Assessing Learning and Exchanging Feedback
Contextual Background
Working with a co-tutor, two-part Formative Assessment Sessions take place in D110 at LCC with 31 students from Year 1 Graphic and Media Design BA (Hons). The session is to be repeated 2 times in rotation, to accommodate the large Year 1 cohort (160 students in total).
The sessions are designed to support project completion after the tutor-led studio delivery phase, helping students identify what is to be developed further in their independent study time, prior to final project submission.
Using Observation, Suggestion, Task as a prompt, students undertake:
Formative Assessment Presentation: formal presentations, students stand up in front of the group and present their work-in-progress via Padlet on the large studio screens (5 min). Students receive Tutor Observations and Suggestions (and Tasks if necessary).
Evaluation
As seen above left (Fig.1), students are standing in rows at the front of the studio facing the large screen, tutors are standing to the right and the student presenting stands to the left of the screen.
I note that within the formal, structured setting of the Formative Assessment Presentations, some students appear to find the setting (the physical studio environment) challenging; being visibly uncomfortable and nervous, at times finding it difficult to speak audibly to the tutors and student group.
As some students are unable to clearly communicate their learning and project development in this setting, there is an evident barrier for tutors to gain sufficient understanding, to provide comprehensive, in-depth feedback as part of effective Formative Assessment Processes.
I am interested to read:
‘The public nature of many critiques can be problematic, creating a climate of ‘fear, defensiveness, and anxiety’ especially given the harsh form they routinely take in certain disciplines.’ (Mcdonald and Michela 2019)
This acknowledgement that the crit/formative assessment process can be problematic for some students, supports my observations and decision to devise an active strategy and positive intervention to help develop and improve the overall student experience, and the quality of teaching and learning going forwards within this setting.
Moving forwards
I am interested to read:
‘Formative assessment is designed to improve the teaching/learning process. It is a part of this process and provides feedback to both teachers and learners so that the programme can be adjusted to improve learning outcomes.’ (Dimensions of assessment, Anon)
The viewpoint that formative assessment is a two-way process informing both teachers and students, resonates with me and on reflection increases my overall confidence in supporting my decision to take positive action as I adjust the session to improve learning outcomes as detailed below:
Note: in addition to my tutor role at LCC, I work as Ceremonies Registrar in my local community in East Sussex. I conduct wedding and civil service ceremonies and I repurpose this professional skillset to my teaching context; I have the ability to ‘read a room’, understand peoples’ behaviour and body language and recognise signs of anxiety and stress. In my view, these transferable skills help me devise and implement appropriate strategies that have positive impacts on my teaching practice.
I have a keen interest in the studio as a designed, physical space and resulting impacts on teaching and learning and hence the following statement resonates in this instance:
‘Individual sensory experiences of space affect everyone working in them and may potentially affect learning within the studio, depending on local conditions and their impact on individuals…the specific space of the studio may also impact on and influence the learning process and the actual artefacts which emerge from the studio.’ (Orr and Shreve, 2017)
Referencing empathetic and compassionate teaching methods (De Silva and Dempsey, 2022) I identify and understand that formal presentations can be daunting for students, and so I revise the ‘studio architecture’ or the physical setting of the session as seen above right Fig.1 and as follows:
What I do
- Divide the group into smaller groups
- Students seated in a horseshoe configuration
- Encourage students to be brave, take ownership of their learning and feel empowered
- Reassure students public speaking becomes easier with practice
- Highlight that this is a supported ‘safe’ space and students should work collaboratively to support each other as they present
- Ensure each student presents standing up, so their voice is audible
- Tutors seated to the side of the screen, at an angle
- Reposition the screen in the corner of the studio, at an angle
- Provide regular praise and encouragement after each presentation
Why I do it
The revised setting is less formal and daunting; the audience is smaller, the configuration of students and tutors creates improved group cohesion, making students of all abilities and backgrounds feel comfortable and supported – raising inclusivity and creating the opportunity for co-teaching and co-learning.
It is understood that students need to develop and improve their presentation and public speaking skills as part of their educative and future professional practice.
The revised studio setting creates a ‘safe space’ where students can practice their presentation skills, develop their confidence and learn to present and their work effectively and professionally while feeling supported by their peers and tutors,
I my view these positive, active interventions evidence that as part of my PgCert learning journey I am becoming more aware of a range of teaching and learning methods and theories – which I apply to my practice. As my knowledge is growing, I am able to take control of the teaching and learning environment e.g. by revising session plans as needed – to improve the student learning experience and develop my current and future wider pedagogic practice.
Reference
De Silva, D. and Dempsey, E. (2022), Empathy and compassion: towards wellbeing in learning development
Anon, Dimensions of assessment
Mcdonald, J.K. and Michela, E. (2019), The design critique and the moral goods of studio pedagogy
Orr, S. and Shreve, A. (2017), Signature pedagogies in art and design