IP unit: Reflective Report – Screen mirroring for technical demonstrations

Posted on 14th July 2025 by Emilia Netto

Introduction

Through my technical perspective, reflections on my teaching at LCF, peer (see below) and student feedback, a key aspect of our technical delivery, the technical demonstrations, are not as accessible as they should be. My intervention is to set up a camera at the demonstration bench in both teaching workshops, 801 and 827, which mirrors a live recording of the demonstration on two the large screens at opposite ends of the rooms (pictured above).

Record of Observation or Review of Teaching Practice Observed by a PGCert Tutor
Record of Observation/Review of Teaching Practice Observing a PGCert Peer  
Case Study 2 – Planning and teaching for effective learning

I am a teaching technician in 3D and jewellery at LCF. I teach core skills/technical skills to all years of the BA Fashion Jewellery and MA Artefact. All class resources, including handouts, process videos and a list of tools is on a designated SharePoint page for each class (example below). The link for this page is emailed to the students one week before the class (as per UAL guidelines) and can be accessed by all students all year round.

https://artslondon.sharepoint.com/sites/LCFTech/SitePages/Soldering-and-Ring-Making.aspx

Lesson Plan_BA1_Soldering and ring making – Updated for 25 26 (1)Download

We have a set delivery format for technical taught sessions (lesson plan above):

  1. Introductory PowerPoint to the technique with examples.
  2. Videos of the technique.
  3. Demonstration at the jewellery bench, watched by the whole group.
  4. Teacher walks around the workshop assisting students to achieve the learning outcomes.

We demonstrate on a jewellery workbench (pictured above).  The top of the workbench is A3 size, the working area due to the processes is around A4 size. We have an average of 20 to 25 students per class, only four to six students can position themselves around the demonstration bench to see and hear well.  When we demonstrate, we have our back to the students (pictured below), this is how a bench is used. Students can’t see our face, if they lip read or are reliant on facial expressions for clarity they will be at a disadvantage.

According to Advanced HE, students with visual and hearing impairments and those who fall within the autism spectrum “can be disadvantaged by their campus environment” (2024). According to the most recent UAL EDI data (2025), 16% of LCF students have declared a disability. With 29% of these home students, 26% EU students and 7% of international students. The number of students declaring a disability is rising, although the number of international students doing so remains low. Out of all those that declared a disability, 40% have a specific learning difficulty, 34% other/multiple impairments and 6% sensory, medical or physical impairment.  Some of our students are a part of these statistics and delivery should be more accessible to them.

 I estimate 90% of our students to be international, with English as a second or third language. This propelled me into reading more and further reflecting on the international student experience of Higher Education in the UK. Whilst also drawing from my own experience of moving to the UK at 15 years old, having only studied in the Brazilian education system in Portuguese prior this and having to adapt to an entire new culture and studying in a second language, as well as having a learning difference (not yet diagnosed).

Case Study 1 – Knowing and responding to your students’ diverse needs

Zhuang & Bell found in their research into the learning experience of international students that “class sizes were a topic of complaint… in that it is more difficult to hear, see and focus, creating extra difficulties for non-native speakers” (2024).  Which further supports student and peer feedback and my own observations of how problematic the way we deliver demonstrations can be. As one peer said during presentations, this “this intervention is essential”.

Hu takes her research further by looking at the emotions experienced, namely shame “among Chinese international students within the framework of classed, gendered, and racialised conditions” (2024). She delves into the intersectionality of being both Chinese and female and how this manifests in how a student behaves and feels in an educational environment. She writes “several female participants within the study reported experiencing discomfort and, notably, shame when they tended to ask questions in the classroom” (Hu, 2024). Which she explains comes from being taught in a different educational culture where asking questions is not encouraged as well being a woman, and the qualities associated with female gender roles i.e. not speaking up as to not stand out. Which highlights the way in which female Chinese students (which make most of the international students in the courses I teach) can be excluded from fully interacting in class and learning the content. Hu concludes, “the prevalent model of inclusion, which emphasizes assimilation into the dominant framework, is inherently problematic” (2024).

 These papers made me reflect further on my practice, how can I address the problematic way in which I currently approach inclusion in my classroom? I encourage asking questions if any clarity is needed and the way I deliver technical content by demonstrating isn’t the most accessible to a large group of students. If the majority of this group of students is also likely uncomfortable to ask me questions, they will struggle and short they won’t be learning!

How can I create an inclusive environment whilst considering all our student’s intersectionality and differences? How can I make my teaching space more ethical? What other blind spots do I have in my teaching that I haven’t yet identified? I don’t have all these answers yet, but I do know that this intervention is a step forward in the right direction.

Feedback and Ethics

In both my peer and tutor feedback for this intervention the same concerns were raised regarding the efficacy and GDPR UAL policy of recordings. The camera will frame from above the top of the bench, as pictured below. Only the demonstration will be recorded, no students will be recorded. I am mindful considering this feedback, that some student’s may be uncomfortable with the camera. I will mention at the start of the sessions, that the camera is being used for demonstrations only and they will not be recorded.

Reflection 

When writing my intervention proposal and reflecting on it, I came to the realisation that these demonstrations can also be:

  • Recorded and uploaded onto SharePoint, where closed captioning is automatic up to 12 languages including Cantonese, which will be useful for some of our students.
  •  Sent out to students to access on Moodle.
  •  Stills can be taken from the recording for hand-outs and presentations.

There is currently no teaching, we are in the process of updating core skills delivery and their relevant pages on SharePoint. I used this opportunity to test this intervention; this set-up has captured majority of the photos on this blog. I have also used stills from the recordings to create the handouts below.

Calculating the length of a ringDownload

With support from my manager and the Content Production coordinator at LCF and his team at LCF, I have started to learn video editing and sound recording. I am currently editing two recordings from a demonstration, excerpt below. I have also used their recording studio to start recording voiceovers for videos; this is ongoing. We are also in discussion regarding the use of a microphone during demonstrations to amplify and record instructions alongside the camera which will make the demonstrations even more accessible.

Video Project 3.mp4

The ‘chunkiness’ of this set-up has been the main challenge as the cable management is currently an extension cord on top of a stool. This is a trip hazard, I am currently troubleshooting the best cable management system. Sometimes with movement a cable disconnects, and the screens go black. This is easily fixable by re-connecting the cable. The camera must be on the left-hand side, as the soldering torch and ignition are on the right-hand side, which poses a risk of the camera catching fire. Prior to teaching with this se-up, I will do risk assessment of the process as per UAL H&S guidelines.

This process is feasible to implement. I will make a handout for the technical and academic team, so they can also use this intervention themselves, thus creating parity in how we demonstrate. This process is also sustainable as it frees up the teacher’s time in class from repeating demonstrations to do other things such as spending more 1:1 time with students.

Action and Evaluation

The camera is on a tripod and is connected to a transmitter, the second transmitter is connected to the main TV screen, both screens are connected wirelessly to each other. When the screen and the camera are turned on the transmission to the screen is automatic. There are four transmitters, two tripods and two cameras, so this can happen simultaneously in both rooms.

