Tag: ARP

Blow are the collected responses to each of the 7 postcards.

Below are the collated responses.

The feedback form was designed to gain insight on how students engaged with the workshop, what they would like to explore further and reflect on three takeways from their participation in the workshop.

The form was designed on a simple A4 sheet of paper – most feasible. It was also designed in a way that could collect students thoughts in an unburdensome manner – to not overwhelm them by how much they had to write. They were encouraged to write bullet points. For the reflection to be more open they had a side of a whole sheet. This was to allow space for reflection in a more creative way – drawing / image+text…

Below is the form, followed be the responses collected.

All the responses were gathered and listed in an Excel sheet as shown below.

• Ethics form – DONE
• Draft activity plan/brief – DONE
• Run pilot with colleague/student – DONE
• Get feedback – DONE
• Refine activity – DONE
• Draft in colleague to observe – DONE
• Prepare observation templates – DONE
• Run activity – 5th November, 2024 with year 3 BA Photography students – DONE
• Capture outputs – DONE
• Reflect on session – DONE
• Debrief with observers – DONE
• Collate feedback – DONE
• Plan next steps – DONE
• Presentation slides – 7th February, 2025 – DONE
• Complete Blog posts – working on it

Bibliography

BERA (2024) Ethical Guidelines for Educational Research. 5th edn. British Educational Research Association. Available at: https://www.bera.ac.uk (Accessed: 20 October, 2024).

Cariola, L. and Lai, T. (2022) Where are you From? Raising Awareness of Third Culture Students in Higher Education. Teaching Matters. Available at: https://www.teaching-matters-blog.ed.ac.uk/where-are-you-from-raising-awareness-of-third-culture-students-in-higher-education/ (Accessed: 19 June 2024).

Crenshaw, K. (1989) Demarginalizing the Intersection of Race and Sex: A Black feminist critique of antidiscrimination doctrine, feminist theory and antiracist politics, University of Chicago Legal Forum, 1(8).

de Certeau, M. (1984) The Practice of Everyday Life. Berkeley: University of California Press.

Flick, U. (2018) The SAGE handbook of qualitative data collection. London: Safe Publications Ltd. Available at: https://libsearch.arts.ac.uk/cgi-bin/koha/opac-detail.pl?biblionumber=1388380&query_desc=kw%2Cwrdl%3A%20qualitative%20data%20collection (Accessed: 2 December 2024).

Fletcher, K. (2010) “Being Inside and Outside the Field”: An exploration of identity, positionality and reflexivity in inter‐racial research, in Leisure identities and authenticity [online]. Available at: https://www.academia.edu/243923/_Being_Inside_and_Outside_the_Field_An_Exploration_of_Identity_Positionality_and_Reflexivity_in_Inter_racial_Research (Accessed: 3 November 2024).

Foucault, M. (2001) Fearless Speech. Edited by J. Pearson. Los Angeles: Semiotext(e).

Freire, P. (1970) Pedagogy of the Oppressed. New York: Continuum.

Goffman, E. (1959) The Presentation of Self in Everyday Life. New York: Doubleday.

Hetland, L., Winner, E., Veenema, S. & Sheridan, K.M. (2007) Studio Thinking: the real benefits of visual arts education. Foreword by D.N. Perkins. Cambridge, MA: Teachers College Press.

Hofstadter, D.R. (2007) I am a Strange Loop. New York: Basic Books.

hooks, b. (1994) Teaching to Transgress: Education as the Practice of Freedom. New York: Routledge.

Kara, H. (2015) Creative Research Methods in the Social Sciences: A practical guide. Bristol: Policy Press.

Kurlansky, M. (2003) Salt: A World History. Illustrated edn. London: Vintage.

Ladson-Billings, G. (1995) Toward a Theory of Culturally Relevant Pedagogy, American Educational Research Journal, 32(3), pp.465–491.

MacGregor, N. (2010) A History of the World in 100 objects. London: Allen Lane.

Mani, L. (2009) Sacred Secular. New York: Routledge.

Mani, L. (2022) Myriad Intimacies. Durham: Duke University Press.

