Items where Subject is "Teaching"

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Number of items at this level: 12.

H

This paper discusses the purposes of collecting zines and alternative press magazines in academic libraries that support fashion studies programs. Fashion is a discipline that is both creative and academic, but is also a field that is dominated by commercial interests. Fashion zines offer a form of counter-discourse to the mainstream fashion media, which engages with fashion as a phenomenon whilst challenging its institutionally held power. Zines are also emerging as a new media in fashion communications, with alternative magazines taking inspiration from their aesthetics and brands co-opting the terminology and capitalizing on their subcultural appeal. This paper focuses on the developing relevance of this medium to fashion as an industry and as an academic discipline, the challenges academic libraries face in collecting zines and small-press fashion publications, and the academic library’s role in providing access to this kind of alternate literature. Additionally, it discusses zine-making as a pedagogical tool, exploring how they can be used by students for inspiration and as a medium with which to engage with, and challenge, fashion discourse on their own terms.

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N

As UK universities undergo unprecedented internationalisation, they struggle to shape a plethora of cultural and social capitals into an educational environment that is fair and equitable for all. ‘While academia has opened its doors, it has been unwilling or unable to dismantle the norms, networks, and practices that reproduce white, rich male privilege’ states Shilliam (Shilliam, 2014, p.15). With existing concepts of social justice proving adequate, lecturers seek new interpretative models of inclusivity.

In teaching MA Fine Art, Illustration and Drawing, communities of practice are facilitated through discussion, collaboration and engagement between students of differing backgrounds, nationalities, life experiences and neurodiversity. Critical reflection and experiential learning are deeply embedded in these courses and their assessment. The documents that result, support and narrate an individual’s developmental journey, whilst contextualising the self within wider discourses and debates. Reviewing these textual and visual outputs in the context of unconscious gender bias, led me to consider the trajectory of autobiography in terms of diversity.

This article is a launchpad for further enquiry. It questions whether present-day assessments somehow mirror the patriarchal attributes of men’s autobiographies that traditionally focused on power, success and achievement within the public realm. It also examines the more personal, introspective modes of women’s day-to-day self-referential writings for more useful approaches. Perhaps the memoirs, house-keeping records, correspondence and diaries representing women’s real-life narratives have specific relevance to students reflecting and analysing their progress. Feminist artists strategically constructed autobiographies to accentuate the issues women faced. Maybe students could appropriate these methodologies to re-imagine, re-present and rewrite their learning experiences. Autobiography encompasses the subjective, embodied and relational complexities of memory, narrative, creativity, identity, experience and intentionality (Smith & Watson, 2012, p.8). Given these characteristics, the genre arguably demands more consideration in art education.

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S

A challenge for performers working in interactive and participatory performance forms is a need to navigate between the position of the ‘Architect’, designing and structuring an audience’s experience, and that of the ‘Clown’, sustaining a performance state that is present and responsive to the particularities of individual interactions. While design and structure can preoccupy the development of new work, rehearsing for participatory performance proves a challenge when the pivotal ingredient – an unpredictable audience – is absent. How can training support performers to attend to both performance structure and the immediacies of interactive exchange? How can it support them to think critically about the aesthetics, ethics and politics of both? This article reflects on my pedagogical process of working with a group of undergraduates in spring 2017, exploring training approaches to support their devising process as they created a self-directed interactive theatre piece. It offers an ethnographic glimpse into the studio work and students’ responses, as we investigated approaches to developing the performer as ‘Architect-Clown’. Drawing on 10 years’ experience as a performer-deviser in this field, I sought the tack between these two training zones, applying pedagogic methods that work to develop performance qualities of listening, presence and improvisation, alongside methods aimed at developing a critical and reflexive approach to experience-design. Are the two roles as distinct as is suggested? How might they interact, and what might be gained (or lost) from this cross-training studio approach?

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W

Students entering art and design courses in UK higher education come from a range of educational and cultural backgrounds. These students frequently report finding academic writing challenging. Expectations as to the nature of description, analysis and criticality can also differ across subject areas. As a result, students need support in developing their ability to communicate appropriately within their disciplines – their academic literacies. This study applies genre analysis to identify ways in which students express critical thinking in undergraduate Visual Effects Design and Production essays. The findings highlight common ways of linking ideas through exemplification, drawing conclusions from grounds, and challenging the validity of assumptions. Ways of expressing the strength of claims and indicating the writer’s attitude are also frequently used in the sample. The findings are then integrated into a practical model for impromptu teaching of writing by subject lecturers. The article confirms understandings of the way students express criticality in essays, and aligns insights from genre analysis and academic literacies in a novel way. The outcome is a proposal for a practical, low-preparation approach to teaching academic writing within the disciplines.

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The idea of a ‘third space’ located between academic and professional domains has proven useful in exploring changing academic and professional roles in higher education, including in online learning. However, the role of technology in accounts of third space activity remains under‐explored. Drawing on research into the introduction of Massive Open Online Courses (MOOCs) at three UK higher education institutions, it is argued that both social and technical factors must be considered to understand, plan for and manage the third space roles and structures which emerge in such initiatives. This study focuses on learning designers, confirming that they act as third space ‘blended professionals’ in the somewhat distinctive case of MOOC development. However, it also proposes the concept of a socio‐technical third space in which blended professionals act as hubs in a metaphorical network of activity, using social and technical means to shape their own roles and those of others.

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In university educational technology projects, collaborations with external partners pose a range of opportunities and challenges. Educational projects are often associated with unbundling of conventional higher education roles though there is limited empirical work in this area. This is particularly the case with massive open online courses (MOOCs), where further research is needed into the production of courses and the roles of those who produce them. This study investigated the extent to which conventional roles of academics are unbundled during MOOC production partnerships between universities and an external MOOC platform provider. The findings indicate that aspects of conventional educator roles are substantially unbundled to learning designers and other seemingly peripheral actors. Unbundling is partially driven by pragmatic decisions shaping course production processes which need to accommodate the massive and open properties of MOOCs, the nature of cooperation agreements with external platform providers and the reputational risk associated with such public ventures. This study adds to empirical knowledge on the unbundling of roles in online learning projects, and the findings have relevance for those involved in decision-making, planning and development of such projects in higher education.

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This chapter describes the study the author carried out with two 2nd year acting degree students assessed as dyslexic, and how they gained an autonomy over the processing and performing of Shakespeare’s text. The study aimed to develop inclusive teaching strategies to facilitate the abilities of those with dyslexia and bypass their difficulties with reading. For those with dyslexia the reading and speaking of Shakespeare’s text can present significant challenges. This difficulty undermines practical work and masks the abilities of the dyslexic student actor. Conversely, Shakespeare’s rich language encourages a construction of meaning through visually interpreted modalities. The study demonstrated that the participants created an additional text of drawings, colours and symbols, replacing the alphabetical text, embedding meaning into long-term memory. This chapter shares the experiences of the two students and the author as teacher. These observations offer insights for improving inclusive pedagogical choices, when working with dyslexic acting students.

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Abstract
This article discusses the challenges that dyslexic acting degree students can experience when engaging with classical text, offering a pedagogical strategy that facilitates the reading, and acting of Shakespeare. Calling attention to restrictions that dyslexic acting students can experience, the author considers how these difficulties might be overcome. It is re-iterated throughout the literature that those with dyslexia have problems with decoding, word recognition, working-memory and automatisation of skills. Shakespeare’s writing contributes additional challenges with idiosyncrasies of word-use. Describing her action-research trials with dyslexic acting students, the author shares her development of a teaching method, which supports identification of meaning and hierarchy within the text, interlinked with an appropriation of physical practice drawn from Brecht and Stanislavski. The final action-research cycle drew from Kintsch and Rawson’s Text-Base (2005) to enable a comprehension and memory of the text, underpinned by the Lexical Retrieval hypothesis (Krauss et al., 2000). The strategy was trialled in a performance of Shakespeare’s Venus and Adonis with dyslexic acting students. The participants’ modes of processing the text were encouraged as components of performance. Feedback supported the view that this method is effective in assisting dyslexic individuals in realisation of words, self-efficacy and enriched performance.

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Abstract
In this article, the author reports on her early research into understanding dyslexia, observing its characteristics and affect on some acting students in their work, and discusses ideas for supporting dyslexic acting students in their performance of Shakespeare. Three Acting degree students assessed as dyslexic are presented as case studies in their observed behaviour and the author shares ideas for further action research. The author reports on the students’ strengths and difficulties arising from dyslexia in their reading, understanding and speaking of Shakespeare’s text towards performance. Disclosing challenges the students have met in engaging with the text, and challenges the author faced as their teacher in endeavouring to assist them, the article incudes descriptions of teaching methods that have succeeded or failed in this task.
Having shared the students’ work with six specialist who possess various aspects of expertise involved in dyslexia, the experts comment on the student case studies and their particular challenges. Their expertise is in neurology, dyslexia research, linguistics, speech therapy, the acting of Shakespeare and educational psychology. Several explanations are given in regard to how dyslexia manifests itself in the individuals’ work and processes, and ideas for teaching are offered in supporting acting students with dyslexia. Finally, the author shares her ideas for future investigations and testing specific teaching strategies during her PhD research.

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This book addresses some of the challenges met by acting students with dyslexia and highlights the abilities demonstrated by individuals with specific learning differences in actor training. The book offers six tested teaching strategies, created from practical and theoretical research investigations with dyslexic acting students, using the methodologies of case study and action research. Cross-disciplinary methods are introduced when working on Shakespeare’s text, developing inclusive approaches of pedagogy.

The investigations described in the book explore the visual, kinaesthetic and multisensory processing preferences demonstrated by some acting students assessed as dyslexic, specifically when working with complex texts such as Shakespeare. Utilising Shakespeare’s text as a laboratory of practice, and drawing directly from the voices and practical work of the dyslexic students themselves, the book explores:
• the stress caused by dyslexia and how the teacher might ameliorate it through changes in their practice
• the theories and discourse surrounding the label of dyslexia
• acting approaches for engaging with Shakespeare’s language, enabling those with dyslexia to develop their authentic voice and
abilities
• A grounding of the words and the meaning of the text through embodied cognition, spatial awareness and epistemic tools
• Stanislavski’s method of units and actions and how it can benefit and obstruct the student with dyslexia when working on
Shakespeare
• Interpretive Mnemonics as a memory support and hermeneutic process; the use of colour and drawing towards an autonomy in live
performance

This book is a valuable resource for voice and actor training, professional performance, and for those who are curious about emancipatory methods that support difference through humanistic teaching philosophies.

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The presence of students with SpLD (dyslexia) in actor-training institutions is an increasingly common occurrence. This article argues that there is an urgent need to develop inclusive strategies of support in the voice and acting studio that can effectively enable those with dyslexia, while promoting equality of opportunity for realization of potential. Focusing on the author’s research concerning the facilitation of acting students with dyslexia in the areas of reading, speaking and acting of Shakespeare, this article begins by highlighting specific difficulties presented by dyslexia. It goes on to describe a case-study of two acting students with dyslexia and their visually led methods employed in entering Shakespeare’s text. The second workshop section offers a pedagogical strategy for the inclusive voice class when working on Shakespeare, while the third section dedicated to participant three demonstrates how a dyslexic acting student uses a visually led approach in enhancing her articulation of speech and extrapolation of meaning in the text. Underpinning the investigations with analysis and theory, the author concludes by sharing her research findings, seeking to stimulate further discussion within the community of voice and actor- training.

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This article shares the author’s research focusing on the facilitation of acting students with dyslexia in actor training. For some individuals with dyslexia the translation of the written text into image-based symbols using technological modalities can play a crucial role to access and make concrete the meaning of the words; in this case Shakespeare. Describing the author’s exploratory construction of a computer tool to assist students with dyslexia to read Shakespeare’s words, the article progresses to focus on one individual with dyslexia, whose illustrative PowerPoint compositions representing Shakespeare’s words, afforded her an autonomy over the text, whilst supporting working memory weaknesses.

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This list was generated on Mon Oct 25 11:50:08 2021 UTC.
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