iruiz's blog

Introduction:

The FAD course at UAL has moved to a new campus where the location of the print studio has become difficult to access. Students with limited mobility have not been considered in the layout of the new building as it is located at the back of the campus only reachable through an uneven pavement that makes it difficult to wheel things through it. The doors to access the studio are heavy, old and cannot open automatically. There is only 1 lift in whole building and students on higher floors would have to take a long route to access it.

My intervention proposes to experiment and trial a movable print studio, where processes can be miniaturised and used in other areas of the building, bringing the print studio to students with limited mobility rather than asking them to go to it.

Context:

The illustration pathway where I teach has always had a strong connection to printmaking. The nature of the discipline embraces image making in many forms, print being an important one. In the previous campus, the print studio was attached to the teaching space, making it accessible to anyone. The lost connection to the print studio has diminished the link between the teaching environment and the technical one. Students are not integrating technical resources and their work has reflected this. The loss of what printmaking brings has also been noted – many of the things print facilitates in the studio organically, such as peer to peer learning, collaboration, active learning by doing have been diminished.

Inclusive learning:

If the print studio is difficult to access for students with limited mobility, there is a legal duty under the equality act to make ‘reasonable adjustments’. One of these adjustments can include bringing equipment to the student rather than expecting the student to access the space. To not do so could result in students taking legal action under UK law.

According to the UK Equality act (2010)

“The second requirement is a requirement, where a physical feature puts a disabled person at a substantial disadvantage in relation to a relevant matter in comparison with persons who are not disabled, to take such steps as it is reasonable to have to take to avoid the disadvantage.“

The social model of disability at UAL argues that people are not disabled, but they become disabled because of their environment, including buildings. To have a version of the print studio that is movable and adjustable is to change the building students inhabit. This is exactly what the social model of disability encourages:

The movable print studio would start to address some of the accessibility issues and in turn, cover other areas that would benefit students as a whole. The positive effects this intervention could have on the student cohort are unknown, but one of them would be collective exposure. The movable print studio would expose and explain print to more students rather than relying on their previous print knowledge. Many students, especially international students, are unsure on how to approach technical areas and this would expose them in a more collective way rather than putting this responsibility just on them.

The physicality of printmaking is an example of Embodied cognition theory: cognition does not only occur inside the head (Carney, 2020) and the use of our bodies is a part of how we process information – if students have different contexts in which they are learning, learning becomes more effective. Often times studio space is a big issue where I teach, students can become crammed into spaces and not move from their chosen seat, and actively encouraging them to use their body in a different way can increase engagement with the sessions. The same happens when students are able to get involved with a technical element as a group rather than going to the print studio one by one.

‘The benefit of an in-class activity is the same as demonstrations, in that it increases attention and students are able to see a phenomena unfold, but are also able to personally manipulate and practice using that phenomena in a first-hand environment’ (Forsyth, 2003).

Reflection:

As the FAD is undergoing so many changes, why not trial something different? The student cohort has gone from roughly 500 students in 2023 to 1000, and with that challenge we need to adapt how we teach. Some of the models we relied on might not be suitable moving forward, especially when it comes to accessibility. A movable print studio would give students the chance to explore working at different scales and in different locations of the campus or even outside. This intervention is important for the illustration area but could be scaled up to other areas and could also focus on students taking command of how they shape the studio.

Feedback I received from peers and my tutor mentioned interviewing print technicians to ask what processes could be made smaller and more versatile (miniaturised) – the answer was all of them. The size of the presses in the print studio vary from A2 to A5, but there are other types of relief presses exist that are lightweight and movable. Screenprinting can be done in other areas if paper stencils are used and there is access to a water source for clean up. The only process that cannot be reduced in size is the Risograph, however, it is a machine that can be wheeled out of the print studio and just needs an electrical outlet.

The main challenge is, understandably, the opposition to the intervention from printmaking’s line managers. This is new territory and there are some blurry lines that need to be decided: who pays for the resources? (ink and paper) Technicians cannot abandon their post in case other students need them (could this be a bookable session where the main print studio closes for a few hours?).

