we should have further lectures in making that will, prepare the student to achieve their ‘creative makes’. Giving the student prior knowledge, skills and experience of materials and workshop environments. It is also important that communication of ideas and processes are delivered clearly by technicians taking on board student diversity – project briefs, sent by email or as a hard paper copy is written to show the project objective and learning outcome.

The results of the project and insects made were very impressive, imaginative in the choice of materials, dexterity in the material manipulation. Even though there were students who had a lack of skills and knowledge of materials; the students progressed quickly in the making of these impressive insects with one-to-one engagement with theatre technicians; giving students guidance and advice in how materials can be used and showing construction techniques. See examples of insects made.

Moving forward

As expressed earlier, forward planning and early engagement in workshops with the students should be the best approach, starting with small groups of x 10  and where needed one-to-one workshop inductions and tutorials.

I believe in the ‘The doing and making’ approach to teaching, which is a successful learning tool where the technician tutor gives demonstrations of material manipulation and construction methods during the workshop sessions (please see my example of Mantis insect made as a demonstration tool for students- a visual example / reference of materials for students to refer to) while students are making their own insects and discovering construction techniques they can refer to the technicians approach and method that can be applied to their insect design.

Again, this is a great example of ‘object learning’ for students. Another 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.

References:

‘The potential of online object-based learning activities to support the teaching of intersectional environmentalism in art and design higher education’

Judy Willcocks-Central Saint Martins, University of the Arts London

Kieran Mahon-Central Saint Martins, University of the Arts London

Contact: Central Saint Martins, University of the Arts London, Granary
Building, 1 Granary Square, London, N1C 4AA, UK.
E-mail: k.mahon@arts.ac.uk
https://orcid.org/0000-0002-0868-7818
Judy Willcocks and Kieran Mahon have asserted their right under the
Copyright, Designs and Patents Act, 1988, to be identified as the authors of
this work in the format that was submitted to Intellect Ltd.

‘Teaching practices for creative practitioners’

Orr & Shreeve 2017-Signature Pedagogies in Art & design.

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 2024-01-01 14:50:26.

‘Challenging student-Enabling inclusive learning‘

Veronica Bamber and Anna Jones

How do I apply object learning, physical space, ‘third space’ and ‘constructivism’

Below are my Remarkable notes at first online meeting.

With reference to my online tutorial on the 24th of January, object-based learning as an academic discipline was interesting experience for me as it was now obvious that physical materials-objects are key to my teaching. My thoughts raced towards how I will support students placing items in the gallery window. Will they be viewed as museum artifacts? Will the work be literal or abstract? Are the objects or materials modified and placed in the background to create an ‘environment’? How does teaching and learning resources help support the learning outcome when selected objects are displayed’

This is exciting moment for me, for I now have a deeper understanding in how lines of communication that can be created when looking at objects which can reveal its history or its influence on the person holding or making the item.

It opens many possibilities for me to create learning material that can be transmitted to students through a ‘made object’ which can explain complex and abstract ideas through the process of using materials to manufacture a design, and through the making the skills learning takes place. Which can be simple or complicated.

Transferable skills can be developed through the manipulation of materials. The way we talk about materials and its understanding of it. How certain objects made or found can create meaning and engage people from different cultures and nationalities. I’m looking forward to engaging with this project with a new way of thinking in how objects are placed in a space, how it provokes ideas and understanding. To observe how we learn, how we communicate and engage with the item and to each other. The transference of learnt skills that can be shared.

I will add these ideas, thoughts and apply them towards my ‘MicroTeaching’

CLASS STRUCTURE:

Session Time 20 minutes

Present Microteaching session, aims and objectives: 5 minutes

Show Objects and materials to class and how they can be used: 5 minutes

Students to start work in making cube: 10minutes

Summary and assessment: and-open discussion to class: 10 minutes

‘CUBE TRANSCONFIGURATION TOOL‘

Teaching space, resources and materials are important to deliver this type of class.

It is important for me to note how vital teaching facilities, material, resources equipment etc is essential in delivering or creating’ Object based learning. Object based learning does not have to be centred on specific items or equipment to support teaching an idea or delivering a technical skill i.e., costume artifacts, bowl, pen-online tutorial.

My thoughts…

Object based learning can be delivered through doing and making in which the object is created and through its creation, the learning of skills, materials, construction, imagination, sharing ideas, can stimulate new ways of thinking and looking, provoke discussion and open further questioning -a new dialogue in teaching.

