This is a 5-hour workshop designed to explore the challenges and solutions around the meaning of inclusion. The aim is to identify and share best practices that can benefit the UAL community and other human resources communities.
Representatives from different groups will be invited to take part in the workshop, including teachers, technicians, the admin team and LCC students.
Participatory video methodologies will be used to reflect on the challenges and solutions related to inclusion. What does inclusion mean for students and staff? What are the challenges in creating inclusive spaces? What best practices are already in place at LCC? What more should be done to support a more inclusive teaching and learning environment?
The workshop will begin with a short introduction on how to produce a simple script to capture everyone’s ideas. Participants will then film and edit a short video together using a mobile journalism kit, including phones, small tripods and a microphone.
The final video could be used as a form of video mediated dialogue. The higher management team would be invited to watch the video and record a short video using their phone in response, outlining how they plan to act on some of the ideas or requests raised by the LCC community.
The video could also be shared with the other five UAL colleges to encourage further discussion on the topic. As this could be seen as a pilot project, it may also be replicated across the five other UAL colleges so that each college can share its views. Best practices could then be brought together in a final screening and discussion event, where university policymakers would be invited to take part.
I have years of experience facilitating participatory video projects with people from different countries and diverse backgrounds. It would be valuable to explore this process within higher education and in a creative environment such as LCC.
In this picture, which I took in Oromia, Ethiopia in 2012 while working on journalistic research about women’s rights, you can see a girl with her mother consulting a gynaecologist. It was a volunteer service set up to support women and children experiencing health issues caused by sexual mutilation. I believe this was the first time in my life that I truly acknowledged my own stereotypes around religion.
Coming from a Christian background, it was difficult to accept that this practice was perpetuated equally by Christians, Muslims and people from other religious traditions. There was no direct connection to religion in this practice, and yet it was still happening, even though it had been officially banned and made punishable by the Ethiopian government.
This brings me to the topic of intersectionality. These were women first, and before being seen through the lens of religion, they were already discriminated against. My research led me to think that this was a form of control and domination over women, deeply rooted in the framework of a patriarchal society which, unfortunately, we all live in, no matter which country we come from or what our faith is.
Travelling and leading many participatory projects in different countries, I feel I have become a good listener when it comes to learning about other faiths. It is important to acknowledge that there are many different faiths and beliefs, and they all need to be respected. According to the 2020 to 2021 UAL survey, our students come from a wide range of religious backgrounds and hold a diversity of beliefs.
However, what concerns me most is that certain beliefs or interpretations of religion can become harmful to others and limit human rights and freedom.
What if a student believes that being part of the LGBT+ community goes against nature, and feels entitled to discriminate against a staff member or a peer? Or believes that men should have more freedom or more rights to make decisions for women?
It is difficult to draw a clear line between what is right and what is wrong in these cases. On one hand, everyone should be free to follow their own faith and beliefs. On the other hand, those can sometimes lead to violence and discrimination.
It is also true that we can fall into stereotypes and make assumptions about other people’s faith or religion, which can also lead to discrimination.
In her 2022 article When Faith Intersects with Gender, Ibtihal Ramadan explores the experiences of Muslim women academics in higher education. I was not surprised to read that their faith and gender can lead to discrimination, isolation or misunderstanding from colleagues and institutions. Ramadan calls for greater awareness and understanding in universities, in order to create more inclusive environments. She argues that recognising the role of faith alongside gender is essential to supporting the wellbeing and professional growth of Muslim women in academia.
But how can we create safer and more inclusive environments?
Religion professor and activist Dr Simran Singh, in an interview for Trinity University, touches on an important point in trying to navigate this challenge:
“If we can try to understand where people are coming from with empathy, we can communicate in a way that is constructive rather than destructive.”
I believe there is no other way to navigate this complexity than through nonviolent communication. Marshall Rosenberg open his book A Language of Life with a poem by Ruth Bebermeyer to reflect on the importance of the words.
I feel it is essential to explain to students that we can hold different beliefs or perspectives, and still respect other people’s views. As non violent communication teaches us, the key is not to judge, to listen with empathy, and to make clear requests that can help improve relationships.
I also think it is important to be aware of our own position, the stereotypes we might have, and to reflect on how faith connects with other parts of our identity and the identity of others. This kind of awareness can help us communicate better and build spaces that feel truly safe and inclusive.
Ramadan, I. (2022) ‘When faith intersects with gender: the challenges and successes in the experiences of Muslim women academics’, Gender and Education, 34(1), pp. 33–48.
Rosenberg, M. (2015) Nonviolent Communication: A Language of Life. 3rd edn. Encinitas, CA: PuddleDancer Press.
University of the Arts London (2022) Equality, Diversity and Inclusion Annual Report 2021/22. Available at: https://www.arts.ac.uk/?a=389423 (Accessed: 20 May 2025).
“If we give all people the opportunities to shine, the sky is the limit.”
Paralympian, television presenter and author Ade Adepitan said that what disables people is not their impairments, but the society around them. It is the discrimination built into our systems. When buildings are not accessible, or when employers avoid hiring someone because meeting their needs seems too difficult, that is discrimination.
Intersectionality, a term introduced by lawyer and activist Kimberlé Crenshaw, along with the concept of positionality, can guide how we teach and learn.
These ideas help us see the different layers we have, the power relationships that affect people, and make us more aware of our own conscious and unconscious biases. This is especially important when we work with students or colleagues who face challenges that we may not fully understand.
Lukkien, Chauhan and Otaye Ebede (2024) looked at 38 studies from 1990 to 2022 to see how intersectionality is used in higher education. They focused on staff who belong to more than one marginalised group, like those affected by race, gender, class or disability, as they often face extra challenges. The authors say universities should use an intersectional approach in all their decisions and policies. This means thinking about different types of discrimination together, not one at a time. They also point out that there is no one-size-fits-all solution. Each university should respond to its own situation and the real experiences of its people.
The animated video on disability from UAL is a powerful example of how society should look like. It shows a circle that opens to include different shapes and ways of being. This is how I believe universities, and the wider world, should work. A place where everyone feels they belong.
Trans man activist Chay Brown highlighted that what is inclusive for disabled people is beneficial for everyone. His message underlines the importance of building a more inclusive world, showing that inclusive practices improve life not only for disabled people but for the entire society.
As a lecturer in journalism, I have been reflecting on how my own identity both supports and limits my work with students, particularly those with disabilities. To explore these ideas further, I created a mind map, which I believe will be a useful tool in developing my teaching practice moving forward.
REFERENCES
Adepitan, A. and Webborn, N. (2020) Nick Webborn interviews Ade Adepitan. ParalympicsGB Legends [online video]. YouTube, 27 August. Available at: https://www.youtube.com/watch?v=bnRjdol_j0c [Accessed 29 Apr. 2025].
Crenshaw, K. (n.d.) National Urban League Demand Diversity Emergency Session on DEI [online video]. YouTube. Available at: https://www.youtube.com/watch?v=vG3buxRIslQ [Accessed 29 Apr. 2025].
Lukkien, T., Chauhan, T. and Otaye-Ebede, L. (2024) ‘Addressing the diversity principle–practice gap in Western higher education institutions: A systematic review on intersectionality’, British Educational Research Journal [online]. Available at: https://bera-journals.onlinelibrary.wiley.com/doi/full/10.1002/berj.4096 [Accessed 29 Apr. 2025].
University of the Arts London (UAL) (n.d.) The social model of disability at UAL [online video]. YouTube. Available at: https://www.youtube.com/watch?v=mNdnjmcrzgw [Accessed 29 Apr. 2025].
Case Study 3: Assessing learning and exchanging feedback
Contextual Background:
I provide written feedback to BA and MA journalism students as part of my full-time role at LCC. This is my first time offering feedback in a UK higher education context, requiring me to adapt to new expectations and practices.
In this case study, I focus on second-year BA students enrolled in the Advanced Audiovisual Unit, which is holistically assessed. Students are required to produce an audiovisual journalistic portfolio, and my role is to provide written feedback and a final mark based on the UAL assessment criteria: knowledge, process, communication, and realisation.
A key challenge with second-year students is that this is their first experience of receiving a final mark. As a result, they tend to focus more on passing the unit and achieving a good mark rather than engaging with feedback and the learning process. Turner (1984) noted that for many students, passing exams is their primary educational goal. This trend can be traced back to the rise of capitalism and industrialisation, which introduced competition for desirable social roles. Patricia Broadfoot, in The Social Purposes of Assessment, explores how these historical influences have shaped students’ perceptions of assessment. This context challenges me to provide meaningful feedback that shifts their focus towards learning.
Evaluation :
The first adjustment I made was refining my communication style. Coming from a southern Italian background, I tend to be direct, which was reflected in my feedback. However, given the multicultural nature of UAL, with students from diverse socio-economic backgrounds, I adopted a more formal and indirect approach to ensure inclusivity and avoid discomfort. This improved communication and engagement with my students.
Additionally, I integrated principles from Nonviolent Communication (NVC) into my written feedback, a method I had previously applied in workshop facilitation but not in higher education. Inspired by Marshall Rosenberg’s Words Are Windows or They’re Walls, I focused on four key aspects: observing without judging, expressing feelings to build connection, addressing needs and learning goals, and making actionable positive requests. While I am still refining this approach, I have already noticed improvements in how students engage with my feedback.
Despite these efforts, some students continue to struggle with understanding the purpose of feedback and remain primarily concerned with their final mark.
Moving forwards:
Through PgCert course and experience and discussions with colleagues at UAL, I have identified several ways to further improve my feedback approach:
Align feedback more explicitly with assessment criteria : I will ensure my feedback clearly links to the specific assessment criteria. A useful resource to share with students is UAL’s Take 5 video on assessment criteria:
Encourage student involvement in assessment: I will ask students how they prefer to be assessed and explore the integration of self-assessment. This approach could be particularly beneficial for neurodivergent and introverted students, ensuring they feel comfortable and engaged with the process.
Offer one-to-one sessions for feedback clarification: While I am already available for student queries upon request, I will make it clearer that I am happy to discuss feedback in one-to-one sessions. This will help address misunderstandings and reassure students about their progress.
By implementing these strategies, I hope to enhance the impact of my feedback in the future.
References
Broadfoot, P. (1996) ‘The social purposes of assessment’, in Education, assessment, and society: a sociological analysis. Buckingham: Open University Press, pp. 19–38.
McDonald, J.K. and Michela, E. (2019) ‘The design critique and the moral goods of studio pedagogy’, Design Studies, 62, pp. 1–35.
Rosenberg, M.B. (1995) Words Are Windows or They’re Walls: A Presentation of Nonviolent Communication. Create Your Life-Production.
Turner, J.C. (1984) ‘Failure and defeat as determinants of group cohesiveness’, British Journal of Social Psychology, 23(4), pp. 303–314.
Case Study 2: Planning and teaching for effective learning
Contextual Background
I teach Audiovisual Practices to first, second, and third-year BA Journalism students. In this case study, I will focus on second-year students who choose the audiovisual pathway. This group is smaller than the first year (about 20 students), allowing for a more tailored approach. However, they attend long sessions (10 AM–5 PM) that combine theory and practice. The challenge is keeping them engaged so they return after the lunch break.
As this is the second year that I teach this Unit, I had the chance to evaluate the effectiveness of my approach and find some strategies to navigate this challenge in the current year.
Evaluation
Planning sessions with a good balance of theory and practice has proven effective in keeping students engaged throughout the day. I make sure my lecture slides are short, clear, and include illustrations and video examples, as students tend to engage more with visual content. During sessions, I ask questions to encourage critical thinking and keep them from getting distracted by phones. I also give two short coffee breaks, one in the morning and one in the afternoon. Whenever possible, I incorporate group practical activities that start before lunch and continue in the afternoon, requiring students to produce a final video to share. This helps motivate them to return after lunch to have feedback. While these strategies have improved engagement, some students still do not return after lunch, and others struggle to stay focused.
Moving forwards
Include more icebreaking activities
Rather than starting immediately with morning lectures when students are usually very sleepy, I will include a short ice-breaking, energising activity. I believe this will help foster social interaction, create a stronger sense of belonging, and improve overall group engagement. A more connected and comfortable class atmosphere should enhance participation in group work.
Allow more space for self-reflection and tailor my teaching to Introverted students
As an extroverted teacher, I tend to have an energetic approach and strongly favour group work. However, I have realised that my instinct to fill gaps with information or questions may not always benefit introverted students, who might need more time for independent processing.
In the article “Embracing the Silence” by Karen Harris, I found valuable insights about the importance of rethinking participation. Harris argues that silence is not a lack of engagement but can be a powerful space for deep thinking and learning. She challenges the idea that active participation always means verbal contribution and suggests that pressured participation can be counterproductive. Instead, embracing moments of silence can help students process information at their own pace.
Moving forward, I will integrate structured silent reflection time into my sessions, allowing students to absorb ideas before responding. Additionally, I will make greater use of digital tools or post it for those that prefer written contributions.
Share more about my work as a practitioner and my passion
As a practitioner, I have worked on many international projects that I believe can inspire students. I want to share more of my personal experiences and passion for my work, as this can help spark their interest and improve engagement. Bringing real-life examples from my professional journey can make learning more engaging and relatable.
Give more explicit injections of self-esteem
I believe in a teaching approach that focuses on students feeling valued and capable, inspired by Carl Rogers. I already apply this in my feedback, but I want to express my belief in their potential more clearly during lessons. By giving more encouragement and recognising their progress, I hope to boost their confidence and motivation to participate.
References
Harris, K (2022) ‘Embracing the Silence: Introverted Learning and the Online Classroom’, Spark: UAL Creative Teaching and Learning Journal, Vol 5 Issue 1, pp 101-104.
Rogers, C.R. (1969) Freedom to Learn: A View of What Education Might Become. Columbus, OH: Merrill.
I teach Audiovisual Journalism to third-year BA students who are working on their Final Major Project and have chosen the audiovisual pathway. Approximately 15% of these students have Individual Support Agreements (ISAs) under the Equality Act 2010 definition of a disabled person. In this case study, I will focus on strategies to improve my teaching for students presenting neurodivergence, particularly those with Attention-Deficit/Hyperactivity Disorder (ADHD) and those who do not have a diagnosis but experience similar difficulties.
Evaluation
In my observation of BA students with ADHD, I noticed they might present a non-linear creative mind but can struggle to stay focused and feel overwhelmed without clear instructions. They can be disorganised, have difficulty planning ahead, and as a result, miss deadlines.
Due to privacy regulations, I cannot access details about students’ conditions, but I can review the disability service guidelines, which, while useful, are often generic. To better understand their needs, I have informal one-to-one conversations in class to identify areas where they need extra support for their portfolio.
I also help them create a plan with deadlines that suit them, letting them choose whether to draw or write their schedules. A clear timeline can reduces stress and gives them more control over their workload.
Using mind maps and drawings helps them work in a more structured way. Since video editing is key in this Unit, I ensure they know how to use labeling and color-coding features in editing software to stay organised.
While this approach supports students with ADHD, it does not fully address those without an official diagnosis.
Moving forwards
I will stay in closer contact with the disability office and attend some courses. Emma Price is my key contact for advice on better supporting students. I plan to reach out to her more often, especially if I suspect a student may have undiagnosed neurodivergence. I am also planning this year to attend some courses offered by the disability service which will be useful to improve my knowledge of this topic.
I will continue learning from experienced colleagues. I have already learned a lot from colleagues with years of experience teaching students with ADHD. My manager, in particular, showed me how structuring sessions with clear outcomes helps neurodivergent students stay engaged. She also encouraged me to upload learning materials online in advance, as students with disabilities often benefit from extra time to review them. I have found this simple yet effective and will incorporate it more into my practice.
I will continue informing my practice with specific readings. For instance, I previously observed differences in how ADHD can manifest in male and female students. While males often exhibit more physical hyperactivity, females tend to express it more through language. I was not sure if this was merely my perception or if it had a scientific basis. I found my answer in Sandra Rief’s book How to Reach and Teach Children with ADD/ADHD, where she confirms these tendencies and offers practical advice.
In Freedom to Learn (1969), Carl Rogers argues that teachers should act as facilitators rather than enforcers of knowledge. I apply this by fostering a learning environment based on trust, flexibility, and individual needs, which is particularly valuable for students facing ADHD-related challenges.
I will propose a peer mentoring program aimed at creating awareness about ADHD address to all students.
We could invite some volunteers, students or former students, to share their knowledge and coping strategies they have developed at university. This could be really helpful, as students often trust their peers more than tutors and might feel more comfortable sharing their challenges with them. This mentoring program will benefit both students with and without ADHD.
References
Rogers, C.R. (1969) Freedom to Learn: A View of What Education Might Become. Columbus, OH: Merrill.
Frame extracted by Hanger in Los Angeles (Nonny de la Peña)
Record of Observation or Review of Teaching Practice
Session/artefact to be observed/reviewed: Slides for the two-hour session on “Immersive Journalism” Unit Critical Perspectives/MA AudioVideo journalism
Size of student group: Six students
Observer: Karen Matthewman
Observee: Claudia Nuzzo
PART 1 (CLAUDIA) Observee to complete in brief and send to observer prior to the observation or review:
What is the context of this session/artefact within the curriculum?
The MA Journalism programme has three different pathways: Arts and Lifestyle, Social Justice, and Audio Video Journalism. The Audio Video pathway aims to provide students with both practical and theoretical knowledge, equipping them to find work in the journalism industry with a focus on audiovisual production.
How long have you been working with this group and in what capacity?
I am a lecturer. I have taught this group of students for one year.
What are the intended or expected learning outcomes?
By the end of the session the students should be able to:
– Define immersive journalism and its historical development.
– Identify key technologies used in immersive storytelling.
– Distinguish between VR, AR, 360-degree video, and MR.
– Critically assess the benefits and challenges of immersive
journalism.
– Explore emerging technologies and future trends.
What are the anticipated outputs (anything students will make/do)?
Students need to write an essay for this unit to critically reflect on one or more of the topics explored during the course.
Are there potential difficulties or specific areas of concern?
The students are a very engaged mature group. The main concern is that it is challenging to fully understand these technologies without hands-on experience that is not covered in other Units. I ensured that students had access to a headset and a special screen during the session to view some of the videos I included in my prestation. However, the available time was very limited. Also, the Audio Video pathway is only three years old, and the Unit Critical Perspective was introduced only this year to incorporate more theory for audiovisual students and some improvements in the coming years might be required.
How will students be informed of the observation/review?
This will be a retrospective review based on the slides produced for this session.
I will inform the students in class and the course leader of this review.
What would you particularly like feedback on?
I would like feedback on the clarity of the content and structure of the session, but any other feedback is very much appreciated.
How will feedback be exchanged?
Via video call and e-mail
PART 2 (KAREN)
Observer to note down observations, suggestions and questions:
Claudia and I met online to discuss this interesting and innovative session which had both a presentation and a practical /experiential focus.
You started by explaining the context of the session to me. You stated that with your very specific area of expertise you were asked to do this session, and it needed all the materials developing for the first time this year in a very cutting-edge area of study/ practice.
This was the first time you had designed and delivered it so you knew it was not perfect, but had to produce something under significant time pressure and cover the learning outcomes. You were also very clear that students would not have a proper experience without trying the headsets to experience the contents of the lecture, so made sure the session also had a practical element. This proved logistically difficult with all the building constraints.
I found the slides to be visually appealing and informative. I wondered with the length of the session whether the presentation could be broken up with more interactive moments- e.g. using short quizzes through something like Mentimeter. I also suggested that some of the content might be presented in a blended/ flipped way prior to the session so that the session time with you and the cohort could be more interactive and less presentation-focused.
We also discussed the images you used, and you said that you wanted to find more appropriate images for the slides for the next time you deliver it, as time pressures meant you had to use stock resources, and you would prefer to tailor the visuals reflecting your own expertise in photography. I found the visuals good and clear, but I understand with your industry knowledge you might want to enhance them. Please also check for accessibility with all your slides as you work on them.
You said the timing was difficult. For the next session you would like to extend the Headset practice session a little. Despite it being a fairly long two sessions, the practical session felt rushed. This was exacerbated by a long trek through the building from the upper heights of the tower in LCC down to the studio for the last part. We talked about timetabling and how it really can negatively impact the student experience. We discussed whether, timetable permitting, it would be possible to have a space much nearer the studio for the presentation/ discussion section.
I wonder too if some of the instructions for the VR could be shown in an instruction video prior to the session so it is just a quick refresh needed when they go into the room in order to save a bit of time/ add expertise too. This would also help students with ISAs and other learning needs.
For a first time teaching this session, it seems like you really captured the students’ imagination and are going to be leading in a very new field of study. I liked your reflections on possible changes. I also liked your critical view of some of the ethical issues surrounding this kind of journalism. I would love to hear how the next iteration goes when you teach it again.
PART 3 (CLAUDIA)
Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:
To enhance my session on immersive journalism based on Karen’s feedback, I plan to incorporate more interactive elements, such as short quizzes using Mentimeter. I have never used it before, but I think it would be a very useful tool to break up the presentation and improve student engagement. I could use Mentimeter to check students’ understanding of the different technologies used in visual journalism or to gather their opinions on ethical issues.
I will also provide some content in advance so that the live session can be more discussion-based and interactive.
In terms of visuals, I aim to replace stock images with photographs that I produce myself. I have already started creating some of them.
Regarding accessibility, I already ensure my slides are accessible. However, I will make sure the new visual content is also accessible by providing a description for each image.
To address timing challenges, I will speak to my manager about extending the VR headset practice session slightly and explore the possibility of securing a space closer to the studio to minimise disruptions.
The idea of creating a short instructional video for the VR setup to streamline the process and support students with different learning needs is a great one. However, it would be challenging to implement, as it would depend on the headsets available. Each brand may function slightly differently. In the future, if we standardise the equipment by purchasing a single brand, this could become a viable option.
I believe that incorporating Karen’s suggestions will help create a more dynamic and inclusive learning experience, and I look forward to seeing how these improvements enhance student engagement and understanding.
Record of Observation or Review of Teaching Practice
Session/artefact to be observed/reviewed: Slides for the two-hour and a half session on “Immersive Journalism” Unit Critical Perspectives/MA AudioVideo journalism
Size of student group: Six students
Observer: Ellie Sweeney
Observee: Claudia Nuzzo
PART 1 (CLAUDIA) Observee to complete in brief and send to observer prior to the observation or review:
What is the context of this session/artefact within the curriculum?
The MA Journalism programme has three different pathways: Arts and Lifestyle, Social Justice, and Audio Video Journalism. The Audio Video pathway aims to provide students with both practical and theoretical knowledge, equipping them to find work in the journalism industry with a focus on audiovisual production.
How long have you been working with this group and in what capacity?
I am a lecturer. I have taught this group of students for one year.
What are the intended or expected learning outcomes?
By the end of the session the students should be able to:
– Define immersive journalism and its historical development.
– Identify key technologies used in immersive storytelling.
– Distinguish between VR, AR, 360-degree video, and MR.
– Critically assess the benefits and challenges of immersive
journalism.
– Explore emerging technologies and future trends.
What are the anticipated outputs (anything students will make/do)?
Students need to write an essay for this unit to critically reflect on one or more of the topics explored during the course.
Are there potential difficulties or specific areas of concern?
The students are a very engaged mature group. The main concern is that it is challenging to fully understand these technologies without hands-on experience that is not covered in other Units. I ensured that students had access to a headset and a special screen during the session to view some of the videos I included in my prestation. However, the available time was very limited. Also, the Audio Video pathway is only three years old, and the Unit Critical Perspective was introduced only this year to incorporate more theory for audiovisual students and some improvements in the coming years might be required.
How will students be informed of the observation/review?
This will be a retrospective review based on the slides produced for this session.
I will inform the students in class and the course leader of this review.
What would you particularly like feedback on?
I would like feedback on the clarity of the content and structure of the session, but any other feedback is very much appreciated.
How will feedback be exchanged?
Via video call and e-mail
PART 2 (ELLIE)
Observer to note down observations, suggestions and questions:
Claudias session was well informed and aligns with the intended learning outcomes. It is clearly presented how this session will help the students and including this within the presentation provided clarity and structure from the beginning.
I enjoyed the fact that Claudias presentation looked at both the positive and negative sides of immersive journalism. In our catch up about the session Claudia mentioned how many students were sceptical about how this type of journalism can be used and therefore purposely showed the good and bad sides to encourage a challenging thought process noting that it is ‘good for the students to question the ethics.’
The layout of the presentation slide deck was very clear, the slides did not have an overwhelming amount of information on them which allowed Claudia to elaborate on them in person, additionally the presentation itself only took up a portion of the session. Claudia allowed for an hour to an hour and a half for the theory side of the session, which included the presentation and questions and then progressed onto a more practical second half where students go to try some of the headsets, have access to the tech hub and watch one of the example videos in a 360-cinema type room. I think this is a great way of continuing the learning of this subject matter allowing the students to have more first-hand knowledge of how the equipment works but also the user experience which will no doubt inform their professional opinions.
