Fflur's PGCert blog – Just another myblog.arts site

Written reflection –

Year 1 Creative Identities unit, BA (Hons) Cordwainers Fashion Bags and Accessories

Introduction

Over the past year, I served as an acting joint Course Leader, this position gave me valuable insights into course management and the challenges Course Leaders face, helping me better support them in my permanent Lecturer position. I was responsible for creating assessment briefs, which allowed me to review and improve processes using my experience and PGCert knowledge.

As mentioned in the intervention introduction, I’m eager to transform the Year 1 unit “Creative Identities” (Assessment Brief – Appendix 1), where students explore their identities as designers. I’ve observed that students often struggle to identify meaningful aspects of their identity, instead choosing loosely related topics like cars, makeup, or animals. While these can reflect identity aspects, the unit aims to help students explore their unique qualities as designers. In this review, I will assess how educators can better support students in identifying and sharing meaningful aspects of their identity for this project.

My Positionality

As a recent graduate from an Accessories course, I understand what students might experience while studying in London. While I can’t fully relate to the experiences of international students as a white British citizen with no experience living abroad, I will explore how I can use my position to enhance their experience through my teaching.

As a bilingual speaker with Welsh as my first language and English as my second, I understand the barriers multilingual learners face. I strive to use professional academic language in my teaching but ensure it is easy to understand (Inclusive language). I will offer digital copies of documents in PDF format so students can use translation or read-aloud programs if needed (Accessible Learning). Additionally, I will ensure gender-neutral and culturally sensitive language in all future sessions.

Interestingly, Zepeda (2021) notes that “bilingualism opens avenues for greater self-esteem, a stronger sense of identity, and enhanced awareness of cultural diversity.” From my experience, I agree, but this doesn’t seem to hold true for many of our students. Bennett (2012) suggests that international students may struggle with identity exposure due to cultural and linguistic barriers. Could this be a reason why this issue arises in this unit?

I come from a rural Welsh working-class background, and this upbringing deeply influenced my creative work. I draw inspiration from the Welsh landscape, culture, and traditions, using found natural materials to create sustainably. As a student, I was proud of my background because it gave me a unique perspective to incorporate into my work. I found projects like Creative Identities exciting, as they allowed me to explore my cultural heritage while learning about my peers’ backgrounds too.

Gurin et al. (2002) explain that classroom diversity significantly enriches the student experience by bringing together various cultural backgrounds, perspectives, ideas, and skills—a sentiment I wholeheartedly agree with, as it greatly enhanced my time as a student. This diversity also creates a learning environment that mirrors the global society students will encounter after graduation, as Lynch (2015) suggests.

Bennett (2012) explains that when students navigate their personal and academic identities through creative mediums, they can form deeper connections to their work, enriching their learning experiences. This suggests that overcoming challenges in this unit may be more manageable due to the creative nature of our course. It also prompts me to consider how we can creatively engage students and build their trust through our teaching methods.

After a discussion with my tutor Cai, I realised how limited my perspective has been in understanding why some students hesitate to celebrate their identities. Having been taught from a young age to embrace my culture/heritage and language, I now see that not everyone shares this experience. Asking students to celebrate themselves can feel patronising or exposing, which may explain the lack of engagement in classroom discussions about their work and chosen themes. If students feel uncomfortable or disadvantaged by revealing their identities, they will naturally withdraw.

Following this discussion, I identified potential barriers within the unit and spoke with some students (Appendix 2) to gain a deeper understanding of their perspectives.

Here are a few suggestions –

Cultural differences- Some students place a higher value on privacy regarding personal expression, they may also believe that personal identity should be separate from academic work.

Fear of being stereotyped.

Fear of not “fitting in”.

Students may feel less confident expressing deeply personal ideas in a non-native language.

International students may be unsure how personal expression is viewed in academic settings.

Students may fear facing prejudice or bias if they openly express their identity.

“Playing it safe” – By choosing a theme that compliments the given brand, students might find it easier to get a “good grade”.

Many students are still discovering who they are, especially those aged 18-20, who made up 70% of the Year 1 Accessories cohort this year (Data from https://dashboards.arts.ac.uk/ ). Even though everyone is different, it takes time to truly understand yourself. I’m only just beginning to feel comfortable with certain aspects of who I am, and I imagine many others are still on that journey too.

“They might not understand the meaning of Identity”.

Being aware of the points above, I will be more understanding of students’ positionalities and better prepared and able to support them.

My final positionality that could influence the unit is my dyslexia. I haven’t disclosed this when teaching so far, and I wonder about the impact of doing so. Could being more open and vulnerable about my own identity make students more willing to share aspects of theirs?

Intervention

My proposal aims to make the learning environment more inclusive and accessible, shifting the burden from students. By embedding inclusive practices directly into my teaching, I hope to achieve immediate, visible benefits. I aim to help students understand who they are as designers, and how this is connected/influenced by the cultural and societal values they hold. Unfortunately, I will not be able to try this session with students before submission for feedback, but I have been discussing the changes with staff and students for feedback.

My first task for this unit is ensuring the students understand the brief (Briefing PowerPoint Appendix 3), this includes understanding the meaning of Identity –

(Above: Slide from the Briefing session PowerPoint – Identity meaning)

In the workshop we will discuss “Identity” and in groups, students will start listing all the possible identity aspects they could explore e.g. see some examples below

Race and Ethnicity

Gender and Gender Identity

Sexual Orientation

Cultural Background

Religion or Spiritual Beliefs

Socioeconomic Status

Nationality

Language

Disability or Ability Status

Age

Educational Background

Career

Political beliefs

Body Image / Physical Appearance

This would be a fun interactive large group activity where students would use Post-it to list different Identity aspects, another alternative option (and if the class needed to be online) is to use a Miro board. Once the students have created a list of aspects, we would spend time as a group discussing how some of the selected aspects would influence a design brand, this would help the students establish what is expected from the task.

Additionally, I will also integrate the following culturally responsive teaching (CRT) methods and inclusive practices into the Creative Identity sessions, to recognise and honour students’ cultural backgrounds, and to create an inclusive and effective learning environment.

Culturally Responsive Teaching: Jabbar et al. (2016) concluded in their paper that “current curriculum structures and pedagogical approaches favour the dominant non-ethnically diverse learner”, therefore more needs to be done to help ‘cultural branching’. Ensuring Cultural awareness and representing diversity in my sessions is critical, by doing so, I aim to positively influence my relationship with students, demonstrating genuine interest and building trust. Integrating cultural references into my lessons is essential for ensuring inclusion and diversity. Additionally, it is important to review these references annually to maintain accuracy and relevance.

Inclusive Curriculum: Reviewing the session to ensure I include examples of perspectives from diverse representation (Chalmers, F.G. 1996), it’s also important to ensure the examples are culturally relevant so students relate to the content. I have examples of designers who use their own identity within their work to create their brand’s USP to help students understand the task and inspire creativity (Appendix 3).

Responsive Teaching Practices: Use varied teaching methods to address different learning styles. In Workshop 1 of the Inclusive Practices unit, I was introduced to Persona Pedagogy— a concept new to me, but I realized I had used its principles before. This approach introduces the exploration of “Identity” in a safe way. I plan to have students create an identity mind map based on a friend, family member, or icon, rather than their own identities. This shift helps students explore identity themes without risking overexposure, giving them time to reflect on what aspects of their identity they are comfortable sharing (Thomas, C. 2022).

(Above: Slide from the UAL PGCert Inclusive Practices Unit)

Then students will review the identity mind maps in interactive groups to foster discussion and openness.

Another method, suggested by Steve Johnson during our APR session, involves acting like a “buffoon” to break the ice and help students feel more confident in expressing their opinions. While I might not use this approach personally, I plan to be more inquisitive to show genuine interest in students’ work. By asking challenging questions about their design choices or offering suggestions, I can prompt reactions and help them develop a stronger creative voice.

Student-Centred Learning and Active Learning Strategies: This unit is designed to encourage students to share aspects of their identities and collaborate. The group presentation component fosters teamwork and allows students to demonstrate their understanding in various formats, such as video, presentation, imagery, or performance. I also plan to schedule additional small group Formative Assessment Points (Flexible Assessment) (Wanner, T. et al. 2015) to encourage discussions and diverse perspectives (Student Involvement), ensuring students receive peer and tutor feedback in an intimate setting (Supportive Environment). While examples of past projects are available on Moodle, I emphasise that these are for reference only, as students need to have the freedom to experiment with different forms of expression.

Reflections

By implementing these interventions, I aim to enhance the inclusivity of my teaching and help students feel more confident in engaging with the project. I will regularly reflect on and assess my teaching practices to ensure they remain inclusive, and I plan to seek annual student feedback for further improvement. Additionally, I’ve come to appreciate the value of collaboration since completing my PGCert. Setting regular reflection points with colleagues and students will allow us to learn from each other’s experiences and benefit the entire team. The Accessories team will be briefed to support the goals outlined above, we meet often to discuss issues and address any upcoming concerns. Involving students in course planning and decision-making will encourage them to be more invested in their learning, which could positively influence attendance (Cook-Sather, A., et al. 2014).

