myblog | Sheran Forbes | Activity

Sheran Forbes wrote a new post on the site Unknowingly

Tue, 24 Dec 2024 00:02:27 +0000

ReferencesAlvesson, M. (2012) ‘Views on Interviews: A Skeptical Review’, SAGE Research Methods, pp. 9-42. Available at: https://dx.doi.org/10.4135/9781446268353 Borg, E. (2012) ‘Writing differently in Art and Design: Innovativ

Sheran Forbes wrote a new post on the site Unknowingly

Sat, 14 Dec 2024 20:31:56 +0000

Reflective Summary It began as most plans do, a well thought through well-structured ACTION kind of a plan. The intentions were there, my aims set high, I would produce a video essay or a podcast, or a publication. Ha! You cry (head thrown b

Sheran Forbes wrote a new post on the site Unknowingly

Thu, 28 Nov 2024 21:28:46 +0000

Presentations Final ARP Presentation slides Q&A Question Slides Zine Writing Workshop slides The zine writing workshop adjusted to suit non-traditional educational environments such as the LCC Darkroom Bar! First

Sheran Forbes wrote a new post on the site Unknowingly

Sat, 16 Nov 2024 16:07:44 +0000

EthicsI hadn’t considered ethics, and not in the formal convention. I was aware that I might need some kind of consent form with a brief explanation of what my research project would be about for participants. However, workshop o

Sheran Forbes wrote a new post on the site Unknowingly

Fri, 15 Nov 2024 19:37:47 +0000

Research MethodsOver the summer I’d come across some useful journals, websites and a podcast on setting up writing workshops and guides on how to ‘teach’ writing. The podcast ‘Unconditional Teaching’ whereby a group of lecturers d

Sheran Forbes wrote a new post on the site Unknowingly

Tue, 05 Nov 2024 18:04:48 +0000

Action Plan I decided to use Miro as my digital sketchbook for ARP and have found it really useful in the past for dropping in ideas, pics and links. It’s great for to creating quick mind-maps that I can go back into and edit t

Sheran Forbes wrote a new post on the site Unknowingly

Mon, 28 Oct 2024 20:31:12 +0000

RationaleCan we teach writing to look and feel more like designing? At the beginning, I hadn’t really thought about my research question and what that might be. I did however know that for my Action Research Project I wanted to c

Sheran Forbes posted a new activity comment

Wed, 24 Jul 2024 12:07:38 +0000

Hi Jon, I too hadn’t remembered the section on intersectionality within our training video. I think it highlights Sadiq’s question on why the traditional ways of teaching Diversity. Equity and Inclusion does not work.

Channel 4 have the reputation of creating thought provoking ideas, Adam mentioned in his blog whether this about challenging…Read more

In reply to - Jonathan Flint wrote a new post on the site Jon's PgCert Blog Blog Task 3 Race In the resources, Asif Sadia challenges diversity training by stating that many perspectives should be encompassed, not just one […]

Sheran Forbes posted a new activity comment

Wed, 24 Jul 2024 10:31:43 +0000

Hi Leila, thank you for your comments. On the one hand categories are useful, although at times it feels as though individuals are just lumped into groups without consideration for our complex intersectional identities. Alice Bradbury’s perspective made me think about how damaging these categories can be regarding policies, yet teaching on…Read more

In reply to - Sheran Forbes wrote a new post on the site Unknowingly IP Blog 3 – ‘Race is something we make; it is not something that makes us.’ Kwame Anthony Appiah: 2016 Reith Lectures Creed, County, Colour, Culture ‘We […]

Sheran Forbes posted a new activity comment

Tue, 23 Jul 2024 21:00:44 +0000

Hi Adam, thanks for your comments. Again its about having access to resources and examples of how designers intergrate faith into their work, perhaps we could start by setting up a Padlet which we could all contribute to and access.

In reply to - Sheran Forbes wrote a new post on the site Unknowingly IP Blog 2 – *Space Invaders Blood rushed to our heads as we stood on our hands, feet against the wall, trying not to giggle or choke. We fought to see who […]

Sheran Forbes posted a new activity comment

Tue, 23 Jul 2024 20:57:47 +0000

Thanks Adam for your comments. I also think universities can play a larger role in ensuring we have the resources and means to enable us to engender empowerment and progress.

In reply to - Sheran Forbes wrote a new post on the site Unknowingly IP Blog 1 – ‘There is no such thing as a single-issue struggle because we do not live single-issue lives’ Audre Lorde – writer, activist, poet, mother, war […]

Sheran Forbes posted a new activity comment

Tue, 23 Jul 2024 20:54:09 +0000

Hi Jon I definitely agree, there should be resources and or examples of how faith can be integrated into work, and something to include within our presentations so students feel that their able to do this too without feeling like they need to leave their faith behind or keep it separate.

Sheran Forbes posted a new activity comment

Tue, 23 Jul 2024 20:50:49 +0000

Thanks Leila, I do think there needs to be more work done with regards to how artists, designers and creatives can incorporate faith as part of their practice, it would also be good to learn more about how this is and can be done.

Sheran Forbes posted a new activity comment

Tue, 23 Jul 2024 20:46:56 +0000

Thanks for your comment Jon, I wondered this too ‘how disability interacts with other identity aspects, what could this show?’ – I think intersectionality is a useful framework, and works well in some cases, but at times I also think that our intersectional identities are very complex and question whether we need to be grouped or remain as individuals.

Sheran Forbes posted a new activity comment

Tue, 23 Jul 2024 20:42:23 +0000

Hi Leila,
Thanks for your comments. Regarding invisible and invisible disabilities unknown on the UAL dashboard date could be updated with categories such as ‘autism, mental health, acquired/traumatic brain injury, sensory processing, multiple sclerosis, epilepsy, partial sight and hearing loss’ – I guess the question is whether there is a…Read more

Sheran Forbes wrote a new post on the site Unknowingly

Tue, 23 Jul 2024 20:22:21 +0000

Intervention Report: Pop-Up Writing Workshops ‘I was anxious in case I failed, of course. I didn’t understand anything I read. I felt I could never ever write an essay. I wanted to leave in semester one.’ Shirley Anne Tate, 2018. Writing is hard, my tutor wrote me as I contemplated leaving the writing programme I had only just begun. In an email my tutor and I discussed or rather I had been complaining about my own writing, how my writing would/could never match up to the writers I had been introduced to, read, and admired. However, my tutor’s words consoled me. Many years earlier I had studied graphic design, and I hadn’t expected as much writing as there was. I was visual a thinker. I also hadn’t expected to write in an alien language i.e., the language of academia. Imbued with rules and constraints and so far removed from my own voice and my own experiences. I wasn’t prepared for it. I didn’t seek support, because I didn’t know how to articulate what it was, I needed support with, everyone else seem to just get it done. I struggled. I felt alone, excluded, and isolated which then impacted my studio practice projects, my relationships with peers and clouded my university experience. Many years later, studying writing allowed me to embrace the feeling of uncomfortableness, anxiousness and stressfulness framed within the context of simply being out of my comfort zone where I learnt through experience. Writing is hard, and harder still depending on who you are. In a TEDx talk, Tate, (2018) dispels some of the myths surrounding the ‘BPOC’ Attainment Gap in UK Universities. She describes the cold climate in which she found herself studying at university created by the effects of institutional racism and racist microaggressions. Her individual experience shaped by intersectional identities; being black, female, *first generation. 35 years on, she points out, nothing has changed, there are still Black and People of Colour (BPOC) students who want to leave in semester one. BPOC students, students with disabilities, mature and part-time, low socioeconomic groups, and other such equity groups … it shouldn’t matter who you are. Student data – Attainment (2022/23 Annual Report) highlighting the attainment gap between white and BAME 2021/23 My current practice involves teaching both contextual studies and studio practice on BA Graphic Design programmes, I often see a disconnect between the writing elements of the course and the practical, designing and making. For some students writing an essay is difficult, something they have to do … reluctantly. Borg (2012, pp. 5) noted within Art and Design, students ‘identify themselves with their creative practice and see writing in opposition to that practice’. Writing then becomes ‘an unwelcome ‘bolt-on’ to their core activity of creative production’ (Cattaneo, 2013). Forms of writing such as the academic essay can seem exclusionary, ‘essay writing requires complex decoding of tacit understandings and conventions and as such often remain mysterious to those on the outside of academia … serving as a gate-keeping mechanism’ (Burke, 2008). My intervention proposes a transformative approach to how we might see writing, think of writing, and talk about writing to foster an inclusive space (community) where different voices, and ways of knowing will be valued. This will take the form of a series of ‘pop-up’ writing workshops (Appendix 1 below) introducing an alternative but not ‘new’ approach to creating the academic essay where writing becomes both a collaborative and individual process in unison. It will be in addition to and not in replace of Academic Support (AS) and will work in the space between CS lectures/seminars and AS. It will offer an opportunity to talk collectively about the process of writing, challenges, problems, supporting them in demystifying academic writing, its exclusionary aspects. Shawna Shapiro, (2020) explains ‘academic writing courses have the potential to foster a sense of belonging, recognise and respect the varied social, cultural, and linguistic backgrounds of students.’ Richard Winter (2003, pp. 117) pioneered the ‘patchwork’ text as an alternative to the academic (conventional) essay within the fields of Health and the Social Sciences in a quest to examine whether essays are the most useful way of assessing deep learning. He suggested that if the task of writing an essay is broken down into smaller sections and gradually assembled overtime, it would be an opportunity for students to demonstrate the reflective process of learning, engaging ‘with the material through a developmental dialogue over time and with others’. This method was adapted for the B.A. (Hons) Fine Art Contextual Studies module Creative Arts Patchwork Project. Students could approach a 2,500-word essay by producing a series of shorter essays (600 words) which were then ‘patched’ together and edited to create a longer essay and a poster communicating their research methods and theories. (Cattaneo, 2013). Incorporating the idea of the patchwork text, the ‘pop-up’ writing workshops would be designed to support and encourage students to approach essay writing in stages and over time. Aiming to lessen the burden of tackling the essay in its entirety, with other conflicting deadlines and in some cases alone. There would be a series of four 90min workshops with supervision once a week offering three types of support, tutor feedback, peer group feedback and thematic discussions. With students having already made their choice of subject/theme during their CS sessions, workshops would take place in the studio practice space, with some sessions in the library whilst students carryout research. Tutor feedback will be face-to-face based on drafts submitted during workshops. Peer group feedback discussions will be held in small groups with shorter drafts submitted in advance of the workshops. In addition to this, students will be given a feedback pro-forma to help structure their feedback (written or verbal). Thematic discussions will be based on different parts of the writing process (research questions, introductions etc), weaving their ‘selves’ into writing such as voice, identity, and their experience. Key texts, collating, defining, and creating a glossary of keywords with students. In all sessions students will be given the options to write, draw, verbalise, record (for note taking) ensuring they are able to participate equally. Resources will be included on Moodle and in accessible formats. This is an inclusive approach because students attending universities will have come from a range of educational backgrounds; mature students who may not have written essays since leaving school, students who may not have done A levels, international students whose first language is not English, students with disabilities, dyslexia, neurodiverse students, all of whom may find the unfamiliarity of academic language writing difficult. I will consider the seating arrangements, Burke P. J. (2008) explains ‘developing inclusive HE spaces involves attention to the ways that participants take up, embody and move through the different spaces in higher education that produce unequal and racialised relations; for example, the ways a lecturer might position himself in the lecture hall and the ways different students might participate (differently) in seminar discussions’. There are challenges to consider such as acknowledging that some students will be at different stages, not able to attend all sessions. The academic essay in its structure is linear, the process of writing is not. Writing is a messy business, the workshops are designed as standalone sessions, creating resources accessible in Moodle. Working with large cohorts also presents challenges, there could be an opportunity to co-teach with PhD students currently writing their thesis, as Jusslin and Widlund (2024, pp. 235) note ‘research has also shown that teachers, or writing tutors, found that their writing improved when teaching workshops’. Additionally, my positionally; being black, female, working class and not coming from an academic background in sharing both the challenges I faced and techniques I learnt could help and ‘influence students’ beliefs and experiences’ (Jusslin and Widlund, 2024). There are many reasons why students experience various challenges in writing formal academic essays, such as the confusion about what academic writing is and its requirements. The constraints of academic language and the lack of preparation time for writing it and being able to complete the essay on time. Jusslin and Widlund (2024, pp. 234) argue that these ‘struggles can prolong study time and increase drop-out, and this can worsen because students work alone’. Kieron Devlin (2016, pp. 34) discusses the use of ‘I’ when a student had asked, ‘but why can’t I use my own opinion?’ his response, ‘don’t use “I” or “we” in academic writing as it relies on an unquestioned assumption about who is speaking’ the student he explained remained baffled. He describes the anguish of ‘the wall that students confront when facing the demands of academic writing … it can short-circuit their brains, paralysing them into poor confidence with writing’. He suggests more creative experimentation in writing for Art and Design students at UAL that have specific learning difficulties, emphasising the benefits for students who are visual/spatial thinkers (2016), or those with different levels of educational backgrounds. Being constrained by formal academic language can lead to poor writing, making students, feel anxious, guilty ashamed. Being able to discuss challenges and share understandings, hopes, fears, and uncertainties about writing amongst peers ‘may improve emotional states and feelings’ (Jusslin and Widlund 2024). Feedback from peers had been a positive response offering insights of their experiences and challenges faced in writing academic, many of which are echoed within this report. One insight related to cultural differences in critical thinking, with the acknowledgment that there are different ways students can express their views. It has not been possible to run these workshops but will do this during the first semester and as part of my Action Research Project. Future considerations would be working with Ai, threat or inclusive? and developing writing workshops online. Writing is empowering, it’s also hard. Word Count [1,538] References Borg, E. (2012) ‘Writing differently in Art and Design: Innovative approaches to writing tasks’ in C Hardy and L Clughen (eds), Writing in the Disciplines Building Supportive Cultures for Student Writing in UK Higher Education. Emerald Group Publishing Limited, Bingly, UK. Available at: https://pureportal.coventry.ac.uk/en/publications/writing-differently-in-art-and-design-innovative-approaches-to-wr-2 (Accessed: 24 May 2024) Burke, P. J. (2018) ‘Trans/Forming Pedagogical Spaces: Race, Belonging and Recognition in Higher Education Arda’, in J, and Mirza, HS (eds) 2018, Dismantling Race in Higher Education: Racism, Whiteness and Decolonising the Academy, Springer International Publishing AG, Cham. pp. 365–380. Cattaneo, J. (2022) ‘The ‘Creative Arts Patchwork Project’: An alternative to the academic essay’, Journal of Writing in Creative Practice, 6: pp. 169 – 186. Available at: https://doi.org/10.1386/jwcp.6.2.169_1 Devlin, K. (2016) ‘Is the academic essay becoming a fossil through lack of authorial voice? The case for more stylish and exploratory writing’, Spark: UAL Creative Teaching and Learning Journal, 1 (1). pp. 34-40., 6: 169 – 186. Available at: http://ualresearchonline.arts.ac.uk/10614/ (Accessed: 24 May 2024) Jusslin, S and Widlund, A. (2024) ‘Academic writing workshop-ing to support students writing bachelor’s and master’s theses: a more-than-human approach’, Teaching in Higher Education, 29:1, pp. 233-250. https://doi.org/10.1080/13562517.2021.1973409 Shapiro, S. (2020) ‘Inclusive Pedagogy in the Academic Writing Classroom: Cultivating Communities of Belonging’, Journal of Academic Writing, 10(1), pp. 154–164. Available at: https://doi.org/10.18552/joaw.v10i1.607 Tate, S.A. (2019) Tackling the ‘BPOC’ Attainment Gap in UK Universities. 8 March. Available at: https://www.youtube.com/watch?v=UPMuuJrfawQ (Accessed: 18 May 2024). Winter, R. (2003) ‘Contextualizing the Patchwork Text: addressing problems of coursework assessment in higher education’, Innovations in Education and Teaching International, 40(2), pp. 112–122. https://doi.org/10.1080/1470329031000088978 Additional reading references Biggs, J (1999) Teaching for Quality Learning at University, Open University Press, Buckingham. Available at: https://www.researchgate.net/publication/215915395_Teaching_for_Quality_Learning_at_University (Accessed: 24 May 2024) Garrett, R. (2024). ‘Racism shapes careers: career trajectories and imagined futures of racialised minority PhDs in UK higher education’. Globalisation, Societies and Education, pp.1–15. Available at: https://doi.org/10.1080/14767724.2024.2307886 Hill, V. and Singh, G. (2018) Critical Pedagogy #4 ‘What does it look like in practice?’ Available at: https://www.youtube.com/watch?v=K6ghTlyBDNk (Accessed: 24 May 2024) Syharat, C. M, et al. (2023) ‘Writing experiences of neurodiverse students in graduate STEM programs’, Front. Educ. 8:1295268. https://doi.org/10.3389/feduc.2023.1295268 Syharat, C. M, et al. (2023) ‘Experiences of neurodivergent students in graduate STEM programs’, Front. Psychol. 14:1149068. https://doi.org/10.3389/fpsyg.2023.1149068 UAL (2007) Visual Directions: Introduction https://teachingexchange.arts.ac.uk/visual-directions/index.html (Accessed: 24 May 2024) UAL (N.D) Disability Inclusion Toolkit. Available at: https://canvas.arts.ac.uk/sites/explore/SitePage/45680/disability-inclusion-toolkit Wong, B. et al. (2021) ‘Is race still relevant? Student perceptions and experiences of racism in higher education’, Cambridge Journal of Education, Available at: https://doi.org/10.1080/0305764X.2020.1831441 Writing Pad (ND) The Journal of Writing in Creative Practice http://writing-pad.org/JournalWritingCreativePractice (Accessed: 24 May 2024) Appendix-1-Writing-Workshop-Outline-Download Intervention-Report-Pop-Up-Writi […] “Intervention Report: Pop-Up Writing Workshops”

