IP Blog 3

Posted on 6th June 2025 by Romany Taylor

Anti-Racism in Creative Education

As someone working in creative education, these resources made me think more deeply about the performative aspects of institutional DEI work, especially within the creative sector. I’ve seen how students and staff of colour often carry the burden of “diversity work” without meaningful structural support. Anti-racism isn’t a workshop, it’s a sustained, relational, and policy-driven effort. It must start with uncomfortable questions about who benefits from the current system and who doesn’t.

The resources prompted me to think more critically about institutional DEI work, which too often feels performative; tokenistic hires and box-ticking that lack real support. Garrett (2024) observes that “the imagined futures of racialised individuals in academia are often limited not by capability, but by the structures surrounding them.” Without mentorship, policy change, or true inclusion, representation risks reinforcing the very hierarchies it seeks to disrupt. Similarly, Ahmed (2012) describes diversity work as “non-performative,” where diversity is declared but not enacted. She writes, “the work you do when you do the work is often the work of trying to get others to recognise that there is work to be done” a dynamic I’ve seen in how the burden often falls on marginalised staff and students.

In my context, anti-racism must move beyond good intentions and engage with material conditions – who is represented, supported, and validated. As Sadiq (2023) argues, DEI must be done with people, not to them, which requires co-creation, discomfort, and a willingness to shift power, not just language.

My positionality in this conversation is layered. I haven’t been the target of racism, but I have experienced being positioned as the oppressor, particularly within discussions around whiteness and power in academic contexts. That perception can feel uncomfortable, especially when it’s at odds with my intentions, values, and the kind of educator I strive to be. Still, I recognise that discomfort is part of the work. Being seen through the lens of structural privilege, whether or not it reflects my personal story, forces me to reckon with the systems I’m part of, and how I may benefit from them, even unintentionally. It reminds me that anti-racism isn’t about centring my experience or being defensive, but about staying open, accountable, and actively engaged in change.

These texts challenge me to ask: what would it look like to embed anti-racism at the core of a creative programme, not as an add-on but as foundational? It would mean recognising that dress, identity, aesthetics, and authorship are all politicised and that students need more than encouragement to express themselves; they need institutional cultures that support, protect, and value those expressions.

Ultimately, meaningful approaches to anti-racism in education must be structural, sustained, and willing to interrogate the very foundations of how we teach, assess, and relate to one another. For me, a key takeaway is that anti-racism requires discomfort and accountability. It demands we ask hard questions: Who holds power? Who is protected by the current system? And who is expected to change, adapt, or remain silent? In creative education, where identity and expression are so central, we need to be vigilant about how systems of oppression show up especially when they’re dressed in the language of progress.

References

Ahmed, S. (2012).“On Being Included: Racism and Diversity in Institutional Life”. Duke University Press.

Bradbury, A. (2020). “A critical race theory framework for education policy analysis: The case of bilingual learners and assessment policy in England”. Race Ethnicity and Education, 23(2), 241–260.

Garrett, R. (2024). “Racism shapes careers: Career trajectories and imagined futures of racialised minority PhDs in UK higher education”. Globalisation, Societies and Education, 1–15.

Sadiq, A. (2023). “Diversity, Equity & Inclusion: Learning how to get it right” \[TEDx Talk]. YouTube. https://www.youtube.com/watch?v=HR4wz1b54hw) Accessed 29/05

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IP – Intervention

Posted on 26th May 2025 by Romany Taylor

Unravelling the Norms

In my role as a HPL on the BA Textiles Knit at CSM, I propose a workshop-based intervention titled Unravelling the Norms, designed to challenge assumptions around how creativity is expressed and valued in knitted textiles. This initiative promotes inclusivity in relation to disability, neurodivergence, mental health, language diversity, socioeconomic background, faith and gender identity, areas often overlooked in creative teaching spaces.

The workshop invites students to explore alternative processes of making, documentation, and communication, celebrating embodied knowledge, intuitive methods, and collaborative practice. It would ask: Who decides what counts as “good” or “valid”? What happens when we loosen the rules?

promoting ideas:

·  Multi-sensory material exploration (touch, sound, texture)

·  Reflection on affordable and accessible materials for those with limited resources

·  Visual symbol mapping instead of written descriptions

·  Photo or video journaling to document and reflect creatively

·  Open-ended collaborative projects emphasizing diverse roles

·  Reframing assessment criteria to value process and experimentation

·  Inclusive sketchbook creation – encourage learners to build sketchbooks using mixed media, found materials, audio notes, and tactile elements, making them personal, sensory, and non-linear

This workshop seeds an evolving inclusive practice toolkit, co-developed with students and shared via Moodle. It responds to feedback that traditional expectations, like rigid sketchbook formats, can feel exclusionary, especially for those with neurodivergence, language barriers, financial constraints, caregiving duties, or differing cultural norms.
Aligned with my values of process-led, inclusive teaching, the workshop questions what is measured and who is supported, especially in a physical, time-intensive discipline like knit.
Though budget and teaching hours are none existent, embedding this into a timetabled session enables change within existing structures. It’s a small but meaningful step toward broader definitions of creativity and inclusion, centring diverse voices and ways of making.

