Showing posts with label peer learning. Show all posts
Showing posts with label peer learning. Show all posts

Sunday, November 1, 2020

Developing a Peer Support Programme: Part Three: Online Creative Practitioner Support Programme

 I've not talked about the Creative Practitioner Support Programme on here in while so catch up with part one and part two first if you like!

Like with everything in 2020 the Creative Practitioner Support programme had to move online due to COVID. For the programme this transition was not too painful and in the end quite rewarding.

The main reason we were able to make this transition quickly was that we already had an online home, our Facebook Page, which allowed us to easily make contact with our attendee. We did not miss a session and went straight online the week of lockdown, letting our attendees know we would be there for their creative outlet needs!

There where changes to our online delivery

  • We went from hosting 2 sessions a month, to a session every week
  • We explored Zoom before Facebook introduced Rooms
  • We were able to extend our offer to those outside of Colchester/the surrounding area

The main difficulties came from the tech (as always!), getting people onto Zoom, Zoom cutting out after 40 minutes and then once we moved to Facebook Rooms the issues of attendees not having Facebook accounts!

As we get use to the 'new normal' (sorry), the Creative Practitioner Support Programme sessions have gone back to twice a month, giving attendees time between session for their practice to grow.

One of the benefits that has comes from online offer has been the ability to grow our community, but also for our community to take more ownership of the Facebook Page. The page, unlike our in-person offer, is active 24/7 and attendees can - and do - post outside of our scheduled sessions. This is great as it allows for creatives to access advice and support whenever they need it and it also allows conversations to carry on over a longer period of time.

It will be exciting to see what happens with the Online Creative Practitioner Support Programme going forward!

If you would like to join us, give the Facebook Page a 'like'.

Sunday, May 10, 2020

Developing a Peer Support Programme: Part Two: Creative Practitioner Support Programme

Need to catch-up? Read part one here.

Expansion came in the form of moving to work with SPACE to develop the idea of a peer support programme.

Many of the same principles stood from Colchester Crit Collective, including the importance of it being something that happens outside of traditional arts education, with a much simpler structure (Vidokle and Rosler, 2008). We wanted to create a respectful environment in which peer feedback could be shared to help develop the practices of our attendees (Hattie and Timperley, 2007). Having SPACE as a permanent location for the sessions allowed us to develop this environment, as attendees start to become comfortable and accustomed to the room that sessions are held in (Davila and Waterston, 2009).

The Graduate and Creative Practitioner Support Programme was officially launched in October 2018 and offered two free sessions a month to creatives and continues to this day as the Creative Practitioner Support Programme. Sessions now run every third Thursday and fourth Saturday at 12-2pm. This along with the regular rooming makes the sessions more welcoming and predictable. 



The notion of building a supportive community (Day, 2012) is at the heart of what we do. Since we moved to the regular time slot, the session attendance has grown and we have started to create this community of creatives who are from in and around Colchester, each with their own practices.

The sessions allow for facilitated dialogues to take place (Lermans, 2018), rather than the sessions being a free-for-all, there is an element of structure. As the session facilitator I will manage attendees expectation and keep an eye on timing. Each attendee is asked if they wish to show work or are just there to observe. Those showing, will be asked to outline what it is they want from the session; do they have a specific set of questions they want answering, do they want their peers initial reactions to work. or something else. This allows for attendees to access the kind of support they require. This is also beneficial to attendees in terms of being able to bring more perspectives to the development and aid problem solving (Latham, 2018). Peers are able to offer critical analysis, allowing attendees to expand their practices and to sharing knowledge (Davis and Tilley, 2016).  Receiving peer feedback also highlights the opportunity for the attendees to become more self-reflective and critical about their own practices (Percy, 2004). 

Our Facebook group has also grown, bringing together our attendees on a digital site. This has allowed us to implement the use of technology into our offer (Wojak and Miller, 2015), allowing all of the elements listed above to continue outside of the meeting room. We currently have around 70 members within our Facebook group. This group is actively used by attendees, to continue conversations and for networking.

The Creative Practitioner Support Programme is currently in its second year. We will be running sessions every third Thursday and fourth Saturday until July 2020, when we stop for the summer break. 


References


Davila, J. and Waterston, E. (2009) Art Quilts at Play: Ignite Your Inner Artist-Experiment with Surface Design Techniques. C&T Publishing.

Davis, R. and Tilley, A. (2016) What they didn’t teach you in art school: What you need to know to survive as an artist. Ilex.

Day. P. (2012) The Are Group Crit: How do you make a firing squad less scary? [online] Available at: arts.brighton.ac.uk/projects/networks/issue-18-july-2012/the-art-group-crit-how-do-you-make-a-firing-squad-less-scary. [accessed 30/01/20].

Hattie, J. and Timperley, H. (2007) The Power of Feedback. Review of Educational Research. 77 (1).

Lermans, L. (2018) Critical Response Process. [online] brooklynartscouncil.org. [accessed 04/02/20].