I will be testing this intervention in my classes with the BAFJ Y3; Hollow form ring, Married metals and flush setting in October 2025. I will also troubleshoot the intervention process and then create a handout of how to set it up.

I will be capturing student feedback data directly after I teach the classes through an anonymous paper survey, the questions will refer to access and improvements. This will inform any changes and further reflection going forward.

Conclusion

This intervention has been informed by peer and student feedback, my observations and literature on inclusivity. There are some challenges, mentioned above which I am addressing. This intervention benefits students in many ways:

  • Makes demonstrations more accessible to all students in class.
  • Removes some barriers to learning due to students’ differences and intersectionality by making demonstrations more accessible in and out of class through recorded demonstrations with closed captioning.
  • Encourages students independent learning.
  • Creates parity in technical demonstrations throughout the department.
  • Frees up teacher time in class for 1:1 teaching.

I have so far explored this intervention for creating resources for classes (examples above), which has been successful. I look forward to implementing this fully next term in classes and receiving feedback from students and colleagues on how to further improve it.

From this process I have learned that improving how we deliver something and making the workshops more accessible to all, is within itself an ongoing process of learning and reflection.

Word Count: 1650

References

Advanced HE (2024), Sensory access in higher education (2009). Available at: https://s3.eu-west-2.amazonaws.com/assets.creode.advancehe-document-manager/documents/ecu/Sensory-access-in-higher-education-guidance_1573998794.pdf (Accessed 1st of June 2025).

Bell, K and Zhuang, L (2024), Improving the Learning Experience of Chinese Masters’ students in UK higher education, Journal of Further and Higher Education, 48:6, 625-637, DOI: 10.1080/0309877X.2024.2379955. Available at: https://www.tandfonline.com/doi/full/10.1080/0309877X.2024.2379955 (Accessed on 1st of July 2025)

Hu, M (2024), International Students’ Feeling of Shame in the Higher Education: An Intersectional Analysis of Their Racialised, Gendered and Classed Experiences in the UK Universities, Vol. 14, No. 1, 69-89 doi: 10.17265/2159-5526/2024.01.006.

UAL (2025), Equality, Diversity and Inclusion (EDI) report update. Available at: https://canvas.arts.ac.uk/News/264626/equality-diversity-and-inclusion-edi-report-update (Accessed on 3rd of June).

University of the Arts London (no date), Disability Inclusion Toolkit, Canvas.arts.ac.uk. Available at: https://canvas.arts.ac.uk/sites/explore/SitePage/45680/disability-inclusion-toolkit (Accessed on 25th June 2025).

University of the Arts London (2019) Using Moodle for Access and Inclusion, Canvas.arts.ac.uk. Available at: https://canvas.arts.ac.uk/documents/sppreview/62ea1f01-8ad6-4691-a420-e90767dc280f (Accessed on 25th June 2025).

University of the Arts London (2019) Recording taught session, Canvas.arts.ac.uk. Available at: https://canvas.arts.ac.uk/documents/sppreview/7694686e-ff31-4cb0-a92a-ff3fe7e3d3c6 (Accessed on 25th June 2025).

Bibliography

Bradbury, L (2020), A critical race theory framework for education policy analysis: the case of bilingual learners and assessment policy in England, Race Ethnicity and Education, 23:2, 241-260, DOI: 10.1080/13613324.2019.1599338. Available at: https://www.tandfonline.com/doi/full/10.1080/13613324.2019.1599338 (Accessed on 5th of July 2025).

Crenshaw, K. (1991), Mapping the margins: Intersectionality, Identity politics, and Violence against Women of Color. Stanford Law Review, 43(6), pp.1241–1299. Available at: https://doi.org/10.2307/1229039.

MAKERS (2023). Kimberlé Crenshaw, The Introduction of Intersectionality | MAKERS Moment. YouTube. Available at: https://www.youtube.com/watch?v=wL6ugSK0cWA (Accessed 1st of June 2025).

McIntosh, P (1989) ‘White Privilege: Unpacking the Invisible Knapsack’. Available at: https://www.nationalseedproject.org/key-seed-texts/white-privilege-unpacking-the-invisible-knapsack?ref=nakedpolitics.co.uk (Accessed on 2nd of June)

Nieto, L (2010) Beyond Inclusion, Beyond Empowerment: A Developmental Strategy to Liberate Everyone. Olympia, WA: Cuetzpalin. Page 11-21.

Appendix

Transcript for the soldering a wire ring videoDownload
Intervention Proposal PowerPointDownload
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Blog 3 Intersectionality and Race – That’s not Art, That’s not Music

Posted on 30th June 2025 by Emilia Netto

“In Western education, Whiteness has been normalized, leading people to naturally regard Western thinking as the norm and the appropriate reference point” (Hu, 2024).

Lonnie Holley below, describes how he has been excluded from the arts.

Many aspects form our identity including, race, gender and class.  When these intersect, this can lead to discrimination because of “who we are and because of institutions that have been structured in a race, gender, class discriminatory way” (Crenshaw, n.d.).

To understand why discrimination and racism is still prevalent in universities, we must understand their history. The first universities in the UK, were formed in the 13th century, funded by the monarchy and the church[1], for white wealthy men. Two centuries later, Colonialism was enacted by and benefited the descents of the same men, church and monarchy. Colonizers saw themselves as “civilised” and native peoples as “savages” (Stanford Encyclopaedia of Philosophy, 2006). Colonialism has shaped the world as we know it!

White Europeans from birth are taught our lives are normative “so that when we work to benefit others, this is seen as work which will allow “them” to be more like “us” (McIntosh, 1989).  This follows through the same thought pattern that normalised colonialism, so it isn’t hard to understand, that a society and its institutions put in place by white people for white people discriminates against those who are not white.

As McIntosh puts it, “my schooling gave me no training in seeing myself as an oppressor, as an unfairly advantaged person, or as a participant in a damaged culture” (1989). Robin DiAngelo writes that colonialism has shaped modern European and Western society based on inequality, and white people benefit from this inequality (2019).  To refuse to acknowledge this is as she puts it to “maintains our dominance within the racial hierarchy” and “the protection of white advantage” (2019).  As someone who grew up in Brazil (ex-colony) is white and from a middle-class background, it’s impossible not to acknowledge my privilege or to refuse to engage with the colonial past and how it’s shaped our present.

The most recent UAL EDI data shows that the B.A.M.E. to White degree awarding gap has decreased by 12% and the university is 4.5% short of their 30% B.A.M.E. staff representation goal. But is this enough to fully address systemic racism and oppression?

If “Equality, diversity and inclusion are critical to everything we do at” UAL (2025), there must be opportunities created for the uncomfortable conversations around race to take place. Hayes and Singleton set out a guideline for ‘Courageous Conversations’, based on four agreements; to stay engaged, expect discomfort, speak your truth and accept a lack of closure (2006). They state that by normalizing different points of view, “we can avoid a situation in which one dominant way of understanding race invalidates” others (Hayes & Singleton, 2006). To create real change, we need to allow ourselves as individuals and as an institution to feel uncomfortable as otherwise “We can’t get there from here” (DiAngelo, 2018).

