During this unit, I have noticed in the workshops, blogs, and in conversations, how despondent and frustrated people are feeling on the subject of the awarding gap. It appears that the scale of the awarding gap is the main factor in feelings of despondency. There is also the consensus that the awarding gaps are not being acknowledged; that not enough is being done to address this systemic and structural issue.

I can relate to feeling despondent, but I would like to suggest that there is much that we can do, and we must do what we can, where we can, and when we can, regardless of our role. Recently (12.05.25) I was in a meeting with the Head of College (LCF), the Dean, Programme Director, Head of Quality, etc. The reason? The course that I lead is under review, due to substantial awarding gap between ‘white’ and ‘B.A.M.E.’ students. The purpose of the meeting was to discuss and review the actions that had been made in the past few months to attempt to reduce this gap. Once this was done, there was a space for me to share my concerns/issues. I find the acronym B.A.M.E. to be extremely problematic, so my first response in the meeting was to let them know this, and whenever the acronym came up, I made a point of using it in its full wording, not as an acronymised version. UAL still uses this term, despite that in early 2021, the Commission on Race and Ethnic Disparities published a report in which it found that terms like BAME were “no longer helpful and should be dropped”. (Sahi, N 2023)

In this space I let it be known that it is remarkable that I did not know of these gaps previously, and that this revealed the lack of action that was being taken on a college wide level to address this systemic issue. I stressed that a systemic problem needs an urgent college and university wide proactive approach, as opposed to the current reactive tactic of putting out fires where they show up, via course reviews. Further to this, I stated that the problem with approaching the awarding gap on a course level, is that any positive work done is siloed, not shared with other courses. So, this means that successful approaches are not nurtured or capitalised upon. Therefore, doing nothing to reduce the gap as a college wide strategy.

It’s not that easy to say to the head of college that not enough is being done, particularly when you suffer from imposter syndrome. I get imposter syndrome when eating a bar of chocolate that contains more than 20% cocoa. However, the head of college responded that my point was noted, appropriate, and timely. Apparently, there are discussions currently taking place about developing workshops and initiatives to tackle the awarding gap. So, my point is, that despondency is actionable, dissent is healthy, and it’s okay if you are more Cadburys than Lindt.

References:

Sahi, N. 2023. BAME no longer acceptable. Available at: https://rswlaw.co.uk/bame-no-longer-acceptable/ (Accessed: 09.06.2025)

As a course leader, I want to utilise the intervention to tackle a challenge that I am aware of on a course level.

Students have responded, via the National Student Survey (NSS), that their sense of belonging on the course, and in the college is low. I think that this creates a series of further challenges such as attendance and attainment. This further negatively impacts the course as a whole and the teaching team.

This year, I have worked with the course leader from Creative Direction for Fashion on a series of course ‘mixers’. These have been low key events, largely conversational, where we encourage students from across the three year groups to meet and mingle, with the hope of forming friendships and potential collaborations.

While they have been moderately successful, I feel that much more can be done, particularly when it comes to creating an inclusive space where those students who might prefer non-verbal forms of interaction and engagement could enjoy the activity. In this instance, I am thinking about our international students, for whom English is a second or third language. I am also thinking about students who experience forms of neurodivergence.

During one of the previous mixers, I noticed that when one student brought out a pack of cards, there was an instant shift in the group dynamics. There was a focus on the cards, the initial explaining of rules, playing the game (in which I partook), and during the game, interaction took place that in essence achieved what we course leaders had desired, laughter, getting to know one another, etc.

This got me thinking about gaming as a social activity. So, based on previous social events, I want to design another mixer event, an intervention with gaming at its core, as a form of community building.

Faith, Religion and Belief.

For this blog post, I am reflecting on the intersection of positionality, faith (including lack of), dress, and freedom of expression. These topics all resonate on both a personal and professional level.

To begin with intersectionality, on reading Crenshaw’s article, Mapping the Margins: Intersectionality, Identity Politics, and Violence Against Women of Color, it struck me that faith was not factored as one of the aspects of identity that may lead to discrimination and/or disadvantage. Rather, the concept focused more on race, gender, sexuality and social class. However, reading Rekis’ article, Religious Identity and Epistemic Injustice: An Intersectional Account, was useful in gaining insight into the role that religion plays in intersectionality. Of particular relevance was the role that the institution can play in creating a discriminatory environment. As someone who works at London College of Fashion, the concept of having to suppress one’s identity via clothing, due to “anticipated negative prejudices against religious adherents” (Rekis, 2023) is worrying, particularly as LCF celebrates dress as a form of creative expression.