Claudia checked in with the students to check they were clear and understood the information throughout the session, the class size is small, 6 students, which lends itself well to students opening up and voicing questions and feedback. The session was clearly run well as students feedback was very positive and expressed how they fully enjoyed the session. I think Claudia’s incorporation of practical with the theory for this 3 hour session was a great idea, it kept the students engaged and supported practice based learning.
A few suggestions I have are:
Could any slides be issued in advance of the session to allow for a more informed discussion throughout the session as students will have been asked to read or watch some resources relevant to the content of the lecture. This could allow for a more in-depth deep dive into the topic within the 3hours.
To include the source material under the quotes of Nonny de la Pena on slide 4 as then the students can trace back to this article/paper if they want to read more around this particular excerpt.
Is there a way to include more testimonials/stories from user experience within your examples such as ‘Hunger in Los Angeles’ and ‘Project Syria’ to show how the use of immersive journalism within these examples was received and how it affected or impacted the delivery of information.
As the outcome of this unit is an essay where they may want to refer to this information about immersive journalism you could possibly include some essay themes or hypothesise possible questions or scenarios that the students may be able to include in their essays to enhance their readings around this topic. Additionally, if past students have written about this topic, you could show an example or except from their essay to support the students understanding of how they can include this information relevant to their required unit outcome. However I am aware this is a new course and this idea should be supported by input from your wider course team and not rely solely on you as it relates to the unit outcomes.
PART 3 (CLAUDIA)
To help students engage critically with immersive journalism, I will integrate key suggestions from my colleague Ellie into my teaching.
Regarding the first point about issuing slides before the session, I already do this. However, it would be useful to ask students to engage with a specific part such as watching Chris Milk’s TED Talk on virtual reality and empathy. Since I will only have time to show a short extract during the session, I believe this might help students start reflecting on the topic in advance.
I will add source material for Nonny de la Peña’s quotes on slide four so students can trace the original article. This will support their research skills and help them cite sources properly in their essays.
I will also include more testimonials and user experiences, focusing on Hunger in Los Angeles and Project Syria. First-hand reactions from audiences, journalists and critics might help students analyse how immersive journalism shapes public perception and explore its ethical and practical challenges.
Since students will write an essay for this unit, I will introduce possible research questions to guide their thinking such as:
How does immersive journalism compare to traditional reporting in generating empathy?
What ethical challenges does virtual reality journalism present?
These prompts might help them develop strong arguments in their essays as suggested by Ellie.
Although this is a new course, I believe including examples from past student essays from similar units would be very beneficial. I will need to check with the MA course leader Lucia whether this raises any privacy issues. I suspect we may need to ask for students’ consent, but this seems both feasible and valuable.
Record of Observation or Review of Teaching Practice
Session/artefact to be observed/reviewed: video recording of a one-to-one tutorial
Size of student group: one-to-one tutorial
Observer: Claudia Nuzzo
Observee: Ellie Sweeney
PART 1 (ELLIE) Observee to complete in brief and send to observer prior to the observation or review:
What is the context of this session/artefact within the curriculum?
The current BA3 Embroidery students are almost halfway through their Final Major Project. This unit runs through the Spring and Summer terms, the brief is very open, and the outcomes are negotiated by the students in relation to their chosen career paths/future aims but in keeping with an embroidery outcome.
The focus of the embroidery workshop is for the students to self-direct the continuation of their project, in this full day class (9:30-4:30) they are encouraged to focus on sampling whilst they have priority of the workshop machinery.
Within this session I see each student 1-1 for a 20 minute tutorial to check on the progress of the project.
How long have you been working with this group and in what capacity?
I have been the BA3 Embroidery workshop tutor since the start of the academic year, their current FMP project started in January 2025. They have one workshop a week every Tuesday and is an integral part of the course.
What are the intended or expected learning outcomes?
On completion of this unit students will be able to demonstrate:
LO1 The ability to consolidate, extend and apply subject knowledge and understanding (knowledge, enquiry)
LO2 An advanced application of the methods and techniques learned, in order to consolidate your final major project proposal (enquiry, process, knowledge)
LO3 Critical refinement, evaluation and achievement of a range of solutions to your proposal (knowledge, process, realisation)
LO4 Management of the process of realisation in an objective, creative, professional and mature manner (realisation)
LO5 The structuring, coordination and execution of a body of work, to a professional standard, which successfully achieves its own identified aims and objectives (communication, realisation)
LO6 Evidence of engagement with proactivity, resilience and curiosity principles of the Creative Attributes Framework (enquiry).
An element of all of these will be touched on through the process of discussing the students body of work in the 1-1 tutorial setting.
What are the anticipated outputs (anything students will make/do)?
Within the session I will look through all aspects of the student’s project, some weeks I dedicate a main focus so students don’t need to bring everything in each week currently I am mainly looking at samples however below is the required submission elements by the end of the unit.