Another future goal is to gather insights from incoming students and tailor course content accordingly.

I will also prioritise professional development by continually learning about inclusive teaching, attending workshops both internally and externally of UAL, reviewing current research, and collaborating with colleagues on inclusivity initiatives.

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References

Bennett, D., (2012) A Creative Approach to Exploring Student Identity. Curtin University, Australia. The international journal of creativity & problem solving 2012, 22(1), 27-41. Available at: https://www.academia.edu/download/39993936/Bennett_22-3_.pdf (Accessed: 03 August 2024).

Chalmers, F. G. (1996). Celebrating Pluralism: Art, Education, and Cultural Diversity. United States: Getty Center for Education in the Arts. Available at Google Books: https://www.google.co.uk/books/edition/Celebrating_Pluralism/a24cDAAAQBAJ?hl=en&gbpv=1&printsec=frontcover#v=onepage&q&f=false (Accessed: 04 August 2024).

Cook-Sather, A., Bovill, C. and Felten, P., (2014). Engaging students as partners in learning and teaching: A guide for faculty. John Wiley & Sons. P. 5 + P.17 Google Books Available at: https://books.google.com/books?hl=en&lr=&id=wBoRAwAAQBAJ&oi=fnd&pg=PA1&ots=kLv1nY90Tx&sig=05OciLDC2m-iTFjGXeG3_mQg0eU (Accessed: 04 August 2024).

Gurin, P., Dey, E. L., Hurtado, S., & Gurin, G. (2002). Diversity and Higher Education: Theory and Impact on Educational Outcomes. Harvard Educational Review, 72(3), 330-366. Page No.11. Available at: https://escholarship.org/uc/item/9f77t8j3 (Accessed: 17 July 2024).

Jabbar, A. and Mirza, M. (2017) ‘Managing diversity: academic’s perspective on culture and teaching’, Race Ethnicity and Education, 22(5), pp. 569–588. doi: 10.1080/13613324.2017.1395325. Available at: https://www.tandfonline.com/doi/full/10.1080/13613324.2017.1395325#abstract (Accessed:20 July 2024).

Lynch, M.(2015) Diverse Conversations: Why Diversity on Campus Matters in Real World. Available at: https://www.diverseeducation.com/home/article/15096613/diverse-conversations-why-diversity-on-campus-matters-in-real-world (Accessed: 15 July 2024).

Thomas, C. (2022) Overcoming Identity Threat: Using Persona Pedagogy in Intersectionality and Inclusion Training. School of Social Works & Arts, Faculty of Arts & Education, Charles Sturt University, Wagga Wagga 2678, Australia. Available at: https://www.mdpi.com/2076-0760/11/6/249 (Accessed: 26 July 2024).

Wanner, T. and Palmer, E. (2015) Personalising learning: Exploring student and teacher perceptions about flexible learning and assessment in a flipped university course, Computers & Education, Volume 88, Pages 354-369 Available at: http://www.maktabe-hekmat.ir/wp-content/uploads/2018/12/2015.-student-and-teacher-perception-in-FC.pdf (Accessed: 22 July 2024).

Zepeda, M.(2021) How dual language learning fosters inclusivity and nurtures talent. Available at: https://www.first5la.org/article/how-dual-language-learning-fosters-inclusivity-and-nurtures-talent/ (Accessed: 22 July 2024).

UAL Accessories course data –

https://dashboards.arts.ac.uk/

UAL research paper –

Document Preview – Students’ Experience of Identity and Attainment at UAL – Fine Art report (2016) Duna Sabri (PDF 463KB) (arts.ac.uk)

Appendix

Appendix 1 – Assessment Brief for Creative Identity

AB-CI-23-24 Download

Appendix 2 – Questions sent to students and colleagues to help me form my intervention. I received 6 replies from students with interesting feedback and points I hadn’t considered. Although I didn’t receive any replies from staff members who work on this unit, I was able to verbally discuss the project with a couple of colleagues to gain some additional insight too.

I have not included all the student replies below, as some of the replies were very personal and lengthy, I can anonymise and upload if required.

Introduction-

As a part of my PGCert work, I’m trying to ensure that our first-year Unit – Creative Identity (previously known as Product Creativity) is more inclusive and accessible. As a student who’s passed this unit successfully, I would be very grateful for your feedback on how you believe this unit could be enhanced.

In the past, I’ve noticed a tendency among students to hesitate in fully embracing their identities within their coursework. While they exhibit enthusiasm in exploring established brands, they encounter difficulty in discerning which aspects of their own identity to centre their focus on. Often, they choose topics loosely connected to their interests without a clear alignment with the assignment’s objectives. For instance, this year, some students chose to explore sea creatures due to a general affinity for marine life. In my view, this reflects a missed opportunity for the students to engage deeply with the assignment brief and to utilise the platform for self-exploration and personal growth.

(Questions for students)

Can you suggest ways we could create a teaching environment that encourages students to explore their own identities comfortably?

As a student who successfully completed this unit, what factors made you feel confident in exploring your chosen aspect of identity?

If you had the opportunity to retake the unit, what changes would you make? Would you consider exploring a different aspect of your identity?

How can I, as the unit leader and UAL staff member, support you in exploring your identity?

Do you consider UAL a safe and inclusive space where you feel confident exploring your own identity? Please elaborate, relating to both your academic work and day-to-day life on campus.

Lastly, regarding your response to question 5, do think this applies to all UAL students regardless of their Identity (e.g. cultural heritage, sexual orientation, race, political beliefs etc…

(Questions for Staff)

Can you suggest ways we could create a teaching environment that encourages students to explore their own identities more comfortably?

Why do you think some students feel confident in exploring their chosen aspect of identity whilst others are hesitant?

Can you suggest ways unit leaders and UAL staff members, can support students in exploring their identities?

Do you consider UAL a safe and inclusive space where students feel confident exploring their identity? Please elaborate, relating to your experiences working with students.

Appendix 3 – PPT for Briefing session 23/24

Creative-Identity-Brief-PP-23-24 Download

Appendix 4

Identity example – Designer 1

Identity example – Designer 2
August 13, 2024
I’m Fflur, currently serving as the Joint Acting Course Leader and a Lecturer for the BA (Hons) Cordwainers Fashion Bags and Accessories at London College of Fashion.

My interest in evolving my teaching methods has grown, stemming from my background in a more technical field. After completing a Master’s in Accessories at the Royal College of Art years ago, I embarked on my creative journey, establishing my own practice at Cockpit Arts Studios. Over a decade ago, I delved into the world of academia, working as a part-time Technical team member on the BA Accessories course at LCF to support my creative pursuits.

Since then, I’ve had the privilege of teaching regularly and am currently a full-time member of the staff on the Accessories course. Working with creative minds is my passion, and witnessing students navigate and overcome challenges in their design processes is incredibly rewarding.

With my PGCert, I aspire to gain a deeper understanding of positively influencing my students, mastering the art of adapting my teaching to different situations, and overall enhancing the course experience for both students and staff. My focus is on developing innovative techniques to motivate students and sustain their engagement.
Race – Blog 3

Various approaches to addressing racism

Bradbury, A. 2020. A critical race theory framework for education policy analysis.

Alice Bradbury’s paper discusses the use of (CRT) Critical Race Theory combined with policy sociology to analyse education policies and their impact on racial inequalities. The paper uses the example of the Baseline Assessment, introduced in England in 2015-16, to illustrate how policies can prolong racial inequalities, especially for bilingual students. Through the lens of anti-racism, Bradbury’s framework emphasizes the need for educational policies that recognize and address systemic biases, ensure inclusive practices, challenge colourblind ideologies, and use data to promote racial equity. Her approach aligns with broader anti-racist goals of dismantling structures that perpetuate inequality and creating more just and inclusive educational policies.

Bradbury exposes hidden racism by showing how educational policies can seem fair but keep racial inequalities in place, especially for bilingual students.

Using ideas from CRT, Bradbury examines policies to find hidden racial biases. Policy analysist is important for creating anti-racist policies.

Fair Assessments highlight the need for tests that consider the diverse backgrounds of students. Anti-racist policies should make sure assessments are fair for all students.

Bradbury criticises policies that ignore race (Challenging “Colorblind” Policies), anti-racist policies should openly consider race to tackle inequalities.

Policies to Promote Equity, by providing a CRT-based framework, Bradbury suggests that policies can help promote racial fairness. This means not just reviewing current policies but also creating new ones that support minoritized students.

Bradbury suggests the importance of analyzing data to reveal and fix racial disparities. Anti-racist policies can use data to drive changes to promote equality.

Garrett, R. (2024). Racism shapes careers: career trajectories and imagined futures of racialised minority PhDs in UK higher education

Garrett’s work addresses how racism impacts the career paths and futures of racialised minority PhDs in UK higher education. The academic facts show a decrease in BAME (Black, Asian, and Minority Ethnic) students progressing to higher academic positions, with a notable disparity for Black students.

The various approaches to addressing racism discussed in Garret’s work underscores the critical need to address systemic biases in higher education. Garrett’s findings highlight the structural barriers and cultural biases that hinder the progress of racialized minority PhDs. To improve the situation within higher education, Garrett suggests actively identifying and eliminating racism by changing policies and attitudes.

