Kirsten Hardie: On Trial Project: Role of staff and students

Tuesday, 10 April 2012

Role of staff and students

Within the practicum that is HE art, design and media the teacher can be identified as the coach (Schön,1987:37 and Dewey,1974 :364); where the relationship of staff and student is ‘reciprocal reflection-in-action’. Learners and their coaches fuse their experiences to advance learning that is active. Thus I aim to shed the cloak that identifies me as teacher in preference for my role as facilitator, coach and a partner in learning.

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This blog relates to my National Teaching Fellowship work that explores the use of role play in student centred learning.

I've borrowed the court room scenario from Law education's mock trial and moot activity and blended it with the approach evidenced in the popular media through so many films and television programmes. The outcome is the event of the trial where students test ideas, debate, examine and interrogate issues and examples relating to their Graphic Design specialism.
The students take various roles and wear the garb of the courtroom - wigs and gowns elevate the activity to a dramatic yet fun level.

On Trial is a particular teaching strategy used by National Teaching Fellow Kirsten Hardie to facilitate, promote and celebrate creativity in and through learning. Students work with colleagues, as a learning community, to explore and interrogate problematic issues relating to their specialism. On Trial embraces student-centred, experiential, problem-based learning through a ‘teaching with your mouth shut’ (Finkel, 2000) approach.

On Trial uses the format, language and dramatics of the courtroom drama as the context and vehicle to secure deep learning through role play where the tutor is the silent witness. The On Trial approach encourages a community of enquiry where students question, defend and judge a problematic idea.

On Trial harnesses popular culture, and the seductive qualities of the courtroom, as experienced through television and film examples (both historical and contemporary), in a creative fashion to help students engage with tough academic issues and wider ethical concerns.

Participants utilise the protocols and contexts of ‘law’ through their prior experience of popular media (film and television) and bring such understandings into the mock courtroom without formal teaching. The formality of the scenario enhances participants’ skills – communication, critical analysis, group work and research.

Kirsten has worked with colleagues, cross discipline, across a variety of contexts in the creation of specific targeted On Trial events. She is keen to develop collaborative work with colleagues and offers this experience as an opportunity for colleagues to build upon, adopt and adapt accordingly..

Consideration of On Trial via articles

I've produced a number of papers that explore the concepts of student-centred, experiential, problem-based and enquiry based learning through the critical consideration of ‘On Trial’ – the specific case study example of a particularly successful approach to learning that celebrates what Finkel (2000) calls ‘teaching with your mouth shut’.

The discussions explore how the format, language and dynamics of the courtroom drama are used as the context and vehicle to secure deep learning through dynamic role play where the tutor (as coach) is the silent witness.

The articles consider how this learning experience harnesses popular culture to help students engage with tough academic issues and wider ethical concerns relevant to their specialist discipline. The articles explore the challenges and nuances of such learning and considers the reasons for its success and popularity with both learners and fellow teachers.

This blog relates to the ongoing research of a UK National Teaching Fellow. It is offered to generate discussion and to share ideas with colleagues across the sector and beyond.

Use across disciplines

I acknowledge that the approach and nature of this learning experience draws upon, and pays homage to, a variety of established cross-discipline activities and embraces a range of theoretical approaches in its construction. The activity deliberately and unashamedly fuses academic and popular culture contexts and experiences to create deep learning that is meaningful, challenging and fun for the learners and teachers. The learning and teaching approach is illustrated through a specific art and design focus however its potential for wider cross discipline dissemination, adoption and adaptation is recognised.

opportunities and difference

To make learning relevant, and to connect with student groups whose profile (ages, culture, experiences etc.), range of multiple intelligences and learning styles can be amazingly diverse, attempts are pursued to find a common ground and common language to generate discussion and anchor understanding. This can be located through students’ experience of the media and notably their consumption of popular film and television. Their sophisticated visual literacy and their familiarity with, and understanding of, the intricate structures and communication methods of certain programme genres can actually be used to enhance learning. Teaching can harnesses and weave students’ wider interests and experiences; a populist approach that proves to be particularly effective especially when employed to illustrate and enrich learning that embraces complex theoretical issues that students initially may not wish to, or indeed feel confident to engage with.

Kirsten Hardie: On Trial Project

Tuesday, 10 April 2012

Role of staff and students

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