21040803's blog

My proposed intervention aims to promote more inclusive learning within my teaching practice by addressing barriers linked to ethnicity and socio-economic background within Wigs, Hair and Makeup (WHAM) education. This is informed by my own experience within both education and the WHAM industries. Coming from a working-class mixed-ethnic minority background, I was one of only three students on my course who was not from a white European middle-class background, and this lack of representation was also reflected in the wider college environment. When I later entered the industry as a WHAM artist, I was often the only person from a non-white, non-European, and working-class background on set or backstage.

Although the industry has made progress in diversity and inclusion, this is still more visible amongst performers and on-screen talent than within backstage technical and creative roles. Representation within WHAM teams is improving, but it still does not fully reflect the diversity seen in performer cohorts or wider society.

Recruitment and retention of diverse learners for WHAM courses remains challenging for several interconnected reasons, including:

• lack of representation within teaching staff, industry professionals, and course materials;
• financial barriers such as high tuition fees, expensive specialist kits, travel costs, and unpaid work experience;

• perceptions of the arts as financially unstable careers, particularly for lower-income students;
• limited access to arts education in underfunded schools and communities;
• cultural expectations and family pressures favouring more traditional or secure career paths;
• lack of industry networks and insider knowledge;
• feelings of exclusion within predominantly white, middle-class environments;
• inaccessible or overly academic language;
• concerns around discrimination, unconscious bias, or tokenism;
• limited diversity in training relating to different skin tones, hair textures, and cultural aesthetics;
• cost-of-living pressures that make creative careers feel financially unrealistic;
• reduced confidence or self-belief due to systemic inequality and lack of representation.

To address these barriers, my intervention proposes inclusive teaching strategies that focus on accessibility, representation, and financial awareness. These include:

• embedding sustainability and reuse practices to reduce financial pressure on students;
• identifying and promoting affordable kit alternatives;
• creating student glossaries and simplifying specialist language;
• ensuring teaching reflects diverse skin tones, hair textures, and cultural aesthetics;
• introducing a wider range of industry references, case studies, and practitioners;
• establishing mentoring schemes with diverse alumni and professionals;
• offering outreach workshops and taster sessions in underrepresented communities;
• promoting bursaries, hardship funding, and financial support more clearly;
• encouraging peer support, collaboration, and inclusive classroom discussion; to build confidence and belonging;
• improving recruitment materials and course imagery to reflect diverse identities;
• providing clearer guidance on career pathways and freelance working;
• creating inclusive learning environments where students can discuss identity and barriers openly;
• embedding anti-racist and culturally responsive teaching practices;
• developing stronger partnerships with inclusive industry organisations;
• encouraging flexible approaches to assessment and participation.

Overall, this intervention aims to create a more equitable and supportive learning environment where students from all backgrounds feel represented, confident, and able to succeed within WHAM education and the wider creative industries.

Kimberlé Crenshaw’s concept of intersectionality offers a way of understanding faith through interconnected systems of identity, power, and inequality. Kimberlé Crenshaw (1989) argues that experiences cannot be understood through a single category such as religion, race, or gender alone, as these identities overlap and shape experiences of inclusion and marginalisation. Faith is therefore experienced differently depending on factors such as race, gender, class, migration status, and the institutional environments people navigate. Reviewing short films and academic sources demonstrates how these intersections can intensify stereotyping, exclusion, and inequality.

Kwame Anthony Appiah’s talk Is Religion Good or Bad? (2014) argues that religion cannot be viewed simply as “good” or “bad”, but gains meaning through the social and cultural contexts in which it is practised. From an intersectional perspective, this highlights how faith is shaped through relationships with identity and power, influencing how individuals are perceived and treated. Similarly, Trinity University’s video Challenging Race, Religion, and Stereotypes in the Classroom (2016) demonstrates how faith and race can combine to produce stereotyping, where students are treated as representatives of a religion rather than as individuals. This can affect belonging and participation within educational spaces.

Hassan Jawad (2022) explores how visible Muslim women in sport navigate both religious identity and gendered expectations in public spaces. Their visibility can lead to scrutiny, exclusion, or pressure to justify religious dress and practice. Likewise, Reki (2023) discusses epistemic injustice, where individuals from religious minorities may not be taken seriously as knowers. This can become more pronounced when faith intersects with race or migration status, meaning some voices are valued more readily than others in institutional settings. Across these sources, recurring themes include visibility, stereotyping, and the negotiation of identity within secular institutions such as schools and universities.

In my own experience as a student in an A Level English class, a peer’s strong religious beliefs shaped how they engaged with texts and discussions, interpreting ideas through a faith-based framework. They frequently felt the need to justify viewpoints in religious terms, leading to extended discussion and disagreement. While these moments created valuable dialogue, they also disrupted lesson flow and highlighted how faith can interact with classroom expectations and participation.

Coming from a mixed-ethnicity background with both Muslim and Christian heritage, I have developed an understanding of the complexities of navigating multiple cultural and faith identities. This positionality allows me to empathise with the pressure to fit in, avoid causing offence, and remain authentic and connected to faith and community. At times, I have felt obliged to behave differently in certain spaces, creating a sense that I could never fully be myself. These experiences reinforce the importance of creating inclusive educational environments where all identities are recognised and valued.

As an educator, these insights encourage me to continually reflect on how to reduce barriers and foster inclusive learning spaces where students can openly explore cultural and spiritual dimensions of their beliefs. I am reminded of something my father, who was raised within a strict Muslim tradition, once told me when I asked as a child what religion was about: “It is hundreds of doors that all lead to the same place.” This perspective has profoundly shaped my teaching philosophy and continues to guide the way I encourage respect, dialogue, and belonging within my classroom.

References:

Appiah, K.A. (2014) Is religion good or bad? (This is a trick question). YouTube. Available at: https://www.youtube.com/watch?v=X2et2KO8gcY (Accessed: 10 May 2026).

Kimberlé Crenshaw
Crenshaw, K. (1989) ‘Demarginalizing the intersection of race and sex: a Black feminist critique of antidiscrimination doctrine, feminist theory and antiracist politics’, University of Chicago Legal Forum, 1989(1), pp. 139–167.

Trinity University
Trinity University (2016) Challenging race, religion, and stereotypes in the classroom. YouTube. Available at: https://www.youtube.com/watch?v=0CAOKTo_DOk (Accessed: 10 May 2026).

Hajar Jawad
Jawad, H. (2022) ‘Islam, women and sport: the case of visible Muslim women’, LSE Religion and Global Society Blog. Available at: https://blogs.lse.ac.uk/religionglobalsociety/2022/09/islam-women-and-sport-the-case-of-visible-muslim-women/ (Accessed: 10 May 2026).

Jungmin Reki
Reki, J. (2023) ‘Religious identity and epistemic injustice: an intersectional account’, Hypatia, 38(4), pp. 779–800.

Being a student again Balancing artistic practice with academic writing.

On starting my PG Cert I have found myself focusing on self-reflection and gaining a new found empathy for the combination of excitement, anxiety and uncertainty which I see in my students. Revisiting my own learner journey highlights how society has changed in the 30 plus years since my graduation and the implications these changes have had on the current student experience. The positive changes being increased support mechanisms (both pastoral and academic) which were non-existent during my student days.

Seeing life through a student’s lens for the first time in so long has given me a shift in perspective. It emphasises just how important it is to create supportive inclusive learning environments for all learners. It has also shown me that being a mature learner does not make the process any easier. Reengaging in formal education reinforces the value of lifelong learning and its importance for those in leadership roles. “The Fifth Discipline” by Peter Senge (Senge 1990). explores the advantages of continuous learning for organisational success.

 I have always learnt and gained new skills throughout my career, however these have mostly been practical skills used within industry or learning how to use new digital/online technology. Revisiting academic writing after such a long period is challenging as both require different types of focus and mental engagement. I know that this experience will help me foster a more understanding and compassionate approach to my own teaching.

On evaluation of our first lesson I found that my anxiety and first day nerves were eased greatly through the collaborative aspects of the session. The Ice breaker at the start, group critiques and collaborative feedback helped to alleviate pressure. I feel supported, less isolated and more confident to express my opinion knowing that I am surrounded by like-minded people who are familiar with the balance between art and academia. “Group Dynamics: Icebreakers, Team-Building and Leadership Exercises” by Chris Eksteen (Eksteen 2016) offers exercises demonstrating the effectiveness of Ice breakers to promote a sense of community and break down barriers.

Balancing creative practice with academic writing has always been problematic for students on our course (hair make up and prosthetics for performance) as it is a creative, practical subject and this is a challenge I am now facing. As I navigate my way through my PG Cert I hope to develop ways of becoming more comfortable with these academic aspects, find more of a balance, and some parallels between, academic writing and practical application. I am looking forward to gaining new skills and strategies to guide myself and my students through these contextual challenges. I am also enthused by the benefits of extending my UAL peer group and learning new strategies and teaching methods which are used on the variety of courses we all teach on.

Bibliography:

Eksteen, C., Opperman Kemp, S. (ed.) & Eksteen, L. (cover design), 2016. Group Dynamics: Icebreakers, Team-Building and Leadership Exercises. [book] Panza Publishers

Senge, P. M. (1990). The Fifth Discipline: The Art & Practice of the Learning Organization. Doubleday.

The Drawing Lab by Michelle Salmon

The article I’m focusing on in this blog is the drawing Lab (Salmon 2015) by Michelle Salmon which took place at Central Saint Martins in 2015. The purpose was to explore connections between the physical act of drawing and the human memory process, to determine whether drawing could be used as a tool to improve concentration and memory. This theory has its conceptual roots In Horace Lecoq de Boisbaudran 19^th Century research In “The training of the Memory in Art” (Lecoq de Boisbaudran, 1848)

The CSM workshops highlighted the interaction between sensory input, physical activity and memory. Memory recall and concentration were enhanced during the workshops through focused observations, repetition, sensory engagement, group dynamics and critical analysis.

Salmon’s article resonated with me because the majority of teaching on my course, (Hair Make up & Prosthetics for Performance) involve visual and physical activities which include many drawing tasks. It encouraged me to identify the areas in my own teaching practices where practical and theory methods meet and merge to enhance concentration and focus. A good example of this is the use of mind maps. When creating a mind map you are displaying written information in a creative format. Making the connections between ideas easy to find, for problem solving and brainstorming. More information can be found in ‘The Mind Map Book’ (Buzan 2009)

Alan Baddeley’s concept of the “visuospatial sketchpad” (Baddeley 1974) helps us understand how this ‘visuospatial’ information is used within memory function. The ‘visual sketchpad’ helps us to navigate our way through a room and to mentally manipulate objects. It’s a bit like the ‘mind’s eye’ we often hear referred to.  It only retains information for short periods of time so it’s perfect for brainstorming using a mind map where the information is immediately recorded.

 I have created mind maps for my students to show structure within departments in industry and during unit briefings to break down individual tasks and learning outcomes. (See mind map images below) In the past I had given students the same information in written text form and on reflection, they did not digest or retain the information as successfully as the students who received mind maps with the same information.

The key findings of this article have prompted me to reflect on my own teaching and planning practices and evaluate how I can implement drawing not merely as a skill but also a tool for enhancing the learning experience.

I already suggest mind maps to students as part of the research and experimentation stages of a unit However, by embedding it as part of their planning and creating them in groups may increase knowledge retention, understanding of Briefs and learning outcomes.

Moving forward, this integration of sensory, motor and cognitive skills is a topic which I would like to explore further, learning how digital tools can be used to compliment the role of memory in drawing activities. Also the role of visual spatial, auditory and olfactory influences in the encoding process of memory.

Bibliography:

Baddeley, A. D. (1974) ‘The psychology of memory’, New York: Basic Books.

https://elmirmohammedmemorypsy.com/wp-content/uploads/2014/12/the-psychology-of-memory-baddeley.pdf?utm_source=chatgpt.com

 Lecoq de Boisbaudran, H. (1848) In the Training of the Memory in Art. Read Books Ltd, 26 Jan 2016

 https://books.google.co.uk/books/about/The_Training_of_the_Memory_in_Art_and_th.html?id=URx9CgAAQBAJ&redir_esc=y

Salamon, M., 2018. Drawing laboratory: Research workshops and outcomes. Spark: UAL Creative Teaching and Learning Journal, 3(2), pp. 131-141.

Tony Buzan (2009) The Mind Map Book Publisher: Pearson Education Limited 2009

Eyes vs Camera

 When reading The Drawing Lab (Salmon 2018) by Michelle Salmon I found the following quote very interesting.

‘‘Acting as a form of recording mechanism, each drawing, as an instance of memory, retains an element of self. This is in contrast to visual records from mobile phones and other snapshots or movies, which store the record of a moment frozen in time but do not contain the subtle nuances provided by exploration and analysis of the physical sensory experience. (Salmon 2018)

We live in a digital age and emerging technologies have had a dramatic effect on the way we interact with the world. One area in particular is how we view art. Since Covid we have seen virtual museum and gallery visits rise in popularity. There are of course many advantages to these virtual visits, including Inclusivity for patrons who have disabilities and geographical and financial restrictions. However there is an emotional disconnect which I believe is changing our attitude to, and relationship with, art. When you view a piece of artwork in a gallery you see how it exists within its environment, how it changes with the light, take in its textures, you experience its presence in the space. None of this information is successfully conveyed in a photograph or on screen.

“Our eyes are also capable of dynamically adjusting exposure. As we scan a scene, object by object, our vision adjusts the exposure for each one, allowing us to see its value and color relationships more clearly”.  (Christensen I 2019)

This is relevant to my own experiences and something which I find quite worrying. For instance, I am increasingly seeing students taking pictures in museums/galleries to draw from later rather than sketching the actual object at that moment in time. People at events taking pictures or holding up cameras and filming rather than actually physically engaging and experiencing the live event. I call it the’ Mona Lisa effect’. On a recent trip to the Louvre I was shocked and surprised by how many people were just taking photos and walking away, instead of actually looking and appreciating it as the artist intended. Appreciating a piece of artwork in its peaceful surroundings is not intended to be a rushed process.

The current trend among our student cohort’s is to capture everything on camera and I believe we need to encourage them to leave their phones in their pockets and use their eyes.

Below are some strategies which may help the active process of engagement

• Create drawing challenges to capture particular elements or details
• Include the use of digital tools within the drawing process
• Prepare students before the visit with information about artists, products and processes
• Group work for a more interactive experience
• Provide sketch pads for all gallery/museum visits
• Make it an experimental process, not an outcome based one
• Focus on perspective and proportion
• Put emphasis on understanding rather than recreating

 In conclusion, drawing combines physical, mental and emotional input, which creates a unique connection to the experience, imprinting it onto our memories in a way that we wouldn’t get from observing a photograph or digitally recording the same experience. We often speak about a piece of art ‘speaking to us’, I believe this sensory connection is what drives that narrative.

Bibliography:

Christensen I (2019) ‘Why You Should Draw from Real Life, Not a Photograph’ Artsy, available at: https://www.artsy.net/article/artsy-editorial-draw-real-life-photograph

Salamon, M. (2018) ‘Drawing laboratory: Research workshops and outcomes’. Spark: UAL Creative Teaching and Learning Journal, Vol 3 / Issue 2 (2018) pp. 131-141

Moving into a new building

In September 2023 LCF moved to its new home in Stratford East London into a purpose built 13 floor building designed to foster collaboration with everyone under one roof, and such esteemed neighbours as Sadler’s Wells and The V&A.

https://www.arts.ac.uk/colleges/london-college-of-fashion/about-lcf/lcfs-move

 Weeks before the start of term we were told the Hair make up and prosthetics rooms were not completed. We had to find alternative spaces for hair, make-up and prosthetics lessons.

My issues were:

• Prioritising year groups
• Finding spaces to adapt
• Hiring specialist equipment
• Negotiating with students
• Rearranging the timetable
• Adapting delivery
• Find extra funding
• Fulfilling Learning Outcomes

Year 3 were prioritised. I analysed the LO’s to identify the focus areas within our limited resources. (see images below)

Their first unit is experimentation and research for the final project. I emphasised the importance of in depth research, an area often neglected. I increased outside visits and masterclasses from visiting industry professionals (which I opened to all year groups) this increased networking opportunities, employability and industry knowledge.

We found two rooms not in use and hired location filming equipment to create a film and TV crowd room set up for hair and makeup lessons. This increased employability focus by recreating industry conditions.

We introduced alternative prosthetics products and processes allowing exploration of more sustainable products.

For year 1 we focused on hair/wig and make up sessions as we could accommodate these more easily. I created a new bald cap making session which didn’t require specialist rooms but utilised transferrable skills and pushed creativity. This was very successful and something we have kept in the curriculum.

For year 2 we also pushed hair/wig and make up skills and brought forward some of the portfolio and preparation for industry sessions which would normally be in year 3. This increased understanding of industry expectations.

In year 2 students elect to either go on placement or do a KE project. This helped free limited resources as all students were off campus the majority of the time. The KE project was a live theatre production focused on hair, makeup and wigs skills.

Year 2 KE Project images taken by me February 2024

Just before the spring break we had solved the main room delay issues and could use most of our specialist rooms. Year 3 students were given access to the rooms over the Spring break to catch up.

My approach was to push employability, offering increased industry masterclasses, alumni talks, trips and events. I was able to offer certain hair and make sessions so these were increased allowing me to offer more diversity within sessions.

I created focused workshops customized around the resources available. This resulted in themed workshops we have kept in the curriculum.

Analysing student feedback the following aspects were the most successful:

• Recreating industry conditions
• Meeting industry professionals
• Alumni experiences
• Themed workshops

As a result of these changes our current 2nd & 3rd year students have a strong understanding of industry expectations, good communication skills and increased resilience and confidence.

This all aligns with work based learning theories such as Situated learning theory, ‘Learning is an integral part of the social practice in which it is based’… (Lave 1991) and that; ‘Education is not preparation for life it is life itself’’ ( Dewey 1916)

Bibliography:

Dewey, J., 1916. Democracy and education: An introduction to the philosophy of education. New York: Macmillan.

https://www.globalgreyebooks.com/democracy-and-education-ebook.html

Lave, J., 1991. Situated learning: Legitimate peripheral participation. Cambridge: Cambridge University Press.

https://www.researchgate.net/publication/249425153_Situated_Learning_Legitimate_Peripheral_Participation_Jean_Lave_Etienne_Wenger

For this case study I am focusing on students in their 3^rd and final year on the Hair make up and Prosthetics for Performance BA at LCF. They’re aged 18-25 and their diverse needs include language barriers, autism and anxiety.

UAL support networks include academic, disability, language, mental health and wellbeing support. At course level, we offer weekly tutorials and mentoring opportunities. A balanced delivery accommodates various learning styles, utilising digital resources, teamwork, individual work and all students gain personalised feedback in all sessions.

 The most effective strategies are those which foster confidence, focus and trust.

These strategies include:

• Regular short 1-1 tutorials
• Breaking down learning into step by step tasks
• Layered skills acquisition
• Regular attendance monitoring

Through tutorials I can identify individual needs at the start of the academic journey and continue to support at regular touchpoints.

Step by step learning creates manageable workloads reduces stress and improves focus. Task Analysis, chunking and scaffolding are relevant theories in my teaching context, further exploration will evolve my practices. ‘Preparing Instructional objectives’ (Mager R F 1997) explores these practices.

Poor attendance is more prominent among diverse learners. One recent strategy is an extra support officer communicating with students by phone. This has been successful in directing students to appropriate services quickly. Speedy responses and contact by phone from neutral staff have improved attendance and reduced stress levels.

During presentations students have the option to pre-record voice overs. This has improved timing, increased digital skills and reduced anxiety. I have introduced presentation and confidence building sessions. By opening these sessions to the whole group it has given confidence to the diverse learners to see that it is something which effects everyone and not just isolated to their individual barriers, building a sense of community and benefitting the whole programme. Moving forward I would embed these sessions from year 1.