Recently, UAL released the annual Course Student Survey (CSS) results. The course that I run received 98.1% and 89.8% in Year 1 and 2 when asked the question: ‘How free did you feel to express your ideas, opinions, and beliefs’. (Dashboards, 2025) I am happy with this response, as course leader, one of my priorities is to encourage freedom of expression.

This brings me to my own positionality, my lived experience; I was brought up in a multi-faith family, a mix of Irish Catholicism and Lithuanian Judaism. I fully understand and appreciate the way in which faith became a way for my grandmother, a working-class immigrant living in the suburbs of Manchester, to form friendships and community. I understand now that faith became a type of ‘value-based practice’ for my Nanna. I loved and respected my Nanna deeply, she was a ‘good catholic’, she was all about kindness, generosity, seeing the good in people, none of the infamous catholic guilt, and none of the fire and brimstone bullshit.

However, I have no faith, I have no religious beliefs. I have included a recent selfie of me while at work wearing a particular t-shirt. I took this after reflecting on the PgCert workshop discussions on faith and freedom of speech. Though I don’t believe in the existence of a deity, I enjoy the sentiment behind this rather fatalistic statement.

So, although I have no faith, does this mean that I am unable to step outside of my own beliefs and appreciate the beliefs of others? Absolutely not, education is a discourse, and that discourse involves different perspectives, views and opinions. However, this cannot be taken for granted; UAL has recently shied away from engaging in any discourse regarding events in Gaza. UAL student, Rahul Patel stated on the decision to occupy Central Saint Martins in 2024, due in part to UAL’s reluctance to engage in such discourse “there is no neutral position on genocide”. Discourse must continue.

References:

Rekis, J. (2023) Religious Identity and Epistemic Injustice: An Intersectional Account.

Cambridge University Press.

UAL Dashboards:

https://dashboards.arts.ac.uk/dashboard/ActiveDashboards/DashboardPage.aspx?dashboardid=16bbf59e-acd3-495a-8aca-2cdcdb86eba9&dashcontextid=637169217954162575

(online, accessed 30.05.2025)

Students occupy London’s Central Saint Martins in pro-Palestine protest. (17.05.2024)

The Art Newspaper

https://www.theartnewspaper.com/2024/05/17/students-occupy-londons-central-saint-martins-in-pro-palestine-protest

(online, accessed 30.05.2025)

Treacy, D. (2025) Selfie.

I found the prospect of writing this post about disability the most difficult, even after watching the suggested material to accompany this subject. After attending the second workshop session, I began to understand why this might be:

A helpful class discussion was on knowledge; Knowledge can be either Embodied or Acquired, this was new to me. As I now understand it, from the discussions during class, Embodied knowledge is lived experience; difficult to express but highly valuable, while everyone is an expert in their own area of experience. I really appreciated this take on embodied knowledge, as a creative practitioner outside of my teaching practice, my practice is very much informed on embodied knowledge, so much so that this extends into the research that underpins my practice, including the embodied knowledge of others.  Regarding acquired knowledge, I now understand this as academic, or learned knowledge. While this interests me, it does not excite me, as embodied knowledge does. It was good to know that this unit’s emphasis is on the latter.

Returning to disability, and including positionality, I now realise that my discomfort of writing about or commenting on disability arises from my complete lack of embodied knowledge in this area. I am an able bodied, white male. I have never experienced any form of disability, even temporarily.

So, on reflecting on my own positionality, and lack of embodied knowledge, I have a complete blind spot when it comes to disability. As a result, disability is probably something that I do not consider in my teaching practice as much as I should.

Anecdotally, last year a student in the year 3 cohort had an ISA in place, due to ongoing health conditions, which resulted in constant pain. I was aware of the student’s situation and of course informed the rest of the teaching team. However, on reflection, I found myself forgetting to check in at a venue in the planning stages of an off-site visit, to consider the size of the venue, to consider if regular breaks would be needed for any students with disabilities, or to consider if the site was on a first floor, that may be inaccessible. Perhaps there was an assumption that the venue had already ‘taken care’ of this, however my blind spot still remained. When watching the interview ‘Intersectionality in Focus: Empowering Voices during UK Disability History Month 2023’, Chay Brown states how even simple considerate actions such as “asking people what their access needs are” can create a more inclusive space and experience for those with disabilities.

