Archive

Tag Archives: thinking through genre

Make Your Own Nametag

Make Your Own Nametag

Today was the Thinking Through Genre workshop where people interested in using genre as a pedagogical resource (in all sorts of different disciplines). Before this gets buried on my to-do-list, I’ll write it up now (though I’m a bit tired, so forgive me if not everything makes sense…)

We started the day with making our own name tags and reflecting on the purposes of a name tag – it is  a nice icebreaking activity that changes the energy of the ‘registration’ period at (academic) events, allowing informal networking, getting delegates to start playing (thus telling their brains that they might need to switch gear from normal day-to-day stuff) as well as producing something fun that might even show the personality of the wearer.

And then I continued to question and play with conference/workshop conventions by handing out delegate packs not contained by the standard cloth bag (possibly with some university branding), but instead specially designed furoshiki. Let me explain… furoshiki are usually square pieces of cloth that in Japanese tradition are used to wrap things. There are different ways to tie them in order to contain differently shaped objects (for example there is a really neat way to tie up a bottle). When I started thinking about organising an event based around the idea of genre and regenring, I thought that a furoshiki would be such a fabulous artefact to embody the idea of regenring: it can be a bag or sorts, but you can also use it as a scarf, a headband or even tea towel  (I guess that depends on what material it is made out of). You can also use it as a kind of poster (I’ve always really liked the idea of printing academic posters on fabric, as this makes them so much easier to transport to conferences). But, as soon as you use it in one function, it usually loses the special aspects of the others. So if you tie it to use as a bag, you are not able to see the full design of the poster, but if you see the full design, you can’t tie it up.

So a few weeks back I set out to design a furoshiki to give to our delegates. And in order to put something meaningful on them, I raided the writings of Fiona English, our main speaker of the day, trying to see whether I could visualise her theoretical framework of regenring in a square, scarf-like way. Luckily she has a convenient table summarising the framework, where she talks about two different orientations – the material and the social – each with two different main aspects (thematic/semiotic and contextual/discursive). This was the basis for my design, and on this I also included some of the particular things to look out for as part of the analysis. I framed this with my take on genre – capital Gs in different fonts represent the idea of genre – the same content presented in different forms. The centre of the design has a ‘huddle’ of these Gs, representing the potential of the choice of form. The outside of the design has a band of these different Gs going around it, but this time one by one. In the corners, two different Gs intersect and on two corners the overlap is highlighted with the use of a colour, showing the content that would be covered in both these genres; the other two corners highlight their differences – what part of the content would be gained when deciding on one genre, and lost when deciding on the other. Gains and Losses are important when it comes to discussing genre, so I wanted to include that. (And this might all make more sense when you are familiar with Fiona’s work on regenring.)

poster

poster

I have to admit that I was a bit nervous if people would understand what I was trying to say with this, but people really liked them, so this was a great start to the day and a good way to introduce Fiona’s session on Practice, Knowledge-Making and Writing. She started out by defining genre in slightly more detail than I had done at the very start. My favourite bit of her definition was that “Genre is a naming concept which identifies the shape or framing of a text”. I think the term ‘naming concept’ is really helpful, and will definitely use this in future when I get blank stares when trying to explain what I mean by ‘genre’. She also said that “we choose genres according to the kinds of meanings and knowledge that we want to produce”, which again I think is a really clear way of getting to the heart of the matter. And when it comes to analysing genre (and possibly also genre choices we make), the most important questions we need to ask are “who is writing and WHY?” and “Who is reading and WHY?” Fiona discussed four different examples, covering appropriateness of genre, genre and the everyday, genre and knowledge (and how regenring – transforming one genre into another – can be used to produce more and different knowledge), as well as genre and choice. There was a lively discussion happening (we weren’t a big group, so we could be really interactive), and my personal favourite was the discussion of how (academic) conventions can be used to disguise nonsense, something that often happens in work of students who are not familiar enough with a particular academic genre and are trying to mimic it.

fabulous pottery model of Middleport Pottery

fabulous pottery model of Middleport Pottery

For lunch and our after lunch activity our venue became important: we were meeting at Middleport Pottery in Longport, so I had ordered Staffordshire Oatcakes for lunch – which were a big hit with the delegates – and then I had arranged for a short factory tour. (No point in coming to such a fabulous venue and then ignoring what is special about it, i.e. that it is still a working factory.) Phil, the fabulous volunteer, gave us an overview of the organisation of the buildings, and then showed us the highlights, including particularly the underglaze decoration process which makes Burleighware so special, ending up in the last bottlekiln of the site. And really the tour was part of the programme, because it then gave us the chance to think about different genre removed from texts – ways of communicating content through experiences and different ways of teaching.

board game

board game

We looked at a board game of Middleport Pottery and compared it with the tour – and also speculated on how both of these are different from the experience of working there, discussing gains and losses of genre again.

After this I shared the process of putting together Writing Essays by Pictures (you can find more details here) and reflected on how the starting point for this had been the collision of my work and my hobby of making books that pushed this forward. This was really an example of thinking through genre, as it was the formats of booklets, children’s books and then workbooks that helped me develop the final outcome.

We ended the day with delegates reflecting on how they would take this forward. Looking at the feedback there will be a lot of thinking, but also some application of new knowledge as soon as tomorrow. And as a workshop organiser, what more could you possibly want?

 

A Special Thank You to Richard Mellor, who took my furoshiki sketch and turned it into a print-ready design!