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IP- Blog 2

Posted on 12th May 2025 by Romany Taylor

Faith and Intersectionality in Higher Education

Using Kimberlé Crenshaw’s theory of intersectionality helps us understand how faith interacts with other identity markers like race, gender, and class to shape people’s lived experiences, often in ways that are misunderstood or marginalised in higher education. Faith is frequently sidelined in universities, assumed to be private or irrational. But as Rekis (2023) argues, this contributes to “epistemic injustice”, especially when religious worldviews are excluded from classroom discourse. Rekis’s essay highlights how religious belief is often sidelined within the academy, particularly when it intersects with racialised and gendered identities.

This exclusion is especially visible when faith intersects with race and gender. For instance, Jawad’s (2006) shows how Muslim women often navigate complex negotiations around dress codes and public visibility, facing both gendered and racialised Islamophobia in public spaces. Their identities are rarely seen as fully compatible with “modern” or “liberal” values, which highlights the limited way Muslim women may be perceived not just through the lens of gender or religion alone, but through a racialised, Western framing that casts them as “oppressed” or “other”.

Similarly, in the Trinity University (2016) video Black Christian students may find their faith dismissed as anti-intellectual, particularly when tied to cultural expressions of belief. His experience reflects how racial and religious identities interact to shape the burdens of respectability and legitimacy in HE spaces. These intersecting identities create unique challenges that are often overlooked when religion is treated as a neutral or optional category

At UAL, students come from diverse faith backgrounds, yet the studio and classroom culture can unintentionally exclude religious practices like fasting, prayer, or wearing religious dress. These acts of faith can clash with creative spaces that often centre secular norms and see religion as private or even problematic. UAL’s EDI data shows underrepresentation of some religious groups in leadership and lower satisfaction among students of certain faiths, indicating deeper issues of misrecognition and belonging. When faith is treated as incompatible with creativity or academic rigor, students may feel pressure to hide parts of their identity.

Recurring themes in the literature include invisibility and epistemic exclusion but also calls for decolonial approaches that validate faith as a meaningful way of knowing. If we’re serious about inclusion, we must move beyond token accommodations to fully integrate diverse religious perspectives into our teaching, dialogue, and community life.

bell hooks reminds us that “there can be no love without justice,” and that education must be a space where all identities are not just tolerated but affirmed. Her vision of a radical, inclusive classroom calls us to hear marginalised voices and build communities that reflect the full humanity of each learner.

This has deeply shaped how I think about classroom discussions, especially when students bring faith into conversations around gender or identity. In the past, I’ve sometimes redirected these moments back to a supposedly “neutral” or “secular” frame. But intersectionality reminds us that neutrality is a myth; it often just masks dominant norms. I’m learning to create more intentional space for faith in my pedagogy, not only through accommodation, but by recognising religious perspectives as valid, critical contributions. Decoloniality demands a pluralisation of knowledge, and faith is a vital part of how many students understand and engage with the world.

References

Crenshaw, K. (1989) “Demarginalizing the Intersection of Race and Sex.” A Black feminist critique of antidiscrimination doctrine, feminist theory and antiracist politics. University of Chicago Legal Forum, P 139-167

hooks, b. (1994) Teaching to Transgress: Education as the Practice of Freedom. New York: Routledge.

hooks, b. (2000) All About Love: New Visions. New York: William Morrow.

Jawad, H. (2022) “Islam, Women and Sport: The case of the visible Muslim Women” LSE (blogs.lse.ac.uk)

Rekis, M. (2023) “Religious identity and epistemic injustice – an intersectional account. Cambridge University Press

Trinity University (2016) “Challenging Race, Religion and stereotypes in the Classroom” (YouTube). (3 mins)

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IP -Blog 1

Posted on 24th April 2025 by Romany Taylor

Intersectionality, Disability, and Power in Teaching Practice

As an AL teaching machine knitting to first-year textile students, many encountering both machine and the institution for the first time, I am aware of how disability intersects with language, learning style, class, and institutional pressure. The structure of the unit, with its tight timeline and output-driven expectations, is inherently ableist. It privileges speed, technical mastery, and confident self-direction, often inaccessible to disabled students or those whose identities place them outside dominant norms of communication and cognition.

The unit’s emphasis on playful experimentation contrasts with rigid assessments, disadvantaging those who need more time or clarity. Challenges include sensory overload, cognitive fatigue, language barriers, and physical access to machines. For many, especially those new to academic systems, the pace feels more excluding than supportive.

Kimberlé Crenshaw’s concept of intersectionality (1989) reminds us that multiple aspects of identity- disability, race, class, gender- converge to shape experiences of oppression in complex ways. These layered inequalities are visible in teaching environments that expect uniformity of pace and outcome.

As Alison Kafer (2013) writes, “rather than bend disabled bodies and minds to meet the timelines of normative expectations, crip time bends the clock to meet disabled bodies and minds.” Yet the rigid structure of university units leaves little room for this bending of time. My own position, as a working-class woman from the Midlands, first in my family to access higher education, means I recognise the emotional labour and navigation required of students who, like me, arrive without inherited fluency in institutional languages or creative confidence.

Crip theory encourages a reimagining of educational spaces by challenging dominant temporalities and expectations of ‘normal’ progression. McRuer (2006) notes that “able-bodiedness, even more than heterosexuality, still largely functions as a non-identity, as the natural order of things.” In teaching environments assuming a singular way of knowing or creating, this invisibility is entrenched. I see this in the assumption that students can move seamlessly from learning to experimentation to resolved work, despite the complexity of the tools, processes, and learning styles involved.