[1] From the University history page of the  Oxford and Cambridge

websites.

https://www.ox.ac.uk/about/organisation/history

https://www.cam.ac.uk/about-the-university/history

[1] From the University history page of the  Oxford and Cambridge websites.

References

Crenshaw, K. (n.d.). Intersectionality is a recognition that people are multidimensional. [online] www.youtube.com. Available at: https://www.youtube.com/shorts/P-QRBdckDaw [Accessed 25 May 2025].

Crenshaw, K. (1991). Mapping the margins: Intersectionality, Identity politics, and Violence against Women of Color. Stanford Law Review, 43(6), pp.1241–1299. Available at: https://doi.org/10.2307/1229039.

Diangelo, R. (2019) White Fragility: Why It’s So Hard for White People to Talk About Racism.  United Kingdom: Penguin Books. Pages 15-33. 

Gallacher, Alex. (2025) ‘Lonnie Holley unveils new single ‘That’s Not Art, That’s Not Music’, KLOF Mag, Available at: URL https://klofmag.com/2025/02/lonnie-holley-unveils-new-single-thats-not-art-thats-not-music/(Accessed: 30.06.25).

Hays, C & Singleton, G (2006) Beginning Courageous Conversations about Race. Available at: chrome extension://efaidnbmnnnibpcajpcglclefindmkaj/https://courts.ca.gov/sites/default/files/courts/default/2024-12/btb_23_precon_make_it_plain_2.pdf(Accessed: 16/06/25).

Hu, M (2024), International Students’ Feeling of Shame in the Higher Education: An Intersectional Analysis of Their Racialised, Gendered and Classed Experiences in the UK Universities, Vol. 14, No. 1, 69-89 doi: 10.17265/2159-5526/2024.01.006.

Loonie Holley (2025) That’s Not Art, That’s Not Music (Official Video) Available at: https://www.youtube.com/watch?v=41ERWWPETAc (Downloaded: 21.06.25).

McIntosh, P (1989)’White Privilege: Unpacking the Invisible Knapsack’. Available at: https://www.nationalseedproject.org/key-seed-texts/white-privilege-unpacking-the-invisible-knapsack?ref=nakedpolitics.co.uk (Accessed on:30.06.25)

National Geographic (2025) What is colonialism? How the exploitative practice shaped the world. Available at: https://www.nationalgeographic.com/culture/article/colonialism (Accessed:30.06.25).

Nieto, L (2010) Beyond Inclusion, Beyond Empowerment: A Developmental Strategy to Liberate Everyone. Olympia, WA: Cuetzpalin. Page 11-21.

Stanford Encyclopedia of Philosophy(2023) Colonialism Available at: https://plato.stanford.edu/entries/colonialism/ (Accessed: 30/06/25).

UAL (2025), Equality, Diversity and Inclusion (EDI) report update. Available at: https://canvas.arts.ac.uk/News/264626/equality-diversity-and-inclusion-edi-report-update (Accessed: 20.06.25).

University of Cambridge (2025) History. Available at: https://www.cam.ac.uk/about-the-university/history (Accessed: 30.06.25).

University of Oxford (2025) History. Available at: https://www.ox.ac.uk/about/organisation/history(Accessed: 30.06.25).

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Blog Task 2: Faith, Religion and Belief

Posted on 9th June 2025 by Emilia Netto

In blog post one I addressed my positionality. After reflecting on that post and before starting to write this post, I noticed that I didn’t add a key aspect of it, which is that I am a Quaker. Quakerism is a way of life, it is the belief that God is a part of everyone and in all and therefore everyone and everything is interconnected. It is living one’s spirituality not preaching it, it is expanding it by learning and conversing with others. This belief system is something that shapes the lens through wich I see the world, it sahpes my practice as a teaching technician at LCF, although it is not something that I share openly at work.

chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/https://www.quaker.org.uk/documents/the-quaker-way

Or bullet points instead…

You may be wondering why I don’t share this openly, unless it is relevant such as in this piece of writing. The answer is simple, I have often had negative experiences when sharing my beliefs, even in the presence of close friends. There are many stereotypes imposed on people that have a faith, assumptions that are untrue and hurtful. I can avoid this discomfort altogether by omitting this part of my identity, it is easy to do as my beliefs do not have racial or cultural attributes attached to them. Some of us though, do not have this option, and these negative experiences due to stereotypes attached to their faith, religion, belief or their appearance is a daily occurrence. My personal reflection on how I have actively chosen not to share such akey part of my identity, has helped me consider how to create more welcoming and safer space for my students, so they feel free of express every aspecct of their identy.

As part of this process of reflection, I have come to understand that when beliefs, race, gender and other aspects of your identity cross over/intersect this can lead to discrimination. According to Kimberlé Crenshaw, intersectionality refers the different parts of our identity and the things that can happen to us “because of institutions that have been structured in a race, gender, class discriminatory way” (Crenshaw, n.d.).

With Crenshaw’s ideas as a starting point, she mostly writes about the expericens of black women and their intersectionality, I searched for examples of intersectionality of faith and gender. Haifaa Jawad in Islam, Women and Sport: The Case of Visible Muslim Women (2022), writes that stereotypes and “messages propagated by the media…including extremist derogatory views” fuels Islamophobia and affects “the lives of all Muslims, especially Muslim women globally” (2022). She writes that not “all women who are Muslim wear the hijab or Islamic dress”, but for women who do, “visible Muslim women” there “can be issues regarding the culture of sports participation environments and Islamic codes of conduct requiring modesty in dress” (2022). For example, in some sporting environments, “there are policy or regulation” in which “the wearing of hijab is not allowed, for example in some secular states and some international sports governing bodies” (2022). This is an example of discrimination that can happen through policy due to the intersectionality of faith and gender, this is something that I want to contribute to changing.

So, is it enough to say that I will continue to foster a safe environment for my students, when I am myself not comfortable sharing that I am someone with spiritual beliefs?

In the video Challenging, Race, Religion and Stereotypes in the classroom by Trinity University, a member of their academic team (insert name here) states that negative stereotypes and rhetoric due to someone’s appearance and/or beliefs happens and that  “these sorts of things are issues that we like to think don’t exist in our society, but we can’t help but notice, that they really do and we need to confront them now”. He goes on to say that to challenge basic stereotypes he teaches his students that there are “multiple different ways of looking at everything…everyone has their own perspective… and if we try to engage with empathy, we engage with difference in a way that is constructive and not destructive”. I agree with this approach and will look into ways of implementing it (example of this, for exaple I could…) more effectively in my practice.

Currently at 700 words :/

References

Challenging Race, Religion, and Stereotypes in Classroom (2016) Directed by Trinity Univeristy, Available at: https://www.youtube.com/watch?v=0CAOKTo_DOk (Accessed: 09/06/25).

