Issues in Art and Design Teaching draws together a range of pedagogical and ethical issues for trainee and newly qualified teachers of art and design, and their .
Table of contents
- Issues in Art and Design Teaching
- Challenges to learning and teaching relations in higher education studio environments
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Issues in Art and Design Teaching
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Challenges to learning and teaching relations in higher education studio environments
Table of contents Introduction: Transitions and shifts in teaching and learning Paradigm shifts 1. Recent shifts in US art education 2. Art and design in the UK: In and out of place: It began by asking for good learning experiences between tutors and students to be described, where possible giving concrete examples of interactions and outcomes. Students were employed to interview students in an attempt to remove the potential power imbalance in the interview relationship and to enable students to talk freely without fear of loss of anonymity.
The student interviewer sent audio files to the researchers without names, or courses identified. The university ethics committee also advised a similar approach to interviewing where Ray Batchelor, as a fellow academic, rather than the Head of School interviewed staff who volunteered to take part. We were aware of limitations with this methodology, but reporting through an interview process, a second order generation of data, does have advantages in that it allows a personal account and interpretation of the experience to be told, which an observation interpreted by a non-participant does not allow.
More complex data generation for learning and teaching situations can be hard to manage and limited in numbers participating for example see Mann, We experienced logistical problems in obtaining and managing the student interviews in spite of support from the student union.
Timing was difficult with students absent when tutors had time to chase up progress! The number of interviews 7 students and 7 tutors was relatively small, but as it consisted of rich data about individual experiences we considered it to be significant enough to draw some general observations which would have resonance with art and design studio- and workshop-based subject areas more widely.
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However, we agreed on a thematic analysis which began by categorising the topics raised by tutors and students in the separate interviews and locating overlaps in the topics and also identified issues which were not raised by one or other of the groups. These categories were further located together under headings which we perceived to be particular identities shaped by roles structured by the university, the professional practice subject area of the participants and personal experiences or dispositions which they brought to the learning and teaching encounter Billett, Fluidity and ambiguity have been the distinguishing characteristics of our findings.
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In the context of student-tutor relations in a studio discipline it has a further value, as a key aspect of the role which the university expects the tutor to perform and an important influence on learning relations for the student. It should be noted in both diagrams that categories were arrived at on the basis of what tutor or student interviewees reported about themselves or peers and their roles. Although some student-tutor relationships Father-Child, for example suggest correlation and reciprocation in their performance, others do not. Mis-matches of expectation are among the characteristics reported of poor learning and teaching experiences.
Although it is doubtful that we fully answered the research questions we set out, we believe that we have gained valuable insights into the highly complex roles that tutors play in supporting student learning in art and design. Although there is a greater sense of community in teaching and learning in art and design and more informal approaches than in other disciplines, we identified a series of areas where ambiguity exists and which are subject to forces which might upset a balance in relations.
These imbalances could impact the success of dialogic learning encounters described by students and tutors. Indeed, despite the limited number of participants and modest original research objectives, both researchers — experienced art and design academics — were much struck by the richness, complexity and variety of insights this project has highlighted.
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The effects on student-tutor relations of location and contexts, for example — contexts beyond the confines of the studio; roles which have multiple origins, and multiple values attached to them, so that in their performance, they are differently understood by the other, or others in the relationship. These also refers to relationship models themselves and consequent expectations which are, or are not, shared.
This layering and interweaving of roles and relationship models which, partly from its sheer complexity, ambiguity and fluidity, when it goes wrong can work against effective learning and teaching, can equally be the hallmark of the best and most effective learning and teaching in a studio context. Such richness deserves further investigation. The first outcome was the presentation of a short paper to the annual Society for Research into Higher Education conference in December Whilst recognising that relations are of necessity fluid, dynamic and interdependent Ashwin, , we had analysed the outcomes as separate perceptions of experiences, and the research design did not enable us to match tutor with student in one encounter.
However, we were surprised to hear about the range of learning activities which tutors deemed to be successful. These not only included the one to one encounter, which might be seen to be a gold standard in art and design, but included off site learning on live projects, summer schools, trips and visits as well as student-led discussion groups with the tutor absent!
- Issues in Art and Design Teaching : Lesley Burgess : !
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A wide range of situations was reported by tutors, but individual discussion was valued by most:. One to one tutorial is fundamental, tailor made — you need the body to cut it so it fits, therefore you need a one to one tutorial. Underlying this though were some issues of power. Inevitably the tutor was more experienced and knowledgeable about the subject and was also in control of the assessment process, which automatically made for imbalances which those tutors interviewed were very consciously attempting to counter.
Where there were some concerns we wondered whether the expectation by tutors of certain kinds of knowledge, awareness and experiences in new students might lead to lack of cultural capital in learning encounters for some students. We may also consider submitting this to a journal, depending on the requirements of DRS. It examines the areas of interaction which have potentially hidden rules of engagement and which may be subject to ambiguous meanings and encounters. These have been categorised as relationships pertaining to:. Materials have been created for workshops with students and tutors to help understand perceptions and to debate issues arising from the data.
These will be made available to the HEA Resources site. They are suggestions for a format to enable discussion and interaction using statements made by participants in our research interviews. The workshop then uses the student and tutor quotations selected from appropriate categories in order to stimulate debate about creating adult-to-adult relationships, what might challenge these and how to best maintain them.
The final exercise is to explore how a professional relationship is maintained, how the boundaries of friendship and respect might differ and what is appropriate in individual circumstances.
Workshops are supported by an introductory PowerPoint presentation which briefly outlines the project and its intentions, quotations from students and tutors to stimulate debate, plus suggestions for further reading aimed at tutors. Videos for student representatives to use as part of the engagement in workshops have been delayed and are running behind schedule.
They are scripted but require processing.