Mapping and Planning Sari Workshop 2024-10-26
Step 1
The Sari Workshop is my first intervention, which I’m doing with the students. I have run this workshop last year for the first time but this year I will now be seeing it through the lens of the PGCert process and how it can help me plan and prepare workshops better. One week before the workshop I verbally let the students who are involved in this workshop know that I am doing a research project and this workshop will be a part of it. If they wish to take part with the research aspect on the day I will give them a UAL Participation Consent form to sign, if they choose not to participate in my research they are still welcome to join in the workshop as it has been built in to the curriculum.
Step 2
In preparation for this workshop, I had e-mailed the students the following.
Tuesday 29th October … Sari technical Workshop
All day – Both A&B groups are together.
Please arrive in studio EB1318 by 10.00am
This is a new and fun workshop which I’ve have developed for you, and I am sure you`ll enjoy it lots!
Please bring the following items with you
- Your sewing equipment to include a box of pins, sewing pins and thread.
- Drawing equipment
- The actual archetype research garment and/or your images from the rapid-fire project on archetype, into which you are looking.
- Think of a song which helps you when you are creating and bring it in on a device.
- There is a dress code for this workshop! A plain shirt or T-shirt and a plain pair of trousers or jeans.
Step 3
I am planning to use a PowerPoint presentation to show the days workshop which includes when students will have breaks. There are 3 tasks that we are going to work through in the workshop: task 1 how to drape a sari by using traditional methods, task 2 how to drape a sari over an object, task 3 how to cross pollinate heritage garment (the sari) and use a western garment to create a new look.
Step 4
Observing and collected data.
I have put together four questions for students to reflect from the task.
Q 1: -Task 1 how did you feel when draping the sari around yourself
Q 2: -Task 2 how did you feel the music influence you, when draping the sari over an object by not thinking of the heritage of sari.
Q 3: -Task 3 How can you bring this method into your work/line-up.
Q 4: – Is there any other thought process you would like to comment on
I am using a 6-metre length calico to represent a length of sari, so students can draw or write on to give me feedback.
I will be taking images, videos, and recordings of their work throughout the day, which will be safely secured on OneDrive.
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On the Day of the Workshop
Task 1
Drape on yourself, using one of the three illustrations or one of your own
Picture 01
Picture 02
Task 2
Drape over objects or constructions on the mannequin which then can be removed For drapes, using folding and pleating methods
Picture 03
Picture 04
Picture 05
Video Balloon Popping
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Picture 07
Task 3
Take your sari drape, then from your garment archetype and / or collage from the rapid- fire project, select part of it to create a whole new garment
This new garment must clearly show cross-pollination
Firstly, re-collage using both images
Secondly, draw specific areas of the garment on pattern paper to show how you have merged the 2 cultures (referred to as cross-pollination)
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Picture 11
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Students’ feedback on the workshop
Using a 6-metre length calico to represent a length of sari, so students can draw or write on to give me feedback.
cross pol 1
Sari Students Feedback on the Workshop.
By using a 6-metre length calico to represent a sari length so students can draw or write on it to give their feedback, I felt this was a good way of collecting data because it allowed them to be more relaxed in the feedback approach in a creative way. My workshops are practical and students highly creative, so it seemed sensible to extend this into gathering open and honest responses.
Sometimes questionnaires can be very formal for students to fill out, meaning that their responses maybe different, and I wanted it to capture the mood of the workshop by allowing free reign over the way feedback was expressed. This is valuable because it doesn’t rely on the written word and is therefore more inclusive in a highly creative environment.
As I wasn’t convinced that having a formal questionnaire in this environment was going to validate the outcomes, I wanted to use a less formal method to give context as well as collect data as Kara (2015, p.13) says, “some social science researchers still value the concept of objectivity …in some contexts this is impossible to achieve” examples included poverty and mortality.