Crenshaw, K. (n.d.). Intersectionality is a recognition that people are multidimensional. [online] www.youtube.com. Available at: https://www.youtube.com/shorts/P-QRBdckDaw [Accessed 25 May 2025].

Crenshaw, K. (1991). Mapping the margins: Intersectionality, Identity politics, and Violence against Women of Color. Stanford Law Review, 43(6), pp.1241–1299. Available at: https://doi.org/10.2307/1229039.

Jawad, H. (2022) ‘Islam, Women and Sport: The Case of Visible Muslim Women’, 22/September. Available at: https://blogs.lse.ac.uk/religionglobalsociety/2022/09/islam-women-and-sport-the-case-of-visible-muslim-women/ (Accessed 09/06/2025).

MAKERS (2023). Kimberlé Crenshaw, The Introduction of Intersectionality | MAKERS Moment. YouTube. Available at: https://www.youtube.com/watch?v=wL6ugSK0cWA [Accessed 26 May 2025].

Russo, R. (2018). Professor Kimberlé Crenshaw Defines Intersectionality. YouTube. Available at: https://www.youtube.com/watch?v=sWP92i7JLlQ [Accessed 26 May 2025].

Sultana, F. (2015) “Reflexivity, Positionality and Participatory Ethics: Negotiating Fieldwork Dilemmas in International Research”, ACME: An International Journal for Critical Geographies, 6(3), pp. 374–385.

Quakers (N.A) The Quaker Way. Available at: https://www.quaker.org.uk/documents/the-quaker-way (Accessed: 09/06/2025).

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Blog 1: Disability and Intersectionality

Posted on 26th May 2025 by Emilia Netto

Farhana Sultana wrote that to reflect on one’s positionality is “to reflect on how one is inserted in grids of power relations and how that influences methods, interpretations, and knowledge production” (2007, 376). My positionality as a practitioner is; I am a woman, with dual nationality (English/Brazilian), a native speaker of both languages, of mixed heritage, middle-class and have a learning difference.

Kimberlé Crenshaw’s theory of intersectionality addresses when one or more aspects of your identity Including disability can intersect and lead to discrimination. As she puts it “we are all, at any one-time, multiple things. We have a race, we have a gender, we have a class” and intersectionality refers “to the things that sometimes happen to us because of who we are and because of institutions that have been structured in a race, gender, class discriminatory way”, in short it is “the multiple effects of different forms of discrimination” (Crenshaw, n.d.).

As paralympic basketball player, Ade Adepitan explains “what makes people disabled is not their disability…Society it’s what holds us back, it’s that systemic discrimination and oppression” (2021). When it comes to disability a solution to addressing this, one could look at the social model of disability. The social model of disability echoes what Ade stated, people are not disabled by their impairment but by either their environment and/or by procedures. In our context of HE this could mean a building that is not accessible to get to, equipment that is not adaptable to differently abled bodies, or procedures in place that often unknowingly discriminate against those with disabilities or a combination of these. M. Oliver wrote on this and that to “put it simply, providing a barrier free environment is likely to benefit everyone with mobility impairments as well as other groups” (2023).

Disclosing a disability when enrolling ay UAL is optional. According to the UAL central dashboard, across all of UAL, from the home students 33.7% are B.A.M.E, 63.7% are white. Across all students 18% have declared a disability, 76.2% female, 23.3% male, 0.2% non-binary and 0.2% other. Within this data there will be many intersecting aspects of identity, for example s student that is female, B.A.M.E and has a disability, and they may face discrimination at UAL.

So as a teaching technician at UAL, how can I utilise the information above and apply it my practice to make my practice more inclusive? As I carry on improving my practice, I will also carry on taking a transparent approach to teaching; I share that English is not my first language, I struggle with spelling and reading, I say openly that I don’t know everything but am always looking forward to learning something new with them. This creates a safe and open environment, which I believe is key to helping students ask questions, learn and share what they are struggling with and their barriers to learning. From this dialogue I am made aware of things that I otherwise wouldn’t know, what can be improved, changed and challenged.

References

Crenshaw, K. (n.d.). Intersectionality is a recognition that people are multidimensional. [online] www.youtube.com. Available at: https://www.youtube.com/shorts/P-QRBdckDaw [Accessed 25 May 2025].

Crenshaw, K. (1991). Mapping the margins: Intersectionality, Identity politics, and Violence against Women of Color. Stanford Law Review, 43(6), pp.1241–1299. Available at: https://doi.org/10.2307/1229039.

MAKERS (2023). Kimberlé Crenshaw, The Introduction of Intersectionality | MAKERS Moment. YouTube. Available at: https://www.youtube.com/watch?v=wL6ugSK0cWA [Accessed 26 May 2025].

Oliver, M. (2023). Social work. 2nd ed. London: Kingsley, pp.137–140.

Paralympics (2021). Ade Adepitan gives amazing explanation of systemic racism. [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=KAsxndpgagU [Accessed 10 May 2024].

Russo, R. (2018). Professor Kimberlé Crenshaw Defines Intersectionality. YouTube. Available at: https://www.youtube.com/watch?v=sWP92i7JLlQ [Accessed 26 May 2025].

Sultana, F. (2015) “Reflexivity, Positionality and Participatory Ethics: Negotiating Fieldwork Dilemmas in International Research”, ACME: An International Journal for Critical Geographies, 6(3), pp. 374–385.

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Intervention

Posted on 26th May 2025 by Emilia Netto

Introduction

According to Advanced HE, students with visual and hearing impairments and those who fall within the autism spectrum “can be disadvantaged by their campus environment” (2024). Previously, I wrote about the challenges the team and I face due to the spatial constraints of the jewellery workshops at LCF (links below). These challenges include:

  • Not being able to see the demonstration
  • When closer not being able to see detail
  • Not being able to hear the demonstration
Case Study 2 – Planning and teaching for effective learning
Record of Observation or Review of Teaching Practice Observed by a PGCert Peer
Record of Observation or Review of Teaching Practice Observed by a PGCert Tutor

Intervention

Fig.1. Photo of someone working an a jewellery bench by Hotsell Maker Workshops

The above makes it difficult to demonstrate at a bench effectively to large cohorts of students (20+), the solution to this is to have a set-up in which we can film the demonstration live and have it projected on both screens in the workshops.

I have been in touch with the AV department and management at LCF since last term[1]. Recently a short-term solution has been tested (pictured above). A video camera set-up with transmitters connected to the screens. Although not ideal due to the number of cables involved and limited reach, this is an improvement.

To progress this further, with support from technical management I am pursuing the installation of ceiling cameras for the next academic year (other departments have this, pictured below).

[1] Technical Coordinator AV on 19/12/24, 3D Technical Coordinator 16/04/25, Technical Coordinator: Online Content Production 17/04/25, 3D Technical Coordinator15/05/25 &10/06/25

Conclusion

Taking into consideration my technical expertise and experience and after reflecting on this challenge, I have decided to set-up this system as it will remove some of the physical barriers to learning present. I will implement this in October 2025, in my core skills classes with BAFJ 1, 2 and 3. I will request student feedback via a survey.

On further reflection this also allows for:

  • Recording sessions so they can be re-watched with closed captioning in different languages
  • Taking stills for handouts and PowerPoints
  • The creation of new video resources
  • Recording demonstrations for Moodle for posterity (in which closed captioning can be added)

References

Allan, B. (2016) Emerging strategies for supporting Student Learning: A practical guide for librarians and educators. London: Facet Publishing, p. 19-31.

Advanced HE (2024)., Sensory access in higher education (2009). Available at: https://s3.eu-west-2.amazonaws.com/assets.creode.advancehe-document-manager/documents/ecu/Sensory-access-in-higher-education-guidance_1573998794.pdf (Accessed 26 May 2025).

Cascaval, R.C. (2008). EVALUATING THE BENEFITS OF PROVIDING ARCHIVED ONLINE LECTURES TO IN-CLASS MATH STUDENTS. Available at: https://doi.org/10.24059/olj.v12i3.65. (Accessed 26th May 2025).

University of the Arts London (2019) Disability Inclusion Toolkit, Canvas.arts.ac.uk. Available at: https://canvas.arts.ac.uk/sites/explore/SitePage/45680/disability-inclusion-toolkit (Accessed: 25th May 2025).

University of the Arts London (2019) Using Moodle for Access and Inclusion, Canvas.arts.ac.uk. Available at: https://canvas.arts.ac.uk/documents/sppreview/62ea1f01-8ad6-4691-a420-e90767dc280f (Accessed: 25th May 2025).

University of the Arts London (2019) Recording taught session, Canvas.arts.ac.uk. Available at: https://canvas.arts.ac.uk/documents/sppreview/7694686e-ff31-4cb0-a92a-ff3fe7e3d3c6 (Accessed: 25th May 2025).

Posted in Inclusive Practices | Tagged | 5 Comments

Reflective Blog Post 5 (Additional) Gregersen, T. (2007). ‘Language learning beyond words: Incorporating body language into classroom activities’

Posted on 18th March 2025 by Emilia Netto

After my observation by a PGCert tutor in my feedback there was a suggestion that I look further into how my body language can impact my teaching and to consider writing a reflective blogpost on this topic. The feedback mentioned specifically, tapping my fingers on a table when asking a question, thus conveying the message that there wasn’t space or time for the students to consider and/or give the answer. In hindsight, I was rushing through this stage of the class as many students arrived late and did not prepare so I had to make some time back in the class to accommodate for this, the finger tapping was completely unconscious.

Tammy Gregerson writes that nonverbal communication consists of “non-linguistic codes such as body language, facial expressions…used to communicate meaning” (20007, p.53). She goes on to explain that although there is a distinction between verbal and non-verbal communication, these happen in conjunction, they “become integrated into one communicative event” (Gregersen, 20007, p.53). As both happen simultaneously, when communicating or being communicated with we read both together. One can be read into more than the other, or the verbal and nonverbal can conflict and send mixed messages.

She states there are four kinds of gestures that are key in effective communication and “convey the same meaning as the verbal message” (Gregersen, 20007, p.54). One of these gestures she calls ‘emblems’ which refer to body language which conveys a word and/or message, for example tapping one’s finger.

I found the reading very interesting and must admit I had not actively considered my body language when teaching or ways in which I can mindfully use my body language to convey a point and/or concept. Its food for thought, something I will be more mindful and reflective of going forward and a topic which I look forward to research further.

References

Gregersen, T. (2007). ‘Language learning beyond words: Incorporating body language into classroom activities’, Reflections on English Language Teaching, 6(1), pp. 51–64. Available at: https://www.researchgate.net/publication/252225970_Language_learning_beyond_words_Incorporating_body_language_into_classroom_activities (Accessed: 18 March 2025).

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Reflective Blog Post 4 – Hardie, K. (2015) ‘Innovative pedagogies series: Wow: The power of objects in object-based learning and teaching’

Posted on 17th March 2025 by Emilia Netto

In this journal, Dr Kirsten Hardie gives an overview of their teaching practice, focusing on one distinct area of their pedagogy, Object-based learning (OBL). In which she uses design objects in student-centred learning activities to “to develop their theoretical and practical skills and knowledge of their discipline and wider related contexts” (Hardie, 2015, p.4-5)

She goes on to write that as she is working “with learners who are visually orientated and visual thinkers, and predominantly makers who ‘learn by doing’” (Hardie, 2015, p.4-5) this informs her practice. Therefore, the learning activities she designs are experiential and this ensures active learning which Charles Bonwell describes as learning that “involves students in doing things and thinking about the things they are doing” (p.2). One of my favourite quotes I have come across this term.

Hardie goes on to describe three case studies in which she uses OBL. Firstly, ‘The Power of Wow’, in which all students select an object and share it with group (they do not present it), the room is completely silent which is only broken with reactions such as “oh or aaagh…and on occasion wow” (Hardie, 215, p.6). This then leads to a group discussion on the object.

The second case study, ‘A Matter of Taste’ has many similarities with ‘The Potential of online object-based learning’ by Judy Willcocks & Kieran Mahon which I wrote my first reflective blog post on. The students work in small groups to look at several objects then they “complete an object identification form for each item: for example, what is its function, age and target audience? Who designed and manufactured it?” (Hardie, 2015, p.6). Lastly the students are invited to look at the object regarding taste, “the learners are encouraged to reflect upon their perceptions and those of others so that they may position and potentially reframe their consideration of design examples” (Hardie,2015, p.9).

Lastly, in case study three, ‘For the Love of Graphics exhibition’, Hardie sets the students the task of curating and displaying an exhibition in their studios, students select an artefact or collection that they like, research it and produce a short piece of text about it. This activity is not assessed and aims to “to develop learners’ experience of decision making; reflection; and research” (Hardie,2015, p.14).

All case studies above have at their centre OBL, are fun, student-centred, creative and engage students in active learning. As Hardie puts it “My rationale for using objects lies firmly in the belief that students’ hands-on engagement with objects can inform and inspire their thinking and design making; and that objects can energise learning and teaching.” (Hardie,2015, p.5).

 I found this journal refreshing to read, Hardie’s enthusiasm for the subjected is evident which is very inspirational. I am unsure yet of how I can implement all that I have taken from this journal in my practice but am now aware that I do have to re-design the activities and classes within my remit to be more student centred and to promote active learning.

References

Bonwell, C.C. (no date) Active learning: Creating excitement in the classroom, Active Learning: Creating Excitement in the Classroom. Available at: https://www.ufv.ca/media/assets/teaching–learning-centre/images/Active_Learning_Creating_Excitement_in_the_Classroom.pdf (Accessed: 17 March 2025).