Having read Garrett’s paper, here are a few points noted to help address
racism in HE. Interestingly, Asif Sadiq his TEDx talk (Diversity, Equity &
Inclusion. Learning how to get it right) agrees with many of the strategies to
help promote Diversity, Equity, and Inclusion (DEI) in organizations-

Ensuring that HE institutions reform their policies (and re-visit them often) to ensure they promote equality in recruitment, retention, and promotion
processes for minority academics.

Ensuring there are adequate support networks specifically tailored for BAME students to navigate the academic landscape (mentoring programmes etc).

Ensuring training for all staff to highlight and hopefully eliminate conscious and unconscious biases that affect decision-making. I personally have mixed feelings about the this type of training having read more about the topic. UAL ensures all staff members complete compulsory training “Anti-Racism
Development Programme”, but this can be perceived as controversial as explained by Prof. A. Amhed in the The Telegraph Video (2022) ‘Revealed: The charity turning UK universities woke’, he explains how “Implicit Bias” training “really doesn’t work”, he thinks “anti-racism training is much worse than a waste of money” because it involves the “actual pushing of a particularly ideological line” (e.g. White fragility etc). Interestingly when James Orr interviewed a student later in the video, they suggested training is good as “it’s all about learning, understanding each other”.

Garrett also suggests ensuring funding, resources and opportunities for research for the professional development of minority scholars.

The importance of collecting and publishing detailed data on diversity to
monitor progress and accountability in addressing racial disparities in
HE.

Asif Sadiq suggests leaders must model inclusive behaviour and set the tone for an inclusive culture within an establishment.

Ensuring support to encourage the creation of groups to foster community and provide support.

By integrating these anti-racist strategies, HE institutions can move towards creating an environment where racialised minority students have equal opportunities to succeed and thrive in their academic careers.

Resources –
Journal articles:
Bradbury, A., 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), pp.241-260. Available to download from Moodle via the Readings & Resources folder.

Garrett, R. (2024). Racism shapes careers: career trajectories and imagined futures of racialised minority PhDs in UK higher education. Globalisation, Societies and Education, pp.1–15. Available to download from Moodle via the Readings & Resources folder.

Sadiq, A. (2023) Diversity, Equity & Inclusion. Learning how to get it right. TEDx [Online}. Youtube. 2 March. Available at: https://www.youtube.com/watch?v=HR4wz1b54hw

Orr, J. (2022) Revealed: The charity turning UK universities woke. The Telegraph [Online]. Youtube. 5 August. Available at: https://www.youtube.com/watch?v=FRM6vOPTjuU

Channel 4. (2020) The School That Tried to End Racism. [Online] Youtube. 30 June. Available at: https://www.youtube.com/watch?v=1I3wJ7pJUjg

McIntosh. P. Unpacking the Invisible Knapsack [Online]: wellscathedral.org.uk/wp-content/uploads/2020/07/Peggy-McIntosh-BLM-essay.pdf
July 13, 2024
I’m Fflur, currently serving as the Joint Acting Course Leader and a Lecturer for the BA (Hons) Cordwainers Fashion Bags and Accessories at London College of Fashion.

My interest in evolving my teaching methods has grown, stemming from my background in a more technical field. After completing a Master’s in Accessories at the Royal College of Art years ago, I embarked on my creative journey, establishing my own practice at Cockpit Arts Studios. Over a decade ago, I delved into the world of academia, working as a part-time Technical team member on the BA Accessories course at LCF to support my creative pursuits.

Since then, I’ve had the privilege of teaching regularly and am currently a full-time member of the staff on the Accessories course. Working with creative minds is my passion, and witnessing students navigate and overcome challenges in their design processes is incredibly rewarding.

With my PGCert, I aspire to gain a deeper understanding of positively influencing my students, mastering the art of adapting my teaching to different situations, and overall enhancing the course experience for both students and staff. My focus is on developing innovative techniques to motivate students and sustain their engagement.
Inclusive Practice – Faith – Blog Post 2

Reki, J. (2023) Religious Identity and Epistemic Injustice: An Intersectional Account. Hypatia 38, pp779–800.

The article discusses how Muslim women who practice veiling face epistemic harms due to the intersection of their religious identity with gender and racial assumptions. Their choice to wear a veil is often misinterpreted, leading to prejudices and misunderstandings that affect their credibility and social status.

Jaclyn Rekis refers to Christian abolitionist and feminist, Sojourner Truth’s testimony, and highlights how religious beliefs intersect with her race and gender. Truth’s intersectional identity led to her being marginalised, despite her significant contributions to both religious and social justice movements.

The text explains how religious individuals, and those from minority faiths, can experience epistemic injustice in daily secular environments especially when combined with other identity aspects such as race or gender. To the extent, that their testimonies, or accounts of their experiences and beliefs, may be seen as less credible or important simply because they come from a religious standpoint.

Reki mentions how certain religious identities are racialised, such as the association of Islam with specific racial and ethnic groups, demonstrating the intersection of faith with race. This racialisation can result in unique epistemic harms, including stereotyping and discrimination.

Jawad, H. (2022) Islam, Women and Sport: The Case of Visible Muslim Women.

I found this text by Haifaa Jawad informative, I learned a lot about the Muslim faith. There are many examples of the intersection of faith with other identity aspects in text too, focusing mostly on gender and religion.

The text discusses how being a Muslim woman affects participation in sports due to religious requirements for modesty in dress and sex segregation. This intersection creates barriers that are not faced by men or women of other faiths.

The discussion about hijab highlights how Muslim women’s religious practice of veiling intersects with their gender, often leading to challenges in what to wear and modesty.

The text highlights Islamophobia following events such as 9/11 and the invasions of Afghanistan and Iraq. The events increased the visibility of Islam in the West and were often demonized through media representations. This had a particular impact on Muslim women, who are often more visibly Muslim through practices like veiling. The intersection of their religious identity with gender and, in many cases, racial or ethnic identity leads to forms of discrimination and epistemic harm.

For Muslim girls physical education classes can be problematic, the intersection of religious requirements and gender can create tension. It’s important to follow religious beliefs by managing modesty and participation in mixed-gender activities so that this doesn’t affect their ability to participate in physical education and sports.

The text describes how secular sporting environments, often do not accommodate religious dress codes or practices. This can also create barriers for Muslim women.

These examples focus on the intersection of faith and gender and its negative effects on Muslim girls and women in society. Both Reki and Jawad illustrate how religious identity intersects with aspects like gender, race, and the secular environment, leading to complex forms of epistemic injustice. As Jawad says, “There needs to be greater understanding and action from international sports federations to relax dress codes and provide resources to enable Muslim women to participate”. These instances highlight how the interplay of faith with gender, race, education, and cultural factors can negatively impact Muslim women’s experiences and opportunities, especially in sports and physical activities.

List the faith considerations in your own teaching context, drawing on UAL data and your own experience.

Students rarely disclose their religious beliefs to me, in my two years of experience working with the students, only one student approached me to ask if she could leave my class early to pray. Looking at the UAL data dashboard it appears that less students disclose their religious beliefs each year, I wonder if this is due to wanting to hide their beliefs so as not to be judged or if are there more agnostic students at the university.

Student Data 2022/23: Religion and belief

Having observed the impact society’s ignorance can have on People of faith, here is a list of considerations I will observe in future teaching.

Raise my awareness of Religious Beliefs.

Respect for All Faiths.

Include diverse Perspectives (when possible in a fashion context).

Be accommodating and flexible. Consider religious holidays and events Explore – Religious and Cultural Festivals Clash Diary (arts.ac.uk) as well as provide flexible praying time.

Safe Space for Expression: Foster an environment where students feel safe to express their religious beliefs and practices without fear of judgment or ridicule.

Encourage respectful discussions.

Dress Code- ensure this is safe for the workshop as well as aligned with religious beliefs.

Consideration of Dietary Needs, e.g. food and beverages served during celebrations and school related events.

References –

https://dashboards.arts.ac.uk/ (Accesses 20/05/24)

4 responses to “Faith – Blog Post 2”

Sabrina

28th May 2024

Fleur I appreciate how you have outlined the key terms and details in these texts, and pointed out how religion, gender, and race intersect in each of the contexts. Your considerations for future teaching are very clear and concrete and have helped me to reconsider what concrete, active considerations I might also implement in my own teaching. Although we discussed the
‘Religious and cultural observances clash diary’ in our last workshop I didn’t take a look at it until I was reminded of it in your post. It’s interesting that the clash calendar does not include Christian holidays (of course because these holidays are already accounted for in holidays, etc) but it also reinforced for me how the recognition of diverse religions and beliefs is exceptional rather than built in. On the other hand, being able to accommodate adjustments is important and positive and I am also glad that the resource is available for us to use. I have also noted that there are quiet spaces and Multi-faith Rooms available for all members of the UAL community to use: https://canvas.arts.ac.uk/News/238648/using-quiet-spaces-at-ual

Reply

Thank you for your feedback, Sabrina, and for reminding me of the additional resources the college offers, such as the quiet spaces and Multi-faith Rooms. It’s so easy to forget, especially when juggling multiple other things, to mention to students and staff that there are specific places within the university they can go if they wish. However, it’s so important to do so.

