Lloyd-Johnson, Jude (University of Chester, 2018-12)
This research aims to give a greater understanding of the impact my
teaching role has on my creative practice as a self-portrait photographer.
This aim has been researched and explored using self-portrait photography
and personal experiences in and outside of the classroom. Using the street
photographer Vivian Maier as inspiration, I have reflected on how using the
techniques of another practitioner could influence my practice and teaching.
Pursuant to this, I have produced a portfolio of Street and Home Life selfportraits.
With the application of auto-ethnographic research methods and
a/r/tography approaches, I explored the tensions and parallels within my
creative practice and my role as a researcher and teacher.
As a photographer, researcher and teacher, I have found that each of these
roles and identities are intertwined and interlinked such that it is impossible to
separate them. I found that my creativity does not generally follow a journey
from initial starting point to final piece and taking photographs in the style of
another photographer limited the generation of my own ideas. Therefore, as
a result of my research, I propose that there are two types of art, school art
and creative practitioner art. The former follows a set of rules and criteria and
is primarily assessed on the merit of the pupil’s skill level by the schools’
examination board. The latter can be organic and sometimes stilted in its
creation, but judged by either art critics or purchasers of the art practice.
Scott, Deborah S. (University of Chester, 2019-03)
The purpose of this thesis is to investigate the impact of work based learning through a
creative exploration of learners’ experience. The impact expected in work based
learning is at personal, professional and/ or organisational level, and might extend
beyond the organisation, to social order. However, the nature and extent of impact is
variable, and sometimes not evident at all. This variability and apparent lack of impact
is of pedagogical and economic concern for all parties involved in the tripartite work
based learning relationship: learners expect to perceive some benefit from undertaking
such a course of study; higher education providers need to show relevance to the
working world; organisations assume there will be operational or strategic outcome
from their employees’ engagement in work based learning. Wider than this, the
significance of learning of relevance to the United Kingdom’s productivity is articulated
in the government’s Industrial Strategy (GOV.UK, 2017).
The investigation takes a narrative research approach to explore the experiences of
recent Masters graduates of a negotiated work based learning programme for distance
learners. The data were analysed using the concepts of Thirdspace, equality, creativity,
and critical reflection. The creation of play scripts is an innovative feature of this thesis,
representing an interpretation of participants’ stories about their work based learning
experience. This imagined embodiment of learners’ experience facilitated greater
empathy and understanding, supporting a critical perspective on the nature of impact.
Insights emerging from the research suggest that impact was experienced by all
research participants, but varied in nature and extent due to factors such as
employment position; self-confidence, self-perception and personal experience; the
culture and economic position of the organisation. Some participants’ employment
position supported their use of their work based learning to instigate organisational
change. For others, a marginal employment position offered opportunity to use learning
for professional development. However, marginalisation might also hinder impact
beyond the personal when combined with other factors such as an organisation’s
financial constraints, and might prevent enactment of emerging radical ideas about the
social order. Even when impact was deep, it might not be overt. A further insight was
that collaboration was significant in effecting impact. This investigation offers a new
perspective on impact in the context of work based learning, which highlights the
creative, subtle and emotional aspects.
The findings prompt review of teaching, learning and assessment practice leading to
identification of strategies to accommodate and support students’ performance and
autoethnography is concerned with the tension between innovation and tradition in the craft of songwriting and the learning this allows for. It is formed by two parts; the following written thesis and a choral song entitled ‘The Walk to Kitty’s Stone’. The work draws upon my own experiences whilst writing this song and qualitative data obtained through recorded discussions with other songwriters, with whom I am part of a folk group called ‘the loose kites’. The thesis is structured and viewed through a folkloristic lens. Bausinger’s work and his concepts of the spatial, temporal and social horizons expanding provide this lens and offer a theoretical framework for folk culture in the digital world to be investigated. Two research methods of songwriting are used within this framework to consider the learning that occurs. The first method allows for an expression of a psychogeographical understanding using a machine called a ‘Perambulographer’ which enabled me to draw graphic scores for composition while walking. The second method was an exercise in ekphrastic lyric writing. Learning is considered in terms of informal education, and music pedagogy and as such builds upon Green’s research. The key interpretations from the research highlight notions of authenticity, respect, political awareness and democratic values as significant features of songwriting. This study does not offer any new pedagogy but instead highlights how songwriting as ‘craft-based practice as research’ might offer an opportunity for songwriters to appreciate the relationships and values that they embody in their practice, specifically with regards to their own identity, when teaching. The work proposes that a songwriter’s home and folk culture has a significant influence on their identity and how they write songs. The main advance in practice is the development of a theory of ‘be-longing’ underpinning the advocacy of a folkloristic disposition in the context of education.