Hardie, K. (2015) ‘Innovative pedagogies series: Wow: The power of objects in object-based learning and teaching ’, Innovative pedagogies series: Wow: The power of objects in object-based learning and teaching, pp. 1–25. doi:https://s3.eu-west-2.amazonaws.com/assets.creode.advancehe-document-manager/documents/hea/private/kirsten_hardie_final_1568037367.pdf. UCL (2022)

Teaching & object-based learning, UCL CULTURE. Available at: https://www.ucl.ac.uk/culture/schools/teaching-object-based-learning (Accessed: 17 March 2025).

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Record of Observation or Review of Teaching Practice Observed by a PGCert Tutor

Posted on 17th March 2025 by Emilia Netto

Record of Observation or Review of Teaching Practice         

Session/artefact to be observed/reviewed:

‘Core Skills: Hinge’, BA Fashion Jewellery (Year One), at London College of Fashion

Size of student group: 24

Observer:        Catherine Smith

Observee:       Emilia Netto

Note: This record is solely for exchanging developmental feedback between colleagues. Its reflective aspect informs PgCert and Fellowship assessment, but it is not an official evaluation of teaching and is not intended for other internal or legal applications such as probation or disciplinary action.

Part One


Observee to complete in brief and send to observer prior to the observation or review:

What is the context of this session/artefact within the curriculum?

This is a Core Skill (technical session) taught to BAFJ year one, I have inherited this session from another member of staff and have adapted the lesson plan.

How long have you been working with this group and in what capacity?

I taught this group three core skills last term, they were however three separate groups then This term they have been merged into two groups, which has made the class sizes larger, this is my first time teaching them since this change has taken place.

What are the intended or expected learning outcomes?

  • To gain an understanding of the application and use of hinges in jewellery. 
  • To further build on previously attained knowledge of measuring, marking and the correct use of jewellery tools. 
  • To make a functional three-part hinge. 

What are the anticipated outputs (anything students will make/do)?

The students will make a three-part hinge.

Are there potential difficulties or specific areas of concern?

Other colleagues have raised concerns over the size of the group and how these impacts on the outcomes being met within the three hours allocated for the class. I have sent a link with videos of the process to the students through Moodle one week prior to the session, which is to help them understand the process that will be taking place, they often however do not watch the videos. I have also requested them to bring their toolkits, however they often don’t and we have limited tools to give out to students which means there are points in the session where students have to wait for a tool in order to proceed this often also delays the students meeting the lessons outcomes. Lastly when I demonstrate due to the room layout and size of the work the students struggle to see the demonstration (this is where the pre-recorded videos are useful) I am currently looking into acquiring a camera and tripod that I connect to the screen for future classes, but this hasn’t happened yet.

How will students be informed of the observation/review?

I will inform them verbally at the start of the session.

What would you particularly like feedback on?

I would like feedback on: how effective my delivery is in communicating the technique to the students, my time management in delivering the class, how effective the resources are i.e. handout and video and in general any areas of improvement. I am open to any feedback that will improve my teaching.

How will feedback be exchanged?

However, is most suitable, I suggest a team’s video call as this is the most flexible option.

Part Two

Observer to note down observations, suggestions and questions:

Dear Emilia,

Thank you so much for inviting me to observe your ‘Hinge’ class last week. I enjoyed meeting you and learning from the experience. Here follows firstly a record of my observations. I have added some concrete suggestions in italics, along with a few questions for you to think about going forwards.

If you have any questions, please email me: c.h.smith@arts.ac.uk

Thanks, Catherine

Observation notes

You started very promptly at 9.31am by welcoming students into room. You were smiling and welcoming as you did so.

You had a teaching technician called Mizuki supporting you for the class, and this was clearly a useful addition.

Following the welcome you reminded them to sign in online and asked them to take their toolkits out as they would be needing them. This was helpful set up information.

You had cleverly prepared a short “warm-up” exercise for the students to do as they wait for others to arrive (a known problem that you had already identified). This was your ‘Hunt the Hinge’ exercise, which required them to find a hinge anywhere in the room, and draw it in as much detail as possible.

The accompanying instruction slide had been up on the projector when I entered the room. It was nicely designed, with a photo and a clear and succinct instruction.

You briefed this exercise, asking them if they knew what a hinge was. However, before you gave them a chance to answer the question, you answered it. It would have been a learning opportunity to get one of them to explain it. And it would help to bring their voices into dialogue with you, which I sense that you wanted, but perhaps were uncertain about how they felt about it. It almost looked like you were uncertain anyone would speak, so you rushed to fill the silence before it happened. One simple suggestion would be to allow a much longer period of quiet after you answer the question. And then if no one answers, repeat it. Wait again. And then if still no response, try to ask it in a different way.

After you had explained what a hinge was you asked them if they were clear on the task and if anyone had any questions. This checking understanding was good to see. They all appeared to be clear and got on with it.

You then walked around the room, checking in with individuals, asking latecomers if they had signed in. You reminded them all to help themselves to the hairbands at the front.

There were supposed to be 24 students, some turned up late. At 9.40am there were 13 students present. [Question: Have you asked those that are consistently non-attending or late about why their attendance and punctuality is mixed?]

You had prepared a high quality Powerpoint presentation on hinges. This was well laid out, with clear text (and not too much of it!) alongside really excellent imagery. I commend you on the diversity of the object sources, this is a model of good decolonial teaching practice – well done!

Before you started going through the slides you said, “I am going to make this as quick and painless as possible.”

You asked if people could hear as there was some noise from traffic outside. You suggested you would close the window but then you didn’t. They did seem to be able to hear what you were saying, so it was fine, but if it was bothering you I think you should have just closed it anyway and asked them to tell you if they were getting too warm.

You gave a very interesting presentation with range of clear photos of historic jewellery items from all over the world. You also included previous student and colleague work, with some more contemporary pieces. This was a nice touch and will have made them feel part of a successful, professional community. Again, well done for this.

When you were explaining a particular type of hinge, Mizuki chipped in to show the example of the spring hinge on her hair claw clip which helped explain the point very well. There was a nice dynamic between both of you throughout the class. It is not always easy to teach with someone else, so you did a seamless job of supporting each other’s points.

When you had finished your presentation you said “Any questions – feel free to ask.” After you said this you tapped fingers on the desk, thus (inadvertently) indicating time was tight. No one asked anything. [Question: are you aware of your body language when teaching? If not, it could be a useful mini experiment to try and tune in to it and write a reflective blog post on that…]

You then asked them to come to front desk to look at some real egs of hinges, whereupon you passed around the 5 hinges and asked them to take notes and ask questions. The desk was well set up, and the examples were good and I could see how interested the students were in this element of the class.

Mizuki jumped in and asked you some questions when the students did not. [Question: what effect do you think it has if the other tutor asks the questions instead of leaving space and time for the students to do so? Is there a way around this, perhaps the other tutor not doing so and reframing the way you ask for their input? Could you use their names to single people out to ask directly maybe? i.e. “What do you think Catherine? What problems can you spot in that eg?”]

You asked them to identify the problem with example 1 – why doesn’t it work. A student answered. You augmented their answer and wrote a note about it down on your flip chart paper, as if modelling what you want them to write. [Question: what do you think they will learn from your note? Is there a different way of getting them to make their own notes if you believe that is a valuable activity?]

