Creative Education Blog
In September 2023 I started my PGCert in Higher Education at the University of the Creative Arts. This is a theory and practice based qualification where different theories of learning are discussed. I have created this reflective blog to catalog my research, personal experiences and findings. I work as the Textile Tutor in South East London Colleges and my reflections are based on classes I have taught here. The college offers access to 100’s of classes for free for anyone living in a London Borough. They are funded by Greenwich Council and The Mayor of London. Click here to find a course
Interactive Cabinet of Curiosities: My teaching methodology
Fig 1: Interactive Cabinet of Curiosities, click on the doors to reveal the content https://view.genially.com/66694d3f31c3c200149e111b/interactive-content-alice-blackstock-cabinet-of-curiosities
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An aspect I struggle with teaching free 12 week beginners sewing courses is finding challenges for learners who sign up to the same course time and time again. The content does not change because half the class are beginners. The course is designed to build on beginners techniques each week in the form of short takeaway projects. The learners who keep signing up to the beginners course state that they do so because it is good for their mental health and helps them feel less isolated. This is a positive and shows the efforts which I put in to creating a safe learning environment is having an effect. However, it means that they are taking away a place on the course for someone who has never sewn before and would like to learn. They are also stunting their learning by repeating the same content. They will often say ‘I have already done the pencil case, I can do zips so what else can I do?’ I can’t teach two classes at once. This term I have introduced an intermediate sewing class that is only for students who have done beginners sewing already. I am doing so because I agree that ‘More difficult work and learning can feel more meaningful and can contribute to a student’s sense of growth and mastery, thereby increasing self-efficacy.’ However, I am still finding the road to independent learning is proving to be a long one. With the courses being free and the reasons the courses existing being to combat loneliness and promote positive mental health the same students continue to come back despite every incentive and encouragement to consider the next steps. Now I am worried that the same students (most of whom are doing bringers sewing and intermediate sewing) will start repeating the intermediate class which leaves me wondering where and if the cycle ends (fig 1).This cabinet of curiosities has been an opportunity to reflect on the most challenging yet rewarding year of my life. I have chosen one of my late fathers fly fishing boxes which has 10 compartments. I have filled these different textile techniques which represent pedagogies, skills, knowledge and research which I have undertaken. As Dad passed away during the PgCert it felt important to acknowledged this in my reflective response.
I started teaching alongside the PgCert everything is new to me but there is defiantly certain pedagogies and approaches which have aligned better with me and my subject of textiles. A mixed method approach sees me using constructivism (Piaget, 1964), scaffolding (Bruner, 1974) and constructive alignment (Briggs, 2003). I deliver meaningful course content in a safe facilitated learning environment empowering learners and encouraging individual expressions. My approach sees me meeting quality assurance standards through aligned course content, learning outcomes and regular formative feedforward feedback.
Like the world around us teaching is changing. Old approaches are being replaced with new and evolving pedagogies. This PgCert introduced me the benefits of inclusive practice to widen participation for those of marginalised ethnicities. In textiles this is an opportunity to share cultural approaches, fresh perspectives and different techniques. During this past term a sewing student done a project to learn how to make wigs to for black women. This has been an inspiring and liberating learning journey to support and one which may not have happened without education being more accessible and inclusive. However, there are still wrinkles to be ironed out. I struggle to convey safe use of textile equipment for those who are new to speaking English. This is something which I am actively looking for a solution for. It may be within AI which could support me to generate technical information in a student's mother tongue. This blended learning approach is something I am always seeking to mindfully integrate into my practice. I have represented this through making my cabinet interactive.
List of images
Fig 1. Blackstock, A. (2024) Interactive Cabinet of Curiosities [Photograph]
Refrences
Harsma, E., Manderfeld, M. and Miller, C.L. (2021). Constructivism. mlpp.pressbooks.pub. [online] Available at: https://mlpp.pressbooks.pub/mavlearn/chapter/constructivism/ [Accessed 26 Jun. 2024].
Biggs, J.B. (2003). Aligning Teaching for Constructing Learning. [online] ResearchGate. Available at: https://www.researchgate.net/publication/255583992_Aligning_Teaching_for_Constructing_Learning [Accessed 26 Jun. 2024].
Aubrey, K. and Riley, A. (2022). Understanding and using educational theories. 3rd ed. Thousand Oaks, Ca: Sage Publications, pp.158–159.
Digitally Enhanced Education Webinars (2022). A Review of Blended Learning in Higher Education: Susan Orr. [online] YouTube. Available at: https://www.youtube.com/watch?v=pm53bOwoFgc&list=PLAbF8wnSF-e_XRvo2KkSiJIrzqBLL-bMO&index=2 [Accessed 26 Jun. 2024].
I started teaching alongside the PgCert everything is new to me but there is defiantly certain pedagogies and approaches which have aligned better with me and my subject of textiles. A mixed method approach sees me using constructivism (Piaget, 1964), scaffolding (Bruner, 1974) and constructive alignment (Briggs, 2003). I deliver meaningful course content in a safe facilitated learning environment empowering learners and encouraging individual expressions. My approach sees me meeting quality assurance standards through aligned course content, learning outcomes and regular formative feedforward feedback.
Like the world around us teaching is changing. Old approaches are being replaced with new and evolving pedagogies. This PgCert introduced me the benefits of inclusive practice to widen participation for those of marginalised ethnicities. In textiles this is an opportunity to share cultural approaches, fresh perspectives and different techniques. During this past term a sewing student done a project to learn how to make wigs to for black women. This has been an inspiring and liberating learning journey to support and one which may not have happened without education being more accessible and inclusive. However, there are still wrinkles to be ironed out. I struggle to convey safe use of textile equipment for those who are new to speaking English. This is something which I am actively looking for a solution for. It may be within AI which could support me to generate technical information in a student's mother tongue. This blended learning approach is something I am always seeking to mindfully integrate into my practice. I have represented this through making my cabinet interactive.
List of images
Fig 1. Blackstock, A. (2024) Interactive Cabinet of Curiosities [Photograph]
Refrences
Harsma, E., Manderfeld, M. and Miller, C.L. (2021). Constructivism. mlpp.pressbooks.pub. [online] Available at: https://mlpp.pressbooks.pub/mavlearn/chapter/constructivism/ [Accessed 26 Jun. 2024].
Biggs, J.B. (2003). Aligning Teaching for Constructing Learning. [online] ResearchGate. Available at: https://www.researchgate.net/publication/255583992_Aligning_Teaching_for_Constructing_Learning [Accessed 26 Jun. 2024].
Aubrey, K. and Riley, A. (2022). Understanding and using educational theories. 3rd ed. Thousand Oaks, Ca: Sage Publications, pp.158–159.
Digitally Enhanced Education Webinars (2022). A Review of Blended Learning in Higher Education: Susan Orr. [online] YouTube. Available at: https://www.youtube.com/watch?v=pm53bOwoFgc&list=PLAbF8wnSF-e_XRvo2KkSiJIrzqBLL-bMO&index=2 [Accessed 26 Jun. 2024].
Creating a learning environment that is too comfortable
List of Illustrations
Fig. 1 Blackstock, A. (2024) Where does the cycle end? [Photograph]
References
Advance HE (2022) Education for Mental Health Report. At: https://www.advance-he.ac.uk/teaching-and-learning/curricula-development/education-mental-health-toolkit/learning-focused/desirable-difficulty(Accessed 07/05/2024)
Order and chaos
Palm sized sketchbook made in reflection of how overwhelming, transitional and temporary learning spaces can be for students and for staff. This tiny fabric sketchbook is not perfect, it’s wonky and frayed but for me the little spots of colour represent those moments in teaching that come out of order and chaos when everything makes sense.Step back, step forward, look closely
It is hoped that this report will act as a catalyst for staff to make changes through being better informed about the possible underlying factors that exist with the subject area that may be an obstacle to achievement.
I agree wholeheartedly with this statement. When teaching a subject you are passionate about it is all too easy to become completely tangled up in it (fig 1). The equipment, the space, the scheduling, the admin, the budgets, the meetings etc. When dealing with the issue of poor retention rates it is easy to forget to take a step back and then a step forward to look closely at the bigger picture, at the underlying factors. However these underlying factors are what it is to be an educator and our concern should be as much with them, as it should be with our subject. In fact the numbers supplied in Retention and attainment in the disciplines: Art and Design suggest that these underlying factors are limiting our teaching by reducing the student body. The issues of curriculum, the key pedagogies, the assessment practices and the lack of diversity within the staffing body are restricting the expansion of our subject by creating lower retention rates. The report provides a list of recommendations and perhaps by investigating even one of these we can make an improvement to the retention and attainment of students of colour. Like finding the end of a piece of string and gently teasing out the tangles (fig 2).
List of images
Fig 1: Blackstock, A. (2024) Tangle of thread. [Photograph]
Fig 2: Blackstock, A. (2024) End of a length of thread. [Photograph]
References
Richards, A. and Finnigan, T. (2016). Retention and attainment in the disciplines: Art and Design. [online] Advanced HE. Available at: https://s3.eu-west-2.amazonaws.com/assets.creode.advancehe-document-manager/documents/hea/private/ug_retention_and_attainment_in_art_and_design2_1568037344.pdf [Accessed 15 Apr. 2024].
I agree wholeheartedly with this statement. When teaching a subject you are passionate about it is all too easy to become completely tangled up in it (fig 1). The equipment, the space, the scheduling, the admin, the budgets, the meetings etc. When dealing with the issue of poor retention rates it is easy to forget to take a step back and then a step forward to look closely at the bigger picture, at the underlying factors. However these underlying factors are what it is to be an educator and our concern should be as much with them, as it should be with our subject. In fact the numbers supplied in Retention and attainment in the disciplines: Art and Design suggest that these underlying factors are limiting our teaching by reducing the student body. The issues of curriculum, the key pedagogies, the assessment practices and the lack of diversity within the staffing body are restricting the expansion of our subject by creating lower retention rates. The report provides a list of recommendations and perhaps by investigating even one of these we can make an improvement to the retention and attainment of students of colour. Like finding the end of a piece of string and gently teasing out the tangles (fig 2).
List of images
Fig 1: Blackstock, A. (2024) Tangle of thread. [Photograph]
Fig 2: Blackstock, A. (2024) End of a length of thread. [Photograph]
References
Richards, A. and Finnigan, T. (2016). Retention and attainment in the disciplines: Art and Design. [online] Advanced HE. Available at: https://s3.eu-west-2.amazonaws.com/assets.creode.advancehe-document-manager/documents/hea/private/ug_retention_and_attainment_in_art_and_design2_1568037344.pdf [Accessed 15 Apr. 2024].
Chunking
Fig 1. Hand rolled felt inside a glass gü pot
I read the chapter in How to Research on managing time and found my literary sole mate in the word 'chunking'. I am the kind of person who divides everything up and puts it into little jars or stacks and places it in different areas of my life (Fig 1.). Never have I found myself doing this more than in the last 3 months. Having taken on a commission which sees me as the lead artist on a project for those with dementia, along with my teaching practice, this PgCert and a whole host of life admin I have found it absolutely necessary to separate everything into, for want of a better word, 'projects'. I can only work on something for a short period of time, put it down and do something else. I have great sympathy with human behaviourist Naomi Karten's description of herself as a 'dabbler' (Karten, 2013). I find that dabbling stimulates my mind and my research because although I have only committed 45 minutes to it the notion brews in my mind while I work on something else. If an idea or piece of research was a stew in a slow cooker, interacting with it for a short period is like adding seasoning. Leaving it alone lets it simmer and grow with flavour.
I like to be surrounded by my projects, to see them, sometimes pick them up and move them around or put them down absently without adding anything. Perhaps this is a form of managing or 'reviewing and assessing research.' I reflected on the chapter 'Managing not to get demoralised when things do not go as planned' (Blaxter, 2010). I wondered if working for short bursts on little things is a way to manage my expectations and not become too attached to any one idea or piece of research.
List of illustrations
Blackstock, A. (2024) Hand rolled felt inside a glass gü pot. [Photograph]
References
Karten, N. (2013). Managing Expectations: Working with People Who Want More, Better, Faster, Sooner, NOW! [online] Google Books. Addison-Wesley. Available at: https://books.google.co.uk/books?hl=en&lr=&id=6VMUAAAAQBAJ&oi=fnd&pg=PT18&dq=managing+expectations+psychology&ots=BRuwuBwYpo&sig=5JRPShNvVWS12WtMZdqqh3vzZ04#v=onepage&q=managing%20expectations%20psychology&f=false [Accessed 17 Mar. 2024].
Blaxter, L, Hughes, C, & Tight, M 2010, How to Research, McGraw-Hill Education, Maidenhead. Available from: ProQuest Ebook Central. [17 March 2024].
I like to be surrounded by my projects, to see them, sometimes pick them up and move them around or put them down absently without adding anything. Perhaps this is a form of managing or 'reviewing and assessing research.' I reflected on the chapter 'Managing not to get demoralised when things do not go as planned' (Blaxter, 2010). I wondered if working for short bursts on little things is a way to manage my expectations and not become too attached to any one idea or piece of research.
List of illustrations
Blackstock, A. (2024) Hand rolled felt inside a glass gü pot. [Photograph]
References
Karten, N. (2013). Managing Expectations: Working with People Who Want More, Better, Faster, Sooner, NOW! [online] Google Books. Addison-Wesley. Available at: https://books.google.co.uk/books?hl=en&lr=&id=6VMUAAAAQBAJ&oi=fnd&pg=PT18&dq=managing+expectations+psychology&ots=BRuwuBwYpo&sig=5JRPShNvVWS12WtMZdqqh3vzZ04#v=onepage&q=managing%20expectations%20psychology&f=false [Accessed 17 Mar. 2024].
Blaxter, L, Hughes, C, & Tight, M 2010, How to Research, McGraw-Hill Education, Maidenhead. Available from: ProQuest Ebook Central. [17 March 2024].
Textile workshop at London South East Colleges
I have selected to show two images of the same room. Figure 1 shows the space as I first entered it in September 2023. The room was not only inaccessible but potentially a health and safety risk. In fact it was really only fit for the one inhabitant currently in residence, a squirrel. The space had wires and leads trialing everywhere, it was full of dust and it had an abundance of chairs which, when sat on, did not allow the user to fit their legs underneath the table. Though there is a lift to the room it had a large mirror in front of it which could easily be knocked over when the lift door opened.
Figure 2 shows the space after three colleagues and I tackled it with ruthless determination to make it more accessible and inclusive. With their support a skip was filled and I got to enjoy the moment when the students returned to the room to find enough space for them to spread out their work, appropriately sized chairs for them to sit on and light which had been blocked by the clutter.
Through we removed so much from the room it needs much more things put into it. From the simplest things such as left handed fabric cutting scissors and chairs that are adjustable in hight to an electric door that is controlled by a push button and having easier access to a disabled bathroom. Emily Medcalf (2020) wrote about taking a step back and taking a wider look at learning spaces ‘What I would initially find to be fine to work in, I was now finding to be problematic.’ I think that it is important to do this regularly, not to do it once as a tick box but to constantly be challenging our teaching and learning spaces for them to evolve to be the best they can be.
I wanted to share an exercise which I find helpful. My mother is blind and regularly close my eyes and walk around spaces imagining what it would feel like to her. I find this a useful way to feel a space from another perspective. When I done this in my textile workshop I realised that there was a lot of sharp corners and obstacles which created a great deal of sensory noise.
References
Medcalf, E (2020). Reflecting on the inclusivity and accessibility of a learning space for textiles education. [online] JUICE. Available at: https://juice-journal.com/2020/03/06/reflecting-on-the-inclusivity-and-accessibility-of-a-learning-space-for-textiles-education/. (last accessed 16 January 2024)
Formative Feedback in Free Education
As the courses I teach are funded, formative feedback is used as a way to gather evidence of students learning and course engagement. This is collated in an ILP (Independent Leaning Plan) and these act as evidence to ensure funding for future courses. In theory this is a good thing, free education is great right? Each student writes in their ILP personal objectives and formative feedback is given half way through to insure they are achieving their goals. Peer feedback is given at the end of the course. However the format of the ILP is restrictive because it is too large an umbrella, by this I mean that so many different courses are covered by this same document. As a tutor teaching creative textiles I am expected to give student feedback on their Maths, English and ICT skills. It is onerous for tutors and students. Someone could have kept a beautiful sketch book bursting with ideas and drawings but unless it is photographed, printed and glued into the ILP it does not count as evidence of their learning.
I recently uncovered a school report of mine from the year 2000 (fig 1) where the highest grade was my attendance and I was struck by how similar it is to our current 2024 ILP (fig 2). I agree with Dylan Willaims assessment of feedback 'it is about using information to adapt your teaching, adapt the work of students to put the learning back on track and make sure the learning is proceeding in the right direction and support that leaning.'(2016) However how I can I give formative feedback on Creative Textiles while looking for evidence of English, maths and ICT.
The answer is that I can't. Well, I can say that this student is using technical textile terms as an example of English but I don't know how that progresses the students personal objectives. The classes which I teach have a maximum of 12 students so when it comes to the midterm formative feedback I give 10 minutes per student. I let them know that I will be setting a timer to insure that everyone is getting the same amount of time. I ask that everyone is patient and that I am not interrupted if someone else is receiving feedback. I tell the student that I am going to make some notes that I will type up and send as written feedback. I concentrate on positives and very much have a 'not yet' approach to a difficulty. I whole heartedly agree with Ray Martens comment that it is not 'feedback' but 'feed forward' (2024). The ILP is filled out quickly and apologetically by the student and I.
The end of term peer feedback is always a lovely session. As the groups are small many have struck up friendships over the 12 weeks. They are comfortable and familiar with one and other and have formed a great community of practice. The feedback consists of everyone giving a brief presentation on a personal project or objective and receives feedback from their friends and peers. In this instance I try and take a step back and be a facilitator, directing the conversation if it is stuck on one subject or person. I think this peer feedback is so crucial and ultimately their peers are going to the ones to encourage and motivate them to keep going.
List of images
Fig 1: (2024) Photograph of a school report from 2000. [photograph] Alice Blackstock
Fig 2: (2024) Screenshot of a blank ILP. [screenshot] Alice Blackstock
References
Education Scotland (2016). Dylan Wiliam: Formative assessment. YouTube. Available at: https://www.youtube.com/watch?v=sYdVe5O7KBE.
Martin, R. (2024) Giving feedback: verbal and written. At: https://myuca.uca.ac.uk/ultra/courses/_72952_1/outline/file/_1292841_1
But what about the dyslexia?
Last Thursday I was at my fathers funeral. I wrote and read the eulogy which was absolutely perfect and deserved the round of applause it received. I done my dad proud, if I do say so myself! As a writer and lecturer himself he appreciated good, simple writing. He always said that bad writers were the ones that people could not understand. After the funeral I was asked a bizarre question.
As part of this PGCert I have been sharing my weekly reflections on social media and on a blog https://aliceblackstock.net/Lecturing-Blog. I always try and be honest about my life and experiences in my reflections. Sharing them on other platforms has been a great way to further conversations and ideas with others outside of the course. A friend of my parents has been reading my reflections and has given me some truly lovely comments. However, at the funeral they asked me ‘who is writing all of the reflections?’ I was bewildered 'I am writing them… Obviously.’ 'But what about the dyslexia?’ They asked.
‘What about it?’
I should say there was no malice in the question. It was an example of an outdated belief that due to being neurodivergent I was unable to coherently communicate through writing and thus relied on assistance. So, my ideas and thoughts, strung together by another's hand and tied neatly in a bow.
In reading a manifesto for mainstreaming inclusive practice I found myself reflecting on that question ‘but what about the dyslexia?’ I was particularly struck by the comment that ‘we do nobody any favours if we accept lower standards of achievement from disabled students than we expect from their peers.’ I absolutely agree with this statement.
Personally, I find that the conversation around neurodivergent people being more creative to be boring. For me it feels like trying to make these people 'better' to make up for something they are 'lacking'. It also leaves the door open for neurodivergent conditions to be used as an excuse.
To conclude, my dad taught me how to write. He loved filling up his fountain pen with red ink to correct my writing. I used to say to him ‘us dyslexics will keep you editors in business.’
List of images
Fig 1. Unknown (1997-8). Allan and Alice Blackstock [photograph].
References
aliceblackstock.net. (n.d.). Lecturing Blog — Alice Blackstock. [online] Available at: https://aliceblackstock.net/Lecturing-Blog. (accessed 12th Dec 2023)
Adams, M. and Brown, S. (2006) 'Towards Inclusive Learning in Higher Education : Developing Curricula for Disabled Students' pp.187–189. At: https://ebookcentral.proquest.com/lib/ucreative-ebooks/reader.action?docID=274460&ppg=206 (accessed 12th Dec 2023)
Coffield, F. (2013) 'Learning styles: time to move on' In: Lifelong Learning in Europe. At: https://www.bradfordvts.co.uk/wp-content/onlineresources/teaching-learning/learning-personality-styles/learning%20styles%20-%20is%20it%20time%20to%20move%20on%20-%20opinion%20piece%20by%20coffield.pdf (accessed 12th Dec 2023)
EDI @ LSEC
fig 1 - shutterstock image of disorganised filing system
In London South East Colleges equality means, valuing who and what we are. Achieving professional and personal development with collective diversity in mind. Not being held back by others preconceptions. Placing equality at the core of employment, managing and teaching practices. Having identity and freedom to express ourselves and knowing the colleges are a fair and just place to work and learn.
Diversity understands that everyone is unique and celebrating the wide social and ethnic backgrounds of students and staff. Acknowledging that teams are stronger when we listen different views, skills and experiences are embraced. Finally explaining the rationale for our decisions.
Inclusion means embracing all people and providing equal access and opportunities. Eliminating discrimination by collaboratively decision making with open and honest conversation. Empowering staff to contribute and uphold a positive working and learning environment which is intern recognised by the college. Finally transparency for all staff and students.
In my opinion this does align with my understanding and experience of the college. Because much of the courses provided at LSEC are funded by the Mayor of London equality, diversity and inclusion are taken very seriously. In fact so much admin has been put into ensuring they are consistent that it can often become confusing and overwhelming. As a member of staff I find that forms and online training are never ending and impossible to keep on top of. There always seems to be another and I wonder if this takes away from the important core messages of equality, diversity and inclusivity. Legally I am obliged to do the forms and training but that does not mean I need to understand them or fully engage in them, they are tick box. One thing I would change is that time is put into creating and building a better online platform where these exist. Much of our admin is still paper based and for me it raises an issue regarding sustainability. Would less allow me as an educator to understand more?
List of images
www.istockphoto.com. (n.d.). 480+ Messy File Cabinet Stock Photos, Pictures & Royalty-Free Images - iStock. [online] Available at: https://www.istockphoto.com/photos/messy-file-cabinet [Accessed 5 Dec. 2023].
List of references
Equality, Diversity & Inclusion Statement of Intent. (n.d.). Available at: https://www.lsec.ac.uk/images/LSEEG-EDI-Policy-Statement-of-Intent-July-2020.pdf [Accessed 5 Dec. 2023].
How Critical Digital Pedagogy enhanced Five Conversations
'Bloom in the pot your planted in'
Jenny Moore, 2020Fig 1 Promotional Video for 'Five Conversations'
In reflecting on critical digital pedagogy I have considered an instance from my own practice. Though I am not directly referencing a teaching experience I believe my art and teaching practice both nurture the same themes of inclusiveness, communication and sharing ideas and experiences.
In 2019 I received an Arts Council grant to complete a project called ‘Five Conversations’. Initially I proposed to create visual portrait styled maps of five inspirational Northern Irish Women. These maps would document the places and experiences that had helped them to get to 2020. These where to be exhibited in a gallery.
Then Covid happened. This project had to change, obviously it had to, everything had to change.
The biggest change was that instead of working with 5 inspirational women I worked with 6. I collaborated with a Esther Mogada, a Northern Irish film maker, to put together a digital film about the project and these women. Making this digital opened it up to a much wider audience. I was able to promote it as an online exhibition. I was lucky enough to be able to hold an exhibition where the illustrated maps where displayed but I also blended the video into the show. It ended up being the most powerful piece in the exhibit. I believe this was because it incorporated the definition of critical digital pedagogy outlined by Stommel (2014). It was a collaboration with community at the centre. It opened the project up to diverse international voices/viewers. It was not defined by a single voice and had its roots outside the traditional ideas associated with art and gallery exhibitions.
The full video can be viewed here: https://aliceblackstock.net/Five-Conversations
List of Figures
Fig 1. Blackstock, A. (2021). Five Conversations Promotional Video [Video].
References
Stommel, J. (2014). Critical Digital Pedagogy: a Definition. [online] Hybrid Pedagogy. Available at: https://hybridpedagogy.org/critical-digital-pedagogy-definition/. [Last Accessed 21/11/2023]
Garrad-Cole, F., Robinson, R., Roberts, H., Saher, M., Ervine, J. and Donaldson-Hughes, C. (n.d.). Building approaches to learning in online and blended-learning environments: challenges and opportunities. [online] Available at: https://s3.eu-west-2.amazonaws.com/assets.creode.advancehe-document-manager/documents/advance-he/AdvHE_blended%20approaches%20to%20learning_1620295459.pdf. [Last Accessed 21/11/2023]
Weaving Constructive Alignment
I do regard spinning and weaving as a necessary part of any national system of education.
-Gandhi, 1967Brigg’s theory of constructive alignment (2003) reminds me of weaving. Both consist of three features that if aligned result in a supported structure. Taught learning activities, intended learning outcomes and assessment feedback tasks are like the warp, weft and selvedge edge of a piece of weaving. Both have a central component that is the solid foundation. In the instance of constructive alignment it is the intended learning outcomes and in the case of weaving it is the warp. Briggs believed that by using action verbs when planning the intended learning outcomes these acted as a staring point when developing teaching and learning activities. Similarly to ‘warping up’ an active process that predetermines the choice of yarn, structure and pattern of the weave. The assessment and feedback tasks are formulated from the learning outcomes. This is like the selvedge edge of a piece of weaving. If the foundational warp has not been aligned correctly or the taught learning activities have not been woven properly to relate to the learning outcomes we will see this in the edges of our fabric. They may not be straight, the weave could have gaps and weaker areas or it may not hold together at all when taken off the loom.
Personally, I am in awe of weavers but I cannot claim to be one. My brain is too disorganised for a structure which is quite rigid. In my teaching practice I am happy to facilitate leaners on their own journey of discovery. I embrace structures that have gaps or holes because the maker or learner might just find the answer they have been looking for in an imperfectly aligned piece of fabric.
List of Figures
Fig 1. Blackstock, A. (2023). Sustainable weaving presentation [Photograph].
Refrences
A-Z Quotes. (n.d.). Mahatma Gandhi Quote. [online] Available at: https://www.azquotes.com/quote/1289437?ref=weaving [Accessed 14 Nov. 2023].
Biggs, J. (2003). Aligning teaching for constructing learning. [online] Available at: https://s3.eu-west-2.amazonaws.com/assets.creode.advancehe-document-manager/documents/hea/private/resources/id477_aligning_teaching_for_constructing_learning_1568036613.pdf (Accessed 14/11/2023).
www.youtube.com. (n.d.). Course Design: constructive alignment. [online] Available at: https://www.youtube.com/watch?v=c5hpRX5ZeIc (Accessed 14/11/2023).
Overwhelming Spaces & Predetermined Outcomes
A reflectitive vignette
In the textile room where I work there is an overwhelming amount of stuff. As a textile practitioner I am like a kid in a sweet shop and I am not alone in that. Some learners approach the space with glee, pointing out all the techniques they have the opportunity to try, the equipment they have access to. They present as discovery learners, willing and excited to try new things and to ‘play’. However in reality many of these students already have their own idea about what they want to get out of the class. They have brought their own materials and just want me to show them how to achieve their pre-decided goal. This enthusiasm is great and I love assisting them to realise their ideas. However I question if it also masks an avoidance of the ambiguous nature of the room. Though they express an interest, really they don't want to leave their safe space. This is a useful way to determine the students prior learning but encourages a restrictive or limited mindset that can take a lot of coaxing and suggesting in order to build on their learning and experience.
Though I love the textile studio and feel inspired by it, the amount of stuff inside does stress me out. There is a small number of students in most classes who approach the studio with trepidation. They are overwhelmed by the experience that it presents. It is a complete cognitive overload and initially they can be apprehensive. However, when it is made clear that they are not expected to try all these process in one day and that we are going to break down the techniques week by week they open up to the idea of experimenting without expectations. I have found that these students are more open to discover a technique or process that they have never experienced before. It means that we can build on concrete experiences and create a scaffolding learning structure whereby they develop and add to their learning each week.
List of Figures
Fig 1. Blackstock, A. (2023). Textile Room, Greenwich Park Adult College [Photograph].
1 shirt neckline vs 5 pairs of hands
Fig 1 Cut out pattern pieces for a round neck shirt
'If you see someone is confused and you know the answer don’t keep it to yourself!’
I was teaching a beginners clothes making class this week and I was dreading it. With cutbacks in education I have no technical support. When doing anything for the first time it is natural to have many questions, this was the bit I was dreading. As the only educator in the room some students see me as the one infinite knowledge. Unsurprisingly I don’t have all the answers, how could I? It is also my job to demonstrate, give technical advice, fix sewing machines, ask people to switch of the iron if they are not using it, listen to leaners, and of course make my daily offering to the god of bureaucracy by filling out many forms.
I reflected before the class that many learners would have the same questions and someone other than me the answers. So I decided to send an email that informed my students what we were going to be doing and what they needed to bring. I concluded this email saying that I am looking forward to supporting them to make their chosen item of clothing but encouraged them to support each other as well. At the beginning of the class I reiterated this message saying ‘some of you have experience making cloths so please share your knowledge with others in the class. If you see someone is confused and you know the answer don’t keep it to yourself!’ I reminded them that I am only one person and by sharing our knowledge and experience more people will be able to keep working rather than waiting on me. I was pleasantly surprised by the giving and receiving atmosphere the workshop took on. By asking students to share their knowledge with other I actively encouraged Communities of Practice. At one point 5 people where gathered around a garment discussing options of how to recreate the neckline of the t-shirt. I didn’t put them into this team, they came together through a mutual desire to learn how to do the neckline themselves. I was able to join the group and make suggestions but the dynamic of me needing to give all the answers was not there. This team-based learning approach harnessed ‘the power of accountability by using peer learning to increase and sustain engagement.’
List of Figures
Fig 1. Blackstock, A. (2023). Cut cotton material for a round neck shirt [Photograph].
References
Wenger, E. (1997) Practice, learning, meaning, identity. Available at: https://go-gale-com.ucreative.idm.oclc.org/ps/i.do?p=AONE&u=ucca&id=GALE%7CA19224982&v=2.1&it=r&sid=summon (accessed 31st October 2023)
A short interview with Etienne Wenger on Communities of Practice. What is a Community of Practice? (2015) At: https://www.youtube.com/watch?v=b89B4bIXEGw (accessed 31st October 2023)
Communities of Practice. Reeves, T. (2022) The power of team-based learning. At: https://ding.global/the-power-of-team-based-learning/ (accessed 31st October 2023)
Pale, male and stale
At least once a week I will say ‘I need to look at this PgCert stuff tonight, last thing I want to do is try to understand a load of theories after teaching all day.’ Then later on I will say 'you know what I actually found it really interesting.’
I was struck by Brookfields comments regarding theory and practice and how it is neither one or the other rather they coexist as methods which we apply to make ourselves effective educators. In undertaking this PgCert I realise that naturally l’m applying theories such as experiential learning, threshold concepts and signature pedagogies through the creation of safe spaces, short and long term learning goals and challenging habits and preconceptions. In understanding and reading about learning theory it is opening up new ways of both teaching and thinking some of which I can relate to and some of which I can’t.
One thing that does bother me is how many of these learning theories come from old white men Brookfield, Kolb, Rodgers etc. I know not all of them are, Alison Riley, Beth Hennessay and of course bell hooks.
This weekend I watched Death of the Flower Moon (3 hours 26 minutes!). I found it profound, moving, frustrating and desperately sad. *Spoiler alert* I was so disheartened by the end. It was the story of Mollie Burkhart, an Osage woman who is wealthy due to her proximity to oil and in danger due to her proximity to money. Portrayed by Lily Gladstone, Mollie was a quiet but strong woman. Why did the film have to finish with Scorsese doing a monologue about Mollie’s life. Why did he need to have the last word?
To bring this slightly rambling, ranting piece of text to a close I will say that I 100% agree with Stephen Brookfield, practice and theory are intertwined. I hope that after the PGcert we, as educators, can make time to continue researching, questioning and understand learning theory. Only then will there be a more diverse and equal array of contributors and listeners to this particular field of learning.
List of images
Fig 1 fortscott.biz. (n.d.). Killers of the Flower Moon Free Movie Premiere in Fort Scott Oct. 20 | Fort Scott Biz. [online] Available at: https://fortscott.biz/news/killers-of-the-flower-moon-free-movie-premiere-in-fort-scott-oct-20 [Accessed 23 Oct. 2023].
References
Brookfield, S.D. (2017) Becoming a Critically Reflective Teacher. New York, NY, UNITED STATES: John Wiley & Sons, Incorporated. Chapter 10. pp.171–187. At: proquest.com/lib/ucreative-ebooks/reader.action?docID=4790372&ppg=191 [Accessed 23 Oct. 2023].
Grann, D. and Roth, E. (2019). Killers of the Flower Moon. [online] IMDb. Available at: https://www.imdb.com/title/tt5537002/. [Accessed 23 Oct. 2023].
If empathy and motivation wore a zip
This week I have been teaching the thing that everyone, including myself says 'Oh no, I hate this part!’
Zips.
Zips are a headache. Teaching how to put on a zip surrounded by a group asking questions is migraine worthy. Someone walking in an hour and a half late and expecting the same demonstration and outcome when everyone else is half way through the process is mind boggling.
I felt a deep connection with Carl Rodgers when he said ‘I stretched my empathic abilities to their very limit.’ I had to do this when teaching the latecomer how to do their zip. As a teacher it is my job to make sure that everyone who has come to that class learns something. I accept that I don’t know their situation. They made it to my class and I will try to get them up to speed so they go home feeling it was worth while making the effort to get to the session. However, I won’t say that it was easy. Already under pressure to explain a subject that is universally understood to be ‘very confusing’, while answering questions, while demonstrating, already my empathic abilities were wearing thin.
However, this student was here, despite being late, they are a grown adult and they had taken this time out of their day to learn. I agree with Hennessey (2016) ‘it is all too easy to kill motivation and creativity.’ It would have been easy to tell this student that they were too late to do the class or to say they might not get finished but I don’t ever want to be responsible for demotivating a learner. So I smiled, welcomed them and explained briefly that we where doing zips. When they said ‘I hate putting in zips’ it was the perfect opportunity to say ‘we were all just saying that! I can’t guarantee that you are going to love putting them in by the end of the class but I do have a few tricks for making it easier.’ Integrating them and making them part of the conversation limited the demotivating feeling of competition with the students who had already started.
Again I would like to reiterate this was not easy and it didn’t do much for my stress levels but in hindsight, it’s only a zip.
List of Figures
Fig 1. Blackstock, A. (2023). Paracetamol, clock and zip [Photograph].
Refrences
PsychotherapyNet (2012) Carl Rogers on Person-Centered Therapy Video. At: https://www.youtube.com/watch?v=o0neRQzudzw
Beth Hennessey. (2016). Cultivating Intrinsic Motivation and Creativity in the Classroom. [TED Conference] At: https://www.youtube.com/watch?v=v2eRnhBvI_I
Unpicking stitches or transformative learning
Fig 1 Closed sewing needle case
Fig 2 Open sewing needle case
When reflecting on transformative learning it reminded me of a common sewing tool, the stitch unpicker. ‘…also known as a seam ripper or a quick unpick, [it] is a small sewing tool that is used for breaking and removing stitches in a sewing project where you made a mistake. It is a little pointy blade on the end of a handle that makes unpicking stitching a breeze.’ (Petro, 2023)
I teach an adult beginners sewing class. In the first session I ask students if they have done any sewing before. This is useful to gage the experience level of the class but I am often disheartened when I hear comments like: ‘The teacher always said I was rubbish at sewing in school.’ This statement tends to provoke an echo ‘me too, I was told my stitches where always crooked’ or ‘I was always being held back to unpick my sewing.’
Not only does this set a negative tone to the start of the class but it anticipates failure before even taking up a needle and thread. In Mezirow’s theory of transformative learning (2002) he discusses how ‘…We have a strong tendency to reject ideas that fail to fit our preconceptions, labelling those ideas as unworthy of consideration.’ This is exactly what I find my students doing, but then I question, why are they here? If they truly believe they are as hopeless at sewing as they say then why spend their time doing a course that solely focuses on that technique?
I believe they are all perfectly capable of completing this course. In applying techniques associated with transformative learning such as creating a relaxed and positive group environment that is a safe learning space, everyone thrives. By the end of the first beginners sewing session everyone went home with a sewing needle case that they had sewn themselves and filled with new, clean needles (a little bit of health and safety goes a long way). Less physical but arguably more important, they also left feeling that they can sew and the negative point of view that they are unable to has begun to be carefully and gently unpicked.
List of Figures
Fig 1. Blackstock, A. (2023). Closed sewing needle case, made on sewing machine [Photograph].
Fig 1. Blackstock, A. (2023). Open sewing needle case, made on sewing machine [Photograph].
References
Petro (2023) 'How to use the seam ripper correctly,' Easy Peasy Creative Ideas [Preprint]. https://theseamanmom.com/seam-ripper-use/. (Accessed 10/10/2023)
Mezirow, J. (2002) New Directions for Adult and Continuing Education [e-book]. 74th edn. Wiley online library. https://www.ecolas.eu/eng/wp-content/uploads/2015/10/Mezirow-Transformative-Learning.pdf. (Accessed 10/10/2023)
Fig 2 Open sewing needle case
‘The teacher always said I was rubbish at sewing in school.’
When reflecting on transformative learning it reminded me of a common sewing tool, the stitch unpicker. ‘…also known as a seam ripper or a quick unpick, [it] is a small sewing tool that is used for breaking and removing stitches in a sewing project where you made a mistake. It is a little pointy blade on the end of a handle that makes unpicking stitching a breeze.’ (Petro, 2023)
I teach an adult beginners sewing class. In the first session I ask students if they have done any sewing before. This is useful to gage the experience level of the class but I am often disheartened when I hear comments like: ‘The teacher always said I was rubbish at sewing in school.’ This statement tends to provoke an echo ‘me too, I was told my stitches where always crooked’ or ‘I was always being held back to unpick my sewing.’
Not only does this set a negative tone to the start of the class but it anticipates failure before even taking up a needle and thread. In Mezirow’s theory of transformative learning (2002) he discusses how ‘…We have a strong tendency to reject ideas that fail to fit our preconceptions, labelling those ideas as unworthy of consideration.’ This is exactly what I find my students doing, but then I question, why are they here? If they truly believe they are as hopeless at sewing as they say then why spend their time doing a course that solely focuses on that technique?
I believe they are all perfectly capable of completing this course. In applying techniques associated with transformative learning such as creating a relaxed and positive group environment that is a safe learning space, everyone thrives. By the end of the first beginners sewing session everyone went home with a sewing needle case that they had sewn themselves and filled with new, clean needles (a little bit of health and safety goes a long way). Less physical but arguably more important, they also left feeling that they can sew and the negative point of view that they are unable to has begun to be carefully and gently unpicked.
List of Figures
Fig 1. Blackstock, A. (2023). Closed sewing needle case, made on sewing machine [Photograph].
Fig 1. Blackstock, A. (2023). Open sewing needle case, made on sewing machine [Photograph].
References
Petro (2023) 'How to use the seam ripper correctly,' Easy Peasy Creative Ideas [Preprint]. https://theseamanmom.com/seam-ripper-use/. (Accessed 10/10/2023)
Mezirow, J. (2002) New Directions for Adult and Continuing Education [e-book]. 74th edn. Wiley online library. https://www.ecolas.eu/eng/wp-content/uploads/2015/10/Mezirow-Transformative-Learning.pdf. (Accessed 10/10/2023)
Reflections on Reflexion
Fig 1 Unfinished, hand knitted 'Idle Hand' gloves
This comment from a student undertaking their first class in beginners sewing prompted me to consider the subject and resources of reflective practice. As a practicing artist and educator I can empathise with their sentiment. I have to be strict, resisting the creative impulse to jump to the display on the wall or start planning my next class before I have taught the two before it.
Kolb’s theory of reflective practice (1984) is a model that can be applied to combat this. By reflecting on a lesson I can observe what went well and what could be done differently. I can apply this to the planning and structuring of the next lesson and respond to learners questions and needs with appropriate, relevant resource material. By reflecting on past lessons I will improve future ones.
When I encounter students saying they start something but never finish it I will encourage a similar reflective practice. This could be through drawing in a sketchbook or trying to sample a technique. Often it is in the middle where the inspiration and creativity happens, when our minds are open to possibilities we are experimenting and developing new ideas, not worrying about final results.
Kolb’s theory of reflective practice dates back to 1984 when the world was much less concerned with the instant. Though I recognise the effectiveness of reflective practice in building strong foundations for practices and ideas I feel, in 2023, it does have limitations.
I question how the theory of reflective practice can be applied but with consideration of the fast paced world we live in? Can it be as simple as slowing down or have we already come too far? Is this the age of the fast and unfinished?
List of Figures
Fig 1. Blackstock, A. (2023). The Devil Makes Work for Idle Hands (gloves) [Photograph].
References
Kolb, D (1984) UCD Teaching and Learning (2020). REFLECTIVE PRACTICE MODELS What is Reflective Practice? [online] Available at: https://www.ucd.ie/teaching/t4media/reflective_practice_models.pdf. (Accessed 03/10/2023)
‘I always jump to the final piece before I have even begun! I start something and never finish.’
This comment from a student undertaking their first class in beginners sewing prompted me to consider the subject and resources of reflective practice. As a practicing artist and educator I can empathise with their sentiment. I have to be strict, resisting the creative impulse to jump to the display on the wall or start planning my next class before I have taught the two before it.
Kolb’s theory of reflective practice (1984) is a model that can be applied to combat this. By reflecting on a lesson I can observe what went well and what could be done differently. I can apply this to the planning and structuring of the next lesson and respond to learners questions and needs with appropriate, relevant resource material. By reflecting on past lessons I will improve future ones.
When I encounter students saying they start something but never finish it I will encourage a similar reflective practice. This could be through drawing in a sketchbook or trying to sample a technique. Often it is in the middle where the inspiration and creativity happens, when our minds are open to possibilities we are experimenting and developing new ideas, not worrying about final results.
Kolb’s theory of reflective practice dates back to 1984 when the world was much less concerned with the instant. Though I recognise the effectiveness of reflective practice in building strong foundations for practices and ideas I feel, in 2023, it does have limitations.
I question how the theory of reflective practice can be applied but with consideration of the fast paced world we live in? Can it be as simple as slowing down or have we already come too far? Is this the age of the fast and unfinished?
List of Figures
Fig 1. Blackstock, A. (2023). The Devil Makes Work for Idle Hands (gloves) [Photograph].
References
Kolb, D (1984) UCD Teaching and Learning (2020). REFLECTIVE PRACTICE MODELS What is Reflective Practice? [online] Available at: https://www.ucd.ie/teaching/t4media/reflective_practice_models.pdf. (Accessed 03/10/2023)
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