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

Wednesday, 23 April 2014

ALDinHE Conference 2014: Learning Development spaces and places

Spaces and Places
This year’s ALDinHE Conference took place in – and was facilitated by Huddersfield University: http://www.aldinhe.ac.uk/news/6/aldinhe_conference_2014:_registration_closed.html?p=7_6
There was a full programme of workshops, events and fabulous Key Note speakers, including Lesley Gourlay and Etienne Wenger-Trayner – on the topics of:
  • Who owns Learning Development?
  • Changing Staff and Student Identities: the impact of Learning Development
  • Addressing the Marginalisation of Learning Development
  • Working Collaboratively to support Learning Development.

Communities of Practice?
Like many people in Education I have been aware of Etienne Wenger-Trayner (EWT) and his Communities of Practice arguments in theory and for many years. EWT in practice and in person was a revelation: warm, inspiring and profound in his outlining of the learning trajectory which takes us from peripheral encounters into the centre of various communities of practice – and various learning identities.

EWT locates his theory in studies of apprenticeship practice. Apprentices especially at the beginning rarely interact directly with a ‘master’ but engage more in apprentice-to-apprentice interactions. In this way learning is ineffably located in the group and in our group interactions: learning is social, embodied and whole person.

For EWT, learning experience models this apprenticeship trajectory. He described ‘learning’ as circled by complementary processes involving community (which offers belonging and a meaningful cadre with which to negotiate and define competence); practice (what we do – and how meaningful and valuable it is); meaning (that is rooted with relevance in the now – and not deferred to some indefinable point in the future); and identity (who we are becoming). In this model learning is not the transmission of a corpus of knowledge nor even a process or set of processes with which to engage with a corpus of knowledge; learning is how we negotiate a range of processes of becoming – that oscillate between the individual and the group.

Becoming
The EWT model allows us to see learning as becoming: it involves a realignment of competence and experience; it is socially defined – but personally experienced. Learning involves negotiating identity in a complex dance in complex landscapes of practice that navigate multiple tensions and meaning.  It is identity-construction in a time of super-complexity: it is a learning relationship between the social world and the personal.

The community is the curriculum
As one who is still part of the ongoing MOOC: #rhizo14: the community is the curriculum, I could not help but see parallels between the EWT model and the rhizomatic model of learning espoused by Dave Cormier – and as poetically described by Deleuze and Guattari (1997, 2005) in A thousand plateaus. Cormier - who spoke at last year’s ALDinHE in Plymouth - gave birth to our radical un-MOOC. In #rhizo14, learning is/emerges from the connections, contingent or purposeful, between the participants in the different learning spaces we inhabit – Forum, FaceBook, Google+, Twitter, Blogs, Zeega… - and which are fruitfully complicated by the diversity and complexity and internationality of the participants. It is a tricky trickster idea – but actually very helpful when we take back to our classrooms whether F2F or virtual: for to enable learning to happen we must at the very least foster human relationships between the participants.

‘I Robot’? Voices from the margins: narratives of LD in a Digital Age
Following on from EWT, and after Julia Dawson and Peter Bray speaking on ‘Peer Support reaching out beyond the institution’, from Plymouth, it was our presentation where we asked: What are the stories that students and staff tell themselves and each other about studying at University?

‘We have developed creative blended learning practice and embedded this within our Becoming an Educationalist and its paired Peer Mentoring in Practice modules. We and our students write reflective learning logs and online blogs to engage with our materials - to write to learn - and to struggle with narratives of the self in times of transition… We wish to share narrative extracts from these places of struggle, voice and play (Winnicott 1971) and discuss the lessons that we can learn about our students and our own blended practice. We also want to explore how we can celebrate and sustain such creative practices.’

How cool is that?
We were very happy to follow on from Wenger and his arguments about learning as a process of becoming – and to talk about our Becoming module and its various practices which we think facilitate these processes: Role playing and simulations; creative and visual learning strategies; Inquiry Based and Problem Based Learning; Reflective learning; Visual practices development; Poetry and Prose analysis and discussion; Analysis of Case Studies; Real research and other projects; Digital artefact and resource development; Peer-to-peer learning: both face-to-face and virtual; Student contribution to the University’s annual student-facing Get Ahead conference; Blogging and other Social Network activities to support learning (Becoming Educational blog: http://becomingeducational.wordpress.com/ and
Learning Development Blog: http://lastrefugelmu.blogspot.co.uk/).