You asked them more specific questions with each of the 5 examples, such as: “What has happened to this hinge?”, “Any ideas as to why this has happened?”.

They start talking between them about the minimum measurements required for certain things. It doesn’t look like people are noting or taking that information in but they are discussing it.

You asked to see their initial drawings of the hinges. You pick one out and say it is very nice, inviting the student to talk about the detail. This was great to see, as praise works wonders for engaging students and making them feel more confident to join in discussion.

Then you said, “It is an open discussion – feel free to jump in” and laughed a little nervously. [Question: If you are looking for a group discussion, how might you design this in? Could they speak to each other for a few minutes to answer the question, so they can jointly come up with responses which they can then feed into you? Try it and see perhaps.]

You then moved on to show them the video resources of filmed hinge making processes. These are evidently such a useful resource. As you were starting to show them you said, “I get the general impression that you haven’t watched the video.” [Question: what effect might this have had on the students’ feelings about your expectations of their behaviour?]

You didn’t play the LCF Technicial Resource videos in full, but pointed out how useful they are which was sensible. You played and showed some details of particular processes, and then augmented that with more instruction.

You realised at this point – by looking at a student – that this was too much information, and so you said “Too much info – don’t worry we are here all year round!” which resulted in some laughter. This was a really nice moment of connection and transparent pedagogy – letting them know that you think about your teaching.

After the videos, you passed around a 1 page handout with clear photos of how to make a hinge. Really great and clear resource – well done.

As you talked through the processes, you asked rhetorically, “Am I going too fast?”. You didn’t seem to be, but I think they did need the diagrams that Mizuki then drew in order to be able to clearly see how it was supposed to work.

For eg, Mizuki made a diagram of how to file a groove into the flat edge of both pieces. This seems very helpful. [Suggestion: perhaps you can make a slide of these diagrams to include in your Powerpoint as it was tricky to see in the video stills.]

You advised them to take their time over stage 2 of the process which is challenging – and suggested they get a snack/drink before they do it. Again, this resulted in laughter, which was lovely to see.

You speak very clearly and your voice carries to the back of the room. You set a good pace and frequently checked if they were following. All good practice.

V interesting description of how to make the hinge. The students were listening.

At 10.24am you moved to demonstrate the process live, at a workbench. You suggested they take photos and notes.

You uses a physical resource with parts of a hinge on it to show them the steps. You passed it around and said there was only one. [Question: So useful! Do you need more of them?!]

Mizuki helped students to get in a better position all around the bench so they could all see. This was another good example of you working well together.

Sadly I had to leave after one hour but the demo was going very well, with good attention from the students. During what I saw of your live demo you were using humour about dropping and searching for the tube, air tagging the mitre jig etc. The students were very engaged with some filming it and taking notes.

I can’t speak to your time management as I don’t know if one hour was supposed to get you to the bench, but the time did not seem to drag at all! I was sorry I had to leave. The students were very engaged with your demonstration. I hope they managed to make their first hinges!

All the best with completing the other work for this unit, and let me know if you have any questions.

Part Three

Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:

It was reassuring to hear that us co-teaching was “seamless “and that my sense of humour created a “nice moment of connection and transparent pedagogy”.

By 9:40 there were 13 out of 24 students (by mid class 17). It is great that the warm-up exercise I set to accommodate for late comers was effective. It was suggested I ask those that are late or absent as to why this is. The whole team have attempted to do so, unfortunately their punctuality and attendance has not improved which has led to three groups being merged into two as mentioned in Part 1. We continue to discuss solutions for this as it is very disruptive.

It was also highlighted that I said “I am going to make this as quick and painless as possible” before starting the PP. As the observer pointed out this was a joke, but it could have a negative effect on students. It was indeed a joke, but I hadn’t considered that this could be taken badly and that my body language can affect my teaching, which is why observations are so useful. I will be more mindful of this in future.

Feedback was given on improving how I deliver group discussions, with the suggestion that I allow students to discuss amongst themselves first before giving an answer. It was also suggested that they should write down the answers for the “faulty hinge quiz” not me. Next time I plan this session I will adapt this task to be a group exercise, with additional time to draw a quick sketch of the hinge, discuss and take notes on what’s wrong with it.

I made sure to ask further questions “What has happened to this hinge?”, I have recently researched it and had made note to do so. Although this was not always successful in this session, as it was pointed out that once I asked a question and then answered it myself. I will allow more space for answers in future.

I only showed snapshots of the videos, they were shared with students prior to the class with a reminder to bring their toolkit (Part 1), they are meant to watch these beforehand. When asked at the start of the class, none had watched the videos and half had not brought their toolkits (the obeserver must have missed this interaction). When I said, “I get the general impression that you haven’t watched the video.”, I was expressing some frustration towards this, as this impacts the learning, and the outcomes aren’t completed. Since this session there has been a team meeting, the course leader has decided that if students don’t bring their toolkits, they cannot attend the class and will be marked absent.

I agree with the suggestion, the diagrams should be in the presentation and so should the board with the stage by stage of the hinge. I will photocopy the board, draw the diagrams on illustrator and embed these in the presentation.

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Record of Observation/Review of Teaching Practice Observing a PGCert Peer  

Posted on 10th March 2025 by Emilia Netto

Session/artefact to be observed/reviewed: GCD (Graphic Communication & Design) Yr2 

Size of student group: 15 

Observer: Emilia Netto 

Observee: Clare Bannister 

Note: This record is solely for exchanging developmental feedback between colleagues. Its reflective aspect informs PgCert and Fellowship assessment, but it is not an official evaluation of teaching and is not intended for other internal or legal applications such as probation or disciplinary action. 

Part One 
Observee to complete in brief and send to observer prior to the observation or review: 

What is the context of this session/artefact within the curriculum? 

This is a one-off session I put forward as part of GCD’s (Graphic Communication & Design) Yr2 Skillz week, which is an annual programme offering students on that course the opportunity to gain new skills outside of their regular curriculum. Each student will have signed up to this workshop. It’s meant to be a fun workshop without too much technicality 

How long have you been working with this group and in what capacity?  

I have not met this group before, I don’t normally teach on this course. 

What are the intended or expected learning outcomes?  

The students will be making a ‘mock shop’ using existing assets which I will get them to download at the start of the class. They will need to bring together assets to create a scene with furniture, add textures, then add garments folded and hanging to complete the ‘mock shop’, and then render out some final images. 

What are the anticipated outputs (anything students will make/do)? 

They will work digitally and produce final rendered images for their portfolio or whatever they like 

Are there potential difficulties or specific areas of concern? 

Computer literacy particularly using a PC may be of varying degrees. 

Using 3D software may be new to them too which takes a while to get used to.  

I would like to keep it light and fun but there are still some technical aspects to it. Getting it all done and rendered within the time frame without rushing may be a concern.  

How will students be informed of the observation/review? 

I will inform them verbally at the start of the class 

What would you particularly like feedback on? 

