TEACHING

LINK TO E-PORTFOLIO OF TEACHING PRACTICE CAN BE FOUND HERE: 

This portfolio  consists of case studies of my current teaching practice and how it is aligned with the UKPSF. I was awarded Associate Fellow status of the HEA in 2016 and then awarded full Fellow status of the HEA in May 2017. 

http://www.lboroteachingcentre.org.uk/PGCAP/view/view.php?t=HZN81Lxn0KpvoiqW4IJO





  Practice Exchange, Central Saint Martins, London, 2014

I currently work as a lecturer in Fine Art at University of Lincoln and associate lecturer at Central Saint Martins on the BA Hons Performance Design and Practice course. I also teach as part of the MA Advanced Theatre Practice course at Royal Central School of Speech and Drama. 

I have also set up performance-related workshops for the BA Fine Art course at University of East London in 2009 as well as been a guest artist/visiting lecturer at University of Essex (2009) and University of Northampton (2014).  

In 2015, I was awarded a Loughborough University Teaching Innovation Award. 

Teaching methodology and case studies of undergraduate and postgraduate teaching experience from a research informed perspective


With an emphasis on performative and participative discourses, my philosophy to teaching is to provide students with an intellectually stimulating learning experience, rich in critical and reflective practice that encourages their autonomy as critical self-reflective relational artists in a digital age. 

Underpinned by the importance of practice, I encourage students to set up dialogues between theory and practice, process and anticipation in which performance-related practice often within an art historical context attempts to ‘enabl[e] learning to happen’ (Fry, Ketteridge and Marshall 2009:3); I encourage students to deploy practice methods relating to performance to produce results that theory is unable to anticipate.

My usage of performance-related practice within my teaching as a means to interrogate theory aligns itself with my own practice and research that prioritises the importance of the body as a tool to investigate aspects of contemporary art and performance theory and practice. 

Anticipation, Action, Analysis

‘Present[ing] an original, practical and imaginative way of demonstrating reflective practice’ Carol Newbold, Loughborough University’s Centre for Academic Practice, 2015

Anticipation: making a set of predictions informed by theory and argument and using one’s intuition. 
Action: executing practice based on those predictions, in order to gain experience of the operations of a particular theory/concept in practice and to lend a different understanding to its associated theories as addressed throughout the seminar programme. 
Analysis: reflecting upon what happened in the last stage, considering how the practice extends the theory, through embodied and emotional response

Encouraging students to begin to identify the implications of their practice and reflect upon these with a view for acting upon those realisations in the future from the start of their course, each week of the module they will follow a three-stage learning process ‘Anticipation, Action and Analysis’ that I devised and engaged with during my doctoral studies. This offers Year One students a model of practice to try out and/or use as a basis for developing their own models that suit their own practice trajectory by Year Two and effectively communicates to students that their learning activities have been organised in a such and such a way as to embed reflective practice within their learning experience. 

Having equipped students with a range of contextual, philosophical and historical reference points relating to a particular aspect of contemporary fine art/ performance, students devise a series of projections and plan a sequence of actions (artworks). Students carry out these actions then write about their experiences using different visual methods: making notes, drawing diagrams, writing factual reports, listing the different stages that participants (the student and their audience) go through during the artwork.
I suggest to students that they use both a combination of remembering (using their memory and the memory of others and the visual documents made during the artwork (still photographs, video footage etc.) to construct a version of events. 

Case study one: 'Contexts of Performance’
Teaching module delivered in 2010 as part of BA (Hons) Performance Design and Practice, Contextual Studies, Central Saint Martins, London


For youtube.com footage of Case Study One see:


In 2010, I ran a weekly seminar series focusing on specific aspects of theatre, performance and art practice in the context of contemporary culture at Central Saint Martins, London. Seminar sessions lasted three hours with approximately 25 students.  At the end of the series, students produced a written assignment in which students responded to one of two questions relating to the relationship between performance, liveness and mediatisation.

Introducing Year 1 BA level Performance Design and Practice students to a range of historical and practice perspectives relating to performance and art theory and practice, I enriched the sessions by incorporating into them an element of practical performance based workshop, in which students produced site­ specific artworks across London to explore ideas surrounding the relationship between protagonist and audience but chiefly how ‘location’ can affect the production of meaning and audience reception.

As part of these seminars, students practically and theoretically engaged with the use of technology in artistic practice and research. I helped them to develop a sense of technology in its historical contexts by exploring with them the relationship between liveness and mediatisation through the work of a number of artists/performance makers/theorists and academics. I have also taught part of a module for Year 3 BA Fine Art students entitled 'State of the Arts' at University of East London in 2010 in which I conducted a seminar-style discussion specifically focusing on linking performance, artistic and curatorial practice as cultural fields with the term 'employability'. Similarly to my teaching methodology as part of my work at Central Saint Martins, I also sparked the student's interest by incorporating a practical workshop performance-based element into the seminar.