Action:

A trial of a in-studio screenprinting workshop will happen in early October of this year. 60 communication design students will create a 2 colour screenprint with the help of tutors and 2 technicians. Ive been in conversation through my line manager with the print technicians line manager and the conclusion was that we will take a leap of faith and test this mode of working. The involvement of the technicians would also include a briefing of what they offer in the print area as a technical resource. This is invaluable as a live experiment because Im sure there will be variables that I hadn’t even considered. I have the intention of doing an evaluation after the trial where I ask students, tutors and technicians their impressions of it. To have this trial happening has had resonance with other staff in the illustration area and the excitement of testing something different has made people support the initiative.

Recently, I learned that one of the course leaders who is familiar with printmaking purchased 4 small scale pooki presses for the communication area. With her decision to do this, we now have access to small scale relief presses. This is a great step on trialing other types of printmaking and the possibilities of their use are endless. The fact that she did this after speaking to my line manager makes me think that the need for more access to print is more prevalent than I thought and that there are people within the University that are resonating with this idea too. “The setting of specific diversity goals has been found to be one of the most effective methods for increasing representation” (Bourke, 2018) What can be more tangible and specific than physical equipment?

Evaluation:

This process has made me reflect on how I can approach an idea with enthusiasm and a level of naïveté, but that the technical aspects of an intervention need to be solved and looked at with an analytical head – this is what would make the difference between a vague idea and something tangible that can be enacted. Edward De Bono’s theory of 6 hats has been helpful to look at a challenge from every side including the negative and objective sides of it.

I have also learned that this intervention has to center disability as the main catalyst for inclusive learning. Just because, at present, I have not had a student with mobility issues does not mean that I shouldn’t think about how it can be addressed. In time, It would be of great value to run the idea by the disability advisor of Lime Grove to get the perspective of the group of people that are most impacted. This approach of being “culturally intelligent” and being attentive to others cultures and adapt as required (Bourke, 2018) is essential in a teaching environment if we want change to happen.

Conclusion:

Accessibility is currently an issue in the print studio at Lime Grove and my intervention proposes a movable print studio that allows inclusive learning for students with mobility issues. Plans are in place to trial run this type of teaching/learning to evaluate its effectiveness in delivering workshops to a broader student cohort. If students cannot easily access print equipment they are being excluded from learning spaces. This not only impacts their work but crosses into the legal requirements that the university has to provide.

It is clear to me that this intervention would require a top down approach where it needs to be bought in by heads of departments rather than me speaking individually to staff members. If staff members take shared ownership of this initiative, the success rate will probably be higher.

Sources:

Evol Stud Imaginative Cult. 2020 ; 4(1): 77–90. doi:10.26613/esic/4.1.172, Thinking avant la lettre: A Review of 4E Cognition James Carney [Wellcome Trust Fellow in the Medical Humanities]

UAL (2020). Disability and dyslexia. [online] UAL. Available at: https://www.arts.ac.uk/students/student-services/disability-and-dyslexia. (accessed 19 Jun. 2025)

Arts.ac.uk. (2025). [online] Available at: https://canvas.arts.ac.uk/sites/explore/SitePage/45679/disability-service-training (Accessed 19 Jun. 2025).

GOV.UK (2010). Equality Act 2010. [online] Legislation.gov.uk. Available at: https://www.legislation.gov.uk/ukpga/2010/15/section/20.

Bourke, J. (2018) ‘The Diversity and inclusion revolution. Eight powerful truths’, Deloitte review, pp. 1 – 19

Hackathorn, J. (2011) ‘Learning by Doing: An Empirical Study of Active Teaching Techniques’, The Journal of Effective Teaching, pp. 45 – 60

The De Bono Group (1985) Six thinking hats – Edward De Bono [online] (Available at: https://www.debonogroup.com/services/core-programs/six-thinking-hats/) (accessed 7 July 2025)

Forsyth, D. R. (2003). The professor’s guide to teaching: Psychological principles and practices. Washington, DC: American Psychological Association.

Pooki Press (2020) [online] Available at: https://www.pookipresses.co.uk/ (accessed 7 July 2025)

Bourke, J. (2018) ‘The Diversity and inclusion revolution. Eight powerful truths’, Deloitte review, pp. 1 – 19

Some years ago, in the thick of online teaching in Blackboard Collaborate due to Covid-19 restrictions, I wrote and ran a workshop on Creative Drawing for Foundation students. One of the tasks was to make a self portrait that we would pop up to introduce some 3D thinking into the work. I asked students to draw a front and side profile of themselves and assemble it like in the example above. While I gave the group time to do this, one student raised their virtual hand and spoke up

“My religion does not allow me to draw faces. Can I draw an object instead?”