Percy, C. (2004) Critical absence versus critical engagement: Problematics of the crit in design and communication in Higher Education. 2 (3),

Vidokle, A. and Rosler, M. (2008) Exhibition as School as Work of Art. [online] www.art-lies.org/article.php?Id=1661&issue=59&5=1. [accessed 05/02/20].


Wojak, A. and Miller, S. (2015) Starting Your Career as an Artist: A Guide to Launching a Creative Life. Allworth Press; Second Edition.

Sunday, April 5, 2020

Developing a Peer Support Programme: Part One: Colchester Crit Collective

My plans to start a peer support programme started in 2018 while completing my MA Fine Art. The Professional Development module prompted me into action.



The rationale behind this decision was that after completing my BA Fine Art in 2016 I felt something of a creative isolation. Suddenly there was no-one to talk to about my practice and I felt as a result my work stopped progressing. In creating a creative support network, I hoped to develop my own art world (Tilley and Davis, 2016), of like-mined creatives. 



My focus was on the ‘art world’ rather than the ‘art market’ as I am more interested in the exchange of thoughts and ideas, than brute wealth (Thornton, 2009), as I felt that this would be more beneficial to my art practice and continued development - albeit, not as beneficial to my livelihood. However, the art world is larger than just the art market (Thornton, 2012).

I felt that there was a gap in the market for this kind of set-up based on my own lived experience. While Colchester plays host to many art groups, I had not found anything locally which put sharing ideas and feedback at its centre. 

Initially I started to develop Colchester Crit Collective, which brought together peer feedback and tea and cake. These sessions where hosted in a number of different cafes, as finding a free venue proved impossible. As the sessions where free to attend, there was no money to pay for venue hire. At this stage my lack of interest in money was doing the development of the sessions a disservice, as while I am interested in an meeting of minds, businesses are very much interested in the exchange for services for money. 



However, I felt that the groups being free was important and was also a common theme within my research (Thorne, 2012 and Madoff, 2009), just think, The Copenhagen Free Art School (Madoff, 2009).

The intention of Colchester Crit Collective was to create a group which would run regularly and give creatives a sense of stability and at its heart would focus on providing a supportive platform  for artists to show work, test ideas and receive critical feedback from their peers (Day, 2012), outside of an educational context.  Allowing creatives to develop their practices (Percy, 2004) and receive feedback opening the opportunity for development of work and possible collaborations and events (Davis and Tilley, 2016).

The Format 

·       Artists will be invited to join the monthly Colchester Crit Collective sessions–there is no commitment to attend all sessions (but it is encouraged!)

·       Sessions will take the form of an informal table discussion

·       Artists not showing works are encouraged to join and offer critique


Running Order
  1. Start-Welcome and Introductions
  2. Artists invited to layout work/documentation/ideas on the table
  3. Group Discussion
  4. End–Networking Opportunity

Showing Work

·       Artist are invited to bring work or work in progress to be critiqued and it is strongly recommended that artist have an aim for the session, such as questions they want answers to (in relation to how their work is developing, intent, content, use of materials, exhibiting etc.


As my Professional Development module came to an end the wheels started to come off Colchester Crit Collective, it had been successful in terms of creating a small community of creatives, attendees were encouraged to bring along their creative friends to expand the network (Bhandari and Melber, 2009). However, it was clear that expansion was needed to create something viable. 

Coming Soon

Developing a Peer Support Programme: Part Two: Creative Practitioner Support Programme

References

Bhandari, H. D. and Melber, J. (2009) ART/WORK: Everything You Need to Know (and Do) As You Pursue Your Art Career. FreePress; Original ed.

Davis, R. and Tilley, A. (2016) What they didn’t teach you in art school: What you need to know to survive as an artist. Ilex.

Day. P. (2012) The Are Group Crit: How do you make a firing squad less scary? [online] Available at: arts.brighton.ac.uk/projects/networks/issue-18-july-2012/the-art-group-crit-how-do-you-make-a-firing-squad-less-scary. [accessed 30/01/20].

Madoff, S. H. (2009) Art School: Propositions for the 21st century. MIT Press.

Thornton, S. (2012) Seven Days in the Arts World. GrantaBooks.

Tilley, A. and Davis, R. (2016) What They Didn't Teach You in Art School: How to Survive as an Artist in the Real World. Ilex Press; 01 Edition.

Thursday, November 28, 2019

Post-it Note Appreciation

If I could only use one resource within my teaching, it would be post-it notes. In short, I love them. Below I expand how I use them and why I could not be without them.

For Planning

My use of this versatile resources starts in the planning stages. I will use them to organise my thoughts for a session by writing on each something that needs to be covered; learning objectives, connect activity, recap*. Once I have writing down everything, I think I need to cover I will place these on a large sheet of paper in the correct order.

*Side note, at this stage the post-it notes are as vague as just the titles of activities, once I have consolidated a running order I will return and add detail.

At this point I will start to consider the session length and how long each point will take to cover. Then I can either fill in the gaps of time with added activities or see what can be omitted from the session if it is running long. It is the movability of the post-it notes that I love, it allows you to not get the planning right straight away, gives time to reflect on the flow of the session and clearly shows each activity as a block of time.