McNiff, J. (2002) Action Research for Professional Development: Concise Advice for New Action Researchers. 3rd edn. Available at: https://www.jeanmcniff.com (Accessed: 30 September, 2024).

Meyer, J.H.F. and Land, R. (2003) Threshold Concepts and Troublesome Knowledge: Linkages to Ways of Thinking and Practising Within the Disciplines, in Improving Student Learning – Ten years on. Oxford: Oxford Centre for Staff and Learning Development, pp.412–424.

Project Zero. (2007). The Studio Thinking Project. Harvard Graduate School of Education. Available at: https://pz.harvard.edu/projects/the-studio-thinking-project (Accessed: 5 November 2024).

Teach Inspire Create (2022) The importance of cultural diversity in the arts, with Karina H Maynard [Podcast]. Available at: https://teachinspirecreatepodcast.buzzsprout.com/1897805/9955300-the-importance-of-cultural-diversity-in-the-arts-with-karina-h-maynard (Accessed: 24 June 2024).

Tien, J. (2019) Teaching identity vs. positionality: Dilemmas in social justice education, Curriculum Inquiry, 49(5), pp.526–550.

Above is version 2 of the Ethics form. From our last tutorial, I am now trying to focus this ARP on just one workshop of the Positionality series of workshops I am and have been developing.

feedback from Miriam

Well done Smriti – The colour and narrative texture of your teaching world is so clear. Your ethical thinking here is practical and multi-directional.

1.

There are so many important questions here. The challenge will be what can be dealt with within the boundaries of the project. Even through the activity might be addressing multiple areas, you will need to focus in on the most important or relevant.

2.

I love the narrative power these keywords have together!

It is clear the relationship they have to your subject area, you will just have to stake out the strands within these areas that are most relevant.

Also, because you’ve been working in these subject areas over time, you will have to be careful you don’t get carried away and devote enough reading time to research and method.

3.

Yes – all so interesting. However, you will need to narrow your focus so that you have a manageable amount of data to evaluate the impact of the workshop and what it means in terms of the continuum of your teaching practice.

4.

Good ethically that this is something students are opting into.

5.

The teaching situation you describe here is one you have designed with great sensitivity. Particularly, the briefing points around disclosure – the personal and private distinction.

6.

Good insights around the ethical importance of anonymity and attribution.

7.

Good. And the consideration of the ethical and mutual benefit between colleagues is thorough and thoughtful too.

Autoethnography is a contentious scholarly inquiry fraught with issues of ethics, representation, objectivity and defending its purpose.

In Carolyn Ellis’ autoethnography, “Final Negotiations- A Story of Love, Loss and Chronic Illness”, she presents her narrative of the nine-year relationship between herself and her partner, Gene Weinstein, that ends with his demise from his chronic illness, emphysema. The book is centred around the negotiation of power between the two.

The issue to contend with in Ellis’ work is that in telling her life story, which is so intricately woven with her partner’s life and death story, is the fact that Weinstein is no more and has had no say in how he is being represented as the work was crafted well after his demise. All choices have been made by Ellis alone (which she acknowledges) and Weinstein has not consented and nor could he consent to this ‘evocative’ piece of writing. Despite being a former collaborator of Ellis’, sharing the same professional discipline and consenting to her note taking of their dialogues and experiences together while he was alive and having been a supporter of her work and the direction she would like to take it, the final narration has not been consented to nor could it be. And here lies the dilemma.

The concern is that Ellis lays bare all parts of Weinstein’s life making no distinction of what is personal and what is private for him. This narrative offers itself as a study of her emotional experience in a romantic relationship fraught with power struggles.

The purpose of this storytelling is unclear. Is it a story about power in a romantic relationship or one about caring for a terminally ill partner? What purpose does baring so much of Gene’s life serve to do?

My thoughts

Perhaps what autoethnography as a method needs is a collaborator who must work alongside to edit and help keep the focus and purpose of the study as this can be easily obscured for the autoethnographer and understandably so.

Distinguish between autobiography and autoethnography. Where does memory-work in the context of Fine Art lie in relation to these two terms?

Proust refers to his ‘Swann’s Way’ as a novel – not autobiography or autoethnography – the purpose is storytelling 🙂