Sabrina Chou

10th June 2024

Reposting my comment from 28 May again, now logged into my Blog account:

Fleur I appreciate how you have outlined the key terms and details in these texts, and pointed out how religion, gender, and race intersect in each of the contexts. Your considerations for future teaching are very clear and concrete and have helped me to reconsider what concrete, active considerations I might also implement in my own teaching. Although we discussed the
‘Religious and cultural observances clash diary’ in our last workshop I didn’t take a look at it until I was reminded of it in your post. It’s interesting that the clash calendar does not include Christian holidays (of course because these holidays are already accounted for in holidays, etc) but it also reinforced for me how the recognition of diverse religions and beliefs is exceptional rather than built in. On the other hand, being able to accommodate adjustments is important and positive and I am also glad that the resource is available for us to use. I have also noted that there are quiet spaces and Multi-faith Rooms available for all members of the UAL community to use: https://canvas.arts.ac.uk/News/238648/using-quiet-spaces-at-ual

Reply

Thank you for your feedback, Sabrina, and for reminding me of the additional resources the college offers, such as the quiet spaces and Multi-faith Rooms. It’s so easy to forget, especially when juggling multiple other things, to mention to students and staff that there are specific places within the university they can go if they wish. However, it’s so important to do so.

Keira Greene

21st June 2024

Your blog post has offered my the chance to reflect on the groups of students who I work with, and how similarly few have disclosed their religion within a session, or privately. Of those that have done, some have chosen to make artwork directly related to their faith and others have brought it up in discussion reflecting on other students work. I am mindful when students do speak about the religious background and faith that the conversation can be lively rather than be met with silence. Lively in so far as keeping the conversation going.
I found reading your analysis of discrimination based on the visibility of faith, and in particular Muslim Women, very informative and also it alarmed me just how slow society is to support women wearing what they choose to wear in sport (and beyond the context of sport).

Reply

Thank you for your feedback, Sabrina, and for reminding me of the additional resources the college offers, such as the quiet spaces and Multi-faith Rooms. It’s so easy to forget, especially when juggling multiple other things, to mention to students and staff that there are specific places within the university they can go if they wish. However, it’s so important to do so.

Billie Vine

11th July 2024

Hello Fflur, I’m posting my comment here as I can’t see how to comment directly. I enjoyed reading your blog and it’s useful to see the diagram of the data included as well. I also found the calendar useful and a great resource for improving awareness of religious festivals. Similarly, I’d really like to foster an environment where students feel safe to express their religious beliefs and practices, I found Simran Jeet Singh’s talk helpful in this regard. I’d like to find ways for students to present their beliefs in their project work without feeling pressured to do so. Facilitating more exploration and research of religious texts, music, and art might be helpful in this regard, but I also find it difficult to get the balance right between entering these discussion in an open, organic and natural way and shoehorning it into projects in a way that feels forced and inauthentic.

Reply

Thank you for your feedback, Sabrina, and for reminding me of the additional resources the college offers, such as the quiet spaces and Multi-faith Rooms. It’s so easy to forget, especially when juggling multiple other things, to mention to students and staff that there are specific places within the university they can go if they wish. However, it’s so important to do so.

Kayalvizhi Jayavel’s feedback:

Hi Fflur

Thanks for the post. I had three important highlights for your post 1. The way you have articulated the learnings and findings was easy to follow and gives a clear roadmap even for someone who have not read the original sources. 2. The way you have brought in the data driven approach to defend that many are unwilling to reveal their faiths is clearly a significant point to dig deeper exploration 3. The suggestions and how you would kind of action up on was sensible and well thought of. Thanks again for the opportunity for me to read and learn.
May 20, 2024
I’m Fflur, currently serving as the Joint Acting Course Leader and a Lecturer for the BA (Hons) Cordwainers Fashion Bags and Accessories at London College of Fashion.

My interest in evolving my teaching methods has grown, stemming from my background in a more technical field. After completing a Master’s in Accessories at the Royal College of Art years ago, I embarked on my creative journey, establishing my own practice at Cockpit Arts Studios. Over a decade ago, I delved into the world of academia, working as a part-time Technical team member on the BA Accessories course at LCF to support my creative pursuits.

Since then, I’ve had the privilege of teaching regularly and am currently a full-time member of the staff on the Accessories course. Working with creative minds is my passion, and witnessing students navigate and overcome challenges in their design processes is incredibly rewarding.

With my PGCert, I aspire to gain a deeper understanding of positively influencing my students, mastering the art of adapting my teaching to different situations, and overall enhancing the course experience for both students and staff. My focus is on developing innovative techniques to motivate students and sustain their engagement.
300 words

For my intervention, I will focus on a Year 1 unit, “Creative Identities.” As a part of this Unit, students are (hypothetically) given a brand to design for, but they are also expected to combine their given brand with their own Identity (or aspect of their identity). Essentially, creating a new hybrid collection based on both aspects. Over my two years teaching this unit, I’ve noted a tendency among students to hesitate in fully embracing their identities within their coursework. While they exhibit enthusiasm in exploring established brands, they encounter difficulty in discerning which aspects of their own identity to centre their focus on. Often, they choose topics loosely connected to their interests without a clear alignment with the assignment’s objectives. For instance, this year, some students have chosen to explore sea creatures due to a general affinity for marine life. In my view, this reflects a missed opportunity for students to engage deeply with the assignment brief and to utilise the platform for self-exploration and personal growth.

To rectify this issue, I will focus on culturally responsive teaching. By educating myself I will be more able to understand the diverse backgrounds and experiences of my students so I can tailor my teaching methods to meet the student’s needs. This might involve incorporating culturally relevant examples, using diverse teaching strategies, and nurturing a classroom environment where all students feel valued and respected.

Secondly, I will try to promote empathy and understanding within the classroom. I hope to create a classroom community where differences are celebrated rather than ignored or marginalised by fostering empathy and understanding among the students and staff. This can help students develop empathy for others and become more socially conscious individuals. An example of this could be celebrating an event relating to a specific faith or acknowledging notable important days celebrated within different cultures.

References –

Singh, G. (2022). Diversity and Inclusion in Higher Education. Post 16 Educator, 109. Downloadable from https://www.linkedin.com/in/gurnam-singh-9b21901a/

Singh, G. (2020) ‘Dehumanisation and education’ Article version of a talk given at a Coventry University UCU Teach-Out Event on 27/1/20. Post16 Educator. Issue 99, April to June 2020 http://post16educator.org.uk/resources/archive/99/PSE-99-Singh-only.pdf

Ladson-Billings, G. (1995). “Toward a theory of culturally relevant pedagogy.” American Educational Research Journal, 32(3). https://chatgpt.com/c/14bcfdaa-9272-476f-942f-ae72b3e6ae28

Gay, G. (2002). “Preparing for culturally responsive teaching.” Journal of Teacher Education, 53(2), 106-116.

https://scholar.google.co.uk/scholar?q=Gay,+G.+(2002).+%22Preparing+for+culturally+responsive+teaching.%22+Journal+of+Teacher+Education,+53(2),+106-116.&hl=en&as_sdt=0&as_vis=1&oi=scholart

chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/https://middlegradesnetwork.pbworks.com/f/Preparing%20for%20Culturally%20Responsive%20Teaching%20(2002%2C%20Gay).pdf

Villegas, A. M., & Lucas, T. (2002). “Preparing culturally responsive teachers: Rethinking the curriculum.” Journal of Teacher Education, 53(1). https://www.researchgate.net/publication/237699170_Preparing_Culturally_Responsive_Teachers_Rethinking_the_Curriculum

Banks, J. A. (2008). “Diversity, group identity, and citizenship education in a global age.” Educational Researcher, 37(3). https://journals.sagepub.com/doi/10.3102/0013189X08317501

Jones, S. M., Bouffard, S. M., & Weissbourd, R. (2013). “Educators’ social and emotional skills vital to learning.” Phi Delta Kappan, 94(8)

https://www.nationalresilienceresource.com/Education/Educators_social_and_emotional_skills.pdf
May 15, 2024
I’m Fflur, currently serving as the Joint Acting Course Leader and a Lecturer for the BA (Hons) Cordwainers Fashion Bags and Accessories at London College of Fashion.

My interest in evolving my teaching methods has grown, stemming from my background in a more technical field. After completing a Master’s in Accessories at the Royal College of Art years ago, I embarked on my creative journey, establishing my own practice at Cockpit Arts Studios. Over a decade ago, I delved into the world of academia, working as a part-time Technical team member on the BA Accessories course at LCF to support my creative pursuits.

Since then, I’ve had the privilege of teaching regularly and am currently a full-time member of the staff on the Accessories course. Working with creative minds is my passion, and witnessing students navigate and overcome challenges in their design processes is incredibly rewarding.

With my PGCert, I aspire to gain a deeper understanding of positively influencing my students, mastering the art of adapting my teaching to different situations, and overall enhancing the course experience for both students and staff. My focus is on developing innovative techniques to motivate students and sustain their engagement.
Ade Adepitan gives amazing explanation of systemic racism (youtube.com) https://youtu.be/KAsxndpgagU

Ade Adepitan sees parallels between both his race and disability, due to systemic discrimination in society. He mentioned how employers may not give jobs to the BAME community or people with disabilities, due to hidden or inbuilt prejudices.