I hope to demonstrate this through my Micro Teaching and Object based learning classes/demonstration-to provoke discussion, create new ideas in thinking-to create ‘connections’.  Here are examples of things that change its shape, reconfiguration, and samples of hinges. The aim of these examples is to show connections, joints that bend and twist. These are simple mechanics/machine. From simple to complex; this will stimulate ‘making approaches’ and manipulation of material

Lesson objective -is to create a cube made from 8 x wooden blocks that can change its shape by mechanical methods shown through the brief explanation of what a hinge is and the Rubics Cube and how to use their mechanics to create a cube.

Friday the 2nd of February 2024 Object based Learning / equipment and facilities.

My Reflection on Microteaching.

What was exciting for me about object-based learning; it helped me to I understand that there is a deeper line of communication that are created when look deeper into the object’s history or its influence on the person holding or making the item. The viewer /observer and its environmental, ethical impact -if any. An interesting observational note: it engages all the senses, touch, smell, taste, hearing and looking/seeing.

‘The variations in how information can be transmitted, and abstract ideas and thinking can be made simpler or even more complicated. Also, transferable skills can be developed through the manipulation of materials, the way we talk about materials and its understanding of it. How certain objects made or found can create meaning and engage people from different cultures and nationalities.’

I’m looking forward to engaging with this project with a new way of thinking in how objects are placed in a space, how it provokes thinking and understanding. To observe how we learn, how we engage with each other (observation) communicate and the transferable skills of learnt at the session.

These photos below are examples of completed cube and possible configurations, ‘ transformation’.

QUESTIONS:

Conclusion

Questions

Feedback from class

Did this object observation class make you think about how you teach?

Did you discover/develop creative ways in attaching the cubes together?

Did you understand the aims of the class learning outcomes?

FURTHER OBSERVATIONS

Today I had a meeting with members of the academic staff from the Performance Programme- to talk about the intensive weeks that will start on the 15th of April and end on the 3rd of May 2024. At Central Saint Martins.

The aim of this meeting was to facilitate the two-week residency of the two student groups who will be creating group or individual work projects, with outcomes of performative, installation and exhibition work completed on the last week and assessed. The live performatives work will be in one of our performance spaces the Black and White Labs-this teaching resources will help develop an explore their own practices while accessing theatre design workshop equipment and facilities with technical theatre staff as Support.

It is important for me to note how vital teaching facilities, material, resource equipment etc are essential in delivering or creating ’Object based learning’ arenas.

My thoughts…

Object based learning can be delivered through ‘doing and making’ in which the object is created and through its creation, the learning of skills, materials, construction, imagination, sharing ideas, can stimulate new ways of thinking and looking; provoke discussion and open further questioning on learning – a new dialogue in teaching emerges.

I hope to demonstrate this through my Microteaching and Object based learning classes/demonstration-to provoke discussion, create new ideas in thinking-to create ‘connections’ in our teaching practices.

Friday the 2nd of February 2024 Object based Learning / equipment and facilities meeting. The finished learning outcome should be several performances and the creation of a billboard exhibition displayed in the Lethaby Gallery windows. Attached photo of Gallery window below

.

My Thoughts

Reading all the articles given to us can become overwhelming in finding out what practices that fits your style of teaching or delivering information to students. How do you know how effective your practice is? Do we need to understand all these theories and ideas? How, do you know if you are being effective in delivering technical subjects in particular ideas on design. A word that is constantly mentioned in these articles especially in gathering data is the term ‘thematic analysis’ below I’ve attached a brief description of what it means with diagrams to help visualize the process. It would seem, as practitioners, we must review and assess the information we deliver and teaching techniques, to assess effectiveness. This simple method seems to be a gateway of reviewing how we work or how ‘you work’.

“I’m not sure how I apply this but it’s something that I need to do… possibly”?

Just read Judy Wilcox- Central Saint Martins University of the arts of London and Karen Mohan- Central Saint Martins University of the Arts London; the title of the article is called ‘in commerce the potential of online object-based learning activities to support the teaching of intersectional environmentalism in art and design in high education’.

There are several headings to be observed.

1 abstract: note of subject ‘object-learning ‘colonial colonialism to climate crisis events’.

My thoughts…

I found the article difficult to read as it touches on many levels of student engagement, some of the case studies cover a lot of items such as ‘mobilising and supporting students understanding of the complex global and social issues that they may encounter in an online learning environment’. They also try to address the benefits of teaching in art and design subjects using educational tools technologies; exploring elements of pedagogies that can be used to stimulate and successfully translate ideas online.

Lots of examples of study material based on data gathered from students, some of this comes under colonial colonialism and the climate crisis events. This they analysed with a body of students which gave feedback through reflective journalism. They looked at student learning processes and initiated projects with certain outcomes they used thematic analysis semantic analysis easy. The thematic analysis is a method of identifying analysing and reporting pattern’s themes within data. What is the thematic analysis method, its analysing qualitative data, usually applied to a set of texts such as an interview or transcripts. The researcher closely examines the data to identify common themes topics ideas and patterns of meaning that come up repeatedly. The thematic analysis is one of the most common forms of analysis within qualitative research- it emphasises, identifying patterns.