Sheran Forbes wrote a new post on the site Unknowingly

Sat, 22 Jun 2024 12:40:01 +0000

IP Blog 3 – ‘Race is something we make; it is not something that makes us.’ Kwame Anthony Appiah: 2016 Reith Lectures Creed, County, Colour, Culture ‘We need to get comfortable being uncomfortable’ Asif Sadiq says. We learn through experience, sometimes those experiences can be uncomfortable but to drive change we need to embrace ‘uncomfortable’ because that’s how we learn. (Sadiq, 2023). Delivering a lecture to a room full of diverse students on modernist and post-modernist graphic design can be an uncomfortable space. I’m acutely aware that the work of the designers and the designers themselves that are presented to the students are held in high esteem. They are mostly male and are all white, a handful are women and are also white. None of them look like me or the diverse range of students that I teach. I’m also aware of the inherited ‘history’ that I was once taught. “Black History Addendum”, for the Black Outdoor Art project. – Greg Bunbury (https://bunbury.co/): Decolonising my lecture slides, inviting students to help create a directory of designers, their work and from different perspectives. The history of graphic design is important. In Martha Scotford’s essay Is there a canon of graphic design history? not only emphasises the absence of female graphic designers and or designers of colour. It also raises the question of whose history is being taught, whether some designers’ works are more revered than others? And Why? Are judgments implied when certain designers and works become better known than others? Sadiq questions the traditional ways of teaching Diversity, Equity, and Inclusion suggesting that ‘training is biased, built with stereotypes, has assumptions, and is not always diverse or inclusive’ (Sadiq, 2023). Education for Sadiq had failed him. He questions the ‘history’ he was taught in school, and through whose perspective? In university amongst the books depicting successful global leaders, he struggled to find his own reflection; a Muslim, from Uxbridge, born and raised in Nairobi, Kenya. Our perceptions and assumptions of the world and the people within it are shaped by the education we receive. Alice Bradbury argues that during reception age, children’s educational trajectories are established, and imagined futures impacted. Using Critical Race Theory and sociology she examines the role of policy, and the policymakers, in reproducing racial inequality highlighting how those already marginalised are further disadvantaged. Policies help to create specific identities, like the “underachieving student” or “troubled family,” what it means to be a “good” teacher or student, establishing certain ideas as normal or true; enforcing stereotypes and biases. An important part of my teaching practice is working with UAL’s outreach program Insights, where ‘specific identities’ can also play a positive role within UALs Guiding policy strategy. They deliver a programme to students from low-income backgrounds, whose parents never been to university, in receipt of benefits, looked after children and carers. Their aim is to ensure the admissions process is fairer and that UAL is reflecting Britain in its fullest. It’s not just about reflecting *diversity, the learning environment can also create a sense of unbelonging. Rhianna Garrett uses CRT and Intersectionality to examine how imagined futures and career choices of racialised minority PhDs are impacted through white organisational spaces and lack of diversity. Her positionality of Chinese ‘mixed race’ female PhD researcher underpins her focus on underrepresented of racialised minority academic staff in UK higher education. She emphasises the importance of cultivating a sense of belonging, that students need to see themselves represented without having to change who they are to ‘fit in’, or worse still not being able to imagine themselves in higher education and beyond. [547 words] References BBC (2014) Kwame Anthony Appiah: The Reith Lectures Creed, County, Colour, Culture. 16 June. Available at: https://www.bbc.co.uk/programmes/b07z43ds (Accessed: 18 May 2024). Bradbury, A., 2020. A critical race theory framework for education policy analysis: The case of bilingual learners and assessment policy in England. Race Ethnicity and Education, 23(2), pp.241-260. Bunbury, G. (2021) Diversity and inclusion by design. Available at: https://bunbury.co/ (Accessed: 18 June 2024). Garrett, R. (2023) RHI-Mixed Views. Available at: https://rhi-mixedviews.blogspot.com/ (Accessed: 18 June 2024). Garrett, R. (2024). ‘Racism shapes careers: career trajectories and imagined futures of racialised minority PhDs in UK higher education’. Globalisation, Societies and Education, pp.1–15. Sadiq, A. (2023) Diversity, Equity & Inclusion. Learning how to get it right. TEDx [Online}. Youtube. 2 March. Available at: https://www.youtube.com/watch?v=HR4wz1b54hw (Accessed: 18 June 2024). Sadiq, A. (2023) Where are you from?. Available at: https://www.linkedin.com/pulse/where-you-from-asif-sadiq-mbe (Accessed: 18 June 2024). UAL (2024) Our strategy 2022-2032 Guiding policy 2. Available at: https://www.arts.ac.uk/about-ual/strategy-and-g […] “IP Blog 3 – ‘Race is something we make; it is not something that makes us.’”