In the video, Ade also says he only feels “disabled” due to the lack of opportunities not because he needs a wheelchair. He highlights how the Paralympics have started to change perceptions showing what people can achieve given the right opportunities.

Christine Sun Kim: “Friends and Strangers” https://youtu.be/2NpRaEDlLsI

Deaf Sound Artist Christine Sun Kim introduces herself in a talk with the following statement-

She calls it her “deaf identity and where she’s coming from”. Christine Sun Kim intersects aspects of her deafness with her work, by using the shapes of sign language, repetition, and subtitles (text) within her art. As a deaf person and artist, she’s used to collaboration, working with interpreters, and people talking on her behalf. Christine Sun Kim explains how living in Berlin has “less pressure”, the government in Germany has enabled her as a mother to focus on her work due to childcare being free, and living in the city is “affordable”.

I find Christine Sun Kim’s work inspiring as she has managed to intersect both her deafness with being a sound Artist, two contradictions.

Disability and Gender https://youtu.be/_yID8_s5tjc

Chay Brown is a trans, gay man, he believes because he’s white and has invisible disabilities, he has been given privilege within the community. Unlike some of his friends from the LGBTQ+ community who might have more visible disabilities and face daily difficulties.

(Additional note added at 13 July 2024

I just discovered UAL offer training – “Introduction to Trans Inclusion at UAL” organised as part of LCF Staff Development Week. I’m curious to find what will be discussed at the training and if this will also become obligatory like the Anti-racism online course.

Secondly, UAL also have a LGBTQ+ Allies Toolkit it contains resources for all staff to learn how to be allies to people with different LGBTQ+ identities).

Changing Perceptions

The recurring theme seems to be how society needs to change perceptions to enable all humans, as Ade Adepitan says he’s become “disabled as society has not let me shine”.

List the disability considerations in your teaching context, drawing on UAL data and your own experience.

Writing this blog has highlighted how disabling our course is to some individuals, although as lecturers we have prepared for students who have invisible disabilities such as dyslexia and dyspraxia etc- (we prepare media and visual presentations to help students retain and retrieve information pre and post-sessions) and we are supported by the Student disability unit at UAL. Unfortunately for more visible disabilities the workshops aren’t suitable for all, e.g. Sewing machines aren’t computerised or suitable for people with disabilities, pattern-cutting tables are one height, and narrow isles in the workspaces aren’t suitable for wheelchairs, the course generally is focused on learning technical making skills, this relies on having an able body. As a Technical member of the team, I’ve never been aware of a student with a physical disability on the course, and we haven’t received any training to support students with additional needs. Considering we are based on a brand new campus, it’s frustrating not more attention would have been given to making the campus (especially workshops) inclusive for all.

Below I have added the UAL Disability services’ “Guidance for inclusive teaching and learning” as I found this useful when planning my lessons.

Guidance-for-inclusive-teaching-and-learning Download

2 responses to “23/24 Inclusive Practices – Blog Task 1 – Disability and Race”

Sabrina

8th May 2024

Fflur, I also appreciated Christine Sun Kim’s work and her ability to bring her lived experience into her work. I appreciated your reflections on the lack of support for certain disabilities especially in terms of building/workshop capacities. It’s true that a lot of the focus is on support for dyslexia and dyspraxia but there is less conversation around other disabilities – visible or invisible. Your reflections prompted me to think about the CSM Kings Cross building and accessibility. The studios spaces—while technically accessible—are also spaces of mess and creativity which can often block access. And even something simple like finding an electrical socket is not so easy in some of the spaces as there are extension cords that hang from the ceiling and need to be accessed using a ladder. While there are resources for us to prepare and plan for inclusive teaching and learning, I find myself wondering what other ways the university can support staff in supporting our students (and each other) better.

Reply

Billie Vine

11th July 2024

Hi Fflur, Commenting here again – thanks for the post, I found Ade Adepitan’s perspective really eye opening and it drives home how systemic discrimination issues are. I also found Christine Sun Kim’s work inspiring, the way she has turned barriers into unique creative expressions by integrating her deaf identity into her sound art is brilliant. Chay Brown’s experience highlights how complex and layered these identity intersections can be.

I agree with your takeaway about changing societal perceptions. Societal attitudes contribute wildly to lack of accessibility and your reflections on your own teaching context are so important as they are for all of us. Your reflections highlight that there’s still a long way to go in making HE really inclusive, which is indeed frustrating and depressing. I do think that recognising and highlighting the gaps can be the first step to addressing them though.

Reply

Kayalvizhi Jayavel’s Feedback – Disability:

Hi Fflur

The way you have structured your blog and more focus on “what can be done,?” shows clearly the action-based approach. Also expressing the frustrations around things not ready as it is a new campus is very much understandable and I can connect to it myself, as new unit or new course or new campus needs time efforts and in fact to some level budget to get that all accomplished. But your suggestive approaches sharing with us the guidelines from Student Disability services for inclusive teaching and learning is a testament to there is light at end of the tunnel.
April 30, 2024
I’m Fflur, currently serving as the Joint Acting Course Leader and a Lecturer for the BA (Hons) Cordwainers Fashion Bags and Accessories at London College of Fashion.

My interest in evolving my teaching methods has grown, stemming from my background in a more technical field. After completing a Master’s in Accessories at the Royal College of Art years ago, I embarked on my creative journey, establishing my own practice at Cockpit Arts Studios. Over a decade ago, I delved into the world of academia, working as a part-time Technical team member on the BA Accessories course at LCF to support my creative pursuits.

Since then, I’ve had the privilege of teaching regularly and am currently a full-time member of the staff on the Accessories course. Working with creative minds is my passion, and witnessing students navigate and overcome challenges in their design processes is incredibly rewarding.

With my PGCert, I aspire to gain a deeper understanding of positively influencing my students, mastering the art of adapting my teaching to different situations, and overall enhancing the course experience for both students and staff. My focus is on developing innovative techniques to motivate students and sustain their engagement.
Session/artefact to be observed/reviewed: Marquetry Masterclass & PPT

Size of student group:23

Observer: Kitty Eyes

Observee: Fflur Owen

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 session is a master class taught by myself to Year 2 BA (Hons) Cordwainers Fashion Bags and Accessories. This isn’t a part of the student’s unit brief, but an additional master class to teach a specific technique. The technique is often used in the first unit project for Year 2, as it lends itself well to the project (recycling small pieces of donated leather for a Lineapelle project). The technique is called Marquetry; you can create intricate patterns by placing small pieces of intricately cut leather material (e.g. Leather) next to each other to create your desired design.

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

Last year I was their Year tutor, I also taught them technical pattern cutting and design sessions, therefore I know these students well and understand their technical abilities.

What are the intended or expected learning outcomes?

During this session, I will be presenting to the students the art of Marquetry, and then I will demonstrate in steps whilst they also make a sample of Marquetry for their Unit’s 3D experimentation.

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

The students will make a sample of Marquetry to learn the technique and add it to their sketchbook for the current unit as a part of their 3D experimentations.

Are there potential difficulties or specific areas of concern?

This technique requires precision and patience, this is why the workshop is always for Year two and above. Technically it’s not difficult, students are required to bring their toolkits to the session.

How will students be informed of the observation/review?

The observation will take place following the session. The session took place on the 28^th of September 2023.

What would you particularly like feedback on?

How to better improve the session? If there are any different ways to present technical sessions to students? As Kitty Is a Technician from a different department, I’m interested to find if they have any suggestions on this. Do you use PPT’s in performance? Or have you got any better suggestions?

I have added a Youtube video of a marquetry technique to the PPT- https://www.youtube.com/watch?v=R6cYef1x-AY

And a link to a famous Marquetry artist page (unfortunately these links don’t work in the PPT- PDF- but I can share them with Kitty during the in-person discussion)

How will feedback be exchanged?

I’m sending all my information regarding my teaching session to Kitty on 3/6/2024.

We are currently discussing meeting w/c 11/03 to discuss both our Peer observations. Date tbc

Session’s timings-

Day session AM 9.30-12.30 & PM 13.30- 16.30

09.30 – 11.00 Start session- (p.1-6) Introduce the technique- explain it’s possible to create Marquetry in different materials, but today we are focusing on leather.

(p.8 & 9)Talk about the tools required for the task and show the best examples of leather- explain why using certain types of leather is important.

Ask students if they have seen this technique before, and on what kind of items (talk through the possibilities (p.10).

(p.11-14) Discuss different ways of cutting the leather- positives and negative.

Discuss how to make a strong but effective design, and allow the students time to think of their design over their break.

11.00 – 11.20 Break

11.20 – 11.50 Students will plan their template for their Marquetry design. They will be given dimensions of 15cm x 15cm and they need to create a simple design, using advice given during the morning session. Add a 1cm border allowance around the marquetry design and stick the design onto strong card paper.

11.50 – 12.30 – Cut out the design carefully following the lines and expanding the shapes over the 1cm line.