Bennett, Lindsey, H (University of Chester, 2019-09-27)
This thesis investigates the connections between making and relational
creativity, exploring relationships that arise through creative practices
in informal making spaces. As the researcher, my background is that
of both artist and educator, and I combine both roles to work alongside
students within the space. The aims of the study are to explore the
impact such spaces have on teachers professional relationships with
students together with the impact on student relationships. In addition,
the research also aims to address the implications of informal making
spaces for the school curriculum in England. The research is centred
around the A/R/Tography Collective, a making space created to allow
students the opportunity to meet and create after school outside of
lesson time. The research builds on the democratic learning practices
of Room 13 and Reggio Emilia models of learning. Using a qualitative
approach within a narrative paradigm in the form of case study, I work
alongside students within the field. By employing an immersive
approach where field notes were written up retrospectively and
reflected upon, I have been able to offer a holistic and balanced account
of both my own and participant experiences, exposing the complexities
and problematic nature of creative practices emerging outside of the
curriculum framework. My findings reveal that by deconstructing
traditional pedagogical frameworks, the lived experiences of students
are revealed through the process of making, providing a unique insight
into their lives. The findings suggest that the current art and design
curriculum in England is not meeting the needs of students, and
recommends the value of making spaces that exist outside of the
curriculum framework to enhance learner experience. The research
recommends that by allowing students freedom of expression within
curriculum time, relationships between students and teacher are
developed and strengthened. This in turn positively impacts on student
performance within curriculum time. The research recommends the
need for educators to inhabit a more holistic role, to tailor their
pedagogy to meet the individual, ever changing needs of students.
This thesis examines the complex nature of teacher-led professional development delivered by
Western teachers in a Non-Western context. I use an autoethnographic approach and employ
a range of reflective and reflexive methods, such as visual images, journals, interviews and
sketches to expose and explore the tensions experienced when engaging with CPD in a culture
vastly different to my own and within a post-colonial context.
This thesis employs theories from Homi Bhabha to explore the key concepts of postcolonialism and decolonisation, Zygmunt Bauman to examine the concepts of community and
identity, and Jacques Rancière and Etienne Wenger to explore theories of education and
learning such as stultification and emancipation and communities of practice, all of which are
pivotal in understanding the complexities and tensions of experience throughout this
I scrutinise moments of dis-ease, a term borrowed from Sweetman (2003, p.528), whereby the
programme appears rooted in a form of neo-colonialism fuelled by globalised models of
education that reinforces little more than a discourse of incapacity and a reiteration of a single
story of African Otherness. Conversely, I also observe moments where there emerges a
community of practice that offers an emancipatory model of education and offers participants
the opportunity to reinscribe their identities as part of a global community.
I conclude that programmes such as this have the potential to be both positive and negative
and that, unlike examples of voluntourism in which the participants serve to create and
perpetuate deficit-models of colonialist thinking, there is a need to accept that participants
engaging in professional discourse have the capacity to review and decide whether the positive
impacts are valid and valued enough to make their pursuit worthwhile. It is critical to resist
the urge to make a sweeping generalisation about CPD programmes in vastly different cultural
contexts because too many variables exist to make such a broad stroke accurate, but there
must be an onus on all involved to evaluate the ramifications of participation and to continue
or desist in these programmes as is appropriate.
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