As Kara (2015, p.45) says [quoting (Gomex, Puigvert and Flecha 2011:239) ] “Critical Communicative Methodology (CCM) is a particularly ethical type of participatory mixed-method research”…(and)…”everyone has the right to participate in intellectual discussion whether or not they are ‘an intellectual’ or can speak intellectual language” This makes a lot of sense to me both as a teacher and student who is dyslexic and is reflected in getting intelligible data for me to disseminate. They go on to say “to ensure full involvement throughout the research process” and “Data is gathered using communicative methods”… “and involve the researcher sharing their knowledge”
Reference List
Kara, H. (2015). Creative research methods in the social sciences: a practical guide, Polity Press.
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The hands that Create – All the students took turns laying their hands on the cloth to show that a workshop is not all about the educator, so removing the hierarchical system and of course cross pollinating !
Picture 12
Sari The Hands that Create
All the students took turns laying their hands on the cloth to show that a workshop is not all about the educator, so removing the hierarchical system and of course cross-pollinating.
In my presentation I talked about how a sari is a piece of cloth, until the hands of the weaver weave it, the embroiderers embroider, the block printers print and the dyers dye the fabric. It is this which gives great value to the sari, so we must always remind ourselves, that we are not the only creators in the make process, but to acknowledge everyone who’s taking part in the process. Similarly the students became part of the workshop through their input onto the calico.
Research by (Kimberly D. Elsbach, Brooke Brown-Saracino and Francis J. Flynn, October 2015) shows the importance of each person within a creative process having an input. “Some people in creative roles seem immune to others’ input. But this apparent arrogance is not actually what makes them tick. Their resistance may have less to do with size of ego than with sense of identity. A subset of creative professionals identify as “artists,” meaning they value three things: having a signature creative style so that their work bears a unique stamp; remaining involved in the execution of creative concepts rather than handing them off; and succeeding on non-commercial terms. The authors suggest four tactics for working with artists:
1. Offer broad suggestions.
Artists may see specific, fully formed ideas as attempts to wrest creative control. Plant just the seed of a concept, and you inspire continued engagement.
2. Temper your enthusiasm.
Don’t act too invested in your own ideas. A dispassionate demeanour works better with artists.
3. Delay decision making.
Give artists ample time to consider your suggestions on their merits.
4. Show respect and like-mindedness.
Acknowledging an artist’s prior thinking and work reassures him or her that your ideas are not off base.”
The end part of the sari is called Pallu, which is lavishly designed and warn over the shoulder, it displays the richness of the artisan. As social justice is important to us as educators, I decided that this part of the ’sari’ was where the students could show the richness of their heritage and introducing cross pollination into workshops as a way of empowering and including everyone.
Doing this will show us the diverse culture which students come from at the university and how we can incorporate this into our workshops in the form of participation. It also allows those who express themselves visually rather than through the written word, to feel included ie participants whose first language might not be English.
Elsbach, K. Brown-Sarracino, B. Flynn, FJ. ‘Collaborating with creative peers’, Harvard Business Review Magazine, October 2015, (https://hbr.org/2015/10/collaborating-with-creative-peers) (Accessed: October 2024)
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Q 1: Task 1 how did you feel when draping the sari around yourself
Q1
Q 2: Task 2 how did you feel the music influence you, when draping the sari over an object by not thinking of the heritage of sari.
Q2
Q 3: Task 3 How can you bring this method into your work/line-up.
Q3
Q 4: Is there any other thought process you would like to comment on
Q4
SARI Answering the 4 Questions
Q1 – HOW DID YOU FEEL DRAPING THE SARI AROUND YOURSELF?