Students can submit additional aspects, in relation to their individual direction, but MUST submit content that covers all 5 mandatory components below
1. Visual research and design development sketchbook(s): Your sketchbook must demonstrate the development of new ideas and areas of investigation, showcasing the journey and evolution of your project through research, design development, and the visual 5 communication of how you have used paperwork to support textile sampling proposals. Largescale primary research can be documented with photographs. For collaborative work, include appropriately referenced contributions from others, such as range plans or lineups.
2. Presentation for Final Major Project; suitable for your chosen industry direction/career. Content can take various forms, and the format can be physical/bound and/or digital (where requested). Students will outline aims in their FMP brief.
SUGGESTIONS – as a guide only:
▫ Textiles portfolio
▫ Fashion-focused presentation portfolio and/or look book of collaboration collection.
▫ Self-promotional booklet and/or look book of textiles collection.
▫ Trend led material or technical presentation book and/or textiles-led film.
If collaborating, where appropriate, students can include referenced work of others. Collaboration aims should utilise the individual strengths of the collective team.
3. Technical folder (relevant to your specialism and brief proposal/s): A collated technical investigation relevant to your proposed aims, containing communication and reflection of your technical aims. Aims to be discussed with tutor to showcase strengths. Depending on chosen direction, this can also include mock-ups of textiles for fashion details such as seam testing, finishing’s, mock-ups of garment details; relevant if you have chosen to collaborate.
4. An industry toolkit in relation to career development; This ‘Industry Toolkit’ is simply ONE COLLATED file, including different pages (TOTAL 2000 words).
Below SUGGESTIONS as a guide only, in addition to your Project Brief (up to 500 words), students can choose to include:
▫ Evaluative Statement: a summarised reflection of project decisions in relation to personal career aims and strengths.
▫ Tailored CVs (reflecting your Designer Identity and audience)
▫ Tailored Cover Letters (tailored to the audience needs through research) ▫ Competition / MA applications (can include visuals)
▫ Press Release and/or Artist Statement
▫ Website/ Online Portfolio planning or development
▫ Enterprise planning or aims (can include visuals)
Your Industry Toolkit should reflect your aesthetic and design identity.
5. A collection of fashion textile products in relation to negotiated outcomes, individual and/or collaborative: This is your Collaborative Realisation with garment/fashion course(s) and/or Material Sample Route Collection(s). The ‘collection’ may take a variety of forms depending on the nature of the final project proposal and its solution, taking into consideration the level of craft/ innovation considered within the range, and if you have chosen to collaborate as part of your collection. Collaborative work/ should reference the collaboration, partners and courses
Are there potential difficulties or specific areas of concern?
Difficulties for the workshop tutorial can include getting round to see everyone as some tutorials overrun or are delayed if the students are busy on a piece of equipment. In the past I have tried a pre-determined time slot system, but this doesn’t work due to absence and late arrivals, so I organize in order of arrival.
Another difficulty is if a student has been absent for a few weeks when they come in they are usually behind and therefore their tutorial can take longer or cover different objectives to what the session intends. Usually if a student who has had poor attendance is in, I prioritize seeing them first.
Difficulties that arise within the tutorials can differ from student to student sometimes students can be very quiet and not input which makes reviewing their thought process to the design elements hard to review, additionally some students whose first language isn’t English tend to get confused more easily and the sessions take longer as I need to repeat or go slower with the information/explaining. These students tend to record the session to re listen to afterwards.
Reoccurring issues are students tend to get a lot of feedback each week (they have 4 different tutors) this can either create conflating design opinions, I have noticed students sometimes wait for the next tutorial to run other tutors’ suggestions past me before going ahead with making and/or rely on tutor advice and find it hard to formulate and test ideas independently.
An area of concern is student agency within the tutorial, I would like for the students in 3rd year to initiate what they would like to discuss or get out of the tutorial so that it doesn’t become repetitive in its format and reduce the likelihood of unhelpful feedback. However, with quiet students and with what they have perceived to be the standard format for tutorials from their 1st and 2nd year it has been hard to get them to develop in these areas.
How will students be informed of the observation/review?
My peer observation is happening in a reflection format online not in person as I decided that having someone sit in on 1-1 tutorials can be off putting for the students and create a level of pressure or confusion as they may feel like they are being assessed or unwilling to talk about their personal projects Infront of someone new.
Therefore, I have asked my partner to meet online for me to talk through my last workshop tutorial session and to reflect on opportunities where changes could be made.
What would you particularly like feedback on?
I would like feedback on how to reduce tutorials becoming repetitive for the same student week to week even if they haven’t progressed their work. What is a good way to encourage them to react to the feedback rather than procrastinate. How to get them to take charge of their 1-1 tutorial and guide it more rather than relying on the tutor take charge and deliver masses of feedback on many aspects within the 20-minutes.
How will feedback be exchanged?
There will be a chance for verbal exchange as we are meeting online to discuss my session as well as the observer filling in Part Two of the observation process.
PART 2 (CLAUDIA)
Observer to note down observations, suggestions and questions:
I observed Ellie conducting a one-to-one tutorial with a BA Fashion Embroidery student. Ellie used a very empathetic approach, which allowed her to establish clear and straightforward communication with the student. She effectively guided the student to think critically about how to improve her work. Her language was simple and clear, making it particularly suitable for non-native English speakers or students with neurodivergences or disabilities.
As requested by Ellie, I will offer some advice on the questions we discussed during our conversation, focusing on areas that may need further improvement.
How can Ellie encourage students to take the lead in conversations rather than relying on her to ask questions?
How can she avoid one-to-one weekly tutorials becoming repetitive when students are not making progress?
What is a good way to encourage students to act on feedback and avoid procrastination?
My suggestion is to incorporate a coaching approach in tutorials, which I believe could help address all three aspects. We often assume we know what students want or need, and our role is simply to answer their questions. It can be challenging when they present problems we cannot solve, especially in personal tutorials. But what if we focused on helping them find their own solutions instead?
Personal tutorials can be more productive if we allow space for students to think. Coaching pioneer Sir John Whitmore developed the GROW model in the 1980s, which could be useful in this context:
G – GOAL: What do you want?
R – REALITY: Where are you now?
O – OPTIONS: What could you do?
W – WILL: What will you do?
Applying this model in tutorials could help shift the focus from what we think students need to what they believe they need. This approach may also help students avoid procrastination, as they will feel a greater sense of ownership over their planning and ideas.
PART 3 (ELLIE)
Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:
I’d like to thank Claudia for her time reviewing my session and supporting documents and providing me with feedback on how to effectively develop the tutorial experience for the students.
Claudias suggestion of implementing the coaching method is a very good approach and something I already carry out broadly across the unit, but what Claudia has helped me to think about is if I could use the ‘GROW’ model within the weekly tutorials so that students come more prepared and with agency over the work they are talking through and the areas that want feedback on. The unit demands a lot from the students and although I do breakdown within the Scheme of Work what each workshop tutorial will focus on, I do find students don’t always read this and rely on me to help navigate the tutorial discussion. By getting the students to fill out a weekly or bi-weekly tutorial planning document that focus’ on the ‘Goals and Reality’ sections of the ‘GROW’ method we can work in the tutorial to figure out the ‘Options and Will’ so they leave with clear action points, these will be different each week due to the nature of that week’s tutorial discussion topic.
Overall, I can see this working well with 3rd years, especially with trying to get them to take agency and lead the tutorials but may need adjusting to help 1st and 2nd years. Another thing I have been thinking about with tutorials is possibly giving the students space to implement feedback by making some of the workshop’s tutorials a sign up. This could work every 3rd week so that it doesn’t become the norm to see every student every week and allows them longer than a week to work on certain feedback points before getting further feedback which can sometimes overwhelmed the students.
I am looking forward to talking some of these ideas back to my wider team to discuss.
I decided to write my final blog article on the strengths and challenges of studying for a teaching qualification in the UK and Italy. This PgCert unit was my first experience as a student in the UK, as I had completed my BA and MA in audiovisual journalism in Italy, along with a teaching qualification there. This experience allowed me to reflect on both approaches and evaluate their strengths and challenges from my personal perspective, with the hope of integrating the best aspects of both into my future teaching.
The first thing I noticed is that teaching in the UK is highly practical. Lectures were not primarily focused on delivering theoretical content but rather on teaching students how to think critically and find solutions to practical problems. Theory was mostly provided through recommended readings, which were not always mandatory, encouraging students to conduct independent research and study further.
Initially, I found the English approach quite challenging, as I felt lost without clearly prescribed readings or direct answers from lecturers that helped me place theory within a clear historical framework. However, I soon recognised the benefits of problem-solving activities and learning by doing.
Another advantage of the English system is the emphasis on independent research, which is a crucial skill in today’s digital era. With access to vast amounts of online information, students must learn how to filter what is useful and reliable.
In contrast, in Italy, lectures and readings were structured in a highly organised way. There was less emphasis on independent research, as the reading materials provided a clear historical context and outlined key theories and authors considered essential for a foundational understanding of pedagogy and psychology in education. This approach also covered aspects of cognitive science, exploring theories from scholars such as Howard Gardner and Daniel Goleman, who discuss multiple intelligences and emotional intelligence, topics I remember as some of the most engaging parts of my studies.
While the Italian approach provided me with extensive knowledge, I was unprepared for real-world application due to the lack of hands-on experience in the curriculum. Additionally, my mindset was less prepared to solve practical problems, which I see as the main weakness of the Italian system.
That being said, I appreciated both learning experiences.
As Aristotelian philosophy teaches “The truth often lies in the middle”.
From these lessons, I plan to provide my students with more historical and theoretical context to help them navigate their learning, as in the Italian approach, while maintaining the problem-solving, hands-on methodology of the English system. I hope this combination will better prepare them to face the challenges of the professional world with a strong theoretical foundation.
References:
Aristotle, 2009. Nicomachean ethics. Translated by W.D. Ross. Oxford: Oxford University Press.
Gardner, H., 1983. Frames of mind: The theory of multiple intelligences. New York: Basic Books.
Goleman, D., 1995. Emotional intelligence: Why it can matter more than IQ. New York: Bantam Books.