LUNCH

13.30 – 14.10 Students will now select leather for their design, and cut all the jig-saw-like pieces of the marquetry carefully.

14.10 – 14. 30 – Demonstrate how to create the marquetry on my sample using pre-cut leather.

14.30- 14.45 Break

14.45 – 16.10 Students can make their own Marquetry design.

16.10 – 16.30 (p15-23) Show further examples of more complex Leather Marquetry to inspire students. (p.25) show suppliers list.

Take photos of student examples, finish the session, and tidy up.

Part Two

Observer to note down observations, suggestions and questions:

I just want to start off by saying how much I enjoyed this session and learning about marquetry from Fflur. Fflur is very clearly incredibly knowledgeable about leather work and so I felt supported throughout the session, especially whenever I had any questions. The session was based around a PowerPoint for a masterclass in marquetry, which Fflur stated is for second year students. She mentioned as well how this masterclass lends itself to the student’s learning outcomes for their projects that term and how it can tie into the sustainable aspect of the project.

The PowerPoint was very well created and organised, with a clear theme and UAL templates creating a flow and ease of reading. The history of marquetry and some modern examples started the presentation off, followed by the introduction to the class itself, including materials and kit lists, and some health and safety for the cutting of the leather. The remainder of the session is largely the process itself, and Fflur walked me through how the lesson is structured over the course of a day, and how the learning process is segmented into smaller “bit sized” pieces to ensure the pacing of the lesson and that students can absorb the intricacies of the technique.

One of the aspects of the PowerPoint that I was most impressed with was the type and the amount of examples that were included. Fflur and I both specialise in trades that have very historic roots and we had a very lovely conversation about how difficult it can be to create an excitement and interest in the students that encourages them to use these techniques. I think the addition of the TikTok artist (Valentineh Despointes) was particularly important and I am impressed by Fflur’s effort and ability to make her lessons interesting and engaging to a generation that potentially can feel quite removed from traditional craft.

My only suggestion regarding how to potentially improve this session is to look into the possibility of using a camera during the live demonstrations. We spoke about our mutual frustrations as technicians regarding the difficulties surrounding teaching fiddly skills, and I brought up how in the Performance department we use cameras that stream directly to the wall screens to give the students a better angle and to allow for accessibility needs. I am aware that as much as cameras can be a blessing, they can also be a real pain, and that they are not always the best route, but I feel it could be worthwhile to look into.

Overall I really enjoyed being introduced to this specialism and I really enjoyed hearing Fflur speak about something she is clearly very passionate and knowledgeable about.

Part Three

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

I feel very proud of the feedback I received from Kitty, as a member of the technical team, I appreciate hearing her thoughts on my session. I enjoyed presenting this session to the students and teaching them a new creative but technical skill, so very glad Kitty also appreciated the experience. My lesson plan helps me when presenting this session as some groups are larger and tend to take more time – therefore having a structure helps to make sure I’m on track. I also ensure the PPT is intricate enough to help students when I’m not around, if they wish to continue experimenting with the technique for their projects- there are various examples, tips and tricks to help them along the way.

Kitty appreciated having modern examples of Marquetry in the PPT; I find this extremely important, as most of the techniques I teach are historic, therefore being able to help students modernise traditional techniques to create new unique designs is crucial in an innovative fashion college. I will continue to search for modern interpretations of the traditional leather-working techniques to help students and staff develop on the course.

Kitty did have a great suggestion about presenting using digital cameras, I would definitely like to experiment with live demonstrations and being able to project onto the AV screens at East Bank. We are hoping to have a camera set up over the summer holidays- therefore this would be great for next academic year. I could even record the session to put the technique up on the LCF Technology website. With good quality cameras and projectors, being able to show small details to students without them all having to crowd very closely to you while presenting would be a benefit to the students as they could possibly follow each step more instantaneously.

Thank you Kitty for your feedback, I will definitely chase up the AV technicians at East Bank to see if there are any developments with AV screens and camera set-ups. I will also keep researching to find the best option to display my Marquetry samples for this session, we had quite a long chat about best ways of displaying and preserving samples for future students. Currently, all my Marquetry samples are in a plastic wallet, and my “here’s one I did earlier” step by step samples are also kept in a similar wallet.

It would be great to have a chest or museum-like drawers to keep samples safe but also have them on display for students to access when they wish.

My Marquetry PPT from the taught session

Marquetry Download

April 2, 2024

I’m Fflur, currently serving as the Joint Acting Course Leader and a Lecturer for the BA (Hons) Cordwainers Fashion Bags and Accessories at London College of Fashion.

My interest in evolving my teaching methods has grown, stemming from my background in a more technical field. After completing a Master’s in Accessories at the Royal College of Art years ago, I embarked on my creative journey, establishing my own practice at Cockpit Arts Studios. Over a decade ago, I delved into the world of academia, working as a part-time Technical team member on the BA Accessories course at LCF to support my creative pursuits.

Since then, I’ve had the privilege of teaching regularly and am currently a full-time member of the staff on the Accessories course. Working with creative minds is my passion, and witnessing students navigate and overcome challenges in their design processes is incredibly rewarding.

With my PGCert, I aspire to gain a deeper understanding of positively influencing my students, mastering the art of adapting my teaching to different situations, and overall enhancing the course experience for both students and staff. My focus is on developing innovative techniques to motivate students and sustain their engagement.
Session/artefact to be observed/reviewed: Wig-making Samples

Size of student group: up to 150 (entire course cohort)

Observer: Fflur Owen

Observee: Kitty Eyes

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 on-going collection of wig-making samples is currently being made by myself for all three year groups on BA (Hons) Hair, Makeup and Prosthetics for Performance. These samples are not included in any workshops but are used to assist students in casual one-to-ones and supervised studio sessions when students need assistance visualizing the making process of a wig, and what kind of construction their designs necessitate. Students are introduced to wig-making and basic hairdressing from their first year and are expected to produce hair pieces for most of their physical projects throughout their course.

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

I have been working as a Support Technician for this course for nearly 3 years. The current final year students were first years when I started, so I have seen them all progress through their wig-making classes and am aware of all three year’s individual ability.

What are the intended or expected learning outcomes?

The samples should be able to help the students have a better understanding of specialized knowledge pertaining to wig-making and hairdressing, thus assisting them in their designs, experimentation, and realizations for each units’ physical outcomes.

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

The students are required to make and/or style a hair piece for every practical unit during their course.

Are there potential difficulties or specific areas of concern?

The presentation of the samples has not been finalized, leaving them in a file folder with small labels attached. Additionally, as they are very delicate, they cannot be left out in the classroom so are only accessible when I am working.

How will students be informed of the observation/review?

No students will be present at the time of the observation as the samples are not currently used for any lessons.

What would you particularly like feedback on?

I would love to know if Fflur has any opinion on the presentation of the samples – as an academic member of staff would they ever use samples like this, either in tutorials or lessons? Would they, as an academic, prefer samples for students to be in an accessible area so they can access them without needing to contact a member of staff? I am interested to know about how they work in their department regarding samples and example pieces.

How will feedback be exchanged?

Fflur and I will be meeting online, I have taken photos of the samples to hopefully depict better detail. I have also invited Fflur to come down to our area of East Bank to see the samples in person if they would like.

Part Two

Observer to note down observations, suggestions and questions:

Kitty’s session was extremely informative and I felt I learnt much about the processes involved in Wig making from her introduction. It’s evident she is extremely knowledgeable about the subject, and I felt at ease due to her confident delivery.

Kitty started her introduction by explaining the importance of having samples to show students. She then proceeded to explain how the samples were made and for what reason certain techniques were used. The PPT Kitty presented was clear, showing an image of each sample and a description – (Please see example slide below)

Looking back at the PPT now, I think It would be great if Kitty used the UAL template PPT to give the PPT a more professional aesthetic, and it would be great to have additional information on how the samples were created. As we both also work as Technicians, we discussed methods of storing samples and how to lend samples to students and ensure they are safely returned for future use. We also discussed putting PPT information on LCF Tech (Information SharePoint – https://artslondon.sharepoint.com/sites/LCFTech) for technical knowledge at the university, accessible for Students at any time.

I suggested that Kitty use QR codes to help direct students towards information on SharePoint, similar to what we do in the Accessories department. Kitty had more questions about samples and storing them, and I was just as interested as this is an ongoing issue in our area too. We discussed storage cabinets or drawers similar to archive drawers in museums to safely display work. Kitty also mentioned she had good and bad examples to show students, to help them understand the desired finish- This is a great idea and something I will remember to do in the future to help my students develop and perfect their work.

Overall, a very informative and interesting session, Thank you for sharing your knowledge with me Kitty.

Below is a copy of Kitty’s PPT from the session.

Kitty’s final reflections are featured on her blog page.

Thank you.

Knotting-samples-peer-review Download

April 2, 2024

I’m Fflur, currently serving as the Joint Acting Course Leader and a Lecturer for the BA (Hons) Cordwainers Fashion Bags and Accessories at London College of Fashion.