The least effective strategy, especially with language barriers, are the monthly 30 minute mentoring sessions with academic staff, not from the teaching team. From personal experience, the purpose of mentoring is not always understood and students feel self-conscious communicating with a stranger. I have also noticed cultural differences in attitudes to mentoring. For students with language barriers I will explore options of student/alumni mentors who share the same first language, student buddy systems and student ‘teams’ groups for FAQ’s. I will also explore AI resources such as google translate to use in unit briefings so students fully understand expectations and do not fall behind early on.

To meet the needs of diverse learners we need to show diversity within the industry and embed diversity within the curriculum. The hair and make-up industry has become much more diverse over the last 10 years in terms of ethnicity gender and culture. To reflect this I have introduced diverse industry practitioners for demonstrations and masterclasses. I have also started ‘The diverse model bank’, providing diverse models for demonstrations showing industry techniques on a variety of skin tones, skin types, gender, disability and age. This has been an effective way of embedding diversity within the curriculum.

Diverse industry practitioner visitors:

Drag Syndrome (Vais D 2025) Instagram March 25

Radical Beauty project ( Vais D 2019)

(McCook , N. May 24) nyglorious instagram March 25

On reflection, to prepare diverse learners for careers in an ever-evolving industry we need strong communication, flexible approaches to teaching and an inclusive curriculum which respects the individuality of learners. Our biggest barriers to this approach are time and resources.

Bibliography:

Drag Syndrome, Vais D Instagram (March 2025)

https://www.instagram.com/dragsyndrome/?hl=en

Mager, R.F. (1997) Preparing Instructional Objectives. 3rd ed. Belmont, CA: Lake Publishing.

nyglorious face arts Nyomie McCook (May 24) Instagram

https://www.instagram.com/nygloriousfacearts/?hl=en

Academic support link:

https://canvas.arts.ac.uk/sites/explore/SitePage/41420/academic-support

Student support services link:

https://canvas.arts.ac.uk/sites/explore/SitePage/45474/student-services

The “Radical Beauty Project.” Radical Beauty Project, Daniel Vais (March 2019) https://www.radicalbeautyproject.com/.

nyglorious face arts Nyomie McCook (May 24) Instagram

https://www.instagram.com/nygloriousfacearts/?hl=en

The 3 year, hair make up and prosthetics for performance BA at LCF prepares students for careers in the wigs, hair and make-up industries. To be successful in this industry students need a clear understanding of industry expectations. One of the key challenges is embedding employability in all areas.

I have recently had the opportunity to re-evaluate teaching on the course and implement an industry lead approach. I have introduced alumni events, visiting practitioners, outside visits and KE projects. These elements engage students and give them industry insight, however to benefit the future of the programme this needs to be embedded within the curriculum.

I have been a wigs hair and makeup artist for over 30 years, I care about the future of the industry and the role of graduates within it. Which is why I am passionate about embedding employability in the curriculum. My focus is recreating industry conditions and linking delivery to current industry practice, starting with unit briefings. Students often struggle to understand Learning Outcomes’s and their relevance. My approach to unpacking the LO’s is to link them directly to industry practices. Giving real life examples from my own experience and others. (See image below LO’s). This has been an effective strategy, allowing students to directly apply LO’s to their practice and see how the same skills are used in industry.

I have reinforced this by including alumni presentations during briefings showing how the same unit has helped them in industry. I will push this further by adding more visual and digital resources to evidence industry examples.

I have increased the number of visiting practitioners expanding their roles to include formative feedback as well as masterclasses and workshops. This highlights current industry practices and how to apply them, it has also improved communication and networking skills

The physical environment we teach in is a resource for effective learning, recreating an industry environment within the classroom prepares students for real life scenarios. Working on set can be intimidating if you don’t know what to expect so I have designed a ‘Crowd Room’ activity. Students will be given the roles and responsibilities of trainees and hair & makeup artists working in a crowd room. (see below)

• Mood boards
• Kit lists
• Preparing stock/kit
• Room set-up
• Organising fitting sheets and information
• Reading the call sheet
• Continuity images
• Working to schedule
• Set rotas
• Line ups
• Checks on set
• De rig
• Breakfast orders

The room will be set up as a crowd room (see image below) and the session will run as a film crowd room day. We also have the resources to create a working film set environment to film the work and see it in a performance context. The activity would be followed by a feedback session with everyone involved including cast and crew to gain everyone’s unique perspectives. After critically analysing the feedback we would repeat the activity but this time swapping the roles around so all responsibilities are experienced.