I have used this method when planning a two-day training programme, totalling 14-hours of delivery. By using this method, I found that I could much easier – in comparison to working straight onto a session plan for example (or anything digital for that matter) to visualise the time and work with it. I could move activities from day one and two without hassle and follow the flow of the training.

Using the post-it notes in conjunction with a large sheet of paper allowed me to expand on these ideas and assign them to parts of the session plan. When planning I follow the CSPAR Session plan: Connect, Share, Present, Apply, Review. CSPAR has clear links to the Kolb’s Experimental Leaning Cycle (1984), giving learners a change to experiences something new, reflect on that, conceptualise it and apply it to the world around them.



From the paper-based planning I am then able to create the expected session plans with little confusion.


For Group Work

I am a big advocate of using group work within session, as I believe that peer-learning is so important. However, I am yet to meet a group of learners who is thrilled to be set group work – particularly when it means splitting them up into new group formations. This technique lends itself well to random allocation (Hartley and Dawson, 2010), so it is not ideal if you are wanting to take advantage of MKO’s (Vygotsky, 1978). 

However, I have found that splitting learners up with the use of Post-it notes makes the task less odious on me as the teacher. Possibly due to the random aspect of it and learners not feeling singled out (?).  

I will use the same post-it notes in several ways in the same session to sort learners out into groups, they are as followed;

  1. By post-it note colour (this can be limiting if you do not have an array to pick from)
  1. By adding numbers to the post-it notes
  1. By adding letters to the post-it notes




I usually stop here due to small cohort sizes meaning that by this point most learners have worked with each other and due to length of session and wanting tasks set to be meaningful, not rushing through. However, you can expand this further by adding different symbols or words.

By using this technique and implementing group work I am able to embed wider skills into the session including developing their communication skills (Hartley and Dawson, 2010).


For Peer Feedback


Within my Exploring Drawing and Illustration course I allow for time at the end of activities for learners to clear feedback on each other’s work, on post-it notes. They are encouraged to write two points; something positive and something to work on, allowing for reflection and development to take place (Sackstein, 2017). Due to the nature of the course being short and unaccredited the focus is primarily on the positive. With the aim being to encourage learners and build confidence.



Learners have some control over what they receive feedback on, by leaving their sketchbooks open on a certain page.  They are also allowed to leave their feedback anonymously, creating a feeling of a safe peer assessment setting (Rotsaert, Panadero and Schellens, 2017).

From my perspective the most important thing with this type of activity is that it is carried out with respect and that it encourages conversation and sharing of ideas.

Regarding the subject matter, it is also a very effective way of showing the learners that each of them has their own style of drawing and illustration and that, that is OK. 

References

Hartley, P. and Dawson, M. (2010) Success in groupwork. Basingstoke: Palgrave Macmillan. (Pocket study skills).

Kolb, D. A. (1984). Experiential learning: Experience as the source of learning and development (Vol. 1). Englewood Cliffs, NJ: Prentice-Hall.

Rotsaert, T., Panadero, E. and Schellens, T. (2017) Anonymity as an instructional scaffold in peer assessment: its effects on peer feedback quality and evolution in students’ perceptions about peer assessment skills. European Journal of Psychology of Education. January 2018, Volume 33, Issue 1.

Sackstein, S. (2017) Peer Feedback in the Classroom: Empowering Students to Be the Experts. ASCD.

Vygotsky, L. S. (1978). Mind in society: The development of higher psychological processes. Cambridge, MA: Harvard University Press.

Tuesday, October 22, 2019

Welcome


In this blog I will be exploring both my art practice and teaching philosophy, with a view to examine how the two co-exist.

A synopsis of my art practice:

My art practice explores the use of text and site. I often use found text within my work and will draw upon the texts original meaning to guide my practice. The use of our shared public language is essential to the works success.

Within my practice I create site specific installations and work with the concept of text/context to create works which resonate with the site. One of the aims of my art practice is to create situations in which dialectical relationships can take place between; the art and the audience/the art and the site.

My practice take a DIY approach and I strive to use materials that are inexpensive; such as electrical tape and ready mixed paint and processes which are easily accessible.




My teaching background:

I am currently teaching unaccredited art courses within an Adult Community Learning setting. Within this role I plan and deliver short art courses, the themes of these include, ‘Exploring Drawing and Illustration’.

As well as this I work part-time as a Study Skills and PASS (peer assisted student success) Adviser in a Higher Educational setting. Within this role I plan and deliver sessions, conduct 1-2-1 tutorials and facilitate PASS Leader Training. Sessions range from presentation skills to leaflet design.

I am also currently running a Creative Practitioner Support Programme at SPACE Colchester, 37 Queen Street. Each month will see two artist feedback sessions open to all creatives; whether they are still studying, graduated, emerging or re-emerging. Offering opportunities for peer-to-peer feedback on work-in-progress.

Previously I have worked within an FE setting teaching Art and Design.