Spaces and places/fissures and cracks
Our students swim in educational currents composed of the over-riding narratives of assessment, SATs, League Tables, OFSTED, moral panics about plagiarism – and the ‘dumbing down’ of education – for which they are personally blamed: There are Mickey Mouse students for whom Mickey Mouse degrees are quite appropriate (Starkey 2002/3). They are caught on a cultural cusp (Medhurst in Munt) negotiating tricky academic space which is more of a trickster space for them – for just how far are they supposed to lose themselves and become another in this alien landscape; and who gets to choose the transformation – and where do the boundaries lie?

Why writing? The essay – The blog
Arguably the academic essay as a genre exemplifies academic writing per se: it is non-polemical - yet invites certainty of argumentation. It is ‘your’ argument whilst excluding ‘you’: the personal, the emphatic, the confused, the flippant and the humorous. In many ways it can be seen as a metonym for the academic world our students have entered: implacable, reified, classed. It is the space where they most feel like ‘a fish out of water’.

We want our students to succeed in academic writing for it is the sine qua non (http://en.wikipedia.org/wiki/Sine_qua_non) of the University experience. But we wanted writing that was not the ultimate erasure of the self. We wanted a space where students could have something to say, could have their struggle to achieve authorship; but without the ‘jostling voices’ (Carter et al. 2009) asking them to ‘write and reference properly’ and to ‘be more academic’ – and less like the passionate, engaged and committed whole people that they are. We suggested blogging and wanted their blogs to be a powerful virtual tool – a quasi-academic, multimodal, public space in which to perform the self as it becomes academic – and to perform that more wholly than in an academic essay.

A little bit of Deleuze will do ya
Blogs especially can constitute the cracks – the boundaries – the borders - the space for disruption, irruptions and eruptions: the place of collision and encounter. Those representations become where space and time collapse – compressed – intensified – because finite – become finite – existing in a fixed place and time. Their composition emerges from a compressed space, time and setting: meaning and communication become one narrative. And as Deleuze might argue this offers an opportunity not to re-trace the compilation of the sign – but a moment – just before it becomes fixed – when all the potential and possibilities still exist. A moment of and for transformation – for recognition of the self… A crack in space and time to re-territorialise educational spaces – to become educational nomads.

And our student voices said:
‘Week 9 was all about my nightmare….drawing!
My drawings always mock me:
“Ha! I have defeated you! You may have many words, but give you a pencil, and watch the intelligence disappear! That’s not how you wanted it to look, is it? Is that a person or a tree? Dumbo!’’
In a class of five year old children, I am quite happy to display my ridiculous sketches. I explain to the children that drawing is not my strong point, and they assure me that I have done a very good job of representing the characters, props and scenery in the storyboard. However, if someone were to come in, they would be quite convinced that the children had drawn the pictures – and not the most artistically gifted children, either!
At the moment, I feel afraid of failure, but I have to remember that I have been here before. In 2011, I graduated with merit at the Barbican, from a Foundation Degree in Education: Primary Pathway. So I need to keep three things in mind:
Keep taking risks!
It will be worth all the hard work!
There are people to help me on my journey!’
                     
‘In this week’s lecture, we were subjected to a 10 minute free writing exercise. If we stopped writing, then we were to write the reason why we did so on a separate piece of paper. Seemed easy enough, but the question given was very ambiguous to us: Winnicott (1971) argued that play is necessary to           counteract the implicit threat of transitional...
“What?” I asked myself. “Who is Winnicott? What does he mean by play? Implicit threat?” I started writing, even though I had no idea what the question was asking. It took three attempts to get my writing flowing.’

‘Today has been so proactive that I hardly had the time to take down any academic notes and just kept on listening. There was a guest speaker today, Chris O’Reilly, who spoke to us about the presentation and making of a short 3 minute film and what kind of research and methods go into making and preparing for it. I was so intrigued and fascinated throughout the whole piece that it just had given me so many ideas. I was bursting to how these ideas could relate to my research project Report.’ 

Nomads all!