Public figures like Ade Adepitan remind us that even within conversations about access and achievement, exceptionalism is often celebrated over systemic change. Similarly, Artist Christine Sun Kim’s “Friends and Strangers” highlights the complexities of communication access and the desire for both connection and autonomy as a disabled person navigating dominant norms.

Yet my own precarious employment leaves me with limited authority to shift these structural barriers. I often find myself mediating between the institution’s demands and students’ realities, doing the quiet work of care, flexibility, and listening where official accommodations don’t reach. As Fiona Kumari Campbell (2009) argues, ableism creates an idealised standard of the body and mind, and in a creative university context, success is often tied to ideals of innovation, confidence, and productivity, not all of which are equally accessible.

My teaching seeks to build space where crip time, slowness, repetition, and alternative creative paths can emerge. Yet, this work is always under pressure due to the fast pace and limited resources we’re all asked to work within. Developing a deeper understanding of disability in my teaching context means recognising that true access isn’t only about adjustments or accommodations, but about challenging the very definitions of success, progress, and creativity. Centring disabled students’ needs and voices and addressing the structural precarity of those teaching them.

References

Adepitan, A. and Webborn, N. (2020). Nick Webborn interviews Ade Adepitan. ParalympicsGB Legends [Online]. Youtube. 27 August. Available at: https://www.youtube.com/watch?v=bnRjdol_j0c

Campbell, F.K., 2009. “Contours of Ableism: The Production of Disability and Abledness”. Basingstoke: Palgrave Macmillan.

Crenshaw, K., 1989. “Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics”. University of Chicago Legal Forum.

Kafer, A., 2013. “Feminist, Queer, Crip”. Bloomington: Indiana University Press.

McRuer, R., 2006. “Crip Theory: Cultural Signs of Queerness and Disability”. New York: New York University Press.

Sun, C. (2024). Christine Sun Kim in ‘Friends & Strangers’ – Season 11 | Art21. [online] YouTube. Available at: https://youtu.be/2NpRaEDlLsI

    

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Reflection of Teaching Practice 3

Posted on 15th March 2025 by Romany Taylor

Session/artefact to be observed/reviewed: Pedagogies in Tutorials

Size of student group: 21

Observer:Karen Matthewman

Observee: Romany Taylor

 
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?

Pedagogies in Tutorials

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

Over 2.5 weeks,

x1 session briefing/individual tutorials

x1 session individual tutorials

1x crit

What are the intended or expected learning outcomes?

– Synthesise, analyse and present research from a diverse range of primary and secondary sources
-Evaluate and develop research to make informed choices in the development of work

– Generate and explore ideas that show an understanding of different social and political contexts for creative work in art, design and media
– Demonstrate visual, oral and written communication skills, commenting on your own and others work critically and constructively as part of a clear argument or purpose

-Apply and test a range of specialist skills to expand work

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

  • Sketchbook / primary research
  • Secondary research referencing other designers who have used any of the techniques covered in the Project
  • Mood board documenting key research images, colour and yarn choices.
  • Technical File containing notes and test pieces
  • At least one test piece of each technique demonstrated
  • Minimum of 4 Final samples (can be a combination of techniques)
  • Minimum of one visualisation showing potential product / end use of your samples

Are there potential difficulties or specific areas of concern?

Time, there are many students for the time available (21 in 5 hours)

Quality of formative feedback

How will students be informed of the observation/review?

The session will be online, so no need to inform.

What would you particularly like feedback on?

Utilising the time that I have efficiently

Encouraging Inquiry based learning – independent research (curiosity)

How to engage students quickly in the project

How to encourage them to look at their notes and work through them

How to get them to see the value of coming to tutorials especially when they are struggling

How will feedback be exchanged?

Verbal & Written

Part Two

Observer to note down observations, suggestions and questions:

Romany and I met online to discuss her experiences with tutorials for 1st years in the second term. She set the scene of 1-1 tutorials happening in a large studio while demonstrations are taking place using the machines. Students are ‘taken out’ of these demonstrations briefly for a few minutes to check in with Romany about their understanding of the components of the course and the progress they are making.

Romany talked about the priority at these times that the students give to their technical work, while also at the end of the project sometimes being disappointed with their marks, which often focus on learning outcomes beyond technical skills.

We talked through some of the aspects Romany had focused on above.  Most of these aspects centre on encouraging students to take more responsibility for these short tutorial sessions and to get the most out of them. It can feel that they come unprepared and sometimes leave unchanged, with Romany doing most of the work to try to guide them in the right direction.

We discussed a few different possibilities for improvement. Having small group tutorials might give more time for these tutorials and may also engender more of a sense of peer responsibility and shared concerns. This has its own issues, as students don’t like to be take out of the studio for too long and it might be harder for technicians to manage. I also suggested this kind of change might be coordinated more with the technical team, but this can be hard with so many activities going on. We left this as a possibility to ponder, as it involved several staff, logistics and course leadership buy in.