My interest in evolving my teaching methods has grown, stemming from my background in a more technical field. After completing a Master’s in Accessories at the Royal College of Art years ago, I embarked on my creative journey, establishing my own practice at Cockpit Arts Studios. Over a decade ago, I delved into the world of academia, working as a part-time Technical team member on the BA Accessories course at LCF to support my creative pursuits.

Since then, I’ve had the privilege of teaching regularly and am currently a full-time member of the staff on the Accessories course. Working with creative minds is my passion, and witnessing students navigate and overcome challenges in their design processes is incredibly rewarding.

With my PGCert, I aspire to gain a deeper understanding of positively influencing my students, mastering the art of adapting my teaching to different situations, and overall enhancing the course experience for both students and staff. My focus is on developing innovative techniques to motivate students and sustain their engagement.
Session/artefact to be observed/reviewed: Learning how to create a Moodboard

Size of student group: 33 students

Observer: Carys

Observee: Fflur

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 session is an early part of the Intro to Unit to teach Year 1 BA Students on the Bags and Accessories Course how to create a Moodboard, this is a requirement of the Assessment Brief.

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

Year 1 students, who started at the beginning of this academic year (September 2023), this session was delivered during the Intro to Workshops (Week 3).

What are the intended or expected learning outcomes?

Students will be expected to create a successful Moodboard visually explaining their creative vision for their project.

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

Students will be required as discussed in the briefing to create a Moodboard as a part of their portfolio for Intro To Unit.

Are there potential difficulties or specific areas of concern?

This session shows examples and thoroughly explains to students what’s required in a Moodboard. My main concern is if a student misses the session they don’t catch up on the Powerpoint uploaded onto Moodle, which usually results in incorrect interpretations of a moodboard in their final submissions.

How will students be informed of the observation/review?

The session is specified in the Timetable, and in the Scheme of Work document, The PowerPoint from the presentation is also on the unit’s Moodle page.

What would you particularly like feedback on?

As Carys is much more experienced in teaching, I would like to gain insight into what she thinks of my delivery, I will ask questions such as – How can I improve the Presentation? Is it too long, too short, too text heavy, too many examples etc? Should I try to create a more interactive session, so the students do more Peer learning?

How will feedback be exchanged?

We set up a Teams meeting to discuss the observation, Carys will be feeding back to me verbally and on the ROT form.

Part 2

Observer to note down observations, suggestions and questions:

Thank you Fflur for taking the time to talk through this session with me. It sounds like it was successful, and you were able to share clear and positive rationales for how you structured the session. I’ve noted down a narrative of the session, based on your description, followed by the chat we had which incorporated suggestions and comments.

Narrative of session

You shared a 20 minute presentation, which is part of a longer 1.5 hour session in which students create their own moodboard, before feeding back to the group.

You explained that teaching took place in an open access area, which meant that there was some background noise. You said that in future, you might consider splitting the group in half if possible.

You shared that at this time of year, new students are enrolling on a daily basis, and you are still getting to know the students.

You explained the rationale for showing examples of student work, and how it is an easy way to convey what students are working towards. You showed not just first year examples, but also the work of students in later years, to set the bar high in terms of level.

You reintroduced key ideas, such as primary and secondary research.

During the session, you would go around and check in on students, having informal chats and get to know them, providing feedback where necessary. You explained that the moodboard activity is a good opportunity to get to know students and their work, as they bring in their own ideas, interests and practices.

You then asked for students to volunteer to share their moodboards, and other students would provide verbal feedback.

Suggestions and observations

You asked about the length of the presentation, which you said was about 20 minutes long. You felt that this was an optimum length in terms of student focus and concentration, and I agree. I also felt that that it was a good amount of content for this amount of time.

You asked whether there are too many examples. You talked about how the different examples show different moodboard practices, and you provide specific bullet-points of things that each moodboard demonstrates. You also shared that you include student moodboards form different year groups, so some were quite advanced/aspirational. I agree with your assessment here, and thought that showing some of the more advanced student work may generate excitement for the students starting this journey. I also felt that by showing a diverse range of moodboards, it would help to ensure students know that they can do their own thing and there is no single ‘right answer’.

You asked if the slides are too text heavy. I shared the ‘7 x 7 rule’, which recommends using no more than 7 lines, with no more than 7 words to a line (excluding slide titles). We also acknowledged that the additional content can be helpful at times, and talked about how bold font can be used for emphasis and to highlight key words. You said that you might try to condense some of the writing down in future.

You shared that the slides would be available on Moodle, so students can review them if they miss the session. I noted that this is good inclusive practice, and the amount of text would support students to be able to follow the content in their own time.

You asked for any other feedback I had about the session. We talked briefly about constructing Learning Outcomes, and the idea of constructive alignment. I explained that these ideas, while influential, are not beyond critique, and that I had a good sense of the session from the LOs you had written.

We also talked about incorporating active learning techniques into the presentation element of the session. This could include brainstorming ideas with students, or asking them to generate their own ‘dos and don’ts’ of moodboards.

We talked about strategies for students feeding back on one another’s work. You shared that in some sessions, you use anonymous post-its as a strategy, which sounds like a great idea – although we acknowledged it wouldn’t work for this session. I suggested Think Pair Share as a tool for generating and depersonalising feedback.

Part Three

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

Thank you for your time and for reviewing my session Carys, I appreciate having the discussion, and receiving your notes above- Having had time to consider the feedback here are my thoughts.

In general, I’m happy with the length of the session (20 min) for the initial Moodboard induction, however, as Carys suggested, having more peer interaction during the workshop would be beneficial, especially as students are new to the course and encouraging them to mix and discuss work-related subjects would be great. Next time I present this session, I will initiate an activity pairing the students to discuss the ‘dos and don’ts’ of Moodboards before I show them examples and lists of what we at UAL require on a Moodboard.

I’m glad I included Moodboard examples from all three years, to inspire and help students develop their work. Many of the new students have varying degrees of CAD abilities, this can be a useful tool when creating moodboards, and I try to encourage students to create professional well-thought-out moodboards from the start.

I will try to implement the ‘7 x 7 rule’ for my future sessions, to ensure my PPT’s aren’t too text-heavy. Some pages might require additional writing (especially to ensure students who miss sessions can catch up) But as a rule of thumb, I think this is a great idea.

We talked about LOs, the discussion helped me understand what was required from LOs and prepared me for the Workshop session we were about to have as a cohort.

We talked about strategies for students feeding back on each other’s work, And Carys suggested Think Pair Share, this is a new term for me and I think this could work, I will try this method in a session with my students soon to see how they react, and implement it more often if I think it helps the students develop their submissions through a more intimate peer review.

Overall I’m looking forward to testing these strategies out to see how the students react, and to hear their feedback on the new strategies. Thank you for your Suggestions Carys.

My PPT from the session.

Moodboard-PPT Download
April 2, 2024
I’m Fflur, currently serving as the Joint Acting Course Leader and a Lecturer for the BA (Hons) Cordwainers Fashion Bags and Accessories at London College of Fashion.

My interest in evolving my teaching methods has grown, stemming from my background in a more technical field. After completing a Master’s in Accessories at the Royal College of Art years ago, I embarked on my creative journey, establishing my own practice at Cockpit Arts Studios. Over a decade ago, I delved into the world of academia, working as a part-time Technical team member on the BA Accessories course at LCF to support my creative pursuits.

Since then, I’ve had the privilege of teaching regularly and am currently a full-time member of the staff on the Accessories course. Working with creative minds is my passion, and witnessing students navigate and overcome challenges in their design processes is incredibly rewarding.

With my PGCert, I aspire to gain a deeper understanding of positively influencing my students, mastering the art of adapting my teaching to different situations, and overall enhancing the course experience for both students and staff. My focus is on developing innovative techniques to motivate students and sustain their engagement.
Assessing learning and exchanging feedback

Contextual Background

For my final case study on Assessing learning and exchanging feedback, I will discuss a recent Formative Assessment Point (FAP) from the Year 1 BA Bags & Accessories ‘Creative Identity’ unit. Following the Briefing students research designer brands in their teams, compiling findings into a 15-page presentation, before finally presenting the brand to their peers. (University of the Arts London, 2023)

Above: Section of Scheme of work document from Week 19

Above: The five brands selected for the Teams

Evaluation:

Attendance – After thoroughly briefing teams and providing ample research time during taught sessions, I was confident in their presentation skills. To reduce attendance issues during FAP sessions, I scheduled morning and afternoon sessions, therefore reducing audience size and potentially easing nerves for presenters, encouraging more support from peers. However, students were invited and encouraged to attend all day if they wished as they would benefit much from seeing a variety of presentations. Overall this worked well and only one student was absent from the session.

Peer Feedback – This is also difficult to encourage in FAP sessions, but as the groups were smaller and the setting of the class was more informal than usual, students were more supportive of each other. Rather than judging one student, they are feeding back to a group, I believe this made it less intimidating to the students, and they were more willing to feedback.

Moving forwards:

I assume my pedagogic decisions are mostly influenced by my own experience of education; as a student, I used to enjoy listening to group feedback in FAP sessions and found the process very beneficial, as I would learn what your tutors require through their responses to my peers’ work and my work. However, due to the difficulties faced in student attendance and student engagement during FAP sessions, I must reevaluate the process. I will also read university guidelines and published papers to develop my methods.