Talking of re-territorialising: do we want a Learning Development MOOC?
And so to Andrew Doig, Becka Colley, Carol Elston, David Mathew, Sandra Sinfield and our workshop on the nuts and bolts and why and ‘what fors’ of a Learning Development MOOC. The session had a great energy and buzz - and we are hopeful that a positive working group will emerge from those present – and from others in the LDHEN if they want to join in.

cMOOC, xMOOC, SPOOC – OOD??
There seemed to be two main approaches to our potential open online course emerging:
* Set the context: Where a group of us gather together to design and devise a course with quite formal and defined Aims and Outcomes. Different elements of the course might be 'owned', developed and delivered online by different people.

* What might be called the 'bring your own context' approach: a group gathers together and sets up a course that may or may not have formal aims and learning outcomes - but that can be experienced differently by participants depending on their own contexts, wants and needs. In this model, some participants may want to explore the philosophy, pedagogy and epistemology surrounding elements of the course - whilst others may just want a 'pick up and teach’ set of strategies...  Different elements might be delivered online by different people, with participants bringing as much to the table as the person 'running' the course that week/fortnight/month. I think that this community can manage that! 

To me this latter more of a #rhizo14: the community is the curriculum approach; and in actual fact, I do not think that these two approaches are incompatible if framed in a participative way.

Watch the www.jiscmail.ac.uk/ldhen list for developments - and if people are interested in taking part – could they email Andrew Doig: Andrew.Doig@solent.ac.uk ?


End Notes: There was more, so much more to ALDinHE – but I reckon that this is enough for a blogpost. So if anybody else has blogged – can you put the link in the Comments below – and perhaps we can have a conversation of sorts to keep the LD flag flying?

Saturday, 24 August 2013

#artinquiry: week 4: the Project: Image mediated dialogue: B&W documentary style photographs from the sixties to seed art as inquiry: what is successful peer mentoring?

Instructions:
Your Final Project for this course is to take the concepts we have explored each week and create a resource that you can incorporate into your teaching. The project outline has been structured to allow you to tailor the content to the context in which you teach so that it can be most useful.  The goal of this final project assignment is to give you an opportunity to practice with the concepts from the class in a forum where you can share ideas and get feedback from your peers.  The required peer assessment process will also give you the opportunity to see the ideas that others come up with.  Be creative!  This is your chance to apply the course concepts to real-world situations.

The brief itself was buried somewhere in the site – I did not find it – but fortunately Kelcy Allwein did and shared it in our FB site.

I know that there will be many great projects that harness the brief much more successfully than I – for example Dave Barr’s lesson and resources – on a Roman bust: http://innogenesis.info/2013/08/teachers-guide-for-inquiry-based-art-learning/

But, here are the questions – and my answers to them. I’ve left the Peer Review questions in…

Your assignment is to select an artwork that you would like to use as the starting point for an inquiry based lesson in your classroom. 

1. Subject Area: Peer Mentor Training – lesson *Art as Inquiry*
Class size – 12 students expected - Journalism students.



2. Intended grade level range: 
Third/Second year University students (UK).

3. Artwork Selection: 
For this activity I would not use one artwork – what I will use are a range of A4 photographs that I have and that have been printed on to ordinary office paper. The photographs were taken in the 1960s, they are Black and White and documentary in type. The images in the photographs include railway tracks, loaded carts pushed by struggling ‘peasants, young people walking hand in hand, a young girl smoking, footprints in the sand, goods on a market stall, African masks, a tree in a desert, an old woman cradling a baby, a sculpture in the distance – possibly an African sculpture, puppets, head dresses, a man cycling carrying an overloaded basket… The ‘point’ is to have a completely diverse range of images that in no way obviously pertain to the question that I set the students.

4. Artwork Title: the artworks are various
I will be using a selection of A4 photographs – I cannot upload the pictures of them here because I am currently on vacation and they are in my office at work… BUT – the images here are not the point – they could be pictures of *any* artwork – the point is to use them as a launching point for student inquiry into another topic. That is – I am using art as inquiry into student expectations, hopes, fears and beliefs about peer mentoring.