Reflection:
When we see people from another culture, in Japan for example, we don’t always relate to how the ceremony of dressing is important and the way we dress creates a sense of belonging as well as a state of mind going out or working. As Tast, (2016) demonstrates in Kimono and the Tea Ceremony, (it) “was an incredible experience. It took three women working actively in order to dress me in the kimono. Putting on a kimono is a long and very detailed process”
If a technician was to say “how would you feel wearing a sari” as a written question or as a question for discussion, the outcome would be very different from actually doing it. This is reflected in The Harvard Business Review by Belmont, (April 2009) when they say “What he or she was pointing out is that it is a forum that caters to the ‘talkers’. Taken further you could ask: What about the ‘doers’ – those who produce great work, and let it speak for itself? Do we all need to broadcast our work?” This makes me think that technicians don’t always get recognised at the university because they are ‘doers’ and their workshops because we are teaching soft skills which are no less important.
So the job of the technician is to create a safe space in which students can explore their own possibilities and then freely express their outcomes as a guide to the teacher.
As a technician, the scaffolding of our workshops can make it seem like a follow-me process, but the learning outcomes have more depth. It is only the outcomes which tell the story ie what has been created as a result. Looking at the comments, you can see how involved the participants are and how effective the method is.
Data collection key words:
Security Understanding Shaping Tricky to handle Feeling
Application for future workshop:
You can take this method and apply it to any culture, heritage or tribe.
Literal feedback from the calico length:
- Amazing
- Fun
- Love it
- Smooth
- Cannot imagine before
- Free!
- Feeling of being wrapped around
- It was tricky to handle big length drapes. Opened more ideas
- Easy to tie around
- Felt this sense of belonging and protection in that it made me feel connected to other cultures besides my own
- Interesting to get to know others cultures drapes
- Gives me lots of inspiration. Love it!
- Funny. Easy to translate my words into fashion language
- Its very fresh feeling, very interesting. It can all around to wrapping the body
- It was really a good time to feel the shape around my own body
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Q2 – HOW DID YOU FEEL THE MUSIC INFLUENCE YOU WHEN DRAPING THE SARI OVER AN OBJECT, BY NOT THINKING OF THE HERITAGE OF THE SARI?
Reflection:
I introduced the idea of music into the draping task because each person would have chosen something they relate to and feel familiar with, taking us away from the surrounding space into one of safety. “focused work thrives in a quiet setting, whereas collaborative tasks may benefit from both quiet and loud periods. Thus it is imperative to investigate how a quiet work environment can support or hinder employees across various types of work”. Kalmanovich-Cohen, H. and Stanton, S.J. (2024.) ‘Leveraging quiet: The power of choosing your workspace’
Reviewing the comments and listening to anecdotal feedback this worked well because students seemed to be totally immersed in the task without distraction.
By removing the heritage of a garment ie the sari, it became the point at which cross-pollination began. When planting something to grow we need to put it in the soil and start nurturing it.
Data collection key words:
Allow senses Without thinking Object Learning Explore emotions Healing
Application for future workshop:
Consider if this might be a useful technique for tasks which need concentration, focus or creativity.
Literal feedback from the calico length:
- Using ballon shape was fun
- Healing
- Dramatic
- Natural dancing
- The music allowed me into my creative space. It made me feel very intune with my fabric and process
- Thinking about words. Using it as an emotion to deepen
- Good way to find more development in design
- Gives a good atmosphere and more feeling on making without thinking about other things
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Q3 – HOW CAN YOU BRING THIS METHOD INTO YOUR WORK / LINE UP?
Reflection:
As a technician this has opened my mind to creating new challenges for both myself and students. It has also inspired me to look at other methods of construction and make in other cultures like Tast, (2016) demonstrates in Kimono and the Tea Ceremony when she goes on explain that “The kimono was constructed on me is multiple layers, with pieces of plastic, cardboard and even towels being placed within the fabric to create the desired shape and to keep the kimono in place”. From this, I reflect back to teaching during covid times showing students how they can use low cost materials, like balloons, or the things in recycle bins to create new line-ups.
Sometimes we don’t always review our workshops, but this method of participation means I can’t not think about it because it is so interesting. It’s a more inclusive method of data collection from students whose first language is not English and for neuro-diverse students (and teachers), rather than using a tick-box approach.