(Carless, D & Winestone, N, 2019 p.2) “Whilst many aspects of the feedback process may rely on students’ engagement (e.g. the ability to interpret feedback, understanding the purpose of feedback, and willingness to expend effort to implement feedback), teachers can still decide how and where to embed the development of these skills into the curriculum”. This thought-provoking point made me question how I can secure students to engage more with the feedback, especially FAP feedback as this is often delivered during the project, not at the end, therefore if they implement the suggestions their final result should be better. As I read further I consider ways I could make the additional written feedback I send to all students following the session more digestible. I currently focus on ensuring personalised feedback on their presentation skills, and overall feedback on the presentation in the form of paragraphs. I suggest ways of developing the work presented in their presentation but within their sketchbook to elevate the final submission they will submit at the end of the project. I will consider breaking down the FAP form into a grid-like structure, and give direct feedback on each section of the presentation. Although this isn’t possible on the “Assessment Feedback portal” due to the format of the feedback, this document could be sent directly to the students.

Please see the example of what I propose below –

I hope students are more likely to develop on feedback if they hear it in person and also receive it in written format (like above). The table above will help them identify weak areas in the submission so they can develop areas to ensure a more complete summative submission.

This year we also decided to reduce the amount of FAP sessions to allow students to develop the work in between the sessions, and so no one FAP session carries too much weight, especially if a student misses a session. (University of Greenwich) I believe this too has helped and students see the value in the sessions.

Overall, I hope the amendments to the session will enable students to obtain better results in their Summative Assessment Point (SAP).

References

Carless, D & Winestone, N (2019) Designing Effective Feedback Processes in Higher Education: A Learning-Focused Approach (Research into Higher Education). 1st Edition. London: Routledge.

University of the Arts London (May 2023) Staff guide to the LCF Assessment Brief. Available at: https://artslondon.sharepoint.com/sites/craftacademicadmin/Shared%20Documents/Forms/AllItems.aspx?id=%2Fsites%2Fcraftacademicadmin%2FShared%20Documents%2FAssessment%20Brief%20Templates%2F23%2E24%2FStaff%20Guide%20to%20the%20LCF%20Assessment%20Brief%5FFINAL%202023%2Epdf&viewid=43509c77%2D5adf%2D46d1%2D82aa%2D4f55f0bc25d0&parent=%2Fsites%2Fcraftacademicadmin%2FShared%20Documents%2FAssessment%20Brief%20Templates%2F23%2E24&CT=1709828692851&OR=OWA%2DNT%2DMail&CID=1dac6ff2%2Dc8d1%2D3c24%2Dba6f%2D85fc3d760bdb (Accessed: 26/03/2024).

University of Greenwich (?) LEARNING AND TEACHING – Formative vs Summative. Available at: https://www.gre.ac.uk/learning-teaching/assessment/assessment/design/formative-vs-summative (Accessed: 26/03/2024).

Additional reading

Boud,D et al (2018) Developing Evaluative Judgement in Higher Education, Assessment for Knowing and Producing Quality Work. 1st Edition. Oxfordshire: Taylor & Francis.

Boud, D. and Molloy, E., 2013. Rethinking models of feedback for learning: the challenge of design. Assessment & Evaluation in higher education.

Sabri, D. University of the Arts London. Eliminating inequality in formative assessment. Available at: chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/https://www.arts.ac.uk/__data/assets/pdf_file/0019/190153/AEM-Eliminating-Inequality-Formative-Assessment-PDF-288KB.pdf (Accessed: 26/03/2024).

Images of the student’s Presentations front covers–

Images of students presenting their work during the Presentation day.

April 2, 2024

I’m Fflur, currently serving as the Joint Acting Course Leader and a Lecturer for the BA (Hons) Cordwainers Fashion Bags and Accessories at London College of Fashion.

My interest in evolving my teaching methods has grown, stemming from my background in a more technical field. After completing a Master’s in Accessories at the Royal College of Art years ago, I embarked on my creative journey, establishing my own practice at Cockpit Arts Studios. Over a decade ago, I delved into the world of academia, working as a part-time Technical team member on the BA Accessories course at LCF to support my creative pursuits.

Since then, I’ve had the privilege of teaching regularly and am currently a full-time member of the staff on the Accessories course. Working with creative minds is my passion, and witnessing students navigate and overcome challenges in their design processes is incredibly rewarding.

With my PGCert, I aspire to gain a deeper understanding of positively influencing my students, mastering the art of adapting my teaching to different situations, and overall enhancing the course experience for both students and staff. My focus is on developing innovative techniques to motivate students and sustain their engagement.
Workshop 5 – Assessing

Having spent the last few weeks Assessing the first year’s second unit submissions, I felt I had much to discuss during Workshop 5. I find some of the tasks during the breakout rooms difficult to tackle, I’m often hesitant to voice my opinions as I don’t understand the questions; the academic language used to describe them makes understanding the task difficult. I’m cautious to ask questions as most of the PGCerters seem to understand. But once you are in the breakout room listening to the discussion, it’s much easier to contribute by relaying experiences from your teaching (whether it be positive or negative), I’ve also found being able to relate to other academics reassuring as I know I’m not the only one going through certain issues etc with year groups.

I’ve never felt so confident in a breakout room as I was during workshop 5! It was great to hear my colleagues discuss their experiences, I was in a group with Luke, James and Georgina. I always seem to be in a group with James and Georgina, and by now I feel I understand their work well and we can chat freely. Although we all work at UAL, we all had varied reflections and experiences.

Georgina suggested a different method of encouraging students to verbal feedback through peer assessment. I believe Students find feeding back to each other rather intimidating, and often they are very reluctant to bring work in or even attend sessions where they are required to present work in front of each other for feedback. To overcome this, I have experimented with post-it notes to encourage students to leave each other feedback next to their work, this has worked well, but the feedback is varied and can be rather general. If students verbally feedback to each other, I believe they would learn more from each other, this would promote a higher standard of feedback rather than conventional, generic comments.

Georgina’s suggestion was to put many feedback-related questions into a hat, Students would then have to take out one question to ask a peer, and they would also then need to think of their own question. I genuinely think this is a great way to encourage students to engage in peer assessing, without it being overwhelming or intimidating to the students I’m looking forward to implementing this technique soon.

The reading I chose for this workshop was Brooks 2008 – Students’ Critique of Feedback in Art & Design, I chose this because of the title as it specifically mentioned Art and design, and I thought it would be more catered towards my specialism.

I found Brook’s reading interesting as it included thoughts on how students receive feedback and how it can affect their future performance, both positively and negatively depending on their experience. I’m always very nervous typing feedback to students, I try to be as informative and guide them to elevate their future submissions without being too critical of the current work. It can be a balance, especially if you’re aware of ISA issues or if students are suffering from low confidence or mental health issues.

The reading suggests “these findings seem to be drawing towards a conclusion that meetings, assessment discussions, study skills and learning support are best offered as an integral part of the module as a whole, and that Humanities could look to Art and Design methods of peer reviewing” (Brooks,K. 2008)

I found this an interesting thought- from my experience as a student from a Fashion background, I would say some of the feedback sessions I received were very critical and hard to overcome, but I’m very pleased to say things at LCF are different and how we assess and present the assessment is much fairer and more considerate of students’ feelings.

Some of the actions I will take from the reading will be to offer more tutorials to ensure students understand the feedback, unfortunately, this will be time-allowing, but I could suggest doing this in small groups if the students feel more comfortable. I will also try to ensure my writing is clear and straight to the point –“constructive criticism”, ensuring plain language and easy-to-achieve goals. I remind myself to be considerate and compassionate. The final thing will be trying to use Formative Assessment points more creatively, and encourage student participation through peer review, it’ ‘s very important for students to see each other’s work and learn from each other.

Figure 1 Formative V Summative Assessment Slide from Workshop 5 PGCert

Brooks,K. 2008 University of the West of England, Bristol ‘Could do Better?’ Students’ Critique of Feedback in Art & Design

Brooks-2008-Students-critique-of-feedback-in-AD Download

Informative quotes from the Workshop.

Further reading (used to help understanding)

Link to Wiggs (1990) eric.ed.gov/?id=ED328611

April 2, 2024

I’m Fflur, currently serving as the Joint Acting Course Leader and a Lecturer for the BA (Hons) Cordwainers Fashion Bags and Accessories at London College of Fashion.

My interest in evolving my teaching methods has grown, stemming from my background in a more technical field. After completing a Master’s in Accessories at the Royal College of Art years ago, I embarked on my creative journey, establishing my own practice at Cockpit Arts Studios. Over a decade ago, I delved into the world of academia, working as a part-time Technical team member on the BA Accessories course at LCF to support my creative pursuits.

Since then, I’ve had the privilege of teaching regularly and am currently a full-time member of the staff on the Accessories course. Working with creative minds is my passion, and witnessing students navigate and overcome challenges in their design processes is incredibly rewarding.

With my PGCert, I aspire to gain a deeper understanding of positively influencing my students, mastering the art of adapting my teaching to different situations, and overall enhancing the course experience for both students and staff. My focus is on developing innovative techniques to motivate students and sustain their engagement.