5. Artist – various
The artist is not the point, neither really is the picture or the pictures… the point is the student inquiry into why they have chosen a picture and what it might mean to them in the context of the field of study…

6. Date – 1960s
I have a collection of black and white photographs from the 1960’s they are documentary in nature and capture the flavour of a different time to this one. This is useful for this means that today’s students will have no obvious links to the pictures and will be able to use them to explore their own thought processes.

7. Materials:
  • The A4 photographs – a whole collection of them – there are many more photographs than students.
  • ‘Reflections’ sheet – with questions: ‘What is successful peer mentoring? What photograph did you choose? Look again at your photograph – what do you see? How does this photograph answer the question, ‘What is successful peer mentoring?’?

Evaluation Phase: Is the artwork developmentally appropriate?

Theme/Connection to Curriculum: Briefly describe the theme or connection to the curriculum:
I will be training students to mentor other students. I do not want the students to teach the other students – nor to tell them what to do or not to do… I want the mentors to support inquiry in their mentees – and to give their mentees space to ask questions – but then to think about the answers for themselves. I want this process to help the potential mentors realise the power of inquiry – and the power of the open-ended question. I want them to see that there are many answers to one question – and many different ways of seeing the world. I want the mentors to use art as inquiry – and to think about using art to seed their own thought processes – both in the training session and in their future practice as mentors, as students and as journalists.

As they interrogate their own picture choice – literally exploring in more detail what is in a picture – then considering how it answers the question that I have set them – I am hoping they go on a journey of discovery.

As we build on the initial photograph choice and discussions – I hope they appreciate the value of listening – and of considering what other people have to say. I hope they experience and understand the nature of listening…

Thus the point of this activity is the way they interact with their artwork – and then the way they discuss their artwork with others. This PROCESS of art as inquiry is designed to model the mentoring relationship that I am trying to prepare them for…

The B&W documentary style pictures that I will use will feel perhaps familiar in that these are journalism students and the photographs are documentary in nature – at the same time, they are distanciated from the students’ own experiences and I hope this strangeness enables them to see differently – and frees them to discuss with less certainty…

Evaluation Phase: Does the artwork that was chosen clearly relate to the theme/curriculum connection

Include three open-ended questions related to the artwork in the sequence they would be presented: 
  1. Please choose a picture that answers the question: What is successful peer mentoring? NB: This is not a trick – I have not buried the one ‘right’ picture in the pile. The point is to find the picture that speaks to you – that answers the question for you. Please take your time to look at all the pictures – and NO you cannot choose more than one picture!
  2. Now that you have chosen your picture – please look at it again. Take time to really *see* your picture. What literally is in there? Describe your picture in no more than 45 words.
  3. Now look again at your picture. How does it answer the question: What is successful peer mentoring?  If you wish – make a few notes on your Reflection sheet…

Evaluation Phase: Are the questions open-ended? Do the questions support the theme? Do the questions invite multiple responses?

Include 3 bullet points of information about the artwork that is related to the theme/curriculum connection:
    • They are all B&W documentary style pictures
    • They are pictures taken in the 1960s – they are not of immediate meaning to my young, multicultural students
    • They are on a range of subjects – again they are not immediately relevant to the life experiences of the students that I expect to engage in this activity. They are not on the topic of peer mentoring. Thus for them the meanings are in fact open ended – even if when they first engage in the activity they may think that the meanings are closed and obvious.

Evaluation Phase: Does the information support the exploration of the object? Is the information relevant to a conversation about the object?

Include an activity (multi-modal approach) for this artwork and include the following:
1. Brief description of activity: What will the students do? (i.e. writing, drawing,
movement):
* Looking – thinking – brief writing
First the students will be invited to choose a picture that to them answers the question: What is successful peer mentoring? They will then be invited to look again at their picture and really *see* it – they will be invited to write a description of their picture in no more than 45 words. After that – they will be asked to consider how their picture answers the question – and make notes if they wish.

* Pairs – discussion – comparison – thinking
After this phase – students will be asked to pair up and share their pictures and their readings and the meanings they are drawing from the pictures.

* Pairs – writing two six word essays together
Following this they will be asked to answer the following questions – in writing – six words only per topic:
I hope peer mentoring is:
I hope peer mentoring is NOT:

* Plenary1: Sharing the writing
In pairs – show your pictures and read out your two six word essays… Discuss.

* Plenary2: Reflecting on this process of art as inquiry: discussion
What have we/you learned about peer mentoring through this very open-ended process? How do you think this will help you in the peer mentoring that is to come?

2. Directions: How will you introduce this activity and what directions will you give your students?
I would say:
To start our day of peer mentor training, we are first going to engage in an art activity. I am going to ask you to explore the photographs over there – and for each of you to choose the *one* picture that for you answers the question: What is successful peer mentoring?  This is not a trick – there is no one right answer picture buried in there. The point is for you to find and explore a picture that answers the question for you… Once you have all chosen your pictures – I will ask you to think about your individual choice in some depth – and with some writing – and then ask you to discuss them in pairs – and to engage in some very concise writing about them. We will move on to two final reflections in a plenary – pulling the activities together to help us think about being successful peer mentors.

3. Goals: What are your goals for including the activity in the conversation?
The goal is for students to explore peer mentoring from a completely fresh perspective. The artwork that each student chooses will help them inquire into their own preconceptions about peer mentoring – at the same time they will be invited to extend their original thoughts – first by describing the artwork in more detail, which should help them see it afresh… Then in thinking about how their picture does answer the question…
As they engage in pair work on the artworks chosen – first in discussion – then in really condensed writing – they are modelling successful peer mentoring practice as they articulate that practice.
The two plenaries should help draw the whole session together – one being a ‘lessons learned about peer mentoring’ – and the other a meta-reflection on the activity as a whole in relation to peer mentoring…

I think this whole activity models art as inquiry in a creative way!

Evaluation Phase: Does the activity relate to the artwork? Are the instructions/prompts clear? Is the activity developmentally appropriate?


*** Acknowledgements: I have not invented the idea of using images to start a conversation about a topic to be studied. I was introduced to the practice by a colleague at work, Dave Griffiths; I was given my B&W documentary style photographs by another colleague, David Jacques. What I have done here is to really think about how to use the 'close looking and seeing' part of #artinquiry to bring new life this this 'image mediated dialogue' process... I have also utilised the very short writing activity from the course - but adapted it so that my students will be writing two six-word essays seeded by their reflections on their artworks - and answering questions on the topic we are starting to study. ***

Next - peer review!

Saturday, 22 September 2012

Fourth Hour: creative timetabling... What would you do?

Our University has adopted a 'fourth hour' policy for first year students - inviting us to be interesting and creative with that time: to use the time to reinforce or extend student learning. I think this can be a great idea and some things that we have already thought about include:

Peer Mentoring
Obviously we have not just invented peer mentoring - its been around for years; but the fourth hour does allow us to schedule time tabled time for peer mentors to meet with their mentee groups; to become better acquainted with each other and the University with its Byzantine forms and processes. We do not know quite where our peer mentor experiment will go - it could evolve from a quite pastoral system into a more formal writing mentor programme. It could be that our peer mentors become the subject of educational research by those students taking up our AniMet Challenge <http://learning.londonmet.ac.uk/epacks/animation/index.html>. It could be that the peer mentors could facilitate students engagement with the next idea:

Keep a 'cultural dossier'
I was the first in my family - in my whole neighbourhood - to go to University. I took a joint honours Education and Literature degree: a University of London degree operated through North London Polytechnic - and the most wondrous experience. Contrary to popular misconception, the Polytechnic was not a Gradgrind vocational institute designed (merely) to train the engineers and teachers of the future - but an inspirational space designed to produce critical and creative thinkers. Part of our first year included visiting Magistrates Court to observe the legal system in action; going to art galleries and museums; being encouraged to go to the theatre and write about our experiences in our essays. And one thing that we could do for our students would be to 'give them permission' to be a real student - not to rush back home to do the housework - not to dash off to that job ... but to legitimately go out and about around London - having wonderful experiences and keeping a record of them in their own cultural dossier.

MOOC it
Another interesting idea, I believe, would be to get our students to find, engage with and reflect upon a Mass Open Online Course (MOOC). I have enrolled on such a course myself (E-learning and Digital Cultures, starting 28th January) and am really looking forward to it. If we want our students to consider lifelong and lifewide education - and to develop as empowered and digitally literate learners - what better way than for them to find, engage with and reflect upon a MOOC?

If you had a fourth hour - what would you do and why?