In conclusion, I understand from the workshops, that people are disabled by barriers, and that these barriers can be environmental, attitudinal, or procedural. Therefore, to re-align my attitude to scheduling activities, I always need to consider my own blind spot regarding disability considerations, to consult with the student/s, not presume what may be required.

Reference:

Intersectionality in Focus: Empowering Voices during UK Disability History Month 2023. December 13 2023. YouTube (Online). Available at: https://www.youtube.com/watch?v=_yID8_s5tjc&t=318s (Accessed 05.05.25)

Record of Observation or Review of Teaching Practice        

Session/artefact to be observed/reviewed: Group tutorial

Size of student group: 3 menswear students working collaboratively

Observer: Danny Treacy

Observee: Rory Parnell-Mooney

 

Note: This record is solely for exchanging developmental feedback between colleagues. Its reflective aspect informs PgCert and Fellowship assessment, but it is not an official evaluation of teaching and is not intended for other internal or legal applications such as probation or disciplinary action.

Part One
Observee to complete in brief and send to observer prior to the observation or review:

What is the context of this session/artefact within the curriculum?

This observation took place at the final group tutorials for the year two menswear collaborative design project, where three menswear design students worked together to design a three-look capsule collection that included textile/craft elements.

How long have you been working with this group and in what capacity?

I have been the menswear year 2 tutor since September 2024, so I have taught these students one previous 10-week project.

What are the intended or expected learning outcomes?

This session was to work through the students’ designed collections and make sure they have an appropriate fabric allocated for each garment and whether or not that garment has textile processes included. The session also should field any final submission questions the students have as well as facilitate the viewing of physical portfolio and look book examples.

What are the anticipated outputs (anything students will make/do)?

The session is more a final conversation about the design work the students have created in the last 8 weeks and the garments they will now construct in the coming two weeks.

Are there potential difficulties or specific areas of concern?

There are sometimes tensions to be conscious of between menswear students but also between the textile students and the menswear students, It’s important to be constructive and motivational at this point in the project rather than too critical of what is presented.

How will students be informed of the observation/review?

They were told verbally before the tutorial took place

What would you particularly like feedback on?

Teaching style, tone of voice, motivational vs critical

How will feedback be exchanged?

Via email/this form

Part Two

Observer to note down observations, suggestions and questions:

Observations: The students were in a group tutorial/presentation setting. The room was organised so that the students all sat around a large table and presented their work in progress. The students were discussing their processes and approaches. Rory conducted the session well, by offering suggestions to the student based on the work presented. Rory was good at gently pushing the students to respond to the reasons why they chose a particular process/method in their design practice. The students often presented textile responses using a particular process, such as crochet, Rory’s tone in his responses was encouraging, while he questioned the student’s choices and approaches.

Rory was leading and taking notes throughout the session, offering suggestions, to inspire the students. There were also times when the students who were part of the group were offering suggestions to each other. It was good to see that this was an inclusive space, where student suggestions are welcomed.

Rory prompted the students, asking them technical questions, when the students did not know how to resolve a technical issue, Rory would always suggest solutions, and let the students know where in East Bank they could go to work on a specific technical application of their designs. Signposting students is a very important and helpful aspect of student engagement.

Suggestions: There were lots of questions about the student’s intentions with their designs, this sometimes resulted in confusion as to the student’s intention. Perhaps it would be helpful if all students produced a page of their intentions for their final designs, as research.

Some students were more prepared than others and did present their intentions on laptop screens or on sheets of paper, which was more successful in helping them communicate their intentions for their designs. Perhaps this could have been done to follow on from the presentations that they had previously done before the session started, so that there was a continuation and development of their learning.

Feedback for each student could be timed, for parity, and to successfully manage the timing of the session.

One student utilized a dummy mid-way through the presentation, to bring their design into a more three-dimensional form. It might have been an idea to instruct all students to prepare ahead of the session by presenting their work in progress, perhaps each one using a dummy (if available). Alternatively, it could be engaging for the students to use each other as test models. This did happen part way through the session, spontaneously, perhaps it could be a directive, to encourage each student to be included as inhabiting the looks, as a fitting.