One drawback (from Chatterjee ET al 2013) has argued for the potential of object based learning-is to address some of the difficult knowledge and make abstract concepts more concrete for learners and to create ‘develop a range of transferable skills which will include research, critical thinking’ but the drawback here is that there is evidence based studies with the courses in the humanities sciences and social sciences what object based studies are more normally used to enhance the learning experience- but how that translates in the ARTS-“If you think about…you know the ‘painter’, ‘sculptor’ , ‘the maker person’ that uses their hands; to many people- ‘materials’ can be difficult to be demonstrated online”. To have the physical environment they need to facilitate the equipment to demonstrate technique or skills. It is difficult for online viewers to participate (to support particular arts and crafts, construction, milling machines, cutting of materials, heavy industry tools/ machinery) not easily accessible if working online or at home.

Below, I hope the diagrams visually explains the process.

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

A method in delivering my teaching practice.

Trying to find time for students who needs an answer to a design question or design problem immediately. I’ve just finished a session on object learning and its very useful tool to use in resolving ideas and answering questions. An ‘object’ can be a short cut to encouraging, stimulating ideas for the student in finding an answer to their design challenges.

In my practise I’m surrounded by many objects that’s related to performance from theatre equipment/staging, equipment tools, paper materials, costumes, search manuals/instructions, imagery etc. These things we take for granted; but it’s exciting to know- to discover, that there are further elements within these objects that can still be explored and utilised to enrich the learning experience i.e. cultural, materialist, ethical, sustainable; to stimulate further discussion/learning, that I was not made aware of. To further engage with my student and the course programme.

This gold pen is similar to the one I use in my office-my ‘object’

I have been taking notes immediately after any student engagements; noting how deliver teaching, information, skills , knowledge teaching. My tutor Karen Matthewman presented to me during one of our 1:1 online tutorial the teaching concept of the ‘third space’ an approach to teaching where we create a learning space that caters for the students social and physical space. This is an interesting concept as I work with the physical space-‘theatre space’ and the ‘workshop environment’ to deliver my teaching.

below are several paragraphs from articles I have found that resonated with me on the meaning of the ‘third space’:

Dr. Ilham Nasser, The director of the study and Dr. Cynthia Miller-Idriss,

WHAT DO WE MEAN BY “THIRD SPACE”?

‘It is important that blog posts are written by “third space” thinkers who acknowledge education is not just about mastering arithmetic and literacy, but improving community mindedness, moral reasoning, forgiveness, and empathy so that learning is a transformative process improving society as a whole by advancing each individual spiritually, emotionally, and mentally placing the human being and his or her social and emotional well-being at the center (individually and collectively) of social and educational processes is critical (Nasser, I Dr &. Miller-Idriss, C, (2023)

A third space pedagogy: embracing complexity in a super-diverse, early childhood education setting

Christina Tatham-Fashanu

In Britain, ‘super-diverse’ communities, where children navigate multiple cultural repertoires, are increasingly prevalent. However, Reception teachers are pressured to ensure children, aged four and five, conform to a narrow conception of ‘school-readiness’. Research demonstrates children in multicultural contexts construct a ‘third space’, bridging their home and school discourses. This research shows how opportunities for third space creation are inherently tied to the nature of physical space, and its concomitant social expectations.

The aim of this paper is, therefore, to demonstrate how different spaces, and the socially produced rules that govern them, have a profound impact on the potential for the creation of a third space. Finally, this paper will present the case for a ‘third space pedagogy’ in which teachers can harness children’s creativity in the third space and use it as a pedagogical approach.(Tatham-Fashanu, C ., 2021)

MY understanding…

The articles are challenging us, I believe, as educators to be aware of our students personal needs and social pressures – culture, language etc… that may impact on their learning. The ‘third space’ can be physical as well as a ‘mental state of expression/safety’ where the student can discuss openly and circumvent issues that will hinder their learning. A place where we can recreate, break conventions to support learning outcomes.

I will now try to be aware of students personal needs if I am made aware of their circumstances (pastoral tutor inform technicians) so that supportive action can be implemented.

Below are some diagrams that illustrate this.

Reference

Nasser, I Dr &. Miller-Idriss, C, (2023) ‘Thoughts in the Third Space’,https://iiit.org/en/thoughts-in-the-third-space/

Tatham-Fashanu, C (11th July 2021)’ A third space pedagogy: embracing complexity in a super-diverse, early childhood education setting.’https://www.tandfonline.com/doi/full/10.1080/14681366.2021.1952295

Diagram references- viewing order: