nrpatel51

Micro teaching

This workshop, I have named it, Naked space. As designers, thinkers, and teaching practitioners sometimes we need to give our minds space to create so this is what I was hoping to achieve through this workshop.

I started the session with just introducing a blank piece of paper then getting them to write their name on it but each time they write a letter of their name they had to turn the paper, continued until then they had filled the paper with their name, secondly, I gave them a piece garden wire to bend and mould around their letter on the paper. Third they had to use masking tape to fill in some of the gaps.

On the first task I did not explain to them about my dyslexia and how I see words sometimes it’s just a blank piece of paper, or sometimes the words can move around, and words will jump around this is a common feature for people with dyslexia.

With the world changing around us to be more open. How does gender work in teaching practises, as our names defined our gender, do we have to question, what gender, tribes and communities are we creating. This values for me as a gay man are very important. that our teaching practise is inclusive, and we find ways to decolonise our thought processes to the best we can do in the education system.

The thought process of using a garden wire, was from when we were in COVID years. Teaching was much harder, and we had to consider items materials that students good get holds of due to the fact that they will be online workshops, and we had to adapt and reassess our teaching practises due to the fact we had limited resource is around us and just our home as I save space at this time.

Using my subconscious mind allows me to think openly, thought processes are a place were sometimes I can create play and imagine goals and achievements without limitations. I enjoy this moment as it really makes me think outside the box and becoming more abstract way of teaching moving away from the conventional ways of teaching.[1]

Then using my conscious mind is to map out and planned workshops teaching methods that I could use with the students in the studio spaces.

On reflection from the micro teaching workshop. I realise that I must be more aware about how to use time effectively in the situations and how I could take this back to my studio spaces.

I slightly felt nervous so decided not to use the PowerPoint presentation on the screen but to use the printout which I do not field it was so effective as the other peers in the room could not engage with them, as I’d liked. This made me realise I need to own spaces and the teaching method I have created and build on my confidence like I do in my own studio spaces.

[1] Reference from Tutor, Tim Stephens: “Like highly concentrated nutritious food… space and time are the added water to enable us to process such precious, deeply intuitive, and expert gifts. Notice how embodied learning, or practice-research, ‘the imaginative, intuitive, tacit, embodied, affective, sensory’ (Bulley and Sahin 2021), can feel so different when presented in another way.”

Case study 3

Assessing Learning and exchanging feedback

Peer-to-peer feedback and Removing Hierarchy

As a specialist technician on MA FDT WW/MW course, it allows me to spend time with students doing workshops and supervised studios space. This allows me to work closely with the academic team to allow the learning outcomes to be achieved by the students.

Moving to the new campus in Stratford has somewhat had its positives and negatives. I have more peer-to-peer conversations and learn different varieties of machinery that we have at the university. This is helping me with my teaching practise for the students, especially in giving formative feedback in the studio, the fitting sessions, and in my role.

Studio space: -are known at LCF as supervised studios spaces. This allows students to drop in when they’re not timetabled with academic staff, and work with technicians like me. I am assigned to a specific MA course, this allows me to know all my students, so this gives a chance for students to have one to one formative feedback with me on what they stand for as designers and how are they going to have a voice in fashion. I can refer to my own industry background working for several fashion houses and creating my own bridal brand. Students enjoy this time together as it allows them to relax and feel more free about discussions or problems that their facing with their projects.

Fitting sessions: -it is a time when students can see their 2D work (drawings) created into 3D (garments). This allows academic staff, fitting models (he, she, them) and myself to give feedback to the students. In the sessions students work alongside other peers and the rest of the staff team. On the course we asked students to bring a list of problems that they are facing with their garments that they have created and to give job descriptions to all who are attending the fit sessions (e.g., design assistant, fabric sources, technical problems, product wearability/comfort) to create an industry environment. This helps students remove hierarchy between academic staff and me and other peers. This has been successful on peer-to-peer feedback and staff feedback, with fun time and laughter for all, as our roles change through the sessions. To make this more successful, we could build upon this model by using it in tutorials.

Amelia et al (2023) found that: Peer assessment promotes learning and improves academic performance in….higher education. It helps students better understand assessment criteria, develop communication skills, and receive timely, varied, and appropriate feedback.

On reflection: -in the future it would be good if technicians like me, who have over 27 years of industry experience, to give summative feedback as at the moment I feel that we can only give formative feedback to students. As student numbers increase over courses, academic staff have less time per student. Using more of the knowledge from technicians, like myself who spend most of my time with the students, this could help with the marking system, as suggested by Pham and Williamson (2020) Removing hierarchy in teaching practise (Given & Julien, 2005)  – “On the one hand, the role of academics is to teach students, as well as to assist in the creation of knowledge, through research in their area of expertise. On the other hand, the role of librarians is to provide services and support to academics and students. The differences in these roles have resulted in differences in status and unequal power relationships between academics and librarians”.

Reference List

Amelia, K., et al (2023) Experiences in Teaching and Learning, Assessment of the validity of peer scores and peer feedback in an online peer assessment platform (Kritik): Currents in Pharmacy Teaching and Learning Volume 15, Issue 4, pp400-407. Available at: https://doi.org/10.1016/j.cptl.2023.04.004 (Accessed 22 March 2024).

Pham, H., & Williamson, K., (2020) Towards effective collaboration between academics and library staff: A comparative Australian/Vietnamese study, Library & Information Science Research (Volume 42, Issue 2). Introduction. Available at: https://doi.org/10.1016/j.lisr.2020.101015 (Accessed 22 March 2024).

Case study 2

Planning and teaching for effective learning

 “I know I am learning something new when I am surprised.” Available at: https://sessionlab.com (Accessed 22 March 2024).

As a technician my role is to create several workshops which students will benefit from on their Masters project as designers. Some of the workshops can be three to six hours long. My role is to support them in supervised studio spaces where students are freely allowed to come for extra help.

Workshops: – are in studio spaces. I interact with students through demonstrations, technical skills with machines, hand sewing methods, using PowerPoint presentations, bringing other garments for them to observe and dissect through making. Students exchange informative feedback from me and their peers attending the workshops. Students observe and discuss their designs and the difficulties that they face with fabrics plus making methods.

There is one workshop I am going to focus on, a trouser workshop which is my first time delivering.

On the trouser workshop. I was going to try a new method to see if the students could follow me. The method would be by actually cutting the trouser block in the workshops and following me with instructions while I was demonstrating. I found out that the students were much slower at this than I anticipated, creating a domino effect by not able to keep up with me and slowing down the workshop process. This is a six-hour workshop, to ensure that’s students know how to construct a pair of trousers with waistband finishing. But a lot of them had taken videos of the demonstration which meant that they could come and see me after the workshop in the supervised studio spaces and I could support them there.

Seeing the students as really engaged as taking the principles and the methods such as the order of construction, shows the benefit of my experience, for example, putting the Zip in first rather than as an afterthought.

I tried to make sure, that the garment is laid flat, as far as possible, then sewing into a 3D version afterwards, so that all the complicated components are done first.

Some valuable comments from the observations (teacher Tim and peer Robert) of this workshop were:

Tim Feedback: – More specific questions can really help in this context so instead of saying “do you understand”, “is that clear”, “are you OK” which are generally good open questions, you can also say “can anyone tell me why”, “do you understand the reason for.”, “can anyone explain how…” and so on. This is a type of formative assessment where you are informally getting an understanding of whether they have understood what it is you have explained.

Robert Feedback: -Is there a moment of group work or reflection where they generate questions or problem solve together without you leading?

This is something that I am going to consider as I develop this workshop in the future.

Hideaki, K., & Hiroko, S. (1994) identified key factors in 3D special workspaces. They were pioneers in identifying the importance of object based learning. “Most studies on groupware have focused on….two-dimensional (2-D) space….Collaboration in the 3-D environment will be called “spatial workspace collaboration

To evaluate and understand spatial workspace collaboration, the point of focus, number of words, and verbal expressions were examined. Based on these analyses, the following requirements on groupware are deduced to support spatial workspace collaboration: realtime bi-directional video communication; availability of nonverbal expressions; positional changeability of point of focus; ability to share points of focus; positional changeability of display; and confirmation ability.”

As students have taken a video during workshop process. This sometimes discourages them to come and see me for extra help. It would be good if I could come up with a new system by creating a sign-up sheet that students commit to coming in and create a way to allow them to share their video with each other, to get the best of both approaches.

Reference List

Hideaki, K., & Hiroko, S. (1994) Results of observational studies of spatial workspace collaboration, Electronics and Communications in Japan (Part III: Fundamental Electronic Science). Available at: https://doi.org/10.1002/ecjc.4430770806 (Accessed 22 March 2024)

SessionLab. (2024) How to Create an Unforgettable Training Session in 8 Simple Steps | SessionLab (Accessed 22 March 2024)

Case study 1

Knowing and meeting the needs of diverse learners

My role is a specialist garment technician on a MA course which challenge students just think outside the norm of garment design, pattern cutting, sustainability issues and garment construction creating an identity for them to create collections.

When I joined LCF, to do a maternity cover I met two students who would change destiny, for me and introduce me to the teaching world.

The first might have a disability but we will never know for confidential reasons. The second student made me realise we are so strong about gender, in the fashion world, but actually the world is not like that anymore.

My background is in industry, working for design houses and having my own bridal brand and now five years teaching. My industry background allowed me to create beautiful garments through my hands and methods of pattern cutting and garment construction.

In the student world, this is the next generation. Meeting these two students confirmed that it was the right choice to move from industry to education.

Student 1 – Colour

When I met this young lady, she was very anxious. I asked how can I help? (She had just been in a tutorial) she said I could not understand how to adjust her pattern as the teacher had just rubbed out her pattern. We are in an open access area; students use our expertise as technicians to support additional learning.

I started redrawing her pattern with a pencil but while I was doing this, I could see her anxiety increasing, so I paused I asked her if she was OK. She said, “No, no, no, I still don’t understand there are too many lines on my paper now”, so I asked her what she meant, she said when there’s too many lines I don’t understand.

I paused to think.

How can I do this with her? I thought what I would do for myself and came up with an idea of colour coding. Each new line drawn on the paper would be in a different colour indicating the alteration and at the side we made a colour chart, describing the alteration that we had done in the same colour as the new lines on paper. This allowed her to understand and to be independent as a learner and could take this method forward for herself. She slightly smiled and relaxed.

Although Mehta and Zhu (2009, pp.1226-1229) note that the evidence of use of colour to improve cognition is inconsistent, in my experience creating a colour-code specific to a student has proven beneficial to them. [They] “also provide process evidence suggesting that the activation of alternative motivations mediates the effect of color on cognitive task performances.”

Student 2 – Gender

A non-gendered student, through dress code not by any medical reason, so he (I understand that I’ve used the word he as a pronoun as this is what he liked to be known), would like to make a collection through a non-gendered process.

It was my first time working with this method or thought, as I came from a very strong background of male and female garments. I was open with him about this and my own sexuality as a gay man, and open to learning with him, how we can create non gender garments.

I explained to him there will be some obstacles in measurements for him to consider like the skeleton, muscles, and flesh of a body form, male and female e.g., neck to waist, cross shoulder, neck measurement, as well as functionality of getting in or out of garments.

He was excited because we were both learning together and he could see that there was a goal in sight, that he could make a collection.

Reflection

As I am dyslexic, reading and writing is not my strength, but thinking in multiple ways to solve problems, is my strength. For many years I have hidden my dyslexia through my industry work practise.

Now I embrace it, as it allows me to think outside the box and create with my hands and to show students with learning difficulties, diverse culture or gender identity that there is always a way forward to remove blocks and achieve your visions.

Reference List

Hye-Jin, S, 2022. Gender-Neutral Trend Catches on in Korea. The Chosun Daily, [Online] 23 September. Available at Gender-Neutral Trend Catches on in Korea (chosun.com) [Accessed 22 March 2024]. 

Lee, J., & Kwak, T. (2020). Study on gender-neutral style in modern fashion, Journal of the Korea Fashion and Costume Design Association 22 (3),pp.111-126. Available at Study on gender-neutral style in modern fashion -Journal of the Korea Fashion and Costume Design Association | Korea Science [Accessed 22 March 2024]. 

Mehta, R., & Zhu, R. (2009). Blue or Red? Exploring the Effect of Color on Cognitive Task Performances, Science, 323 (5918), pp.1226-1229.

Blog 6

Meeting your goals or getting the grades

Coming from a very strong Indian background, making the grade is a big thing as it gives you status and hierarchy in the system.

This is something I’ve always struggled with as it was more important for me to achieve my goals. The biggest mentor for me is my mum. As I mentioned in one of the other blogs my passion is how to cook, my mum had taught me this skill at the age of 7. She did not have an education so does not know how to read or write but has this skill of speaking five different languages and cooking the nutritious dishes.

When I reflect on this, it’s like my first apprenticeship from a master teaching the apprentice how to use spices, vegetables, and sauces to create the most amazing curry’s, each ingredient must complement each other, said my mum. This method is something I use when demonstrating and constructing garments for workshops in the order of make-to-outcome, which is reflected by Nicol and Macfarlane-Dick (2006) “In academic settings, specific targets, criteria, standards and other external reference points… help define goals” and “Self-regulated learners also actively interpret external feedback…from teachers and other students”.

This process has set very deeply into my life as I view things more about the goals than the grades, as our goals can bring more pleasure to others than ourselves.

In the education system we are now having to question this, as goals are just important as getting the grades, but grades can push us to achieving our goals.

Reference List

Nicole, D., and Macfarlane-Dick, D., (2006) ‘Formative assessment and self-regulated learning: a model and seven principles to good feedback practice’, Studies in Higher Education, 32:2, 199-218

Blog 5

Dyslexia

In my early days of education my dyslexia had not been diagnosed or at the time dyslexia was not thought about as a subject to be discussed. I was known as a disruptive child who could not keep his attention span in the classroom. But I was always inquisitive and good at the practical and the science subjects. As Cameron summarises: Negative sub-discourses as an ‘excuse for stupidity or laziness’ vs Positive sub-discourses ‘Hard-working, intelligent and positivity in the face of adversity’

My parents were not highly educated and come from a working-class background so had very little time with me on the education side.

When I started at the London College of Fashion as a student many years ago, I met a technician who asked me if I was dyslexic as I was struggling to read the handouts provided. I replied to her that I didn’t know the answer to this question as I’ve never had been tested or it never had come into a discussion. As testing was very limited at that time and I didn’t know how I would achieve this I just left it unresolved.

Cyril Burt claimed that “as intelligence was inherited, innate and remained essentially unchanged throughout a person’s life, the results of the 11+ exam could be understood to define a child’s lifelong academic potential. Burt was later revealed to have falsified his data on the heredity of intelligence (Dorfman, 1978) but his ideas have had a lasting effect on the development of the British education system and continue to do so”, but here I am as a non-Caucasian, teaching on a MA and doing a PG Cert!

Through my career I have hidden my dyslexia as I thought I would not get jobs. But little did I know a had created a new gift which were my hands which will allow me to drape, cut patterns and design, so I found a new method which allowed me to work for several fashion houses without having to fill out a cv or application form so I could retain my secret.

I had already presented my Microteaching Workshop, when I came across this relevant article which backs up the pedagogy of a multi-sensory experience for my peers. “Neil Mackay developed the ‘Dyslexia Friendly Schools’ concept in 1998. The key aims of Dyslexia Friendly Schools were to enhance the impact of learning and teaching on the child in the classroom and to ensure that teaching was multi-sensory and benefited all children, not just those with dyslexia….One element of the interview was a request to each interviewee to construct a mind picture or image of what dyslexia represented to him. The results revealed a number of powerful images illustrating both surmountable and insurmountable barriers to learning, together with feelings of confusion and inadequacy”.

When entering the education system as a technician, I discovered that there were many more people with dyslexia and engaging with them I felt safe enough to let them know that I was dyslexic. Now I embrace it as it allows me to think in a non-conventional way and help other students who may have a disadvantage in learning.

The cycle of life is a funny thing, now at LCF I have being tested and diagnosed for dyslexia for the first time in my life.

Reference List

Davies, M. (2022), “The White Spaces of Dyslexic Difference an Intersectional Analysis” Access and Widening Participation in Arts Higher Education: Practice and Research. Aargau: Springer International Publishing, p150, p152

The Open University, Supporting Dyslexia, Inclusive Practice and Literacy, module 2. 1.6. Dyslexia and inclusive practice. Module 1, Section3 Recap.  Accessed 22 March 2024) Available at https://www.open.edu/openlearncreate/mod/oucontent/view.php?id=174278

https://nrpatel51.myblog.arts.ac.uk/ Micro teaching Workshop

Blog 4

Education time wall. Apprenticeship

In this workshop we were discussing the time lag of education. We were all given a variety of Post-it notes and questions when it happened. I slightly felt like an impostor in the room at this stage, as I did not have the same level of education as my peers. But when we started placing the Post-it notes on the wall, I questioned why The Apprentice System was not there, then the teacher wrote another Post-it note then placed it on the wall. I felt better in knowing that I belonged to this world of education.

Coming from a working-class background and a migrant family, I am first generation born British. In the past my parents were not highly educated and believed in working to survive. This had an impact on me as they thought education was for the higher-classes and it was more important for me to work in order to support my family.

When leaving secondary education, there was a big dilemma for me how to support my family as well as studying. I am dyslexic, which had not been diagnosed at this stage. An opportunity arose for me to do an apprenticeship in City and Guilds. This is how I would be able to achieve both things, an education and able to work to support my family.

The TVET Development Journal supports my view that combining tradition and spiritual mentoring combine to make learning an intrinsic part of my life – I am a devout Hindu and believe that any gift I have in my work is God-given, thereby giving me the ability to create a calm and balanced atmosphere for learning and creativity, be it in a studio space or even online. “The history of apprenticeship training goes back to the ancient times, when there was no formal schooling system. However, teaching and learning activities were carried out and accomplished through various ways. The guru-shishya tradition was in practice in traditional Indian and Nepalese cultures and religions. It was the tradition of spiritual relationship where teachings were transmitted from a guru “teacher” to a “disciple”. In olden days too, the disciples learned trade-related skills and knowledge in a unique relationship of a guru and chela in an improvised or makeshift school called gurukul. There was a moral and disciplined bond of relationship between the guru and the disciple based on the genuineness of the respect, commitment, devotion and obedience. The disciple was supposed to stay and learn at the gurukul and at the same time assist his guru in household chores. Thus, it was considered the best way for imparting subtle or concrete knowledge and skills to the learners.

Even in the early oral traditions of the Upanishads in Hinduism during 2000 BC, the guru-shishya relationship is mentioned. The term “Upanishad” is derived from the Sanskrit which means sitting down near a spiritual”

Now looking back on this was the best option I got to work in industry. I met the most amazing mentors who taught me how to use my hands to craft and make the most elaborate garments. This knowledge exchange from teacher to apprentice is something that I will treasure and use in my career. At the same time, I had an education where they taught me the practical methods of making and doing.

Reference List

Mandalia, K., my spiritual guide and mentor – Who taught me the value of sharing knowledge. An East African politician who gave up a successful career to provide a calm environment in the form of a Hindu temple in north west London.

Bhurtal, M., (2012) Apprenticeship, an Overview TVET Development Journal Vol 1 (12) p124 ISBN: 978-9937-8461-0-3

Blog 3

Object Learning – Learning through Objects.

This class was online. Museums now archive their artefacts in a digital way to allow more people to view them or use them for referencing. In our online workshop, they spoke about how objects create discussions in classrooms, allowing students to come up with their own theories about the objects, using a method of when, why, and how the objects were created.

They put us into breakout rooms, then showed us two objects which were really interesting 1 a clay pot, 2 a garment.

The clay pot had no description about it, and we had to create a viewpoint regarding this item. Due to the fact it had no description, we were free enough to create whichever story, reference, heritage or values it may have. The conversation was really open and fruitful in describing the pot, giving everybody a chance to discuss it. This object created the Power of WOW! As described by Hardie (2008) “The ‘Power of WOW!” exercise is positioned as the culmination of the students’ introductory studies to visual culture and semiotics. Their design discourse and visual literacy studies are tested through their exploration of how objects can speak: Theory is put into practice.”

The garment had features like labels and name. We found through group discussion that this restricted our thought process, due to the fact that we had information about it.

As a garment technician, bringing objects into studio space before starting a workshop can allow students (and students with diverse learning needs) to engage in garment construction. This is something that I will start doing, as it could involve having discussions with students on how things are made, what machines are used, what part of the world it would have been made in and how garments are seen by consumers, on a hanger or on their website.

Reference List

As provided on the physical handout?

Hardie, K., (2008) Innovative pedagogies series: wow: the power of objects in object-based learning and teaching. p5

Blog 2

Digital space Frustration. Sunday 21st January

Digital space is great when it works as a tool that can help you, but the biggest part of it is when it doesn’t work and when one loses control.

I have currently spent most of the weekend trying to fix the programs on my laptop. Several emails to support and phone calls but no joy, hopefully when I`m back on site some of these issues can be resolved they say, but what it does to me it makes me quite frustrated, alone, and full of high anxiety (this is like car rage) as I have not achieved my weekend task on reading and preparing for my micro workshop.

This takes me back in time to COVID where isolation was the new norm.

Digital space really takes off now in the teaching practise, it makes us more aware of the world around us and where our students live and their heritage, bring new conversations to our teaching practise.

According to Orr and Shreeve (2017) “There are however courses which now teach only through computer-aided design and no longer manufacture physical artefacts. This goes to the heart of our Western higher educational values evolved from William Morris and Arts and Crafts movement in the latter part of the nineteenth century. He believed that to know a craft, you had to experience it with your own hands.”

My reflection on this is that I paused, I stopped, I went into my kitchen to create and cook with my hands (is this a studio space?). Still allowing us to use our hands and divert from the digital world. When we create with our hands the mindset calms down and then anxiety levels reduce.

How do we apply this to our teaching practise to ensure students are prepared about the digital information needed? Links work and ensure machines work in our workshops, allowing them to have space to create in.

Reference List

Orr, S., & Shreeve, A. (2017) Art and Design Pedagogy in Higher Education : Knowledge, Values and Ambiguity in the Creative Curriculum. Taylor and Francis Group, Milton.  p94