Questions: How are the students recording the tutor feedback, so that it can be acted upon, as a form of scaffolding? The group tutorial was conversational, which is good, but it could have been beneficial for a student to take turns at taking notes from the many suggestions that were offered by Rory as problem solving. Student who are not directly part of the feedback at this time can become quite passive and removed from the discussion, so electing students to take turns in transcribing helpful suggestions during feedback can be a helpful way to keep everyone engaged.

Rory took lots of notes, on a page of A4, that was combined for all the students. How would each student make use of the notes, are they for student use and reference or are they for Rory to track the student’s development and progress?

It would be perhaps more helpful if each student received an individual sheet of paper, as opposed to all feedback on one sheet.

Part Three

Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:

This observation highlighted several strengths in my approach to leading a group tutorial and facilitating student discussions. I am pleased that my efforts in encouraging students to articulate their design decisions were acknowledged. Ensuring that students critically engage with their work and can justify their processes is a key aspect of their development as designers. I aim to create an environment where questioning feels constructive rather than intimidating, and I am encouraged by the feedback that my tone was supportive and inquisitive rather than directive.

The observation noted that the session fostered a collaborative atmosphere, with students actively contributing feedback to one another. This peer-to-peer engagement is something I value highly, as it encourages independent critical thinking and collective learning. I will continue to cultivate this inclusivity by prompting students to engage with each other’s work more explicitly. One potential strategy could be to assign students specific roles, such as being responsible for offering a constructive suggestion to a peer before I provide my own feedback.

A suggestion was for students to prepare a written statement of their design intentions prior to the session. I agree that this would help clarify their direction and provide a stronger foundation for discussion. In future sessions, I will implement this by asking students to bring a brief written outline of their design intentions, which can serve as a reference point during the tutorial. This will help eliminate ambiguity and provide a clear starting point for deeper discussions as i do think sometimes things are lost in translation when asking students questions that they have not had time to prepare answers to.

Another point raised was the variation in student preparedness. While some students presented their work digitally or in print, others were less structured in their presentation. To address this, I have been setting clearer expectations before tutorials, encouraging students to bring their work in a format that allows for a more structured and effective critique, it is tricky to then put this preparedness into practice in the tutorial or crit space as you are almost dealing with the hand you have been delt in terms of what the student brings to the space, there is further reflection to do on this and how to create parity across crits when the work brought to the crit space varies greatly.

Danny’s feedback also suggested timing each student’s feedback to ensure parity and better session management. While I strive to be flexible and responsive to each student’s needs, I recognize the value of structured time allocation. Going forward, I will introduce a timed format for student presentations, ensuring that each student receives a fair share of attention while maintaining fluid discussions, perhaps this could be told to the student before the session, in person and a private timer set so that i know when we are nearing the end of the discussion and can start to bring things to a natural conclusion as I feel students feel great pressure when they can see a ticking clocks and ‘their’ time running out.

Regarding the use of mannequins or live models, the observation noted that students spontaneously utilized a dummy mid-way through the session, which enriched their understanding of form. This is an excellent point, and I plan to integrate this as a standard practice. I will instruct students to prepare by presenting their work in progress on a mannequin or by using a peer as a model. This will encourage a more hands-on approach to their design process and help them consider the three-dimensionality of their work from an earlier stage.

A significant area for development is how students record and act upon feedback. While I took general notes during the session, the observation highlighted that students who were not receiving direct feedback at that moment might become passive. To address this, I will introduce a system where students take turns transcribing key feedback points. This could be in the form of a shared document or a rotating note-taker system, ensuring that all students remain engaged, and that feedback is documented for future reference.

Additionally, the feedback suggested that providing individual feedback sheets for each student could be more effective than compiling notes on a single page. I see the value in this approach, as it would offer students a clearer reference for their own progress. Moving forward, I will ensure that each student receives a personalized feedback summary, either digitally or on paper, to aid their development and self-reflection.

Overall, this observation has provided valuable insights into how I can refine my teaching approach within the tutorial space. While I am pleased with the collaborative and inclusive environment fostered during the session, I recognize the need for clearer preparation guidelines, structured timing, and improved feedback documentation. By implementing these changes, I aim to enhance student engagement, ensure more effective learning outcomes, and further develop my own practice as an educator. I look forward to incorporating these strategies into future sessions and evaluating their impact on student learning and participation.

Record of Observation or Review of Teaching Practice

Session/artefact to be reviewed: Fashion Styling and Production, Year 3 unit, Personal and Professional Project

Size of student group: 66

Observer: Karen Matthewman

Observee: Danny Treacy

 

Note: This record is solely for exchanging developmental feedback between colleagues. Its reflective aspect informs PgCert and Fellowship assessment, but it is not an official evaluation of teaching and is not intended for other internal or legal applications such as probation or disciplinary action.

Part One
Observee to complete in brief and send to observer prior to the observation or review:

What is the context of this session/artefact within the curriculum?

This session was part of the scheme of learning, in a Year 3 unit, Personal and Professional Project. It was titled ‘On set Role Play’.

How long have you been working with this group and in what capacity?

3 months, as a member of staff that teaches on the unit.

What are the intended or expected learning outcomes?

The intended learning outcomes were aligned to professional practice, as this is integral to the unit’s ethos. Specifically, one of the learning outcomes for the unit is – Critically evaluate and articulate reflections of personal working methodologies, and the application of your findings to the processes that govern your practice

What are the anticipated outputs (anything students will make/do)?

The students observe a live role play, that is presented as a (flawed) situation of a professional scenario that the students can expect to encounter (a photographic shoot, with producer, photographer, stylist, and designer.

The students are then asked to remark on their observations, to comment on ‘bad practice’ and to offer suggestions that would turn the role play into a successful situation.

So the learning becomes reflective.

Are there potential difficulties or specific areas of concern?

If no-one offers any solutions or has any observations of the bad practice enacted by the actors.

How will students be informed of the observation/review?

N/A (observer not available for the role play session).

What would you particularly like feedback on?

The structure of the session, the idea/concept itself, as this is new.

How will feedback be exchanged?

Verbally, in a Teams meeting, and in the form of notes taken.

Part Two

Observer to note down observations, suggestions and questions:

This was an interesting discussion about an unusual and innovative area of practice written about and discussed by Danny and me on Teams.

The dialogue focused on a group of third years. There was a recognition that third years needed more knowledge about real life aspects of professional practice in the fashion industry. A professional practice tool kit has been /is being created across 7 sessions of the course. 

Under his leadership, Danny and his colleagues wanted to represent aspects of the industry they had encountered, and to problematise them through a role play for the students as a provocation for discussion. This took place in a ‘theatre in the round’ type of set up with students sitting in a circle and the ‘performance’ with actors comprising members of staff performing in the middle.

We discussed the way having students in a circle can really democratise a space, and how the nature of space can really change interactions and power relations. The size of this room allowed for interactions which would have been very difficult in a small seminar room.

We also explored the ideas of tutor vulnerability, one of Danny’s interests. These were staff performers and not professional actors, so they were exposing themselves personally and professionally. Danny described his role as a flaky but egotistical photographer, acknowledging it was a stereotype but one many of the teaching team had come across while working in industry. Each part worked together to show different aspects of how poor professional practice can disrupt and challenge a team. Students were then asked to comment and reflect on that and think about their own professional practices and their responses.

We discussed what an interesting and provokingly creative activity this was. We acknowledged that it is very resource heavy so might be hard to sustain or grow year on year. We suggested that in addition the resource could be recorded by video and used more widely. It could also provoke different discussion as could be broken up during the video to ask students questions at different points.

In terms of engaging students as active learners, we also discussed how students could be more part of the actual performance rather than being an ‘audience’. One thing that we were both interested in was possibly stopping at different points and giving students choices as to what should happen next, or possibly taking on roles themselves in the role play.

I found this conversation extremely engaging and creatively challenging. With workload and other pressures as they are for staff, it was really inspiring to hear of Danny’s team really pushing the boundaries in terms of engagement with students for such a fun, unusual and real-life task with so many future possibilities to be built on. I would encourage Danny to think about writing a proposal with his team for this year’s educational conference.

Part Three

Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:

Karen provided some very helpful and insightful suggestions during our conversation. Reflecting on the session, and on Karen’s feedback, it would have been beneficial to record the session, so that it could be utilised next time more widely, or a as recording, if it turns out that the team are not available, as it is resource heavy.

I very much want the activity to happen again in the future if possible, and I think that Karen’s suggestion (which also aligned with that of my other observer, Rory Parnell-Moody), was that of creating a more interactive space. This could be where the student audience is invited to intervene at several pauses in the performance, offering their suggestions of how to avoid conflict or unprofessional behaviour that is acted out in the role play. I will certainly work on this with my team, in the next iteration of the role play session.

Record of Observation or Review of Teaching Practice        

Session/artefact to be reviewed: Fashion Styling and Production, Year 3 unit, Personal and Professional Project

Size of student group: 66

Observer: Rory Parnell-Mooney

Observee: Danny Treacy

 

Note: This record is solely for exchanging developmental feedback between colleagues. Its reflective aspect informs PgCert and Fellowship assessment, but it is not an official evaluation of teaching and is not intended for other internal or legal applications such as probation or disciplinary action.

Part One
Observee to complete in brief and send to observer prior to the observation or review:

What is the context of this session/artefact within the curriculum?

This session was part of the scheme of learning, in a Year 3 unit, Personal and Professional Project. It was tiltled ‘On set Role Play’.

How long have you been working with this group and in what capacity?

3 months, as a member of staff that teaches on the unit.

What are the intended or expected learning outcomes?

The intended learning outcomes were aligned to professional practice, as this is integral to the unit’s ethos. Specifically, one of the learning outcomes for the unit is – Critically evaluate and articulate reflections of personal working methodologies, and the application of your findings to the processes that govern your practice

What are the anticipated outputs (anything students will make/do)?

The students observe a live role play, that is presented as a (flawed) situation of a professional scenario that the students can expect to encounter (a photographic shoot, with producer, photographer, stylist, and designer.

The students are then asked to remark on their observations, to comment on ‘bad practice’ and to offer suggestions that would turn the role play into a successful situation.

So the learning becomes reflective.

Are there potential difficulties or specific areas of concern?

If no-one offers any solutions or has any observations of the bad practice enacted by the actors.

How will students be informed of the observation/review?

N/A (observer not available for the role play session).

What would you particularly like feedback on?

The structure of the session, the idea/concept itself, as this is new.

How will feedback be exchanged?

Verbally, in a Teams meeting, and in the form of notes taken.

Part Two

Observer to note down observations, suggestions and questions:

The On-Set Role-Play workshop, delivered by Danny along with other members of staff from his team, provided an engaging and thought-provoking session aimed at broadening students’ understanding of the conflicts that can arise on set between different creative roles. The session posed important questions regarding best practices, conflict resolution, and the necessity of clear communication and thorough preparation in professional environments.

The observation took place remotely via Microsoft Teams. Danny provided an overview of the workshop structure and shared the teaching materials, ensuring clarity on the session’s aims and content. A group of academic staff enacted various on-set roles—such as Photographer, Stylist, Producer, and Designer—each performing specific examples of “bad practice” to illustrate common professional challenges. Students were then encouraged to critically engage with these scenarios, identifying problematic behaviors and proposing alternative approaches.

The decision to have academic staff perform these roles in front of students was particularly effective in breaking down hierarchical barriers, fostering an open and interactive learning environment. This approach allowed students to observe professional dynamics from a safe yet realistic distance while maintaining an active role in critiquing and responding to the scenarios presented.

The accompanying slides, which served as a comprehensive lesson plan, were well-structured and provided strong scaffolding for the session. This level of detail was particularly beneficial when managing a large group of students and ensuring that discussions remained focused and constructive. However, if the materials were to be used by another group of staff to replicate the session, incorporating visual elements—such as a room plan and photographic references of the original session —could be helpful.

One potential area for development could involve a more interactive conflict resolution component. For example, rather than solely identifying issues, students could be given an opportunity to actively intervene within the role-play, directing how the scenario unfolds in real time. This could involve a pause point where students discuss and vote on possible resolutions, then watch two diverging outcomes play out based on their suggestions. Such an addition would further immerse students in problem-solving and negotiation techniques, making the learning experience even more dynamic.

The workshop’s relevance and applicability suggest it could be beneficially integrated across different year groups within the course. A simplified version could be introduced to first-year students to establish foundational knowledge, while a more in-depth and collaborative iteration could be delivered to third-year students, potentially incorporating industry professionals or alumni to simulate real-world interactions.

A valuable addition to the workshop could be a structured reflective element, allowing students to assess their own experiences on set and their personal conflict resolution and communication skills. A post-session journal entry or guided discussion could encourage students to relate the observed scenarios to their practice, fostering deeper self-awareness and professional development.

Overall, the role-play workshop was an innovative and effective learning experience that encouraged students to critically engage with the complexities of on-set dynamics. The use of staff-performed role-play successfully leveled hierarchical structures, facilitating open dialogue and analysis. While the session already provides a strong foundation, incorporating elements of live conflict resolution, expanding its implementation across different year levels, and integrating reflective practices could further enhance its impact and long-term value in preparing students for professional set environments.

Part Three

Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:

Rory provided lots of insightful feedback, which I am very grateful for. I will consider recording the role play session in future, as it can be used as a resource for other year groups, and for those students who may have missed the session.

While the idea regarding the student’s ability to intervene as the role play unfolds, and vote on possible resolutions is excellent, I will work on ways in which we can develop this idea as a team.

The idea of recording the student’s entries, in allowing greater reflection is also excellent. We use Padlet at times, and so in this case, Padlet could be a great way for the students to generate structured reflective observations, that can then help with their own approaches to professionalism in their practice.

Contextual Background:

I am Course Leader on the BA (Hons) Fashion Styling and Production course at LCF. My values inform who I am as a practitioner, I plan sessions where students are encouraged to speak openly, with the intention of developing trust and confidence.

One of my main priorities in increasing inclusive practice as a form of social justice.

As a practitioner who regularly conducts assessment and feedback, I care very much about the quality of feedback and try to ensure it is inclusive.

Evaluation:

Formative Assessments can be a difficult space to navigate, students often feel anxious and nervous, while tutor feedback can sometimes be perceived as critical, rather than supportive. I want this to change, I want the students to fully understand that our feedback is supportive and comes from a place of compassion. I want to include students more in the process of receiving feedback, giving them choice, and empowering their own criticality as Race states “an alternative way to diversifying assessment is to increase the range of assessment approaches, by bringing in at least some self-assessment, peer-assessment and group assessment”.(Race, 2001, p. 8)

Currently, students are not offered an option on how they receive feedback. However, for upcoming Year 3 formative assessment presentations scheduled on 11 March, I will be applying research and findings to improve our current model of formative assessment. Before the students commence their presentation, they will be asked by the panel to choose which type of feedback they would prefer. The options are ‘Coaching feedback’ or ‘Sandwich feedback’. The teaching team will also be encouraging the students to offer their response/summary, as peer feedback, following each presentation.

The reasoning behind this is aligns to Race’s research on self-assessment, which is integral to feedback, particularly during presentations. “There is learning payoff associated with receiving feedback from one or more fellow students, but perhaps even greater learning payoff in formulating and giving feedback to other students. It is the person who explains who really deepens their learning, rather than the person being explained to.” (Race, 2001, p. 22)

Moving forwards:

I view the changes I am implementing as an attempt to create more compassion in the student experience. As Hill states “formative feedback is a key moment where compassionate approaches can be enacted.” (Hill, 2023, p. 89))

Furthermore, there is a noticeable strain on tutors during formative assessment, as they are often required to ‘hold the space’ when leading feedback, while the students in the group of presenters usually sit in receptive mode. I envisage the above changes as addressing this imbalance in feedback, by inviting the student audience into a more central role as peers. I hope that this will enliven and create a more inclusive space, particularly relevant for Year 3, as Race states “it can be argued that these forms of assessment help students to develop skills invaluable in later lifelong learning contexts, and their own ongoing continuing professional development as graduates”. (Race, 2001, p. 23)

References:

Race, P. (2001) A Briefing on Self, Peer and Group Assessment. LTSN generic Centre.

Hill, V. (2023) Belonging through assessment: Pipelines of compassion. QAA Collaborative Project.

Contextual Background:

This role play session was developed to encourage professional practice awareness and increase employability for final year students. As Reid, A., Rowley, J., & Bennett, D. (2019, P. 1) state “the employability of graduates is of concern across further and higher education, but is particularly problematic in the creative and performing arts disciplines”. (Reid, A., Rowley, J., & Bennett, D. 2019, P. 1)

My values inform who I am as a practitioner, I plan sessions where students are encouraged to speak openly.

Evaluation:

The concept behind this was that members of the teaching team replicated a fashion shoot that students could expect to encounter in an industry setting, performing roles that were familiar to them, while incorporating ‘bad practice’. The session was designed to develop student confidence, culminating in audience members suggesting ways in which the scenario could have been better navigated in the future, based on their observations and perspectives.

Before the role play, the audience were asked to:

‘Observe the role play and make notes about any behaviour that you see as being professionally problematic’.

Once the role play had finished, we offered the audience the space to provide their observations on the role paly session, based on the behaviour of the players – photographer, stylist, producer, designer.

This was followed by the prompt:

‘Can you think of any measures to prevent this in the future?’

The session was highly successful from a teaching perspective, the students/audience had many observations, they also had thoughtful suggestions on how the scenario could have gone better, in terms of professional practice, collaboration, and respectful behaviour.

On a pedagogical level, I wanted to explore the notion of shared vulnerability, so as a member of staff, I could make myself vulnerable, in performing a familiar and stereotypical persona; to use humour, to temporarily disrupt the hierarchy of the classroom. As Watkins states “attempts at breaking the petrified and institutional standards seem even more precious; they not only excite interest in students, but also personally empower them and lead to formation of certain intellectual maturity.” (Watkins, 2019, p. 13)

To achieve vulnerability, the classroom was re-designed, from teacher at the front, the chairs were reset around the performers, in the centre of the room. I observed that student engagement was instantly activated. The following text resonates, “This means that it is necessary to “[make] the classroom a democratic setting where everyone feels a responsibility to contribute,” and this “is a central goal of transformative pedagogy”. (hooks, 1994, p. 39).

The session had a ‘conclusion’ in which the teaching team had listed best practice solutions for avoiding the problems that occurred in the role play session. This was to provide a document, for any student who was not present or has diverse learning requirements.

Moving forwards:

When I teach this again, I plan to record the role play, so that it is available for those students who were not able to participate/attend.

I will also consider the ways in which the students can be active participants, perhaps by offering resolutions while the role play is taking place.

References:

Reid, A., Rowley, J., & Bennett, D. (2019). Higher education and sense of self in the creative and performing arts. Music Education Research, 21(4), 399-413. doi: 10.1080/14613808.2019.1632279.

Watkins, G J. (2019) Teaching to Transgress: Subjective Educational Experience in the Model of Engaged Pedagogy of Bell Hooks. CULTURE – SOCIETY – EDUCATION NO. 1 (15) POZNAN.

Hooks, B. (1994) Teaching to Transgress: Education as the practice of freedom. London: Routledge.

Contextual Background:

I believe a vital part in which students learn is by creating a space for unpacking the brief of a given unit. At the beginning of a unit, I unpack the connection between the Learning Outcomes for the unit and how these are aligned to the scheme of learning and assessment that are part of the unit. I often summarise my presentations with a slide titled ‘why we are doing this’, which helps the students to understand that there is a vital connection between the design of a session, and the unit requirements.

Evaluation:

I find that an effective way to visualise a unit brief is to present a best practice example of previous student work, further illustrating to students how the unit structure leads to fulfilling the learning outcomes. Students then come to value the structure of a particular unit and can visualise the impact of it in the case studies, so a student “co-constructs meaning” (Weller, S. 2015) and knowledge via the activities within the unit.

Furthermore, in referencing successful student projects, I find inclusive ways of teaching and bringing contextual knowledge into the teaching environment. For example, one of UAL’s principles is social impact. I recognised that an understanding of the term was proving hard for some students, they fed this back during tutorials and in class. The confusion seemed to originate from the term itself, which is rather abstract when put into the context of project development.

Moving forwards:

I came to understand the importance of creating a space to discuss and celebrate aspects of social impact, including ethnicity, gender, sexuality, class and nationality. Also, I observed that at times, students who felt that they were evidencing social impact, were at times being quite reductive in their use of the term, for example in their model casting, which at times was at risk of becoming tokenistic due to their assumption that attaining social impact is a simple formula that one can achieve via more diverse casting for example, while actually it is much more nuanced. I wanted to introduce a wider framework and understanding for the term and to unpack what this can mean for the students by recognising that social impact may already be present in their own work, without having to force a connection. I gave a lecture on diversity and ethics; one such example was a previous student’s work surrounding the theme of Welsh identity. In the lecture, I communicated the difficulties that the student had experienced in organising a fashion shoot in Wales, due to the perceived ‘remoteness’ of a London centric fashion industry. At one point, the project almost failed because of this perception. Following conversations during tutorials, the student overcame this by casting her friends as models. In doing so, the outcome was much more successful in dealing with Welsh cultural identity. The casting of Welsh subjects was successfully diverse and inclusive of the communities that are usually excluded from the fashion system, thereby culminating in a project that visualised social impact.

References:

Weller, S. (2015) Academic Practice: Developing as a Professional in Higher Education. Sage Publications.