                                


Case study two ‘Practice Exchange’
Teaching module delivered in 2014  at Central Saint Martins, London


I was a lead tutor along with drawing-based artist Anne Marie Creamer and performance practitioner Simon Vincenzi in a project entitled 'Practice Exchange', a performance- based project galvanising collaborative ways of researching and producing practice.
Participants:
Central Saint Martins: Stage 3 BA (Hons) Performance Design and Practice
Central Saint Martins: Stage 2 BA (Hons) Fine Art
London College of Communication: Stage 3 BA (Hons) Sound Design

The project started in the Theatre Laboratories at CSM Kings Cross and culminated in a two-week residency in the Kings Cross Platform Theatre, CSM Studio Theatre and Theatre Foyer. There were 6 public shows / performances. Students produced a poster, programme and an e-flyer.

Key words and concepts:
Lighting, sound, noise, amplification, non-amplification, ‘Image Music Text’
Practice exchange, Authored work, Collective Events
Blocks of narrative, stepping-stones or bridges
Relay, Episode, Reiteration
Visitation, Re-visitation
Prologue, sub text, epilogue, acts
Building, adding, layering, and multifaceted.
Methodology for development
Live art, Performance art, Happening, Theatre, Art, devised theatre, post dramatic theatre, body art, fleshworks, and fluxus
Theatricalisation, Rupture, Catharsis, Apollonian, Dionysian
4 D’s: Dialectic, Dialogue, Discourse, Didactic
Language, Meta-language
Curser, Pre-curser
Identity, Gender
Process v product
Stage, Stagecoach, Stages
Platform, Railway, Soapbox, Dias, Plinth, Rostra
Canal, Conduit, Communication
Pre-ordained, ordained

The overall objective of the project was for students and tutors to explore collaborative practice. In early seminar sessions we discussed what may constitute the protocols of collaboration, how to encourage potential collectives and embrace differences and similarities. I set students a series of tasks in which they were asked to produce a collaborative performance/ a composite presentation of 1 minute. We addressed: 

What are the problems of collaborative practice?

How can problems be creative?

























Case study three ‘Performing Research’

Teaching module delivered in 2014  at  Royal Central School of Speech and Drama, London

I taught MA Advanced Theatre Practice students to develop successful research questions and develop subsequent practice as research methodologies. I taught students to take creative risks, be original in the application of knowledge in relation to the subject matter of their research, be intellectually engaged and demonstrate an analytical and critical awareness of relevant contemporary issues, demonstrate an understanding and effective use of research and advanced scholarship, recognise practice that is at the boundaries of their specialism, and participate in successful collaborative processes. To demonstrate these skills, I assessed students on giving a group conference presentation on a subject relating to Performance of their choice and an accompanying written text documenting their research process.

 The aims of the module were to enable students to effectively:
• Acquire an understanding of current theoretical and practical debates concerning research within the broad discipline of drama, theatre and performance;
• Investigate relevant research methods;
• Experience the challenges of presenting at a research conference;
• Contribute to a research task, collaborating in an appropriate context

Under my guidance as a tutor, students developed an appropriate body of knowledge, relevant analysis and practical exploration and worked collaboratively with a small group of colleagues to prepare a conference presentation on a topic of interest. Topics I supervised included using the trope of the guided tour to explore power relations and performative storytelling. The unit concluded with a conference open to all postgraduate students and staff at RCSD to attend. 




In all of the modules I refer to above, I have conducted both one to one and group critiques of students' work, offered personal tutorials, been involved in assessing student's work and provided detailed written feedback in accordance to specific marking criteria connected to learning outcomes
These outcomes have often related to:

research (a student's systematic identification and investigation of appropriate sources),

analysis (a student's examination and interpretation of resources),

subject knowledge (understanding and application of subject knowledge and underlying principles),

experimentation (problem solving, risk taking, experimentation and testing of ideas and materials in the realisation of concepts) technical competence (a student's ability to execute ideas appropriate to the medium)

communication and presentation (clarity of purpose; skills in the selected media; awareness and adoption of appropriate conventions; sensitivity to the needs of the audience)

personal and professional development (a student's management of learning through reflection, planning, self direction, subject engagement and commitment)

collaborative and/or independent professional working (how a student demonstrates suitable behaviour for working in a professional context alone or with others)
I have not only provided students with critical feedback in accordance with a range of the above criteria but have also given students extensive advice on how they may develop and hone their skills as professionals within their field.




[1] Fry, H., Ketteridge, S., and Marshall, S., (1999) A handbook for teaching & learning in higher education : enhancing academic practice.  London : Kogan Page

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