As we can see from the outcome here, I have simply provided a scaffold / structure, but it is the students themselves who have determined how workshops can develop. This is the true voice of social justice because it is the students who lead the process and I become the facilitator to progress.
Data collection key words:
Diverse layers Objects relating to heritage See through students lens Diverse architypes Realise what cross-pollination is
Application for future workshop:
Student outcomes determine the future evolution of the workshop rather than our own perception.
Literal feedback from the calico length:
- How layers cover each other
- Introduce more draping
- Maybe research into your own heritage and what artifacts we can use
- Can bring this method into my work by being more free and expressive with my line up that will allow me to explore more shapes and techniques
- Originally blend architypes into drape
- Combine my cultural heritage , like what my parents are wearing and translate them into what I’ve been seeing people wearing in foreign countries
- The randomness in design process
- I will apply this experimental method
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Q4 – IS THERE ANY OTHER THOUGHT PROCESS YOU WOULD LIKE TO COMMENT ON?
Reflection:
Through the feedback, the outcome is that cross-pollination is actually inherent in our DNA because students are not only honest “No” but use their own vocabulary “Mobin”, which has many meanings and there is no consistent definition of what it means or where it comes from.
The use of language can reflect our origins and has developed over many centuries as seen with Bragg, (2003) ‘The Adventures of the English’, which can be summarised as the book is like an adventure story and covers the history of the language from 1600 years ago. This is presented not only as a book, but as a television series which makes it accessible to me. Please see https://www.youtube.com/watch?v=K1XQx9pGGd0
This makes us think about where the English language comes from how we use words and how they can mean different things to different people in different countries. So language is cross-pollinated by itself and continues to do so.
The key piece from this is “you find it all clicks through the process”, which shows that it works.
Data collection key words:
No Mobin Clear agenda Objects Clicks
Application for future workshop:
Being sensitive to the words we use and the impact upon those hearing them.
Literal feedback from the calico length:
- No
- With wind flying
- Draping with more different objects
- Connect and trust with my Mobin
- I enjoyed the timings of the process and the stages to open your thinking
- When you feel you haven’t got it, you find it all clicks through the process
- YAY!!
- Really interesting process
Reference List
Bermont, B. (April 2009). ‘Talking vs doing’), Harvard Business Review Magazine, available at https://hbr.org/2009/04/talking-vs-doing (Accessed: October 2024)
Bragg, M. (2003). The Adventure of English: The biography of a language, Hodder and Stoughton.
Kalmanovich-Cohen, H. and Stanton, S.J. (2024.) ‘Leveraging quiet: The power of choosing your workspace,’ Industrial and Organizational Psychology, 17(3), pp. 371–374. doi:10.1017/iop.2024.23. (Accessed: October 2024)
Sanpai Japan, Kimono and Tea Ceremony, available at https://sanpai-japan.com/2016/05/26/kimono-and-tea-ceremony/ (Accessed: October 2024)
The Adventure of English, episode 1 Birth of a language, 2002 [Documentary: TV mini-series], Directed by Robert Bee, David Thomas. London, London Weekend Television (LWT). Available from https://www.youtube.com/watch?v=K1XQx9pGGd0
(Accessed: November 2024)
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Catwalk!
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Reviewing The Sari Workshop
As technicians we often deliver workshops year after year, but not always make time to reevaluate them and this is something I am looking at.
Moving forward from the intervention, within the inclusive practice unit, I did a survey with technicians on how they acknowledged diversity in their teaching practice.
I wanted to bring this knowledge forward in reevaluating the sari workshop with a series of questions to students about different aspects of the actual workshop.
There are 28 students on the MA WW course and all 28 attended, agreeing to participate and signed the form too.
Please see participation form
Observing and Reviewing the workshop
For the workshop I had previously planned out the timings for the day. In the PowerPoint presentation at the beginning, I gave an outline of the day, including breaks. After a brief introduction to the sari, there were 3 tasks and time for reflection at the end.
The workshop was due to start at 10:00 AM and finish at 4:30 PM, but on the day the university had a fire drill in the morning before the workshop was going to start. That meant that the workshop did not start until 10:30 AM, meaning that I had to re-plan the day’s workshop. As technicians, we are often used to this when things disrupt workshops, so by reducing the planned time on my PowerPoint presentation and the 3 tasks, this did not affect the finishing time and the students outcome.
At East Bank, I am based on the 13th floor and am aware that there is an assembly point for anyone needing extra assistance. During induction, students are advised to register if they fall into this category and on the day technicians are not responsible for assisting them to leave or return to the building. However I personally feel that whilst it’s not my responsibility, that participants safely exit the studio we are in. Hostetter et al (2024) highlighted the need to be aware of this in the Journal of Building Engineering when considering “Exit choice and pre-movement times differ from those of non-disabled students”
The students were all engaged with the PowerPoint presentation, they came to understand how important including their heritage is to their projects on the MA.
This is something that we promote on the course, as is it allows them to decolonise the outcomes. When starting the first task of draping a sari on themselves, I noted that some students felt slightly uncomfortable as it wasn’t their culture or their sexuality in dress, but by me draping on myself as a male, allowed students to be more relaxed about this and the studio environment being a safe space for them to experiment.
UAL policy on EDI ( https://www.arts.ac.uk/about-ual/equality-and-diversity) states that:
Practicing equality, diversity and inclusion
We have an Equality, Diversity and Inclusion (EDI) team at UAL, which collaborates with all areas of the University.
The team helps embed EDI:
- Through providing training, advice and support.
- Working towards accreditations, key initiatives and events.
- Ensure that all operations within the University are in line with the Equality Act 2010.
The team’s ambition is to ensure EDI is at the core of working, teaching and learning, so that all members of UAL are empowered to reach their full potential.
Task 2 was about bringing other objects to our teaching practice and how it allows the students to look through a different lens. I had chosen balloons for them, something that I had learned in covid time, when students had limited resources to work with and the cost of items, as we were asking students to buy for their studies. As a university we need to respect diversity through students’ budgets when teaching. This is important and UAL explains this on the website (https://www.arts.ac.uk/study-at-ual/fees-and-funding/study-costs)
Course-specific materials and tools
Materials costs for your course or compulsory field trips will vary depending on the materials and techniques you use.
If your course requires specific equipment or materials, you’ll receive a detailed kit list before the start of your course. Remember, you may not need to buy everything on the list. We aim to keep costs as low as possible and you may be able to borrow some things from your College.
You can reduce the cost of materials by:
- Using our Re-Use units to source anything from hard sheet materials to stationery, paints, adhesives and tools.
- Visiting the SWAP SHOP at Central Saint Martins. You can find unwanted materials such as fabrics, wood, screws, electronics and more.
- Experimenting first with a small amount of media or materials you’re unsure about.
- Shopping around for cheaper alternatives.
Read our top tips for sourcing study materials on a budget.
A Publication of the Australian Association for Research in Education (https://link.springer.com/article/10.1007/s13384-021-00471-7). For me, this is a reflection on the global issue for students as fees are increasing.
