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Workshops

One of the reasons that this blog has been fairly quiet over the last few months, is that Fiona English and myself are in the process of co-guest editing two special issues of the Journal of Writing in Creative Practice. We are really excited about the mix of content, which represents a number of genres as well as discuss using genres in teaching and learning. (Of course I will let you know when the issues are actually out, one of them is going to print soon, the other is about to enter the typesetting stage.)

a preview of the cover image for the forthcoming journal issues

So when we heard that EAP in the North were running a workshop on Exploring Genre(s) specifically in the context of the creative arts, we thought this was an excellent occassion to visit the University of Edinburgh and chat a little bit about our expertise in this and check out what other people are doing.

It was such a lovely event, and I was reminded of our own ReGenre conference last year (indeed, one of the attendees of that event was here giving us an opportunity to catch up), because it was run in a way to allow for lots of sharing and discussion along the way.

Alex Collins from the University of Edinburgh showed us how he engages art history students with core skills via workshops that are backed up with his online Art History Toolkit (check it out here, but be aware that he might ‘wipe’ content in preparation for the new term to then populate it again as the term progresses – though he is currently looking at other ways of running this, and I really do hope it’ll become a permanent resource for all of us to dip into – there is lots of good stuff here, not just for art history students!).

Clare Carr was talking about some of the different genres music students at Durham University are being asked to write in – and wondered whether assignment setters need to be more precise about how they brief and also describe the genres they are actually after. The term ‘essay’ means many things to many people!

This linked in perfectly for an exploration of what an ‘essay’ is or could be – and the Dress-up Doll of Formality exercise I introduced delegates to. After some fast and furious discussion and outfit drawing on the tables, the sharing with solutions of the group was rich (and we are hoping to get the produced images up on the EAP in the North website). This short taste of regenring was a great lead into a quick overview of Fiona’s work – and of course us talking a bit about the forthcoming special issues.

After a short refreshment break, Clare Maxwell was talking about writing genres specifically within Design in her work at the University of Leeds, genres that are very often located in the overlap of academic, vocational and creative work – but sometimes difficult to locate in publications of designers (that old theory/practice divide is still coming up it seems). One of the issues of discussion following on from Clare’s talk was the role of ‘I’ in writing – and the necessity of authors to be aware of what it does.

We then broke off into small groups, where some people had brought ideas to share and discuss. In the group I joined, Anna Rolinska laid out her plans for a Pre-Sessional English for Creative Disicplines course at Glasgow School of Art, which was fascinating, with all of the group then sharing ideas, which hopefully gave Anna some more inspiration. I hope she will write a little post on this later in the year.

Most of us ended up in the pub for a drink and more chat afterwards. On top of everything else, it was a gorgeous day – Thank You to Alison Thomas and her team for organising such a fabulous event!

The setting for the workshop was this lovely campus, need I say more?

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My soon-to-be final year students have the option of starting their final year research projects this month, and I’m running a little ‘research boot camp’ to remind them of some of the procedures and share some extra tips and tricks in preparation for this. As the quality of secondary sources has been a weak point in the research my students typically produce, I don’t just remind them of the Fishscale of Academicness analogy and exercises we do in their first year, but I also wanted to give them a straightforward, but playful, reminder of some of the things to look out for when looking at (and for) sources.

How about a round of Bibliography Bingo? I produced a bingo card (download and try it for yourself here: TacAc Bibliography Bingo) with some things they might encounter in their sources, and some, such as index or reference list, that give hints that this might be an academic source. The idea is to use a card for each source encountered, and mark each of the spaces that apply. As I arranged the more academic clues in the middle 9 squares, scoring those squares gives a higher indication of an academic source having been found.

When I presented this to my students, one asked whether we were going to actually play a round of Bibliography Bingo. I have to admit that I had thought of this as a fun diagnostic tool, rather than turn it into an activity in class. This time round we didn’t have time, but next time a round of bingo is definitely on the cards!