We also discussed several strategies based on current literature of what works. One of the key areas we focused on was that of applying coaching principles to the 1-1 sessions. These included but was not limited to: Adding a student section to the tutorial notes where students write agreed action points arising from the discussion. Asking powerful questions to ensure that the student takes responsibility for decisions. Students could be made aware of one or two specific tasks they need to complete and bring to the tutorial which frame the discussion. Much of our discussion acknowledged the need for a balance between student autonomy/agency, while still supporting them as participants quite new to this concept of taking control of their own learning, and with different past cultural/ / linguistic/ institutional norms which might influence their expectations. The concept of gradually withdrawing scaffolding while keeping some structure n place was discussed.

We also discussed institutional/ resourcing/ leadership constraints which mean that we sometimes as practitioners and educators we only have influence rather than control over what happens in our sessions, and how best to exert that influence across a wider team with their own priorities and concerns.

It was a wonderful, layered discussion, and Romany clearly brings so much insight, disciplinary knowledge and reflection into her practice.

Karen Matthewman

Part Three

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

Reflecting on the Karen’s feedback, I see several key areas where I can improve my 1-1 tutorials with students. The main challenge highlighted is that students often focus solely on their technical work during these sessions. While technical skills are crucial, it’s also important for students to take responsibility for their learning and develop a deeper understanding of the course, including the learning outcomes and the submission requirements, as these are key areas where much of the assessment and grading are focused.

One way I plan to address this is by incorporating coaching principles into my sessions. Specifically, I will ask students to identify three key takeaways or actions to focus on after each tutorial, framed as a ‘to-do’ list, which students will write themselves. I will then summarise my feedback, aligned with these actions, using bullet points at the end of the session to ensure clarity and focus. This approach ensures students leave with concrete, actionable goals they can work on before the next tutorial, rather than relying on extensive notes they may not revisit. It also empowers students to take ownership of their learning and helps them stay focused on what they need to achieve, especially in relation to course expectations.

In addition to this, I will continue to incorporate open-ended, reflective questions that encourage students to think critically about their progress and decisions. Encouraging students to take more responsibility for their learning and allow them to identify areas where they need support, rather than waiting for guidance to be handed to them. Framing tutorials around specific tasks or challenges that students bring to the session will provide additional structure to the conversation, helping them to come prepared and ensure that the discussion is focused on their immediate learning needs. This approach also aligns with the goal of gradually helping students develop the skills to manage their own learning, moving them from passive recipients of feedback to active participants in their educational journey. The combination of specific tasks and scaffolding will guide students as they gain confidence in taking more control over their learning.

The idea of small group tutorials is another suggestion I would like to implement, by having students engage in smaller groups, there could be more peer-to-peer responsibility, fostering a collaborative learning environment. However, I understand the logistical challenges this might present, particularly in coordinating with the technical team and the other tutor on this rotation. While this idea may require further discussion and planning, I would be open to exploring it if it can improve student engagement.

Recognising the need for balancing scaffolding with student autonomy, as students come from varied cultural and institutional backgrounds, it’s important to gradually withdraw support while maintaining enough structure to help them build confidence in managing their learning independently.

I am committed to implementing these strategies and reflecting on their impact, with the goal of creating a more student-centered tutorial experience that encourages greater autonomy and responsibility, while ensuring students fully understand the course requirements and learning outcomes.

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Blog 5

Posted on 1st March 2025 by Romany Taylor

Exploring Materiality and Empowering Students

As an associate lecturer on the first-year BA Textiles course, I teach a 2.5-week module focused on introducing students to domestic knitting machines. While the module is essential for familiarising students with the medium, the challenge lies in the short timeframe, limiting opportunities for in-depth exploration of materiality and student decision-making. Technicians are responsible for teaching the technical aspects, while my role is to encourage creativity and provide broader context. However, constraints such as time, material costs and accessibility impact students’ creative exploration.

The module is primarily technical, teaching students the foundational skills to operate domestic knitting machines, such as casting on, threading, and creating basic stitches. Due to the limited time, the students’ engagement with materiality is often restricted. They are not given much opportunity to experiment with different yarns or materials. Additionally, yarns and knitting equipment can be expensive, making it difficult for students to explore different textures or experiment freely, which stifles their creative expression.

My role is to empower students in their decision-making, helping them choose materials that fit their project’s aesthetic within the constraints of the module. I work with students to ensure they make informed decisions about their materials, design concepts, processes, and visualizations. As bell hooks (1994) states, “Empowering students means providing them with the tools, resources, and opportunities to take control of their own learning, fostering an environment where they can make informed decisions and grow both academically and personally.” However, with limited time, students often have to make quick decisions, which can sometimes prevent deep material exploration.

This experience underscores the importance of fostering creativity and knowledge, providing a foundation for future exploration. It also mirrors challenges students may face in the textiles industry, where access to abundant materials and ample budgets are often available. Empowering students to creatively solve problems, make informed decisions, even within these constraints, is a valuable skill that helps them navigate the industry with confidence and innovation. Jorge Luis Borges once said, “I have always imagined that paradise will be a kind of library,” underscoring the importance of access to resources and knowledge.

As Boud, Keogh, and Walker (1985) argue, “Reflection is a process of reviewing experience in order to learn from it,” highlighting that reflection on material choices can help students understand the impact of their decisions. Reflecting on material constraints fosters critical thinking and prepares students to adapt creatively to challenges.