I know there are many areas that I need to improve on. I often struggle to maintain the attention of all students and a lot of students need additional help which takes me away from leading the session and it can disrupt the flow – there can be a lot of variation in students learning speeds within one classroom, and would like feedback on how I manage this.  

I’d like feedback on the speed at which I deliver the content and if I am trying to squeeze too much into one session.   

How will feedback be exchanged? 

Verbally after the session if time, otherwise completing this form and discuss over Teams 

Part Two 

  •  PP slide was on the large screen before students arrived with class title “Making a Mock Shop” (catchy title) with the tutor’s contacts details (great practice) and a link to download files for the class (good preparation). 
  • 6 Students arrived before 10am (class start time). 
  • Instructions were given at 10am to log into computers and which browser to open.
  • One student forgot their password, Clare gave clear instructions on how to re-set the password. 
  • Class starts promptly at 10:07. 
  • Learning Objectives, mentioned at the start of the session.
  • Clare asks students their previous experience with software (great practice). 
  • There are movable “Pop-up/Stickers” on the screen with some information and a link to download the files needed. Great visual tool. 
  • An explanation was given on how to unzip a file (good practice).
  • Clear step by step instructions are given at a good pace.
  • Options, given on how to change the “Gismo” selection tool works. Good for more experienced students as they have options.  
  • Emphasizes hitting stop a few times changing colour and or texture to render as this crashes the programme. Good use of reiteration to emphasize a key point.  
  • Encourages, students to play and experiment (great practice). 
  • Takes breaks from explanation/demonstration often to answer students’ questions/check in/check progress. 
  • Demonstrates step by step how to make a throw using a new AI tool (this is great) and the throw has puppies on, I’m not sure if this as intentional but students did laugh and enjoy this and seemed very keen to design their own throws.  
  • Stickers on screen with commands to undo, space bar to drop, etc. Good visual aids.   
  • Explains positions of objects on the digital 3D space by gesturing and pointing at different spots in the room to demonstrate where the object would be in real life. Good visual tool.  
  • Break at 11:15. 

Feedback on points requested in part one 

  • The session had a good pace, I didn’t notice the breaks in between demonstrations whilst you were helping students as being disruptive, in fact quite the opposite the other students in the room seemed to be focusing on the commands they just learned. This of course will vary from group to group but in this occasion the time in between demonstrations were productive periods, sometimes silence and space in a class are a positive. 
  • You applied differentiation well; I noticed in the lesson plan “cushions?” which you did demonstrate, and this was an additional command if there was time. Differentiation has been applied throughout as different things that can be done with one command.  
  • Digital sessions can be quite tiring, you did mention at around 11:10 that is good to take regular breaks. Could it be worth mentioning this at the start of the class? At the start of the session, you could also offer two different break patterns and ask which one the students would prefer? 
  • Is there a handout in the file they downloaded with shortcuts for commands? This could be a further aid for students when troubleshooting.  
  • Are students shown examples of the final outcome? It is worth considering if this would be an additional visual aid for them to better understand what they are aiming to achieve.  

Part Three 

Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged: 

I had never considered that while I am helping others it gives the others time to practice. This is good to know and makes me consider that a slower pace can be a positive thing. I will consider this in the future, and ensure that I am giving plenty of time for practice.  

I had the cushions in my lesson plan as an option, as its quite a fun one to do but wasn’t sure if there would be time. Also I do like to mix things up a bit for myself, as doing the same thing over and over becomes so tedious and I am better at engaging with the group when there is some variety involved! Going forward I will think about adding more variety and differentiation within my workshops to keep interesting! 

Regarding the breaks, good suggestion so the students know. I have always struggled a bit with communicating much more than the technical content in my sessions, as I feel safe with that. Also good suggestion to give them some options and let them choose. 

Regarding the shortcuts, I did have some print-outs to give away, but I need to make some more or think about creating a new one. Thank you for the reminder to do this! 

I tend to shy away from showing examples of final outcomes because I don’t want to influence what they create, I’m also self conscious to show to any of my own work, something I’ve always struggled with. But Emilia also suggested when talking through in person that I could just even show a picture or photo of a real shop or examples of interiors for some kind of context, which I agree with. 

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Case Study 3 – Assessing learning and exchanging feedback 

Posted on 4th March 2025 by Emilia Netto

Introduction & Background 

I assess learning and exchange feedback in three contexts: in the workshop during supervised studio hours, during timetabled technical consultations and taught sessions. Within these contexts I am limited to assessing and giving formative feedback verbally, often one to one. 

Evaluation 

The main challenge in these contexts is that students sometimes simply follow the advice/instructions without understanding why these were given in the firsts place. This means that the way in which I give information and feedback sometimes does not encourage the students to problem solve and develop their critical thinking. I want to best support students to ask the “why?…what?…how?” questions “which aid deeper thinking and reflection” (Race, Brown and Smith, 2005,p. 150).  I believe a solution to this is a two-pronged approach in which I embed further questions into my teaching to better enable self-directed learning.

Moving Forward 

Asking further questions: This method helps students further reflect on their experience of making and their work. Race, Brown and Smith suggested that further questions are often in a cluster (2005, p.150). These are open ended questions which lead to further reflection.  Some examples are “what worked least well?”, leading to “What have I learned from that?” to “What do I plan on doing it differently in future?” (Race, Brown and Smith, 2005, p. 151). Going forward I will endeavour to include these cluster questions in all contexts in which I assess and give feedback. For example, asking the class why we are following these stages to reach the outcome, i.e. why are we piercing this section first? My aim is that these questions will lead to more successful self-directed learning.

Self-Directed Learning: Lars Lindström states that “self-directed craft forces the student to think for himself, to learn self-reliance instead of merely following directions and so on” (2012, p.174). I agree with this statement, which is why I am currently embedding further questions in my practice in all three contexts mentioned above. I am also working on a handout that contains further questions which relate to the design and making process which I will give to students. For example, in a consultation when a drawing is presented that does not show how the jewellery piece connects, I will guide the student to the cluster of questions that starts with; How does it connect? What materials is it made of? From previous experience how do these materials connect? Have these connections been successful? If not, why? They can initially use the handout to support self-directed problem solving, in time they will no longer need to refer to it as they will have established the habit of asking further questions when designing and thus further developing their critical thinking.

Conclusion

I believe the conjunction of both approaches above will help me best support students. I do hope that in time this is successful, and students can apply their critical thinking skills to their work with more ease and in turn build their knowledge base of materials and techniques.  

References 

Knowles, M.S. (1975) Self-directed learning: A guide for learners and teachers. New York: Cambridge, The Adult Education Co., c1975. 

Lindström, L. (2012) ‘Aesthetic learning about, in, with and through the arts: A curriculum study’, International Journal of Art & Design Education, 31(2), pp. 166–179. doi:10.1111/j.1476-8070.2012.01737.x.

Smith, B. (Brenda M.), Race, P. and Brown, S., 1950 Feb 1- (2005) 500 tips on assessment. 2nd ed. London; New York: Routledge. 

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