I replied that of course they could, but as I stared at the list of names of students I had never met in person on the other side of my screen I realised that this was the first time I had heard about this. It’s called Aniconism and is not uncommon in some religious faiths. Defined by Encyclopaedia Britannica, aniconism in religion is: opposition to the use of icons or visual images to depict living creatures or religious figures.

Since then this has made me reflect on the importance of inclusive teaching and adaptability. Advance HE mentions inclusive teaching and learning to:

“maximise the participation and engagement of all students in the learning environment.
This could include acknowledging different identities, understanding different backgrounds or anticipating different requirements” (AHEA)

I write curriculum for my area alongside my colleagues and this is something that is not always present at the moment of crafting a project. Adaptability is possible, especially in art and design subjects, but until we are faced with a challenge we don’t often think about it while writing the material. Being fractional staff means that the time allocated to writing is limited and not always allows to cover all the bases before a project goes live.

Something I noticed while teaching online was the loss of any visual cues that could give me some insight into students. This is important from a safeguarding point of view, but there is a danger with the assumption that appearance and clothing can determine how a student will act or any beliefs they might have. Ibtihal Ramadan talks about the impact that the use of certain items of clothing can mean for female academics, and I think this relates to students too.

‘The hijab or the niqab are central to these discourses that highlight gendered Islamophobia. The discourse surrounding hijab or niqab designates MW’s ‘radical otherness’ and associates it with religious oppression and cultural backwardness’ (Ramadan)

To what extent are students worried about how they are being perceived by tutors and peers? Are the curriculum, projects and references presented supporting inclusivity?

Sources:

AHEA. (2018) ‘Religion and belief: supporting inclusion of staff and students in higher education and colleges’, Advance HE, pp. 01 – 23

Ramadan, I. (2021) ‘When faith intersects with gender: the challenges and successes in the experiences of Muslim women academics’, Gender and Education, pp. 01 – 16

Encyclopedia Britannica. (n.d.). Aniconism | religion. [online] Available at: https://www.britannica.com/topic/aniconism. (accessed 9 July 2025)

Having a group with different expertise has been invaluable to give shape to my proposed intervention. The idea of decentralising the print studio and making it more flexible can have a big impact on student experience. They identified that the intervention is heavily hinting at the co-authorship between Academic / Technical / Student in relation to print. what would a project shaped by 3 areas look like?

The first thing my group picked up on was “how will technical staff react to such a proposal?” and this is absolutely correct. This proposal impacts staff directly and it would be unreasonable to expect technicians to be on board with it if there is no benefit to them. This would be a key area to research.

After a tutorial with Tim he picked up on the central aspect of the intervention that I had not considered and had to be the centre of it: the social justice aspect. He pointed out that the main thing to target is the accessibility of the space and then every other issue will follow. Could a wheelchair user be able to access the space? if not, this is a barrier to learning and falls under the most immediate issue to tackle.

Tim brought to my attention Edward De Bono’s theory of the six thinking hats: 6 perspectives to be considered when looking at a challenge. This helped me to visualise this intervention from the different perspectives needed and not stay with the emotional aspect of the proposal. I might feel very passionately about this subject, but not everyone will. I realised that there where 2 “hats” that I had to focus on if this intervention was going to be successful:

White hat (objective): how possible is this intervention? who do I need to contact in order to realise it? what information do i need to source / bring? (materials needed, lesson plan for technicians, space available, line manager support and clarity of division of roles, briefing materials)

Black hat (Negative): what are the obstacles to enact the intervention? how do I counter them? anything that could possibly go wrong (too large group sizes, not enough space in studios to accommodate printing, water source in studio for cleanup, who delivers the instruction – technician or tutor? )

This feedback from peers and tutor have helped clarify the avenue of my intervention and ground it in reality with the key aim being centred in social justice.

Sources:

UAL (2020). Disability and dyslexia. [online] UAL. Available at: https://www.arts.ac.uk/students/student-services/disability-and-dyslexia. (accessed 19 Jun. 2025

Bourke, J. (2018) ‘The Diversity and inclusion revolution. Eight powerful truths’, Deloitte review, pp. 1 – 19

The De Bono Group (1985) Six thinking hats – Edward De Bono [online] (Available at: https://www.debonogroup.com/services/core-programs/six-thinking-hats/) (accessed 7 July 2025)

The UAL foundation merger and move to Lime Grove has impacted the delivery of curriculum in the illustration area where I teach. In our previous building, we had the printmaking studio attached to the teaching studio, facilitating the use of printmaking as a teaching tool and allowing easy access to students with impaired mobility. Students made the connection between academic learning and technical learning because of the visibility of the space. The importance of print is not only subject specific, but is integral to the “thinking through making” approach we encourage in foundation. The aim is not to make students into prolific printmakers, but to help them make the connection between academic learning and technical learning to realise their ideas. This is a step towards building confidence in seeking out other technical and expert resources they might need in the future. The accessibility of the studio ensured that any student with mobility issues did not find a barrier to entering the space.

In its current state, the Printmaking studio is not easily accessible to students with mobility issues due to its location and layout. It is located at the back of the campus, only accessible by a long walk in a broken pavement making wheeling anything difficult. The access door to the building is heavy and only manually opened. Currently, there is only 1 lift in the campus that is not close to the studio and is not appropriate for the capacity of the campus. The layout of the space is cramped and does not allow free movement of anyone that needs more manoeuvring space.

Under the Equality act, the university has the legal duty to make ‘reasonable adjustment/s’ to accommodate students that have impaired mobility. For this reason, I would like to create an intervention that explores the idea of a movable print studio.

My intervention would look at how processes present in the print studio such as screenprinting and relief printing can be miniaturised and moved into other spaces of the campus, bringing the possibility of printmaking to anyone that cannot easily go to the studio. By tackling the most important accessibility issue, many others will follow. By encouraging deeper connections between studio teaching and technical resources, students will be empowered to take ownership of how they arrange workspace and encounter scale in their work. Making print visible and accessible to more students, not less, is a starting point for eliminating barriers for learning.

Sources:

Hackathorn, J. (2011) ‘Learning by Doing: An Empirical Study of Active Teaching Techniques’, The Journal of Effective Teaching, pp. 45 – 60

Bamber, V & Jones, A (2015), Enabling inclusive learning, ch 11, pp 154-16

Evol Stud Imaginative Cult. 2020 ; 4(1): 77–90. doi:10.26613/esic/4.1.172, Thinking avant la lettre: A Review of 4E Cognition James Carney [Wellcome Trust Fellow in the Medical Humanities]

UAL (2020). Disability and dyslexia. [online] UAL. Available at: https://www.arts.ac.uk/students/student-services/disability-and-dyslexia. (accessed 19 Jun. 2025)

Arts.ac.uk. (2025). [online] Available at: https://canvas.arts.ac.uk/sites/explore/SitePage/45679/disability-service-training (Accessed 19 Jun. 2025).

Recently, Christine Sun Kim’s exhibition 1880 THAT opened at the Wellcome Collection. After watching “Friends and strangers” and understanding her work process better, I visited the exhibition.

One of the reasons I gravitate towards art is because it can marry process and meaning impactfully – Being stood in front of a 3 meter tall brick wall with the words “I AM NOT CROSS” was a clash of experience and message that was dizzying. This exhibition was a very small glimpse into navigating the world with a disability. From my own position, someone that has no disabilities impacting how I navigate life, I was struck by how exhausting it is to be constantly adapting to others rather than the other way around. From building access to communication nuances – people with disabilities are expected to be perennially patient and evaluate challenges at every turn.

Sara Novic’s tweet “I can one hundred percent promise that you learning sign language is easier than a deaf person learning to hear” has a humorous angle, but rings true.

I noticed this as a recurring theme on the other interviews with Ade Adepitan and Chay Brown: the expectation on the individual to adapt. When you add elements of intersectionality such as race and gender, you have a percentage of the population that fall into blind spots that hold them back. Kimberle Crenshaw talks about the urgency of intersectionality by illustrating “patterns of recognition” and how people can fall into blind spots because their identities intersect and fall into more than 1 category.

Ade Adepitan, paralympian and TV presenter, mentions about systemic discrimination and racism “If you can’t see a problem, you can’t solve it” and “Its not the disability that makes you disabled, its society and its systemic discrimination that holds you back” which makes me think: are potential students not applying because they can see that they won’t get the right support?

I reflect on my teaching practice and how unless we are faced with a crisis, we don’t often know what resources are available within the university, or even shared through conversation with colleagues, to support students. During a recent tutorial, one of my peers mentioned that the simple act of turning on the captions on her lecture had been triggered by a deaf student’s interpreter not arriving. This in turn made a more inclusive environment for all students. This discovery would not have happened if the interpreter had been in the room.

Chay Brown, director of operations at TransActual UK, mentions how even in places that host marginalised communities there are accessibility issues. He gives an example on how one of the festivals he attended had addressed accessibility issues successfully because “people in the organising committee understood accessibility, and that was coming from lived experience” This highlights the need for representation in staff and policy makers within the university.

The social model of disability at UAL mentions “creating a university that removes barriers for everyone”, but it is often a lengthy process for students to access disability support. Last academic year I had a student that eventually got access to one-to-one support in taught sessions, but it took roughly 6 months for this to be put in place. For 6 out of the 9 months of the Foundation course, her assessment scores where low, but increased significantly after this. According to the UAL awarding gap report for 2023/24, there is a 3% difference between students with declared disabilities compared to students without, in favour of students with declared disabilities. This could indicate that when the playing field is more even, the gap disappears.

Sources:

1880 THAT (2025) [Exhibition]. Wellcome Collection. 17 April 2025 – 16 November 2025. Available at: https://wellcomecollection.org/exhibitions/1880-that (Accessed: 30/04/2025).

Art 21 (October 2023) Christine Sun Kim in Friends and strangers. Available at: https://art21.org/watch/art-in-the-twenty-first-century/s11/christine-sun-kim-in-friends-strangers/ (Accessed: 30/04/2025).

UAL Undergraduate Attainment Report, 23-24. Available at: https://canvas.arts.ac.uk/documents/sppreview/1cdc0ff4-8830-4787-b187-f7db576ab259 (Accessed 30/04/2025)

ParaPride (2023) Intersectionality in focus: Empowering voices during UK disability history month. Available at: https://www.youtube.com/watch?v=_yID8_s5tjc&t=23s (Accessed: 30/04/2025).

TED (December 2016) Kimberele Crenshaw The urgency of intersectionality . Available at: https://www.youtube.com/watch?v=akOe5-UsQ2o (Accessed: 30/04/2025).

As I’ve progressed through this unit, I’ve been reflecting on a couple of things that are relevant to the Foundation Course at UAL in regards to race and how it can impact student’s experience.

1. Progression into BA

2.Retainment gap for BAME students throughout their studies

1.Progression

The first one is progression into BA education. Most of the students that come to UAL FAD have the intention of staying within UAL, but something that we don’t often focus on is how students envision themselves progressing to a BA.

Rihanna Garret poses “If imaginations have the potential to transform our political, social and cultural understandings of the globe and communities within it, they also have the ability to transform career trajectories in academia.” (Garett, 2024)

I think this applies to Foundation students as well. Students are preparing to progress to a BA and they come face to face with choices and the trajectory they can imagine. Can they see themselves thriving in one of UAL’s colleges? or in a BA at all?

I’ve had comments from students around UCAS time saying “I don’t think I can apply to Central Saint Martins because I’m not cool and rich enough” (CSM is sometimes perceived this way due to its strong connection to the Fashion industry). A couple of years ago, one student expressed to me that he only wanted to progress to LCC because it was the only college where he saw more black students. Last year, one student decided to take up her place at CSM after she saw (and spoke) to a black lecturer during an offer holder day I urged her to go to. Things like this make me realise that progression is way more nuanced than we think.

When I think about progression, the aim is for students to make decisions based on things like the curriculum they want to engage with, career aspirations and what they consider is the right choice for them and not so much if they will “fit in” or be perceived differently while studying.

“Their identities intersected with their perceptions of how they would be treated within an academic career, based on past and present lived experiences” (Garett, 2024)

If a BAME student cannot envision themselves achieving at high capacity, progressing into their desired courses and even entering industry then we are not supporting our students in the best way and the University has not done enough to address this. As Alice Bradbury mentions: racial inequality is maintained by policies which systematically discriminate against minoritised groups (Bradbury, 2020), there are probably “blind spots” that could be addressed by involving BAME student voices in the progression process instead of continuing with a Business as usual (Delgado and Stefancic, 2000) mentality

2.Retention

According to UAL data, The retention gap still shows a difference between white and BAME home students which I believe shows that systemic barriers are present. The concept of the “leaky pipeline” (Wong, 2021) seems evident in the data. Yet even though UK universities have international cohorts, there is no demand by the government to have data on the retention gap for ALL students regardless of nationality. I think this is a big blind spot, especially when a common theme that pops up over and over in interviews with students is the mention of the sense of belonging being a reason not to call out racist incidents or microagressions – better not to rock the boat or my peers won’t accept me.

‘none of us speak up about it . . . because I’m the only Asian . . . we tend not to take any action’ and admitted his fears of retribution because ‘my flatmates, I think it’s seven of them, they formed a gang’ (Wong, 2021)

Is an aspect of the leaky pipeline linked to students finding it difficult to create a sense of community? and is the sense of not finding community exacerbated by a sense of otherness? and if so, what meaningful institutional changes can happen within the university?

Sources:

Wong, B., et al (2021) Is race still relevant? Student perceptions and experiences of racism in higher education. Cambridge Journal of Education 51(3), pp 359-375.

Garrett, R (11 Feb 2024): Racism shapes careers: career trajectories and imagined futures of racialised minority PhDs in UK higher education, Globalisation, Societies and Education, DOI: 10.1080/14767724.2024.2307886

UAL Undergraduate Attainment Report, 23-24. Available at: https://canvas.arts.ac.uk/documents/sppreview/1cdc0ff4-8830-4787-b187-f7db576ab259 (Accessed 30/04/2025)

Bradbury, A., 2020. A critical race theory framework for education policy analysis: The case of bilingual learners and assessment policy in England. Race Ethnicity and Education, 23(2).

Observer: Victor Gullien

Observee: Ignacia Ruiz

Observer: Ignacia Ruiz

Observee: Jasper Zheng

Observer: Jasper Zheng

Observee: Ignacia Ruiz

Contextual Background: 

The Foundation course has recently gained access to the Lime Grove Printmaking studio, prompting me to revisit a project that would benefit from screen-printing as a medium. For illustration students, inducting them into screen-printing would broaden the technical toolkit they have for future, more independent work. Moreover, introducing them to the print facilities and print technicians will make them gain confidence to seek them out on their own. It was important that students had hands on experience with the medium.

‘The benefit of an in-class activity is the same as demonstrations, in that it increases attention and students are able to see a phenomena unfold, but are also able to personally manipulate and practice using that phenomena in a first-hand environment’ (Forsyth, 2003).

Evaluation:

The workshop successfully inducted 64 illustration students into screenprinting with varied results, opening the option for some of them to return in their own time. The process used was a 2 colour, paper stencil, A2 print. Each student created an image that was split into 2 colour layers and worked in pairs to print.

Working closely with the 2 technicians was key to iron out the logistics of the workshops, especially determining the size of the printable area, the amount of students that could be in the print studio at a time and what colours where available to use.

Moving forwards: 

For future print projects, there are a few technical and exploratory things to consider. After the workshop and speaking to students and technicians I would like to implement or test the following:

1.Aranging students in more efficient groups in advance: Grouping students by colour would provide a smoother workflow, cutting the waiting time and allowing for cleaning and drying time of screens. This includes pairing up students before arriving in the studio and explicitly asking them to pair with someone that has the same colour palette (not with just a friend!).

2. Allowing students to use screenprinting in a more exploratory way: this workshop focused on the technical aspect of the technique, which is needed for beginner learners, but i would like for some students to take the lead in future work. In his paper “Aesthetic learning about, in, with and through the arts” Lars Lindstrom talks about ‘convergent’ and ‘divergent’ learning. If convergent learning is goal oriented (induction screenprinting workshop) and divergent learning is explorative and intuitive, it would be of interest to me to push students to use print as a divergent way of learning, where they combine what they have learned with their own ambitions to realise their projects.

“The strategy is convergent if the goal is to achieve something that is given in advance; it is divergent if the goal is rather to combine what you know for new purposes” (Lindstrom, 2012)

3. Trying facilities myself by arranging time with technicians: If time allowed, I would like to explore what the print studio can offer without thinking about relaying knowledge back to students just yet. We often forget that staff development is an important aspect of teaching and that updating our knowledge benefits everyone.

References:

Lindstrom, L. (2012) ‘Aesthetic Learning About, In, With and Through the Arts: A Curriculum Study, pp. 166–178.

Hackathorn, J. (2011) ‘Learning by Doing: An Empirical Study of Active Teaching Techniques’, The Journal of Effective Teaching, pp. 45 – 60

Forsyth, D. R. (2003). The professor’s guide to teaching: Psychological principles and practices. Washington, DC: American Psychological Association.