Sheran Forbes wrote a new post on the site Unknowingly

Thu, 30 May 2024 21:10:12 +0000

Intervention proposal: A is for Alternative not AcademicIntervention Proposal How inclusive is writing? Writing isn’t for everybody. However most undergraduate and postgraduate Creative Arts degrees include a Contextual Studies (theoretical) module where students are required to write a series of essays culminating into a final larger formal essay (thesis / dissertation). Not being able to produce this final piece of academic writing would result in the failure of the course. A major part of the Creative Arts degree is ‘studio practice’, the theoretical part (often smaller) and in most cases taught separately is Contextual Studies which aims to theorise the creative process of making through research. The aim is to enable the student to articulate their ideas and processes grounded by contextual theories both verbally and in written form. To some students the ‘theoretical’ part of the design process can seem as a ‘bolt-on’ addition whereby the student will focus their efforts on the practical side rather than the theoretical side. For many students, writing is difficult. Students attending universities will have come from a range of educational backgrounds; mature students who may not have written essays since leaving school, students who didn’t do A levels, international students whose first language is not English, students with dyslexia, neurodiverse students, all of whom may find the unfamiliarity of academic language writing difficult. Is there room for alternative communication modes that can utilise their visual or verbal strengths if they’re not confident in expressing themselves through writing? Or could we lose the academic formality of the essay format and introduce video, podcast, visual essays? In 2003 Richard Winter pioneered the model of the ‘patchwork’ text as an alternative to the academic essay within the fields of Health and the Social Sciences. This method was then adapted for use within the creative arts (B.A. (Hons) Fine Art) Contextual Studies module where instead of producing a formal academic essay, students would produce a series of short essays (600 words aprx) using different writing approaches, autoethnography, reflective, which could then be ‘patched’ together and edited to create a longer essay and a poster communicating their research methods and theories. (Winter, 2003). The module would be a combination of written and practical work using different modes of communications videos, podcasts, visual essays. In discussing what critical pedagogy would look like Dr Gurnam Singh advocates for going beyond the traditional reliance on text/words but using creative expression to allow students to access themselves in diverse and creative ways which would lead to a deeper, personal understanding and engagement of their learning journey. (Hill, V. & Singh, G. 2018). The ‘Alternative’ to the Academic essay is an inclusive approach that values different forms of expression and learning, which can help students better understand themselves and the world around them. [452 words] References Biggs, J (1999) Teaching for Quality Learning at University, Open University Press, Buckingham. Cattaneo, J. (2022) The ‘Creative Arts Patchwork Project’: An alternative to the academic essay’, Journal of Writing in Creative Practice, 6: 169 – 186. Available at: https://doi.org/10.1386/jwcp.6.2.169_1 [Accessed: 24 May 2024] Devlin, K. (2016) ‘Is the academic essay becoming a fossil through lack of authorial voice? The case for more stylish and exploratory writing’, Spark: UAL Creative Teaching and Learning Journal, 1 (1). pp. 34-40., 6: 169 – 186. Available at: http://ualresearchonline.arts.ac.uk/10614/ [Accessed: 24 May 2024] Hill, V. & Singh, G. (2018) Critical Pedagogy #4 ‘What does it look like in practice?’ Available at: https://www.youtube.com/watch?v=K6ghTlyBDNk [Accessed: 24 May 2024] Syharat CM, Hain A, Zaghi AE and Deans T (2023) Writing experiences of neurodiverse students in graduate STEM programs’, Front. Educ. 8:1295268. https://doi.org/10.3389/feduc.2023.1295268 [Accessed: 24 May 2024] Syharat CM, Hain A, Zaghi AE, Gabriel R and Berdanier CGP (2023) Experiences of neurodivergent students in graduate STEM programs. Front. Psychol. 14:1149068. https://doi.org/10.3389/fpsyg.2023.1149068 [Accessed: 24 May 2024] UAL (2007) Visual Directions: Introduction https://teachingexchange.arts.ac.uk/visual-directions/index.html [Accessed: 24 May 2024] Winter, R. (2003) ‘Contextualizing the Patchwork Text: addressing problems of coursework assessment in higher education’, Innovations in Education and Teaching International, 40(2), pp. 112–122. https://doi.org/10.1080/1470329031000088978 [Accessed: 24 May 2024] Writing Pad (ND) The Journal of Writing in Creative Practice http://writing-pad.org/JournalWriting […] “Intervention proposal: A is for Alternative not Academic”

Sheran Forbes wrote a new post on the site Unknowingly

Wed, 29 May 2024 19:34:02 +0000

IP Blog 2 – *Space Invaders Blood rushed to our heads as we stood on our hands, feet against the wall, trying not to giggle or choke. We fought to see who could hold a handstand the longest, as we struggled to keep our shirts and skirts from falling. Glinting in the sunshine our gold cross necklaces dangled in front of ours faces, an indicator of our religion. Yet moments before the school ended its day, they had been hidden from view. Jaclyn Rekis (2023) discusses the hypervisibility of religious dress, particularly for veiled Muslim women, noting how religious dress can “speak” regardless of intent. Religious dress serves as a visual testimony of commitment, yet this communication can be distorted by racialisation, turning it into a target for prejudice. She explores how intersecting factors of religious identity, gender, and race lead to epistemic injustice and prejudicial judgment describing the unfair treatment of someone’s capacity to know or describe their experiences, and that knowledge, power, oppression, and prejudice determine which knowledge is valued, whose voices are heard, and which stories are believed. Haifaa Jawad (2022) further discusses how religious dress enforces stereotypes that exclude Muslim women from sports, highlighting their invisibility in major competitions and the challenges they face due to perceptions of their dress, as the sports industry often fails to accommodate the needs of Muslim women, such as sex-segregated spaces. For Heidi Safia Mirza (2018) the hijab is not a symbol of oppression but a ‘second skin’ for many Muslim women. Despite this, they face career progression barriers due to intersectional prejudices, with secular environments marginalizing religion and fostering negative stereotypes, causing religious individuals to withhold their experiences (Rekis, 2023). Trinity University (2016) highlights the criminalisation of people based on appearance and beliefs, anti-Muslim sentiment, and society’s tendency to paint entire communities with a single brush stroke. The resources emphasise that epistemic injustice will manifest uniquely for different religious identities (2023), ultimately intersectionality is a complex issue, our experiences will be different whoever we are. UAL Dashboard – 2024 – It’s interesting to consider this against Kwame’s ‘canon of religions’ When Kwame speaks of the Asante people’s religious practices, where they seek guidance from their gods and ancestors in every action. In contrast, secularism’s dominance in academia promotes a naturalistic worldview that excludes the supernatural, suppressing religious testimony and limiting the understanding of religious experiences by removing necessary language and concepts (Rekis, 2023). During a job interview at the YMCA, I was asked how I would feel if design decisions were made through prayer. Coming from a religious background, this wasn’t out of place, but as a graduate from LCC, I was used to rational, neutral decision-making. This unexpected question highlighted the gap between rational decision-making and faith-based practices, illustrating the suppression students might feel in sharing their religious experiences. © Muslim Sisterhood Nike Swim – https://www.muslimsisterhood.com/nikeswim/ For many, religion is a sensitive subject, and discussing faith can be tricky, yet bridging the gap between faith and design can create a more inclusive environment. Within my teaching practice, I aim to create a space where people can express their identities, especially within their work. Creating dialogue, exploring the work of creatives who integrate their faith into their work, such as Muslim Sisterhood, showing how religion can enhance and inspire creativity. Using a multifaith calendar, being aware of quiet spaces, call to prayer, Inter-Faith week and faith societies. These are important for fostering empathy and understanding different perspectives. [550 words] References – Faith Arts SU (ND) Inter Faith Weekhttps://www.arts-su.com/campaigns/liberation/interfaithweek/ (Accessed: 18 May 2024). Arts SU (ND) Societieshttps://www.arts-su.com/communities/groups/societies/ (Accessed: 18 May 2024). Arts SU (ND) Believers Love Worldhttps://www.arts-su.com/communities/groups/societies/group/believersloveworld/ (Accessed: 18 May 2024). Jawad, H. (2022) Islam, Women and Sport: The Case of Visible Muslim Women. Available at: https://blogs.lse.ac.uk/religionglobalsociety/2022/09/islam-women-and-sport-the-case-of-visible-muslim-women/ (Accessed: 18 May 2024). Mirza, H.S. (2018) Dismantling Race in Higher Education. Edited by J. Arday and H.S. Mirza. Switzerland: Palgrave Macmillan. Muslim Sisterhood (ND) Muslim Sisterhoodhttps://muslimsisterhood.com/ (Accessed: 18 May 2024). Rekis, J. (2023) ‘Religious Identity and Epistemic Injustice: An Intersectional Account’, Hypatia, 38, 779–800. Available at: https://doi.org/10.1017/hyp.2023.86 TED (2014) Kwame Anthony Appiah: Is religion good or bad? (This is a trick question). 16 June. Available at: https://www.youtube.com/watch?v=X2et2KO8gcY (Accessed: 18 May 2024). Thomas, C. (2022) ‘Overcoming Identity Threat: Using Persona Pedagogy in Intersectionality and Inclusion Training’, Social Sciences, 11: 249. Available at: https://doi.org/10.3390/socsci11060249 Trinity University (2016) Challenging Race, Religion, and Stereotypes in the Classroom. Available at: https://www.youtube.com/watch?v=0CAOKTo_DOk (Accessed: 18 May 2024). UAL (2024) Quiet spaceshttps://www.arts […] “IP Blog 2 – *Space Invaders”

Sheran Forbes wrote a new post on the site Unknowingly

Wed, 01 May 2024 18:50:03 +0000

IP Blog 1 – ‘There is no such thing as a single-issue struggle because we do not live single-issue lives’ Audre Lorde – writer, activist, poet, mother, warrior, lesbian, black, woman, feminist, socialist, teacher, librarianLearning from the 1960s, talk delivered at the Malcom X Weekend, Harvard University in 1982. I teach contextual studies at a university located just outside London and recently, the lifts in the building were out of action. Announcements were made to inform students of the change and why. We changed building where accessibility wouldn’t be an issue, and everybody attended the lecture without any absences. Out of the 74 students in the cohort, two are wheelchair users. While I’m uncertain about the number of students with non-visible disabilities among the remaining 72, it was important not to make assumptions about who may or may not rely on the lift. It made me consider whether the dashboard differentiates between visible and non-visible disabilities? And what falls under the category of Other Disabilities? I also don’t know what other aspects of the individuals’ identities interact with their disabilities. Fig 1. Showing – LCC – Graphic Media Design Fig 2. Showing – LCC – Graphic Media Design One of the insights taken from the short films is the intricate nature of intersectional identities, encouraging me to consider not only the main categories but also the nuanced layers within them. For example, Ade’s disability is visible, whereas Chay and Christine’s disabilities are non-visible, which introduces another layer of complexity; they may face challenges in accessing support. Additionally, living with a non-visible disability can be slight, or it can have a huge effect on their daily lives. This becomes a more significant issue when disability then intersects with other aspects of individuals’ identities. ‘There is no such thing as a single-issue struggle because we do not live single-issue lives’ is what Audre Lorde (2017, p. 124) and others before her had already been talking about. And Kimberlé Crenshaw provided a framework for understanding the concept of Intersectionality. Ade Adepitan, a black, disabled, male Paralympian, TV presenter, and author, illustrates double discrimination at the intersection of race and disability. For example, job rejections with explanations such as “they can’t accommodate you” or “it’s too difficult” due to disability or encountering racial prejudice without clear reasons for job rejection making it challenging to prove, in other words, systemic discrimination. © Christine Sun Kim – Why-My-Hearing-Daughter-Signs-2018-纸上炭笔charcoal-on-paper-125×125-cm-framed-size-126×126-cm Christine Sun Kim shares how her invisible disability intersects with various aspects of her identity, including being a mother, artist, female, Asian, and her socioeconomic status. She discusses relying on interpreters for communication, which amplifies challenges in navigating accessibility in areas such as education and entertainment. Additionally, being a mother affects her artistic practice. She reflects on her experiences living in different countries and acknowledges the benefits of governments that support their citizens. Chay Brown, Director of Operations, discusses the intersectionality of his identities: neurodiverse (hidden disability), male, white, trans man, gay. He explores how these intersect within the LGBTQ+ community, particularly regarding mental health and neurodiversity. As a neurodiverse individual, he faces challenges integrating into the gay community, such as deciphering nonverbal cues and navigating social situations. In other ways their disabilities have also empowered them in various ways: For Christine being an artist allowed her to enter the hearing world. The Paralympics provided Ade with the opportunity to shine. Chay established TransActive to address challenges within the LGBTQ+ community. They all expressed the importance of visibility and recognition. Ade emphasised the need for inclusive spaces for everyone without segregation, while Chay promoted open dialogue and comfort in sharing experiences. Christine used her art to assert the presence of the deaf community. Ultimately, their messages revolve around prioritising people and their experiences.[552 words] References Lorde, A. (2017) Your Silence Will Not Protect You. Great Britain: Silver Press. Paralympics GB (2020) Ade Adepitan gives amazing explanation of systemic racism. 16 October 2020. Available at: https://www.youtube.com/watch?v=KAsxndpgagU (Accessed: 5 April 2024). TED Talk (2016) Kimberlé Crenshaw: The urgency of intersectionality. October 2016. Available at: https://www.ted.com/talks/ki […] “IP Blog 1 – ‘There is no such thing as a single-issue struggle because we do not live single-issue lives’”

Sheran Forbes wrote a new post on the site Unknowingly

Wed, 20 Mar 2024 16:02:16 +0000

“Did you do anything interesting today?”My go to answer is normally “ermmm… not much really” … however … During our microteaching sessions we … Learnt about 3D printing, the different types, how they work, how it’s done. The technical side and the creative side through an amazing exploration of three very different types of 3D printed objects and all demonstrated articulately and with expertise … without a 3D printer in sight. We were immediately transported into a highly competitive, fast paced, stress inducing PR agency becoming part of a dynamic team drumming up Instagram stories for the Brazilian footwear brand Havannas … no … Haivannas? … nope … Hawianannas? NO! Ha—va—ian—as … Havaianas Flip Flops. We were thrown into the process of stretching our imaginations to create campaigns for Valentine’s Day. It was exhilarating, rewarding, but exhausting … and the lovely brightly coloured flip flops that we had all been given, reluctantly had to be returned. Next up, writing poetry … as you do … off the cuff … no prep. We all found ourselves in the moment writing poetry during the session ‘writing through an object’. The objects were unveiled to us from under a beautiful throw. Each object unique and seemingly unconnected, except for the fact that they were displayed together on a large table vying for our attention. We each selected an object and gave it a voice. In silence and in unison our fragmentary writing became poetry … not one of us had woken up that morning with the expectation of writing poetry … but … write poetry we did. Rolling up our sleeves to ‘work the dough’ … up to our elbows in flour making Chinese dumplings … I know right! We sat around the table kneading dough learning the rituals of dumpling making, through mixing cultures and sharing our stories. My dumpling turned out to resemble a Jamaican Pattie, and Karen had made a Cornish Pastie …at glance some would say worlds apart. But in that moment on the 14th floor of the tower block in the middle of Elephant and Castle, off the Old Kent Road, through laughter and chatter our cultural values could not have been closer … For the final session we remained in the fast-changing, globalised world as we engaged with social enterprise projects. This encouraged radical thinking, creating something new, challenging, and complex, in order to create a valuable difference in the world. We learnt through peer collaboration and in the process, shape our creative futures. Judy Willcocks discusses how her research has provided valuable insights into object-based learning and ‘that objects are a means of approaching or understanding material and visual culture.’ (Willcocks, 2024). She explains the ways in which it can provide ‘frameworks for approaching objects as a means of undertaking research.’ (Willcocks, 2024). When the student receives the brief, we always begin by asking them to go off and do some research and show evidence of analysis and insights. For some students this can be a daunting task especially if they’re working alone. I rely heavily on slide presentations during seminars, introducing objects could be a way to encourage small group research tasks using an object identification form: for example, what is its function, age and target audience? Who designed and manufactured it? what values do you think it has? (E.g. financial, social, historical or cultural) enabling students to collaboratively research and present their findings. [554 words] References Willcocks, J. (2024) ‘Object-based Learning Part 1’, UAL University of the Arts. Available at: https://ual.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=434432c5-f0b3-49ea-9a8c-b10600e46c3e (Accessed: 31 January 2024). Additional reading Hardie, K. (2015) Wow: The power of objects in object-based learning and teaching, Advance HE. York: Higher Education Academy. Available at: https://www.advance-he.ac.uk/knowledge-hub/wow-power-objects-object-based-learn […] ““Did you do anything interesting today?””

Sheran Forbes wrote a new post on the site Unknowingly

Mon, 18 Mar 2024 00:23:31 +0000

ObservationsObserver – […] “Observations”

Sheran Forbes wrote a new post on the site Unknowingly

Sun, 17 Mar 2024 23:25:30 +0000

The prologue – A Complex SituationThe student who I wanted to take notice, sits alone on a large table away from the other students, their arm sheltering, protecting their copious note taking. Their writing neat and organised, pages of it, a textual journal rather than visual. Speaking to them is a little different from other students, eye contact is made, but firmly locked even when you want them to look in the direction of the slides at the front of the studio, or the laptop that is in front of them. They stare, gesture to indicate they have understood the instructions that you have just given, ‘do you understand what you need to do?’ is met with an affirmative ‘yes’ but does the complete opposite which is nearly always the same, notebook drawn closer, pen poised and head down so low their nose touches the page, they begin to write their neat notes. ‘What are you writing?’ I ask, ‘I write a lot, about a lot of things’ they say without looking up. The co-lecturer bellows the next set of instructions to the class, they are way ahead, I don’t want this student to fall behind, but we are behind. ‘Shall we log-on to Padlet so you can begin the task that’s been set?’ ‘Padlet?’ and so I explain again what today’s task is, to upload a picture of their personal object to Padlet and to write a list saying what it is, how they acquired it and what it’s used for, its sentimental value and so on. Overall, it takes 40 minutes to navigate to the module page on Moodle to access the Padlet link. They had misplaced their student ID details, that then took a few minutes to find and quite a few further minutes to use them to log-in to Moodle. Once in Moodle, a long period of time was spent trying to find the correct page where the Padlet link was. The 40 minutes had been spent with the student intermittently throughout the course of the session as together with the co-lecturer we delivered the session to the rest of the cohort. It was a combination of me asking questions, giving instructions in bite sized chunks, conducting demonstrations using their laptop and or guiding them as they ‘attempted’ to do the same independently. As soon as we arrived at the correct page, the arrow poised over the Padlet link, somehow the student would inadvertently navigate away from the page where we were supposed to be. The process would then begin again. I noticed that at any given point whether I was giving a demonstration or verbally giving instructions the student would continue to write in their notebook. I suggested they write some of the instructions, they responded intuitively, starting a new page, smoothing out the notebook flat and began writing in list form. It took a while. They never did upload anything to Padlet or catch-up with the remainder of the session or produce the required work for the session. Can we provide alternative ways for them to express their knowledge? During this session I had been made aware that the student didn’t have an ISA but that they required specialist support. I aim to use this experience as a way to explore what it means build an inclusive learning environment. […] “The prologue – A Complex Situation”

Sheran Forbes wrote a new post on the site Unknowingly

Sun, 17 Mar 2024 23:23:12 +0000

A complex situationI […] “A complex situation”

Sheran Forbes wrote a new post on the site Unknowingly

Sun, 17 Mar 2024 23:22:08 +0000

Yes, but which Kennedy? UK Education […] “”

Sheran Forbes wrote a new post on the site Unknowingly

Sun, 17 Mar 2024 23:20:49 +0000

Silence is … a murky shade of greyAnd the only way out is to ‘make some NOISE’. There are times when silence is so loud it becomes unbearable. The beginning of a teaching session saw the co-tutor and I setting up the Padlet which echoed across the for extra-large display screens. The Padlet was filled with an array visual research students had been asked to upload the previous week. The task was to research and upload an image of a pamphlet that used interesting folds as part of its visual language, the project was called Unfolding Ideas. Students were instructed to compile a brief list of positives (“pluses”) and negatives (“minuses”) about the leaflet, including aspects like colours, fonts, fold effects, paper type, and size/format. Once the Padlet was visible to everyone, the co-tutor and I would take turns in selecting an image to discuss using the PMI’s and encourage the students join in choosing their own examples where they can say as much or as little depending on their confidence. The activity encourages students to become confident in discussing their work with an audience, recognising this can be daunting for anyone. The sessions mirror the practices of professional design practices, where presenting work to peers, creative directors, and or stakeholders is routine. In essence, presentation skills are integral to the graphic design profession. Unfortunately, on this day it was akin to pulling teeth. We began my asking, “who would like to talk about their Padlet image?” … silence … this is quite normal at this point … “who would like to volunteer to speak first?’ … silence … followed by a bit more silence … “someone from the front maybe?” … even more silence … “how about from the back? the middle?” … silence with a cherry on the top … “somebody, anybody, pleeeeeease” … the silence eventually broken by an explanation of being able to articulate their work concepts as they progress through year two, then three, and ultimately into the professional world … finally someone spoke up. We encourage noise. It can be daunting having fifty faces staring at you or ignoring you as they stare at their phones when you’re trying to encourage noise. We emphasis active participation and contribution during studio discussions and creates a perception that silence is a sign of disengagement or lack of understanding. The article Embracing the silence: introverted learning and the online classroom (Harris, 2022) challenges those traditional assumptions of participation and active engagement in the online classroom. Harris, (2022) invites us to think about silence as someone who is actively; silently; participating and argues that silence should be embraced and accepted in the online classroom, particularly for introverted students. While the emphasis is on online environments, there are considerations I could draw from and apply in physical studio sessions such as asking students to reflect on aspects of the session before beginning discussions, thinking before speaking. We currently provide small group discussions in the hope that the quieter students will gain the confidence to speak to the wider group. I could introduce opportunities for written responses, again giving students time to reflect and enabling them to read what they have written, as something to lean on. Each situation will be different, challenging the fear of silence can create an inclusive and supportive learning environment. [547 words] References Harris, K. (2022) ‘Embracing the silence: introverted learning and the online classroom’, Spark: UAL Creative Teaching and Learning Journal, 5(1), pp. 101–104. Available at: https://sparkjournal.arts.ac.uk/index.php/spark/article/view/161/273 (Accessed: 26 January 2024). Additional reading Damiani, L.M. (2018) ‘On the spectrum within art and design academic practice’, Spark: UAL Creative Teaching and Learning Journal, 3(1), pp. 16–25. Available at: https://sparkjournal.arts.ac.uk/index.php/spark/art […] “Silence is … a murky shade of grey”

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Sun, 17 Mar 2024 23:19:45 +0000

Rabbit caught in headlightsThe idiom ‘a rabbit caught in headlights’ pretty much sums up my reaction when as a student I had to endure crits. I dreaded them. Shocked, frozen, panicked, paralysed with fear, unable to think, much less speak; the sudden, unexpected situation of being confronted (picked on) by a (seemingly) all knowing tutor as my peers looked on in silence and watched as my heart, soul and self-esteem had been ripped to shreds as the tutor … critiqued … my work. Reading The Design Critique and the Moral Goods of Studio Pedagogy McDonald and Michela (2019), unfortunately brought back floods of memories. They explain crits ‘are a primary method by which instructors evaluate students’ work and design ability, both formatively and summatively’ however they remind us that ‘the public nature of many critiques can be problematic, creating a climate of “fear, defensiveness, and anxiety,” especially given the harsh form they routinely take in certain disciplines.’ (McDonald and Michela, 2019). Crits – Harmful or Helpful? Any aspect of studio-based instruction can influence either a positive or negative experience. My experience could be likened to the ‘Jury Critique’ a tradition deeply rooted in Architectural practice. The students stand / sit before the tutor/s, the critique is set within a formal hierarchy with tutor/s taking centre stage. A central space where their experiences, knowledge and power are used to ‘present critiques as if they were based on objective and context-free standards of good design’. (McDonald and Michela, 2019). In my current teaching approach, “crits” are structured as forums for constructive feedback among tutors and students. They can occur in various formats, such as group sessions around a table with around 5 or 6 students, creating a level hierarchy each student takes turns presenting their work and discussing their concepts collaboratively. McDonald and Michela (2019) describe these as informal crits but warn that forms of conversational crits can be unpredictable. As conversations unfold, I need to be alert to not only to what’s being said but able to respond quickly, especially if a student doesn’t agree with a comment. The article includes tutor’s experiences during critiques with their students. One that resonated with me was the student who reacted poorly to the critique leaving the tutor ‘so bugged’ she had to ‘walk away’ to give herself time to calm down.’ (McDonald and Michela, 2019). The tutor admitted ‘that when experiences are particularly difficult, she “tends to probably not help [that student] as much.” I haven’t had that experience, yet, but I do wonder how I would respond? In reading the article I recognised the notion of ‘Goods of self-cultivation’ that refer to the personal and professional growth that lecturers experience through their engagement with critiques. How well we can provide constructive feedback, the personal fulfilment, and enjoyment that we feel when we see improvement in a students work through the process of critique. We often tell our students not to take comments personally when they have invested so much in their work, it’s good to acknowledge when the boot is on the other foot (another idiom, to end on). [513 words] References McDonald, J.K. and Michela, E. (2019) ‘The design critique and the moral goods of studio pedagogy’, Design Studies, 62, pp. 1–35. Available at: https://doi.org/10.1016/j.destud.2019.02.001 […] “Rabbit caught in headlights”