The number of students with disability enrolled in tertiary education has increased significantly in the last decade. This has prompted a move to make learning and teaching more accessible to all students. Universal Design for Learning, or UDL, can be used as a framework to guide tertiary educators in the planning and delivery of their courses. The effective implementation of UDL allows all students to access course materials, removing the need for some of them to actively seek support and disclose their disabilities. A rapid review was conducted to locate both theory and evidence to support the use of UDL at the tertiary level, as well as to seek guidance for its effective implementation. A total of 52 articles were included in the study and annotation was used for data extraction. Results indicated that UDL is well supported by theory, and studies revealed high satisfaction rates for UDL for both students and instructors
When draping the sari in this part, I had asked students to bring a song which allows them to create, as a way in which it could remove the heritage of the sari by seeing it as a piece of cloth. The students were very engaged with this part of the task, there was a lot of laughter happening in the studios when students were blowing up the balloons and as we see in the Proceedings of the Thirteenth Conference on Applied Linguistics (CONAPLIN 2020) (https://www.atlantis-press.com/proceedings/conaplin-20/125956044)
Funny memes, circulating on the internet, are easily accessible media to produce laughter in any setting, including teaching-learning setting. The laughter resulted can be crucial to tackle barriers of communication for educational purposes. This paper is aimed at revealing EFL learners’ perception of funny memes taken from 9GAG Apps used during teaching-learning session in EFL context. It is also set to seek the influence of humor in building learners’ engagement in classroom activities. This qualitative research employs questionnaire and observation as the instruments to collect the data from 30 adults EFL learners. These EFL learners have multi-background (gender, intelligence level, and social) which is beneficial to the objectivity of the perception. The results revealed that the majority of EFL learners believed that humor could cheer them during teaching-learning session of English and make them less stressful. Humor also assists to build a better chemistry between teacher and EFL learners; making them remember and understand the lesson better. The last, it also encourages EFL learners to be more actively involved in the classroom activities. Nevertheless, some constraints arise during the application of humor taken from 9GAG. English teacher needs to understand the characteristics of learners and their interests prior to implementing this pedagogical technique. Due to the nature of humor that is segmented, the right humorous material would be more likely acceptable, and it would cause emotional and psychological impact that can develop EFL learners’ learning ability.
It created a play like atmosphere in the studio, then silence came across the studio while students were listening to the music, allowing their hands to create. The final part was bursting the balloons creating loud noise throughout the studio space, Reflecting on this made me realise, I should let the students know in my presentation that the noise level will increase and if they felt they needed it to be away from this that is ok. Going forward I will continue to list the items used in the workshops and suggest to students that if they have any concerns or phobias, that they contact me in the strictest confidence before so that those concerns can be addressed privately, kindly and in line with UAL guidelines. I was reminded of this because my partner cannot bear to touch foam rubber, though a more extreme example would be if a student has a phobia about balloons (globophobia) it “can also cause crises” and advice is available at (https://www.nhs.uk/mental-health/conditions/phobias/treatment/)
The sari workshop uses communal space within the university and we need to be aware of this, so it’s important that there is a balance between noise (popping ballons) and silence (draping with music on headphones). Noise can potentially have an impact on non-participating students and should therefore be considered and announced in advance and in these spaces, as I read in Noise pollution and human cognition: An updated systematic review and meta-analysis of recent evidence Thompson et al, (2022) (https://www.sciencedirect.com/science/article/pii/S0160412021005304) “The evidence so far suggests that noise exposure is associated with cognition, but more good quality research using standardised methodology is required to corroborate these results and to allow for precise risk estimation by larger meta-analyses.”
Task 3 was when I wanted them to think about cross-pollination so I had asked students to bring a western garment of their choice to the workshop, to see how they could cross-pollinate it with the drape they had created. The student’s reactions varied as some of them got it instantly yet a few of them had to pause and think about it. I asked them why were they struggling, they had said they’ve never looked in this way of draping before, but found it very satisfying once they had grasped the method of cross-pollinating.
Framing a workshop and supplying materials is not enough, but by doing demonstrations in the workshop and students bringing in a garment of their choice allows them to be responsible for and fulfil the task in hand. The following is a difficult analogy, but it’s one of those things which you understand, but don’t understand but it’s had me thinking. Feynman, (1998, pp.55-61) Cargo cult science. In The art and science of analog circuit design. “In his 1974 commencement address at Caltech, Feynman shared a parable from World War II about indigenous people in the Pacific who observed American soldiers constructing makeshift landing strips and control towers. With limited understanding of the technology involved, islanders believed that mimicking these actions would bring them the same benefits – cargo planes filled with supplies.”