Here the 2nd promised addendum to the write-up of #ReGenring17

Collecting delegate feedback after or during an event can always be a bit challenging. There are standard feedback forms around, of course, but they might not actually capture the information you are most interested in. I, for example, am usually more interested in delegates’ responses to the content of the event than in their thoughts on the organisation of the buffet (not that this is not important, but if something was fundamentally wrong with that, I probably already know). So I leave the formal feedback forms for collecting metrics for the venue or the funders.

Feedback Bunting in action

But I do want to know what people actually thought about and during the event and since my events are usually quite creative, I like to find ways of tying this in. Apart from the maybe ubiquitous post-its, I have in the past used postcards and luggage tags to get delegates to leave some impressions of the event with me – and their thoughts on how to improve it for next time round. And then somebody at one of the Writing-PAD East Midlands meetings mentioned ‘feedback bunting’. I was immediately attracted to the idea. Could we somehow give delegates little ‘flags’ in different colours for their comments and invite them to populate a string as the event progressed?

Using relatively small flags has the advantage that delegates can add comments in bite-sized pieces as they occur, so instead of having to do a summary of feedback of the day towards the end, it can grow organically.

Ready to try this out for the recent ReGenring conference, I first looked into pre-produced bunting but decided against that as it would have been difficult to add comments once this was hanging – and I didn’t want to end up with un-displayed but filled in bunting at the end of the event. Rather, I wanted to find a way to allow delegates to secure their flags on the string without needing clips or a stapler, so tried out a folded version with a slot cut into both sides from opposite ends, so they could be slotted together (see the second way on the drawing below). In theory this worked well, but in practice this turned out to be over-designed, most people ended up just folding their flags over the string which worked just as well if not better than a complicated slotting maneouvre. (Although if the event had been outdoors that might have been a different matter.)

a very basic drawn instruction on how to make feedback bunting work

Having explained the idea during my part of the Welcome, I left flags on the tables for people to start filling up (which started pretty much immediately). During the Sharing Session in the afternoon I could be found walking around pressing some more onto people while asking “Have you left some feedback yet?” Maybe I was slightly too pushy, but it was really lovely to see the bunting chain grow over the course of the day.

I will definitely be using this simple, but effective, way of collecting feedback again and would recommend it for events big and small.

I am also thinking that this might be a fun way to organise a to-do list. I always have a number of projects on the go, and having one per flag would remind me of those projects and give me some space to add notes (and if I run out of space on one flag, I can always add another one). Plus as urgencies and priorities change, the order of these flags could be easily switched around. Something to try out in the next few days, I think ūüôā

(Last) Call for Papers – final deadline 15th August 2017
For a special issue of the¬†Journal of Writing in Creative Practice¬†guest edited by Dr Fiona English and Dr Alke Groppel-Wegener,¬†we are currently looking for submissions that celebrate the practice of genring and regenring. Even though the journal title includes ‘creative practice’, these examples do not have to come from a creative practice background (as we would argue that genring and regenring could be seen as a creative practice by itself). You also do not have to have been present at the workshop and conference we have been running on this subject – if you are doing any sort of genring and/or regenring we would love to hear from you!
We would suggest the following formats:
Examples focusing on the process of (re)genring
We want to showcase a selection of genring and regenring practice, based on a template Рsee my recent post on this blog giving a bit more information on the template here (and email me (Alke) on tactileacademia[at]gmail.com for what information is needed if you want to contribut an example).
The examples should be focused on the process of (re)genring and should concentrate on one outcome genre only. They are not about the assessment, module or unit, but about the genre itself.
Case Studies
Between 2000 and 3000 words, these should be description and analysis of examples of your practice. These should be wider in scope than the examples.
Full Papers
Between 5000 and 7000 words, these should contain theoretical discussions that take the subject beyond the examples and case studies.
Reviews
Have been to an event linked to genre, genring or regenring recently? Want to review an outstanding example you have come across? These are usually between 500 and 2000 words.
As this issue is celebrating reGenring we are, of course, open to genres other than the academic paper. However, please keep in mind when planning your submission that we are constrained by the format of the journal, and the JoWiCP in particular.
This means:
  • landscape orientation of pages (we can probably somewhat play with their standard layout, but only with good reason)
  • pictures need to work in black and white as we cannot guarantee them being printed in colour (although in the online version they would be in colour). Please ensure that you have ownership, or have obtained copyright clearance for any image submitted.
We would suggest that submissions that don’t follow the traditional academic paper genre are bookended by an academic abstract (about 150 words) that explains the chosen genre and the reasons for choosing it and a conventional bibliography. We will be using Intellect publishers style guide, which you can download here.
We will also need an author biography of 50-100 words with all submissions.
All articles submitted should be original work and must not be under consideration by other publications.
Journal contributors will receive a free PDF copy of their final work upon publication. Print copies of the journal may also be purchased by contributors at half price.
Final deadline for submissions (via tactileacademia[at]gmail.com) is 15th August 2017.