To better support students, I plan to introduce discussions around material access and decision-making early in the module. By prompting students to reflect on their material choices, I can help them understand how to adapt creatively within limited resources. I will encourage them to repurpose and look for ‘sustainable’ options, such as exploring charity shops, yarn sales or dyeing their own yarn, exploring alternatives without compromising their creative goals. By integrating these discussions into the module, students can develop a more holistic understanding of the impact of material choices on their work.

To further support this approach, I recommend “Designing for the Real World” by Victor Papanek (1992), which explores accessibility in design, and “Material Matters: New Materials in Design” by Emily S. Giffin (2013), which offers insight into sustainable material choices. These resources will help students navigate the challenges of materiality in design and empower them in making thoughtful creative decisions.

References

Borges, J. L. (1962). Labyrinths: Selected Stories and Other Writings. New York: New Directions.

Boud, D., Keogh, R., & Walker, D. (1985). “Reflection: Turning experience into learning”. Routledge. 

Giffin, E. S. (2013). “Material Matters: New Materials in Design”. Thames & Hudson.

Hooks, B. (1994). “Teaching to Transgress: Education as the Practice of Freedom”. Routledge. 

Papanek, V. (1992). “Designing for the Real World: Human Ecology and Social Change”. Pantheon Books. 

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Reflection of Teaching Practice 2

Posted on 24th February 2025 by Romany Taylor

Session/artefact to be observed/reviewed: Group Crit

Size of student group: 6

Observer: Charlie Lewis

Observee: Romany Taylor

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?

It is a CRIT directly before submission of the students progress to date (formative feedback) of a 2.5 week project where they are introduced to knitting on domestic machines, where they are shown by the technicians and technical moodle 22 techniques which they develop a collection of swatches from based off a previous sketchbook project ‘The order of Things’

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

Over 2 weeks, 2 prior sessions, x1 session briefing/individual tutorials x1 session individual tutorials

What are the intended or expected learning outcomes?

That they are

-Aware of the submission requirements

-Show competency of the techniques shown

-Understand how to translate their sketchbook work in to fabric developments,

-Show process, testing, evaluation.

-Give contextual research and show its relevance to their final outcomes.

-Show an understanding of yarns, fibres, colour proportion,

-Understand decision making when selecting what techniques to take forward.

– Create visualizations of how the end ‘use’ of their developments

– Present all of this in a cohesive way.

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

Create, sketchbooks, fabrics, technical files and visualizations

Are there potential difficulties or specific areas of concern?

-Yes, some students often feel the time is too short, but time management is key and they have a lot of access to machines over the time frame.

-Often students focus too much on the technical aspect and don’t leave enough time for experimentation

– Quality of feedback from the tutor (myself) and their peers verbally and written notes from myself and another student

How will students be informed of the observation/review?

It will be conducted online as an observation of my teaching practice

What would you particularly like feedback on?

Ways to ensure everyone is engaged, often it’s the same students giving feedback and I would like to create an atmosphere that everyone is participating in constructively. Also how to make it feel less daunting than I think the students think it is.

How will feedback be exchanged?

Verbal & Written

Part Two

Observer to note down observations, suggestions and questions:

We acknowledged the feeling of precarity in your role as an hourly paid lecturer and the conflicting feelings of not wanting to upset the status quo, whilst also wanting to change approaches to suit students’ needs better.

The lack of time and paid hours means you are not in as often as needed. This can affect your familiarity with students and how often you ‘check in’ on their projects.

You described difficulties in getting students to engage in quality peer to peer feedback. Students are reluctant to offer up ideas or constructive criticism. Due to a lack of familiarity with students, you struggle to create open dialogue. My suggestions are as follows:

-Start the session with icebreakers to help foster familiarity.

– Provide a checklist for presentations: bind sketchbooks, steam samples, lint roll, bring everything to the crit even if it didn’t work. etc.

– A short introduction to the crit could set the tone and create opportunity to brief students and provide options of how to receive feedback ie; Silent, Gossip, written,

-Ask students to time crit presentations to ensure they do not overrun. The timing could be part of the briefing, with students held to the expectation that they will present for 5 minutes, and feedback will be delivered for 10 minutes. It is good practice for the students to keep to time. This may create more urgency and increase student engagement in feeding back to their peers.

– You could also give students prompts;. i.e. how have they included sustainable practice? Have they been experimental with use of technique/material? This may stimulate more constructive feedback.

-’Rebrand’ crits as peer reviews to create accountability to contribute feedback and create a more informal tone, which may inspire more conversation around projects. This may help it be viewed more as a ‘practice run’ before hand-in. There may need to be wider discussion with the academic team to give cohesive messaging about the renaming.

-The crit room is disruptive and a thoroughfare, meaning there is not much agency over the arrangement of the space. This could be raised with whoever books the room, as it is impacting the feeling of a brave space to share ideas and focus.

-Include prompts on the feedback form for students to ask questions and consider before the crit. Could you remove the ‘visualisation’ box as you mentioned the students often do not do this element or open it up to other criteria of ‘Realisation and Communication’. Can you make the graphics smaller to make more space for writing? Are the check boxes necessary?

– Is there a way you can emphasise the importance of the experimental side of the project, and the need for the students to push beyond the technical aspects? Give an outline of expected technical outcomes and put more weight onto the exploration and development of these samples through marking/tutorials.

-You give your students autonomy and empower them to push through creative blocks, without influencing their decision making. You show awareness of colleagues and the importance of giving clear and unified messaging to students. You are aligned with student support and understand students’ needs. Despite the little student facing time you have, students seek you out for both academic and pastoral support and see you as a safe and supportive tutor.

Part Three

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

feedback exchanged:

This feedback provides insightful reflections on my approach to teaching, particularly in relation to the crit process, and highlights areas where I can improve to better support my students. I am grateful for the recognition of my commitment to supporting students, even with the challenges of my hourly-paid role. The feedback identifies several key areas of focus that I can work on to enhance student engagement, peer feedback, and the overall learning experience.

Due to the short duration of the project, the time between tutorials is often not enough for students to implement feedback effectively. The tutorials themselves can feel rushed because of the high volume of students, but my colleague and I have regular updates after each session to ensure students are on track and getting the support they need. I plan to build upon this, incorporate more structured tutorials and encourage weekly updates from students, helping them to stay focused and manage their time more effectively.

The feedback also points to the difficulty of encouraging meaningful peer-to-peer feedback during crits. The suggestion to begin with icebreakers and use a more structured approach is great. I intend to implement this by starting crit sessions with an icebreaker to build rapport and create a more relaxed, open environment. I will also provide a checklist/brief that students can follow to come prepared, ensuring that all necessary materials are brought and the session runs smoothly. Experimenting with various feedback methods, such as silent or post-it note feedback, will allow students to choose an approach that feels comfortable to them. Additionally, introducing time limits for both presentations and feedback will foster a sense of urgency and encourage more focused discussions.

The idea of rebranding the crit as a peer review is something I find particularly interesting. By positioning the crit as a collaborative learning opportunity rather than a formal evaluation, I believe students will take more ownership of the process and feel more comfortable contributing constructive feedback. I will explore ways to reframe this in the classroom and work with my colleagues to ensure a consistent approach across the team.

Another key point is the emphasis on the experimental side of students’ projects. While technical proficiency is important, I want to ensure that creativity and experimentation are given greater weight. To support this, I will add prompts to the feedback form that encourage students to reflect on the development of their work and explore how they could push their ideas further. I will also focus on highlighting the importance of experimentation early on in tutorials, ensuring that students understand the value of pushing beyond technical outcomes to explore new possibilities in their work.

Finally, the feedback regarding the room setup and feedback form offers practical suggestions. I will raise concerns about the disruptive space with the appropriate staff and advocate for a more suitable layout to improve the flow and create a more focused environment for critique. I will also revise the feedback form to make it more streamlined, providing more space for students to reflect on their work rather than focusing on rigid checkboxes and see it as something they can build on and work from.

I am grateful for such constructive feedback, which offers clear directions for improvement. By incorporating these changes into future crits, I hope to foster a more engaging, supportive, and reflective environment where students feel empowered to develop their creativity and engage in meaningful peer feedback.

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Reflection of Teaching Practice 1

Posted on 19th February 2025 by Romany Taylor

Session/artefact to be observed/reviewed: Specialist Machinery induction

Size of student group: 1-2

Observer: Romany Taylor

Observee: Charlie Lewis

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?

-Machinery induction to assist in BA Fashion student’s final collection garment/sample development

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

-If a final year student I would have worked with them for the last 3 years, advising on machine set up, suitability of materials, sewing workshops to teach them practical skills, inductions into machinery and workspaces.

What are the intended or expected learning outcomes?

-Student to understand how to use machinery correctly and safely and how to setup to work with their fabric

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

-Sample for sketchbook or finished garment

Are there potential difficulties or specific areas of concern?

-Student doesn’t show to scheduled appointment,

-Late to appointment and another student needs to use it

-Double booked by staff

-Interruptions from other student requests as we are in an open studio space disrupts flow

-machine is damaged prior to booking and out of order

-Machinery fails

– fabric/intended outcome is not suitable for machinery

– Machine doesn’t like the fabric used and doesn’t work – particularly prominent on coverstitch for jersey

– Machine repairs are not sufficient leading to expensive damage and/pr machine being out of service – embellisher misaligned

-Student is not planning on using machinery immediately, just getting induction – then have to re-induct student later on as they forgot without use

How will students be informed of the observation/review?

-Via email or verbally on day, booked into Excel spreadsheet

What would you particularly like feedback on?

-How I interact with students, whether the instruction is clear/concise/digestible

-Any resolutions to the issues raised

-Any areas for improvement/tips

How will feedback be exchanged?

-Verbally

Part Two

Observer to note down observations, suggestions and questions:                                                                                        
A key issue raised in our session was the lack of student awareness regarding the value of machinery and technical skills until after their year in industry. Many students fail to realise that basic machinery knowledge enhances their design decisions and creative problem-solving. As a result, the role of support technicians is often undervalued and seen as secondary to academics, diminishing the importance of technical training.
                                                                                   
Ways to address this issue include:                                                                                                                                   
–  Incorporating Technical Tutorials as part of the design process or linking machinery skills to creative success.

–  Encouraging early exposure to machinery skills throughout the course can ensure students have basic familiarity before needing them in their final projects.
                                                                                   
The pressure to balance practical skills with creative freedom creates tension due to the ‘culture’ promoted within the department. As a technician, you manage a large workload and juggle student and staff expectations, often without sufficient support. Students may fail to understand that learning how to use machines properly can improve their work even if not part of the assessment.
                                                                                   
Managing expectations could be improved by
 -Encouraging early sampling and focusing on quality over quantity.                                        
-Students should be reminded that technical knowledge, even if not immediately necessary, will improve the final product.                                                                         
-Clear, collaborative communication between academic staff and technicians about managing student progress and expectations is essential for reducing tension, which I know you feel quite powerless in pushing for now.
                                                                                   
Possible solutions to inefficient space and scheduling issues
                                                                                   
-A structured timetable and staggered project hand-ins could better manage space and reduce conflicts over machine usage.

-Students and staff should be reminded of the importance of respecting the schedule for an efficient workflow.

-Being consulted on timetables could prevent conflicts and improve machine utilization.
-An organized booking system can further reduce clashes and ensure better use of available machines.

-Educate students on the importance of respecting their scheduled times for better workflow.
                                                                                   
Balancing creative freedom with necessary technical skills is challenging, as students’ designs are sometimes unrealistic due to a lack of technical understanding. Technicians should be seen as key contributors to the design process, not barriers to creativity. However, pushing for this recognition feels difficult due to academic indifference. Implementing case studies or student feedback could help promote this shift in perspective.                                                      

Regular team meetings focused on “collaborative feedback for growth” or “team-driven suggestions for enhancement” foster a supportive environment that strengthens community, trust, and solidarity within the technical team. With a view to enhance communication, improve problem-solving, and create a more cohesive and supportive work environment, leading to better cooperation and overall team growth.
 (Recommended reading- Rosenberg, M. (2005). Observing without evaluating. Nonviolent
 Communication: A Language of Life. CA: Puddledancer Press.)

Encourage students to take ownership of their learning, including understanding how machines can aid their creative process. Focusing on skill-building throughout the course/years, rather than reacting at final stage, allows for more proactive and thoughtful preparation in both student development and technical processes.

While you’re coping with a significant workload, redefining your role with clearer boundaries and expectations could reduce stress and increase cohesion. By seeking stronger support from above, you can navigate challenges with greater confidence, ensuring a more balanced and productive environment for both you and the students, you are clearly a great asset to the department.

Part Three

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

-I will approach newer pathway leaders who I feel are open to change and integrate more technical aspects into the course about incorporating sign up inductions in second year (when there is more time and less ‘overwhelm’ of information). This would mean the students would have optional inductions into using the machines and sampling the specialisms. Another idea I had is to send out a monthly ‘newsletter’ informing students of interesting work produced on a ‘machine of the month’ to increase awareness. This could be incorporated into the fashion academic newsletter.

                                                           
-I will work on building more communication with academics and improving relationships to open up more conversation around promotion of the value of technical skills. We have seen improvements in recent years when building stronger relationships with academics. The team would like to push for technicians to be included in tutorials and engage with students in the research and development stages of projects, before the work is at the final stages and it is too late to prevent issues and errors. We could take the initiative and go around and speak to students about their work on a one to one basis. This is reliant upon having time to do this, when I am currently overstretched.

– The team as a whole has been pushing for more involvement and clarity with the time table, particularly around the need for staggering of deadlines to ease studio capacity.

– The technical team as a whole needs to improve boundaries and having a unified message with the students to ensure students arrive on time and have accountability and take ownership of their organisation and time keeping.

-Regular meetings held on a weekly basis need to focus on the collective accountability of the team. This is sometimes difficult to enforce due to my standing in the team and most members of the team being in senior positions. We also suffer from a lack of a present manager which creates difficulties.                  

-I will read Rosenberg, M. (2005). Observing without evaluating and Nonviolent
 Communication: A Language of Life. CA: Puddledancer Press. I hope that the idea of nonviolent communication will help build my confidence in being assertive and more confident.

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Blog 4

Posted on 16th February 2025 by Romany Taylor

Reflective Practice: Integrating my Roles as Artist, Practitioner, and Educator.

In my roles as an artist, practitioner, associate lecturer on the BA Textiles course, and community workshop leader, reflective practice shapes how I interact with students, create art, and develop professionally. By engaging with ontological, epistemological, and reflexive lenses, I gain deeper insights into my identity, knowledge acquisition, and the impact of my experiences on my practice.

Ontologically, I examine my evolving identity across roles. As an artist, my creative process stems from my deep connection to nature, expressed through textiles. In teaching, I reflect on my role in the classroom—am I an authority, a guide, or a facilitator? How do I position myself relative to my students, and how does that shape their learning? In community workshops for children, I consider how I model respect for nature and how my role influences their creative engagement. As Lesley Raven (2012) suggests, “The way we ‘become’ is shaped by both our personal and professional histories, and the reflections that arise from our ongoing experiences.”

Epistemologically, I reflect on how I acquire knowledge—through direct experience, mentorship, and academic resources—and how this shapes my teaching. In the classroom, I ensure my students have access to diverse methods of learning. As Raven (2004) argues, “Knowledge is never neutral, but shaped by our personal, political, and cultural backgrounds,” highlighting the importance of fostering diverse perspectives in learning. Specifically in community workshops , I consider how participants build knowledge organically through hands-on experiences.

Reflexivity examines how my personal experiences and biases shape my actions. As an artist from a working-class background, my worldview influences my creative work. In teaching, reflexivity helps me assess how my assumptions impact students’ learning, ensuring I create an inclusive environment. Reflexivity encourages me to ask, “How does my personal history influence my teaching and interactions?” Raven (2004) notes, “Our personal values, assumptions, and biases impact the professional roles we occupy.” This self-awareness helps me ensure I approach teaching with openness and inclusivity.

Donald Schön (1983) emphasizes the importance of reflection-in-action, where professionals adapt to changing situations. He states, “Reflection-in-action” allows for continuous learning and growth, underscoring the need for ongoing self-examination, especially in dynamic fields like teaching and creative practice (Smith, M. K., 2001).

Reflective practice provides crucial insights into my roles as an artist and educator. Ontological reflection keeps me aligned with my values of creativity and environmental awareness, allowing me to create authentic connections with my students. Epistemologically, it encourages me to offer a pluralistic view of knowledge, helping students engage critically with textiles and creativity. Reflexivity ensures that I remain aware of how my biases influence my teaching and create an inclusive environment for all students.

Moving forward, I aim to integrate more structured opportunities for reflection into my practice. I will foster reflective dialogue with students through group discussions and peer feedback sessions, encouraging them to engage critically with their learning. Additionally, I plan to expand reflective practices in my workshops, prompting participants to reflect on their creative processes and relationship with nature.

Engaging with Schön’s (1983) and Raven’s (2004) work on reflective practice will guide my continued growth. Reflecting on my role in the classroom and my personal biases will help me remain adaptable and responsive to the needs of my students, ensuring that my practice evolves in an inclusive, student-centered way.

References

Raven, L. (2004). “Reflection and professional learning: A perspective from the arts”.

Raven, L. (2012). “Becoming: A reflection on the role of experience in professional growth”.

Raven, L. (2025). “Seminar on Reflective Practice in Arts Education”. (Manchester Met) Presented to UAL Accesses 12/02/25

Schön, D. (1983). “The Reflective Practitioner: How Professionals Think in Action”. Basic Books.

Smith, M. K. (2001). ‘Donald Schön: Learning, Reflection and Change’. The Encyclopedia of Informal Education. Retrieved from www.infed.org.

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Case Study 3

Posted on 16th February 2025 by Romany Taylor

Balancing Academic Feedback and Pastoral Support in Teaching

As an Associate Lecturer at Central Saint Martins, I often face the challenge of balancing academic feedback with the need for pastoral support in a short tutorial. Due to the nature of the role, I rarely have full access to detailed student background information, such as Individual Support Arrangements (ISA) or personal challenges, until after initial interactions. This lack of prior information makes it difficult to fully understand the creative and emotional needs of students. Additionally, the time constraints, usually limited to 12-15 minutes per student, often make it challenging to address both creative guidance and emotional concerns effectively in the same session.

The time limitations and lack of comprehensive student background information complicate my ability to provide holistic feedback. When students disclose emotional challenges, a significant portion of the brief time is often spent listening and offering initial emotional support. As a result, this leaves little time for detailed creative feedback or assessment of the student’s creative process and progress. This imbalance can affect students’ ability to fully engage with their creative work and hinder their development of technical and conceptual skills in their artistic practice.

While I am aware of students’ emotional and mental health needs, particularly after disclosures of personal challenges, my role does not extend to offering pastoral care directly. Instead, I find that the need for emotional support, which may not always be fully addressed in the short session, impacts the overall quality of feedback I can provide. Hattie and Timperley (2007) assert that “feedback is most effective when it is timely and specific to the learner’s needs.” However, in this context, emotional needs take precedence, which delays or limits the opportunity for in-depth creative feedback that would help students refine their concepts and further their development as artists.

To improve the situation, I would advocate for

-Better communication and information sharing regarding students’ ISAs before the session. This would allow me to plan more effectively, providing creative feedback while being mindful of any emotional challenges that may affect their engagement.

-Extending session times would provide the space needed to balance creative feedback with attention to students’ emotional needs. As Brookfield (2017) highlights, “Effective feedback is not just about responding to the content of students’ work but also engaging with their emotional and psychological needs.”

-Peer support structures could help alleviate some of the emotional pressure placed on me as an instructor, fostering a collaborative approach among faculty, we could provide more consistent support to students. Cuseo (2009) in Bamber & Jones (2013) suggests that “university education needs to be holistic, addressing emotional, social, and intellectual development,” underscoring the importance of addressing both creative and emotional needs in a balanced manner.

While my role does not involve providing direct pastoral care, I recognize that students’ emotional challenges can impact their ability to engage fully with their creative outputs.

By attempting to influence

– implementing better communication regarding student needs,

-extending session times,

– creating support structures for both students and educators,

I can more effectively balance the creative feedback with awareness of emotional concerns.

References

Bamber, J & Jones , R. (2015) ‘Challenging students: Enabling inclusive learning’ (Accessed 8/2/25)

Brookfield, S. D. (2017). “Becoming a critically reflective teacher”. Jossey-Bass. 

Cuseo, J. (2009). “The student learning imperative: An integrated approach to learning and teaching, in Bamber, J. & Jones, R. (2013), “Enhancing Learning and Teaching in Higher Education: A Framework for Institutional Change” (pp. 157-171). Routledge. 

Hattie, J., & Timperley, H. (2007). “The power of feedback”. Review of Educational Research, 77(1), 81–112.

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