Advertisements

writing-pad-logo

Come and join us on November 8th 2016 at Middleport Pottery in Longport (near Stoke-on-Trent) to find out about using genre as pedagogcial resource. The first in a series of Writing-PAD events this academic year focusing on genre(s), this day introduces a theoretical framework for exploring genres and their affordances, including a recent example of how this can work as pedagogical practice. Via a tour of this very special venue, we will not only explore a valued English Heritage site, but also use this as a starting point for playing with the idea of genre and regenring in our own teaching practices. The day will also include the launch of the recently published book Writing Essays by Pictures by Alke Groppel-Wegener.

Cost £145 : Includes the whole day, with refreshments on arrival and in the afternoon, a delicious buffet lunch, a special tour of the venue and your own copy of Writing Essays by Pictures.

Book via Eventbrite: https://www.eventbrite.co.uk/e/thinking-through-genre-exploring-genre-as-pedagogical-resource-tickets-28084047141?aff=eac2

(Draft) Programme:

10-10.30 Registration and Refreshments

  • Let’s start the day as we mean to continue by making our own name-tags – regenring a tiny part of conference/symposium tradition into something more expressive.

10.30-11 Welcome

11-12  Genre as Pedagogical Resource by Dr Fiona English

  • Fiona introduces a theory that could frame genre as pedagogical resource, updating thoughts from her book Student Writing and Genre.

12-12.30 Writing Essays by Pictures by Dr Alke Groppel-Wegener

  • Alke shares the story of the development of her recently published book Writing Essays by Pictures, an example of regenring the traditional study skills textbook into a picture/work-book.

12.30 – 1 Discussion

1-2      Lunch

2-3.30 The Pottery and beyond

  • Explore Middleport Pottery via a special tour and then use this experience to start thinking about ways of genring teaching practices.

3.30 – 4.15 Linking Theory and Practice

  • Fiona and Alke start us off using the Writing Essays by Picture books as an example to explore gains and losses of this particular regenring process to demonstrate an example of using the theoretical framework established at the beginning of the day. We will then move into the discussion of the outcomes of your genring activities.

4.15 – 4.45 Discussion of the day

4.45    End

The Speakers

Dr Fiona English is Honorary Senior Research Associate at UCL Institute of Education with a background in linguistics and language and literacies in education. Much of her research has been concerned with student writing and academic literacies, with her book Student Writing and Genre using a social semiotic perspective to explore the relationship between genre and the production of academic knowledge. More recently she has published Why do Linguistics?: Reflective Linguistics and the Study of Language with Tim Marr.

Dr Alke Groppel-Wegener is Associate Professor of Creative Academic Practice at Staffordshire University and a National Teaching Fellow. Having trained as a theatre designer but ending up teaching study skills, she became frustrated with the traditional ways of teaching academic practice, which has led her to develop her own approach being inspired by the creative processes of art and design and collated her strategies as Writing Essays by Pictures: A Workbook for students. She blogs at www.tactileacademia.com.

The Venue

Middleport Pottery is home to Burleigh Ware, which is still made on site using traditional craftsmanship. (And there is a shop where you can get your own Burleigh Ware, too). It was restored with the help of the Princes Regeneration Trust, has become a top visitor attraction and the home of The Great Pottery Throwdown.

It is a short walk from Longport Train Station, a 5 minute train ride from Stoke-on-Trent, and we would encourage participants to use public transport.

Please note that this is an old site and some of the areas are cobbled and might present a problem for people with mobility issues. It is advised that you wear sturdy shoes (no high heels) for the tour, and that you let the organiser know of mobility issues in advance, so that she can discuss your needs.

The Series

This exploratory workshop is the first in a series that will stretch through the academic year and culminate in a special issue of the Journal of Writing in Creative Practice.

Through discussion within the Writing PAD community, we know that very often lecturers, and particularly practitioner/teachers, are doing a lot of interesting things in their teaching, but they seem to lack the confidence to share this work, specifically within the academic conventions of publication beyond a description of what they are doing.

To address this, we have decided to pick the focus of Genre, Genring and Regenring for this academic year, and are organising a series of events that will provide support for this issue and culminate in one (or possibly two) special issues of the Journal of Writing in Creative Practice, guest edited by Fiona English and Alke Groppel-Wegener.

The other events in planning are:

  • a first follow-up in February 2017 which explores the traditions and conventions of academic writing. There will be speakers in the morning, which are still to be confirmed, but we are talking to Julia Molinari, Lisa Clughen and Julia Lockheart, who will explore academic writing as a genre – and discuss the changes it is going through. The afternoon will be given over to a sharing session/exhibition where delegates have the opportunity to show off examples of their genre-ing and regenring practice, either as artefacts or in a poster format. The will allow the opportunity for people to share best practice, but also to get feedback and ideas for potential research designs in order to explore their practice more and on a more theoretical level. This event will probably be held at De Montford University in Leicester.
  • A second follow-up in the form of an academic conference, either at Easter time or early May 2017. Here people can share their practice in an academic format, and those presentations could use the feedback from the conference to inform papers for the Special Journal edition. This might be hosted at Nottingham Trent University or Staffordshire University.
  • If there is interest, there are plans for a writing retreat to facilitate the writing of the papers, possibly at Nottingham Trent University.

We are currently investigating funding to keep costs down, but it might be the case that we need to break even on this. You will not have to attend all these events to be considered for the special issue, but as we are trying to build up a mutually supporting network, it would be nice if you could come and join us at as many as possible.