After publishing the Writing Essays by Pictures book, I have been chatting to people about how to use this approach to teach. If you are one of those people interested in integrating some of the activities and strategies, check out this new workshop I will run the morning of 5th May in Manchester, which will introduce the Board Game Blueprint, an analogy I’ve been playing around with for the last few months – and to make it even better you have the option to sign up for the afternoon making educational games with fellow National Teaching Fellow Andrew Walsh, too!

Booking via EventBrite here.

Picture This! Using the ‚ÄėWriting Essays by Pictures‚Äô approach to teaching academic practice
Writing Essays by Pictures is a workbook for students who need help with researching and writing their first evidence based research essay for university. It explains academic practice that often remains hidden to students through everyday analogies and offers activities that allow students to explore the research and writing process in the step-by-step way of painting by numbers.
While the book was originally conceived as a workbook for students, it can also act as a resource for teachers, which will be further explored in this workshop with Dr Alke Groppel-Wegener, the author. Using a new activity, the Board Game Blueprint, designed to help students visualise the syllabus of a module, we will explore how to use the ‘Writing Essays by Pictures’ approach in day-to-day teaching, whether as a dedicated module or stand-alone support sessions.

All attendees will receive a copy of Writing Essays by Pictures (list price £15).

Last Friday’s Look, Make and Learn event at the University of Huddersfield for me ended up as a reminder of ‘flow’ – and the joy of having time and space to just explore.

Sarah Williamson started us off with a session on “Bookmaking for visual thinking, recording and reflection”.¬† As readers of this blog will know reflective bookmaking is a wonderful tool of exploring thoughts and while working on mine (not quite finished yet, but see below for some pictures of its current state) I realised how long it has been since I actually took the time to make one.

Sarah showing how to make an Instant Book

Sarah showing how to make an Instant Book

Sarah started us off with nice and easy by showing us how to make an Instant Book (sometimes also called Beak Book) out of an A3 photocopy of a map. (If you want to make your own Instant Book, check out the first page of this guide.) She also explained why we were using a map and not blank sheets of paper (and a pale map at that): it takes away the fear of the blank page. A blank page seems to suggest to the maker that it needs to be filled up with perfect stuff, while really this is all about process. Using a texture or pattern as a background will then help with what comes after it. A pale map is perfect for this, as it provides a background that can be worked into.

We then moved on to the Concertina Book (also called the Accordion Book) out of a long strip of paper. (If you need instructions on how to make your own, check out this page – we didn’t put covers on ours in the session, but there is a simple way of doing that included here too.) And in order to get rid of the blank page again, Sarah had brought in two random pages for each of us, one from a music guide and one from a DIY manual, and challenged us to find some words or phrases that explained why we decided to join the day, cut them out and stick them into our books.

While this seems very random, it is amazing how everybody seemed to find something that spoke to them. Here are the phrases that jumped out at me and made it into my book (almost making a poem):

Found text in my reflective book

Found text in my reflective book

I wanted to do something weird

From such beginnings

I had fun

The whole process can be riddled with ‘creative’ errors. It can happen that some strategy, unfit to reproduce the original ‘vision’, ends up outputting something completely unexpected, yet intriguing.

the borders between knowledge and imagination become even fuzzier

it is resolutely something else

a celebration of real things.

20161213_164331The next session was led by Chrissi Nerantzi and called “Make It Yourself (MIY)”. This was a very fast-paced session that took its starting point in the question whether learning (and thinking) that is only ‘head-based’ can ever work – even at university, which seems to have a very head-based tradition of theory rather than practice. We all filled a paper heart with what we love about teaching and then exchanged these hearts and discussed the ones we (randomly) received in small groups. Then we were sent out in pairs to fulfil tasks ranging from talking to students to finding useful objects around campus. We ended up in a circle making a physical net by throwing a ball of wool to each other, sharing feedback on the session.

20161018_153931After lunch I led a session entitled “Playing with Genre”. Here small groups had 30 minutes to design a board game based on writing an essay. We ended up with four games that we discussed and compared to some examples that students had put together in class for me. This is a great way of getting students to talk about what they perceive to be their strength (becoming short cuts) and weaknesses (becoming obstacles), as well as their expectations. I had planned to talk a bit more about how the board game genre also has the potential to become an alternative to the schedule of classes in the module documentation, but while there I realised that this might not have been that interesting for most of the people present as it is quite specific to people who actually plan whole modules. This might become a more detailed blog post in future… or maybe an event on its own (let me know if you would be interested in this!)?

Liz Dixon and Judith Kidder rounded off the day with a session on “Using LEGO¬ģ Serious Play¬ģ (LSP) in teaching, learning and research”. I had heard a lot about this, but had not actually done this myself. We did three short tasks – building a sculpture showing our role at work, a recent teaching experience, and then remodelling the latter into how that could have been improved. I particularly liked the remodelling, as it made me think about not just what I had done, but reflect on how I might change it for next time – something I probably would not have come up with if I hadn’t seen the sculpture in front of me. Liz and Judith emphasised the three steps of kinaesthetic learning, reflective conversation and written reflection (which we didn’t have time for, but that ideally should follow these tasks as part of the learning process) – and how important it was to free your mind of the literal interpretations.

Judith said that this sort of metaphocial modelling is a different way of communicating and that it is a way of unfolding different possibilities. In a way this brought the day full circle for me – my reflective book had been filling up throughout the day and I had added my Instant Book to the Concertina Book, so there is now some unfolding going on when reading through it. It has a thread running through it (inspired by the net-building wool), which at some stage writes ‘flow’ – something Sarah talked about at the beginning of the day. Refolding the combination of Instant and Concertina book made this word appear on the ‘cover’ page – and it is also a good way to sum up a great day!

Join us for this collaborative University of Huddersfield and ALDinHE regional ‚ÄėLook, Make and Learn‚Äô event, exploring visual teaching and learning tools and practices.

The event will be held on Friday 9 December at the University of Huddersfield and will feature four creative workshops:

  • Bookmaking for visual thinking, recording and reflection by Sarah Williamson (University of Huddersfield)
  • Playing with Genre by Dr Alke Groppel-Wegener (Staffordshire University)¬†
  • Make It Yourself (MIY) by Chrissi Nerantzi (Manchester Metropolitan University)
  • Models and Metaphors: Using LEGO¬ģ Serious Play¬ģ (LSP) in teaching, learning and research (Liz Dixon & Judith Kidder, University of Huddersfield)

If you are seeking creative inspiration, practical activities or new ideas, then this event is for you!

For further information (including full details of the workshops) and to book a place at this FREE event, please follow this link: https://aldinheregionaleventatuoh.eventbrite.co.uk.  Please be aware that places are limited and will be offered on a first come first served basis.