One aspect of the day I found quite stressful, was being a teacher and observer at the same time, trying to take notes, pictures and videos of the workshop, so in the future I will ask one of my peers, to participate with me. On reflection, I wondered if I was alone in thinking this, then I came across a useful corporate website (https://wlp.education/), The Benefits of Peer Observation in Teaching: Learning from Each Other, (which also happened to reference Cargo Cult Science, above). On the wlp site it says “Peer observation promotes a culture of collaboration and support within educational institutions. Teachers become more open to sharing their challenges and successes, creating an environment where everyone benefits from collective wisdom.” And it also says “Peer observation, when done effectively, provides a useful antidote to the pitfalls of “Cargo Cult Teaching.”
As a large group of nearly 28 students, it will enhance the experience for the students, allow a peer to learn about the subject as well as them providing feedback which as one person, I might not have picked up on.
In creative workshops as technicians, we don’t want to tell students how to reach their outcome , we want to guide them by encouraging them to explore options. ‘Dealing with ambiguity’ has become a pressing concern in many spheres of contemporary life, often presented as a ‘survival skill’ in an uncertain world. Working with ambiguity also plays a crucial role in the musical pedagogy of the Ottoman-Turkish ney (Sufi reed flute), the playing of which I discuss in this article. Rather than a constraint or deficiency to be resolved, in the context of ney apprenticeship, ambiguity emerges as a desired pedagogical force not only valued but also deliberately amplified. My aim is to show how ambiguity is embraced here as a productive condition that maximizes possibilities for artistic exploration, freedom of discernment, and aesthetic pleasures. Şenay, B., & Gür, F. (2022).
At the end of the workshop, I took the new sari which we had created on calico as a collective group and carefully pleated it, then draped it over me, showing the students that they are the artisans for this work.
As a technician we can cross-pollinate our workshops by bringing items from our cultures into our work environment as object base learning. By doing this we are showing students the diverse cultures of staff at the university through involving other voices, cultures, heritage, tribes, and neurodiverse ways of learning.
Two student conversations after the workshop as informal feedback in the studio
Student 1 is from a Welsh heritage background, has often seen folklore dress/costume but wanted to incorporate these design elements into his work but did not feel it would be understood. By doing the workshop, it gave him more confidence into finding out more about his heritage, as many people would weave fabric and wrap it around themselves as shawls to keep warm.
Student 2 is south Asian of Indian heritage and talked about using the word palimpsests for her MA project. She uses this word as a result of the Sari Workshop because it means the layers which are not seen or the peeling away different layers. I said to her this word palimpsests can show us that cross-pollination has been going for many years and that is why I see decolonisation as being complicated because if we take everything back to its original layer and remove history, we will forget what history has done to us all.
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Reference List
Brewer, C. (2013). Balloon phobia, [online] The BMJ. 347 (Accessed: November 2024) available from doi: https://doi.org/10.1136/bmj.f6652
Cumming, T.M. Rose, M.C. (2022). ‘Exploring universal design for learning as an accessibility tool in higher education: a review of the current literature,’ [online] Aust. Educ. Res. 49, 1025–1043 (Accessed November 2024) available from https://doi.org/10.1007/s13384-021-00471-7
Feynman, Richard P. (1998). ‘Cargo Cult Science’ in Williams, J (ed)
The Art and Science of Analog Circuit Design. pp. 55-61. [online], (Accessed: November 2024) available at https://doi.org/10.1016/B978-075067062-3/50008-X.
Hostetter, H. Naser, NZ. Randall, K. Murray-Tuite, P. (2024). ‘Evacuation preparedness and intellectual disability: Insights from a university fire drill,’
Journal of Building Engineering [online], Volume 84, (Accessed: November 2024) available from https://doi.org/10.1016/j.jobe.2024.108578.
Pranoto, BE. Suprayogi. (2011). ‘Insights from students’ perspective of 9GAG humorous memes used in EGL classroom,’ [online] Proceedings of the thirteenth conference on applied linguistics (CONAPLIN 2021), pp. 72-76 (Accessed: November 2024) available from https://doi.org/10.2991/assehr.k.210427.01.
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