Items where Subject is "Teaching"

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.

This paper aims to explore the concepts of student-centred, experiential, problem-based and enquiry-based learning through the critical consideration of On Trial a specific case study example of a particularly successful approach to learning that celebrates what Finkel (2000) calls teaching with your mouth shut.

The discussion explores how the format, language and dynamics of the courtroom drama are used as the context and vehicle to secure deep learning through dynamic role play where the tutor is the silent witness.

This article considers how this learning experience harnesses popular culture to help students engage with tough academic issues and wider ethical concerns relevant to their specialist discipline. It explores the challenges and nuances of such learning and considers the reasons for its success and popularity with both learners and fellow teachers.

This article relates to the ongoing research of a UK National Teaching Fellow.

This chapter considers objects as powerful pedagogic tools and examines how they can facilitate student-centred, experiential and active learning. This study reports key research findings, based on students’ critical and reflective evaluation of their object-based learning, and provides evidence that objects provide active learning experiences that can engage learners, enrich learning and energise teaching.

The study considers how students develop their engagement with objects and how they can explore individual preferences through the appraisal of objects’ form and function. The discussion considers how mundane objects can generate valuable and memorable pedagogic experiences, notably when studied away from the museum and placed in the context of the students’ classroom. Objects can present complex, challenging conundrums which students, through their interrogation of examples, can interpret, take meaning and make sense of. Students’ hands-on engagement with objects can inform and inspire their thinking and design making.

In particular the toilet brush - a necessary prosaic design – is considered as a valuable pedagogic implement: it can encourage students to critically analyse its social, historical, cultural, economic and technological relevance and worth. The discussion evidences that objects can generate deep learning opportunities as items stimulate curiosity and critical and analytical investigation, debate and evaluation. This chapter explores the challenges and nuances of using such learning objects and considers the reasons why certain designs prove to be successful learning aids and are popular with both learners and tutors. This study presents a specific pedagogic approach that offers potential for cross-discipline adoption and adaptation.

What is a Studio, Anyway? brings together artists, curators, designers, educators and arts professionals across the UK and further afield to share, question and contemplate the idea of the artist’s studio and the role of Higher Education in shaping it.

This new publication collates conversations, interviews and musings on the artists' studio, featuring contributions from Amelia Hawk, Andy Harper, Ben Sanderson, Eugenia Popesco, Georgia Gendall, Jane Darke, Joanne Masding, John Wood and Paul Harrison, Jordan Verdes, Leila Galloway, Maria Lalić, Marisol Malatesta, Professor Teal Triggs, Sarah Taylor-Silverwood, Simón Granell, Shen Xin, Stella Kajombo, Tarek Lakhrissi.

The project began in early 2021, during the Covid-19 pandemic, when access to studio spaces for fine art students was prohibited. As researchers Professor Susan Orr and Dr Alison Shreeve have argued, the studio is central to fine art pedagogy, enabling an expanded means of knowledge production - rather than being, ‘delivered,’ it is, ‘forged’ (Orr and Shreeve, 2018:3) between students and educators. Successive lockdowns significantly disrupted the norm of studio-based practice which has underpinned Fine Art higher education in the UK for many decades. However, as artist and lecturer Kate McLeod has acknowledged, the lack of access to the studio during this time ‘created opportunities to experiment with different approaches, and to gain an appreciation of some of the limitations of the studio’ (McLeod, 2022).

One such limitation is the affordability and accessibility of artist studios post-education. Recent research published by ACME studios has found that long-term, secure and affordable artists’ studios are increasingly rare (Acme Studios, 2022:6) and therefore many artists are working outside of, or without a traditional artist’s studio space. These combined factors led us to initiate What is a Studio, Anway? with the central aim of offering students alternative insights, ideas and models, which would expand, challenge and disrupt dominant perceptions and representations of the artists’ studio (both within and beyond higher education).

We invited practitioners with a broad range of professional experiences to contribute to our research – from recent BA Fine Art graduates to established artists at the peak of their career. The research follows a qualitative narrative-based enquiry, and participants were asked four key questions:

What do you consider to be a studio?

Has this changed in the past year?

Across your career, have there been points where you have not had a physical space to work, and how have you navigated this?

What piece of advice would you give about studio practice?

What distinguishes our project from existing studies and research is the breadth of contributors and its specific response to the Covid-19 pandemic. The book sits in contrast to recent large scale survey publications, such as The Artist's Studio: A Century of the Artist's Studio 1920–2020 (Blazwick, 2022), which featured critically acclaimed artists; those often far removed from the experience of an emerging graduate or student – our intended audience.

This project offers a unique insight and contribution to the field of alternative ways of conceptualising and re-imagining the artist’s studio. The publication was funded by an Arts and Humanities Research Grant from UCL, 2022.

This study focuses on mind-maps as an aspect of design culture – the conventions and practices adopted by a community of designers. The research aims to work towards establishing the effectiveness of mind-maps as a tool for ideation. It questions the extent to which mind-maps enable students to break away from the cultural frames evoked by design briefs in order for creative cross-space associations to occur. By comparing mind-map-like diagrams produced by nine undergraduate students with codes emerging from the analysis of the corresponding briefs, the study seeks to answer the question: What levels of cross-space mapping are evident in the knowledge representation diagrams produced as part of an undergraduate graphic design, practice-based project? The study found 301 cases of internal linking, as opposed to 23 instances of cross-space mapping, however it concludes that there is value in knowledge representation diagrams for ideation and makes recommendations for their use.

The article offers information and insight into how the Study Skills Tutors responded to the transition to online learning because of the Covid-19 pandemic. It focuses on the importance of interactive learning strategies and teacher attitude to increase learning in the AUB context. The article briefly presents in-person teaching techniques, clearly outlines the issues presented by the move to online learning and finishes with solutions to these issues – humanising teaching by changing teacher attitude and dropping the ‘expert’ persona, which resulted in developing and undertaking activities to encourage and promote interaction in online workshops. Due to teachers acknowledging everyone was in this new situation together, the teaching and learning activities were adapted: there were paced differently and allowed for more flexibility of choice. The positive outcome of that shift was reflected in the feedback for online sessions and noticeable differences between semesters one and two were observed.

The accident has long been acknowledgedas a catalyst fororiginal thought and can offer new insights to the practitioner wishing to develop thingswhich have never been contemplated or seen before. If we accept Virilio’s (2007) description of the accident as “profane miracle”, how can we instigate such mishaps, or even recognise their potential in the increasingly homogeneous digital landscape in which Illustrators find themselves?Is it even possible to override the restrictive mental parameters we are preconditioned to accept?This paper will aim to locate ways in which students of illustration can thrive by instigating accidents or disrupting the inhibitive characteristics of the technologies that surround us. I intend to seek out contemporary illustrators and investigate how they jump starttheir own creative process in order to develop a repertoire of strategies that reveal, or disclose,ways in which eurekamoments can occur. It will investigate whether the D.I.Y mind-set (forever associated with punkattitudes and tastes) that encouraged experiments, riskand feedback, is still relevant to current illustration practices. It will point towards ways in which art educators can incite innovativevisual thinking and nurture image makersthat stand in opposition to algorithmical mediocrity; Illustrators match-fit for the 21stCentury.

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.

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?

The global pandemic forced the film industry to adapt its practices. The primary driver of these changes was the economic imperative for production to continue. Similarly, film production courses had to deploy new methods to enable student films to be produced. Through this process new and often creative working methods were devised. This necessity for change also allowed for a critical reassessment of standardised industrial filmmaking - this emphasised that until this point there had been a general unwillingness to reflect upon the industrial production and educational norm, with its ecological unsustainability, exclusive practices and embedded hierarchies. So, the imposing of ‘restrictions’ in fact became an opportunity for creative discovery and to rethink practice related possibilities.

In this paper the authors will draw on their experience of teaching MA Film Practice, at Arts University Bournemouth, and the need to reimagine disciplinary engagement and devise new curriculum components. This process transformed restrictions into ‘creative parameters’. It also focused the course’s practice based research ethos and enhanced the student reflexive and reflective development. These innovations are now embedded in the course’s structure and have facilitated a departmental debate concerning ‘standardised’ working methods (copying historical normative models), and how we can foster a more inclusive and inventive learning environment.

Further to this, the graduating students, now emerging reflective practitioners – more socially, ethically and conceptually aware – can potentially affect new standards and approaches to film production, and in doing so promote original and diverse work, as well as embracing inclusive and ecologically sustainable methodologies. This paper will consider the instructiveness of this academic innovation and its potential to inform future film practice.

It is now accepted that current film production practices are unsustainable and new formulations need to be found that address the climate crisis. The issue’s primary reporting is concerned with industrial film productions, which is undoubtedly important, but this top down approach needs to be balanced with more inclusive and imbedded solutions. Therefore, a pedagogic perspective, which considers whether learning initiatives can influence production methods, is timely. This article proposes that through this engagement alternative practices can be developed.

This research unearths insights into the entangled pedagogic processes that occurred between students and educator when co-creating during a contemporary art project called Sonic Camouflage. The off-campus project-based learning environment of Sonic Camouflage was shown to boost and intensify learning for all participants, with an integrated re-energising tri-role for the educator to partake in art, education, and research practice. The research discovered that Sonic Camouflage contained intertwined learning processes that I term ‘microcultures of collaboration’. These microcultures are unravelled to reveal new insights surrounding improvisational learning using a cultural instigator as provocation and around individual artistic development. Sonic Camouflage was also shown to react to pervasive segregating media and technology by generating an immersive sense of belonging to a co-supportive learning community that instilled an empowering resilience for participants’ future art practice. Dialogic and collaborative constructivist approaches were integral methods employed to undertake the research.

The Power of Collaboration as Practice-Based Learning investigates the rich entangled hierarchical processes that occur during a collaborative artistic project called Sonic Camouflage. The Sonic Camouflage project was conceived at a time of decreasing radical art school cultures in an attempt to re-radicalise and intensify periods of learning for both students and tutor through a flattening of power structures between students and tutor. The research unearths insights into the effects of hierarchical power sharing during Sonic Camouflage on its collaborative participants by asking How do participants negotiate an artistic learning collaboration individually and collectively? The enquiry reveals that themed collaborative projects can be used successfully to provoke and propose a levelling out of power dynamics as positive agency for participants learning. https://www.youtube.com/watch?v=rA5t0gYd088

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.

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.

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.

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.

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.

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.

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.

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.

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.

Inclusivity and Equality in Performance Training focuses on neuro and physical difference and dis/ability in the teaching of performance and associated studies. It offers nineteen practitioners’ research-based teaching strategies, aimed to enhance equality of opportunity and individual abilities in performance education.
Challenging ableist models of teaching, the sixteen chapters address the barriers that can undermine those with dis/ability or difference, highlighting how equality of opportunity can increase innovation and enrich the creative work. Key features include:
• Descriptions of teaching interventions, research and exploratory practice to identify and support the needs and abilities of the individual with dis/ability or difference
• Experiences of practitioners working with professional actors with dis/ability or difference, with a dissemination of methods to enable the actors
• A critical analysis of pedagogy in performance training environments; how neuro and physical diversity are positioned within the cultural contexts and practices
• Equitable teaching and learning practices for individuals in a variety of areas, such as: dyslexia, dyspraxia, visual or hearing impairment, learning and physical dis/abilities, wheelchair users, aphantasia, attention-deficit/hyperactivity disorder and autistic spectrum.

The chapter contents originate from practitioners in the UK, USA and Australia working in actor training conservatoires, drama university courses, youth training groups and professional performance, encompassing a range of specialist fields, such as voice, movement, acting, Shakespeare, digital technology, contemporary live art and creative writing.
Inclusivity and Equality in Performance Training is a vital resource for teachers, directors, performers, researchers and students who have an interest in investigatory practice towards developing emancipatory pedagogies within performance education.