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A Handbook for Teaching and Learning in Higher Education Enhancing academic and Practice

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The visual arts<br />

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351<br />

With some plann<strong>in</strong>g, the crit can become a useful opportunity <strong>for</strong> learn<strong>in</strong>g:<br />

• Prepare students. Students should be provided with opportunities to practise speak<strong>in</strong>g<br />

<strong>and</strong> present<strong>in</strong>g work <strong>in</strong> <strong>in</strong><strong>for</strong>mal small group sett<strong>in</strong>gs first.<br />

• Provide written prompts. Students report f<strong>in</strong>d<strong>in</strong>g worksheets with questions prompt<strong>in</strong>g<br />

the analysis of project work to be helpful <strong>in</strong> learn<strong>in</strong>g to assess their own <strong>and</strong> others’<br />

work.<br />

• Work <strong>in</strong> pairs or small teams. Discussion <strong>and</strong> debate help to develop confidence <strong>in</strong><br />

us<strong>in</strong>g critical vocabulary <strong>and</strong> <strong>in</strong> underst<strong>and</strong><strong>in</strong>g what to look <strong>for</strong> <strong>and</strong> how to evaluate<br />

successful work.<br />

• Let the students do the talk<strong>in</strong>g. Tutors should resist the temptation to take the role of<br />

expert <strong>and</strong> lead the discussion, <strong>and</strong> <strong>in</strong>stead allow students to explore their responses<br />

first. Talk<strong>in</strong>g helps evaluation <strong>and</strong> engenders confidence <strong>and</strong> fluency <strong>in</strong> the discourse.<br />

• Take a back seat. Tutors should avoid st<strong>and</strong><strong>in</strong>g at the front <strong>in</strong> a comm<strong>and</strong><strong>in</strong>g position;<br />

speak<strong>in</strong>g from among the audience changes the power relations to a more<br />

collaborative position <strong>and</strong> contributes to students’ confidence to talk.<br />

• Provide low-stakes opportunities <strong>for</strong> learn<strong>in</strong>g. The crit should be used as an <strong>in</strong><strong>for</strong>mal<br />

feedback opportunity as well as the end of project assessment.<br />

• Invite others to participate too. The Fashion Studies course at the London College of<br />

Fashion, University of the Arts London, <strong>in</strong>vited representatives from <strong>in</strong>dustry to<br />

come <strong>in</strong> <strong>and</strong> critique work <strong>in</strong> progress, thus provid<strong>in</strong>g contacts <strong>and</strong> comments from<br />

current practitioners <strong>in</strong> fashion design. Comments took the <strong>for</strong>m of brief written notes<br />

or a discussion with <strong>in</strong>dividual students.<br />

• Keep everyone engaged. Sessions should not be too long <strong>and</strong> students should be kept<br />

actively <strong>in</strong>volved: they need a purpose to be there.<br />

Case study 1: CASPAR, an onl<strong>in</strong>e tool <strong>for</strong> self- <strong>and</strong> peer<br />

assessment<br />

The Media School at Bournemouth University developed a computer-based<br />

solution <strong>for</strong> self- <strong>and</strong> peer assessment through a four-year HEFCE-funded project,<br />

GWAMP (Group Work <strong>and</strong> Assessment <strong>in</strong> Media Production).<br />

The aims of CASPAR were:<br />

• to support group work as a vocational key skill <strong>for</strong> employment;<br />

• to recognise <strong>and</strong> implement peer assessment as a valid <strong>and</strong> valued method<br />

of assessment;<br />

• to make easier the provision of <strong>for</strong>mative assessment, recognis<strong>in</strong>g its<br />

importance to student learn<strong>in</strong>g;<br />

• to reduce the impact of assessment on staff time, while ma<strong>in</strong>ta<strong>in</strong><strong>in</strong>g the<br />

student learn<strong>in</strong>g experience.

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