Sheran Forbes wrote a new post on the site Unknowingly

Sun, 17 Mar 2024 23:18:32 +0000

Feelings … nothing more than feelings AMV BBDO – Tim Riley – (see bottom of the page for answer) That first experience on PgCert of not being able to gain access to the course unit, the frustration then happiness that ensued reminded me of the witty advertising campaigns of the Economist magazine and the feeling you get when you ‘got it’ … magical … a fist pump in the air. The ad posters created by advertising agency Abbott Mead Vickers targeted an audience of hundreds of thousands who would play the game of decoding them. Managing to decode them never made me run out and buy a copy of the magazine but I did revel in a) being able to decipher the messages, and b) how quickly I could do this and therefore claim I was (potentially) an Economist reader. Using ‘wit’ in graphic design isn’t new. Beryl McAlhone and David Stuart have written a book about it A Smile in the Mind. They talk about the moment when someone (a graphic designer) shows you a witty concept and you (also a graphic designer) stare at it intently as you try to ‘work it out’. You’re supposed to ‘get it’ but you don’t because your brain freezes with all eyes are on you and you just can’t think, you begin to panic, feel hot, embarrassed and the more you try, the more difficult it becomes. It’s hard to admit you ‘don’t know’ or you ‘don’t get it’ in front of fellow peers. That feeling becomes a moment of dread and one that can last a while. Looking back at past lectures I wonder if I devoted enough time to those students who don’t willingly admit that they don’t understand something and or need help. We leave enough space in our presentations for any questions, we deliver information in bite sized chunks, we try to speak at a reasonable space and avoid extraneous language / phrases that might need further explanation and can lead you off in different tangents. However, as Bamber and Jones (2014) point out that in diverse studio settings we can’t assume that something will work or be understood and accepted simply because students come with a wide range of assumptions, expectations, experiences, and patterns of learning. The teaching space is a complex space. In the article Challenging Students Bamber and Jones (2014) provide a range of strategies and approaches such as fostering inclusive learning and building a community. Remembering that building relationships between staff and students can foster a sense of belonging, encourage social interaction. They go on to say that university education needs to be holistic, e.g. addressing emotional, social and intellectual development (Bamber and Jones, 2014). Creating a safe space for students to admit when they need help or clarification, whether in group settings or personal tutorials, is a priority for me. On reading this article it has enabled me to reflect on my relationships and interactions with students and to consider ways in which I might begin to build a community … a first step might be to make a point of remembering their names. [501 words]Answer: “Economist readers have already worked it out.” References Bamber, V. and Jones, A. (2014) ‘Challenging students: enabling inclusive learning’, in A Handbook for Teaching and Learning in Higher Education. Edited by S. Marshall, H. Fry, and S. Ketteridge. London: Routledge. Available at: https://www.taylorfrancis.com/chapters/edit/10.4324/97813157630 […] “Feelings … nothing more than feelings”

Sheran Forbes wrote a new post on the site Unknowingly

Sun, 17 Mar 2024 23:17:21 +0000

Log on, log in, log out, log off … unknown: username and […] “”

Sheran Forbes wrote a new post on the site Unknowingly

Sun, 17 Mar 2024 23:14:12 +0000

Microteaching: Object-based Learning Board games from the attic Introducing the objects 2 mins Describe what you see … – 3 mins Research (in groups) – 4 mins Memory (do the objects evoke memories) – 4 Write captions – 5 mins Discuss – 2 mins I initially planned to use a tin of Quality Streets to explore bias in data through 3D visualisations using the object. However, I reconsidered this due to potential food allergies and concerns about unfamiliarity of the object, considering how much time I would need to spend explaining the cultural/historical significance of the object. Inspired by Dr Kirsten Hardie’s paper Wow: The power of objects in object-based learning and teaching (2015) I decided to use board games to explore the contextual theory of graphic design that relates to my practice as a Contextual Studies lecturer. Hardie describes the way in which objects that are unfamiliar or have unusual packaging can elicit lively discussions without much intervention from the tutor. (Hardie, 2015). The historically packaged board games ranged from the 1950s – 1970s, that I hoped would intrigue and provoke curiosity. The session aimed to analyse board games through research and memory, writing reflections on them to create short pieces of texts as alternative museum labels. Contextual Studies involves lengthy essay writing which for some students can seem like a burden, writing short reflective pieces of text offers a method to ease into essay writing through shorter reflective pieces. While slide presentations are common in my teaching practice, I opted out of using them and instead wanted to encourage students to openly discuss objects, to create lively interactions and spontaneity. This approach would challenge me to think on my feet, which I sometimes find difficult to do and would prevent an overreliance on structured presentations, ensuring focus remains on the objects rather than the slides. Despite opting out of using slides, I did have a structured plan for my own reference. However, witnessing a micro-session, that was impressively orchestrated and articulated with a sense of drama and presented using slides led to a loss of confidence. During my session participants observed the objects silently, the opposite of what I had intended. I filled the silence with poorly considered anecdotes. Hardie warns that unstructured discussions, devoid of teacher intervention, can pose risks. (Hardie, 2015). In this case, my own unstructured discussions became a high-risk factor for me. As a result, I lost track of time and where I was in my plan, I decided to continue the session from memory. When a participant asked a question about one of the games, I didn’t have the answer because I lacked detailed knowledge about them. Feedback was useful; include more questions to help illicit discussions and avoid long periods of silence, knowing more about the objects. Rather than writing with memory, instead write about the packaging which they found intriguing. I considered sessions that used slides in a way that didn’t take the focus away from the objects, those without slides used thoughtful questions to facilitate thinking and discussions, while others used role play. These are all strategies that can be adapted for my teaching practice. Going forward the experience of planning an OBL session, including the above points will be useful in seminars where the onus is on student discussions with less teacher intervention. [549 words] References Hardie, K. (2015) Wow: The power of objects in object-based learning and teaching, Advance HE. York: Higher Education Academy. Available at: https://www.advance-he.ac.uk/knowledge-hub/wow-power-objects-object-based-learning-and-teaching (Accessed: 26 January 2014). Addtional reading Willcocks, J. (2024) ‘Object-based Learning Part 1’, UAL University of the Arts. Available at: https://ual.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=434432c5-f0b3-49ea-9a8c-b10600e46c3e (Accessed: 31 Janu […] “Microteaching: Object-based Learning”

Sheran Forbes wrote a new post on the site Unknowingly

Sun, 17 Mar 2024 23:02:15 +0000

Case Study 3Assessing […] “Case Study 3”

Sheran Forbes wrote a new post on the site Unknowingly

Sun, 17 Mar 2024 23:01:08 +0000

Case Study 2Planning and […] “Case Study 2”

Sheran Forbes wrote a new post on the site Unknowingly

Sun, 17 Mar 2024 22:58:57 +0000

Case Study 1Knowing and […] “Case Study 1”