What
is a 21st Century Tertiary Educator and what does this mean for me
and my work context?
After completing this module and the activities I can identify that I am definitely a 21st Century Educator and relate strongly to the views expressed in the You Tube video.
I’m not sure if using the word ‘taught’ or ‘teach’ is still acceptable? ‘Knowledge transfer’ is more 21st century but we do still have to teach – I see and relate to, that how we teach and how we relate to our students (or learners!) has changed. I know personally how education and teaching has changed from once being a student of the course I now assist on! So I had to define ‘Teach’ for myself and am satisfied that it is still valid terminology (Merriam Webster, 2013)
Peter Coolbear, in his article in the Education Review states that “learners are undoubtedly more diverse in both their needs and for expectations of successful educational experiences.” (Coolbear, 2012). And I agree - I think the method of educating has had to change – along with the expectaions of students. They have become more proactive and exploratory in their learning, finding the knowledge and skills they need to meet the outcomes and expectations that we require. 21st Century students are international learners - their inspirations, research and fabrications for their work is now sourced worldwide, I see it as our role to help guide and facilitate this for each individual learner.
The video also concisely summed up the 20th century and its methods of more authoritative, passive and rote based learning, and how it just would not work today. Students are savvier, more world-wise, they choose to be here. As 21st Century Tertiary Educators we need to focus on the individuality of our learners, we need to identify their varying degrees of knowledge and experiences and cater our teaching towards this.
In her paper for the journal Fashion Theory, Amanda Bill discusses aspects of the current 21st Century practice of Fashion education in New Zealand, “through a range of techniques all designed to encourage representations of the students own thought about anything and everything.” And that “Work in progress is required to be discussed, oral presentations required to be made, workbooks with original drawings required to be presented for critique. Creativity is thus performed by attending to oneself; by analysing and diagnosing one’s stories of inspiration”, “Few of these practices have been part of New Zealand fashion education before 1996” (Bill, 2012). These are all techniques that we utilise within the fashion school every day at Otago Polytechnic, I see our role as definitely like a partnership, in the Fashion school we promote both lecturer and peer support and have scheduled constructive feedback in group sessions as well as weekly - and in my case daily, 1-on-1 sessions. The students are expected to present their work and research both concisely and professionally and be prepared to have it discussed and critiqued – all to develop their own individual learning and gain a greater understanding of their process.
We have several student-led projects running throughout the year, some involve the entire class, others are individual and often within industry. I currently have two students who we have set the task to organise a Otago Polytechnic students section of work for a local charity fashion show – something that used to be included within my role! They are responsible for liaising with the organisers and the people involved directly – the models, the designers, the DJ and more.
This type of learning is outlined in an article for the Education Review, “That learners achieve success on their programs of study is a fundamental goal…, but it is not the only one: ensuring their learners are best equipped for the next steps in work or further study is ultimately, more important.” (Coolbear, 2012)
This project is running alongside their course work and is not assessed, but both the A.L. for Fashion and I recognised this to be a fantastic opportunity for our students, that the highly relevant skills, knowledge, networking and experience gained is invaluable to their learning and entry into industry.
What does it mean to be a dual professional – both
a tertiary educator and an expert practitioner in the workplace?
My aim and passion as a tertiary educator is to not only pass on the knowledge and skills that I have as a practitioner but to be able to successfully guide and build the confidence of the student or learner. I feel that a confident learner is more active and therefore interested and their own expectations of what they want to achieve/their outcomes are far greater, they discover and expand on learned knowledge for themselves by putting it into their own practice, for it to become their own.
Margo Barton,
Academic Leader for Fashion at Otago Polytechnic discusses her teaching
philosophy and practice for Ako Aotearoa as “encouraging students to have the
confidence to take risks” and “to support learners to find their own way from
an informed point of view. All students bring different perspectives to the
learning experience.” (Barton, 2008).
Coco
Chanel - 1996 Collection - Image Retrieved from www.wescofabrics.com
It was identified
in my own Personal Development Plan earlier this year that a key part of my
role is as a recent and relevant link to industry, a role I feel is extremely important
both personally and for my professional practice, my greatest achievement
within my work context is to inform and mentor my students have a sound
understanding and knowledge of the industry they are about to head out into
after graduation.
An example of my
dual role as both a practitioner and tertiary educator happened recently when I
facilitated a relationship between several students and a local knitwear manufacturer.
This company has been unwilling to work with students in the past, but drawing
on both my professional relationship and my knowledge of this area of
manufacturing with this company I was able to mentor my students (through
meetings and industry practice and knitwear knowledge), towards forming their
own relevant working relationships with this company and therefore seeing their
designs become a reality. And seeing the successful outcomes from my students
is as exciting for me as it is for them!
Allan Davies and
Anna Reid, In their research presented
at the conference Re-inventing Design Education in the University(2000), reveal
that beliefs expressed by current students
include that “They see the acquisition of specific skills and crafts,
which are directly related to their study, as being the principal interests of
an education in design.” And that “they see the purpose of design education as
acquiring, what they perceive to be the requisite skills for employment”. I agree with this, although
these beliefs may be “based on limited assumptions about the professional world”
(Davies & Reid, 2000), having come recently from industry I feel I
have an authentic and relevant knowledge of what our learners as graduates actually do need
to know post-graduation.
Through my own time
in ‘the real world and my varied roles and experiences, I acquired a lot of relevant
knowledge, which definitely informs my role as a TRA today, the ability to work
with many types of people with respect and relevance is vital to my role and I
am gaining extension of these skills through providing and sharing them with
others and still learning along the way.
Through reflecting
on my own specialist area of expertise I have summed it up as for me, it is: being a support
person for each of my students learning, who is ultimately relateable and
relevant to both the student and their learning. I get to experience and support,
guide and help them work through the dark and dirty as well as the shining
highlights (Collections!) of their learning experiences during their final year
– and all of this is incredibly rewarding!
References:
Retrieved from http://www.merriam-webster.com/dictionary/teach?show=0&t=1375092198
Coolbear. P. (2012). Professional development for tertiary educators: what are we trying to achieve? Education Review Series. Retrieved from http://www.educationreview.co.nz
Bill, A. (2012). "blood, sweat and shears": happiness, creativity, and fashion education. Fashion Theory, 16(1), 49-66. doi: 10.2752/175174112x13183318404186
Barton, M. (2008). Margo barton - tertiary teaching excellence teaching profile. Retrieved from http://akoaotearoa.ac.nz/community/ako-aotearoa-academy-tertiary-teaching-excellence/resources/pages/margo-barton-tertiary-te
Davies, A., & Reid, A. (2000). Uncovering problematics in design education - learning and the design entity. (Master's thesis, University of the Arts, London, London, England) Retrieved from http://ualresearchonline.arts.ac.uk/620
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