Crowd room image taken by me 2020

This activity requires detailed coordination of resources which would limit the number of sessions possible. However I believe it will be an effective learning method and I will explore relevant theories and pedagogies to evolve my practice, such as David Kolb’s Experiential learning Theory, (Kolb D A 1984), Communities of Practice (Lave J & Wenger E 1991) and The 70:20:10 Model (Jennings, C.2009)

Bibliography:

Jennings, C. (2009) The 70:20:10 model for learning and development. Available at: https://702010institute.com/702010-model/ (Accessed: 21 March 2025).

Kolb, D.A. (1984) Experiential learning: Experience as the source of learning and development. Englewood Cliffs, NJ: Prentice-Hall.

 Lave, J. and Wenger, E. (1991) Situated learning: Legitimate peripheral participation. Cambridge: Cambridge University Press.

  I am reflecting on live presentations as a form of assessment for year 3 of the Hair Make up & Prosthetics for Performance BA, for which I am the course leader.  It’s an experimental and research unit in preparation for the final project and was previously an online portfolio submission.

This new live format allows me to; reflect industry practice, reduce marking and feedback time, align with experiential teaching methods and visual learning styles.

 Until now our biggest issue was being unable to view physical work and live processes in a performance context. The live format enables us to physically see practical work and experimentation live, rather than via photographs in a portfolio.

To prepare students for industry we need to re-create industry conditions wherever possible. The ‘Authentic Assessment Theory’ (Hammond D 1995) is relevant in my teaching practice.  The theory promotes assessment through performance as opposed to a written submission. Including replicating real life challenges, encouraging critical thinking, problem solving and interpretation of concepts into practical work.

During planning I first evaluated assessment requirements and allocated LO’s appropriately. (See attached brief)

Assessment requirements:

• 12 minute digital presentation (LO 1, LO2, LO3)
• Supporting physical evidence (LO 2)

For parity, I planned formative assessments to take the same live presentation format.

Students had the option to pre-record their voice over. This was especially helpful in meeting needs of diverse learners.

Although physical supporting evidence of experimentation was mandatory, several students had none to show. On reflection this must be made clearer. Completing a live demonstration was also an option on the brief which none of them did. Student feedback said this was due to lack of finances for extra materials and anxiety of failure and being downgraded.

 Moving forward:

I will revisit the brief regularly giving students a clear checklist and offer ‘make the grade’ (Finnigan, T. 2015) sessions, (see image below)

The unit is experimentation and research with no fully realised outcome and no penalties for unsuccessful experiments. There is no right or wrong it is process focused, to justify choices and critically analyse to find solutions. This is another characteristic of the Authentic Assessments theory known as ‘Open-Ended’ assessments. To address this fear of failure and for personal development I will find ways to focus on learning and process not perfection, encourage reflection and peer support and demonstrate how failure is an opportunity for growth. I have also introduced alumni/industry practitioner talks emphasising the importance of experimentation and self- reflection.

 Staff feedback (see Miro Board below) revealed issues with technology, time, feedback parity and staffing. My biggest issue was being unable to give live feedback. We were allowed to ask questions but feedback and grades were written and published online. I would change this, it is far more productive to feedback on physical work when you have it in front of you. In future I will explore digital resources for recording the live verbal feedback.

Miro Board feedback

Live assessments support learning appropriately in our discipline, they improve communication skills and allow more context focused feedback. Although students were happy to receive grades and feedback sooner, they did not enjoy a change in assessment style in their final year when stress levels are already high. Changes must be embedded from year 1.

Bibliography:

Authentic assessment in action: Studies of schools and students at work. L Darling–Hammond, J Ancess, B Falk – 1995 – books.google.com.

Make The Grade: Finnigan, T. UAL 2015 (Drawing on the work of the University of Derby PReSSpack)

Professional 1 Assessment Brief: