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Chapter 5
Flipping the Photography Classroom
A Traditional Approa to Teaing
e flipped classroom model is a reconguration of the long-standing traditional approa to teaing/learning where the instructor uses class time to introduce to
students new concepts by delivering information in the form of lectures, presentations, and demonstrations. is is what is referred to as a teacher-centered approach.
From the perspective of modern students a teaer-centered methodology, also called the sage on the stage approa, las any semblance of creativity, collaborative
elaboration, engagement or connectedness (Lee, 2014).
Flipped classrooms largely depart from the teaer-centered model in favor of more collaborative, active learner-centered approaes. e reasons are based on
student success, pointed out in resear conducted across disciplines, whi shows a higher rate of academic aievement (Freeman, Eddy, McDonough, Smith,
Okoroafor, Jordt, and Wenderoth, 2014). A series of major studies conducted by Pearson showed the ipped learning model represents an innovative approa to
teaing with the potential to create active, engaged and learning-centered classrooms. Furthermore, these learning-centered approaes benet student learning and
facilitate students self development of higher-order thinking skills as well as their transferable competencies (Nygaard & Holtham, 2008).

Flipping the Traditional Approa

Flipping a classroom is an innovative approa to teaing/learning based on the idea of reversing the traditional cycle of teaing/learning that occurs in and between
classes. For example, in a ipped class new information and concepts are rst introduced outside the classroom in the form of assigned readings (online or in texts),
videos, podcasts, and

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Figure 5.1 Flipped Classroom Model by Kristina Saeli

other resources made available by the teaer. Teaers curate and/or create resources they feel are most valuable for particular learning objectives and provide students
with links, handouts, book or magazine titles, etc. Students encounter course content outside of class where they study and learn at a time of their oosing before the
next class. As a result, e ipped model puts more of the responsibility for learning on the shoulders of students while giving them greater impetus to experiment
(EDUCAUSE, 2012).
As part of this model, teaers can be understood more as a guide on the side, coa, interactive facilitator, and mentor. Teaers co-create, with students, parts of the
curriculum like rubrics and assignments. e goal is to turn passive students into self-directed, active learners. When learners are engaged, studies have shown that
active learning results in improved knowledge retention and creates a deeper understanding of material (Wol, Wagner, Poznanski, Siller, & Santen, 2014). In the
ipped, or learner-centered, methodology students are transformed into more involved participants in their own learning process.
is approa assumes that students bring competence, curiosity, knowledge, experience and resourcefulness to their studies, and benet from opportunities to engage in active
learning: guided inquiry, discovery learning, role playing, and problem solving. e faculty members role, then, is to provide scaolding, opportunities for practice, and engaged
feedba.
(Mintz, 2014)

In addition, Julie Sell and Erik Mazur identify, three big ideas that are incorporated into a ipped classroom strategy:
1. 1. Prior knowledge is required to scaold deeper learning;
2. People learn best when they are engaged; and
3. Flipped classrooms enable a sustained learning path whi cycles from pre-class work, to in-class learning, to aer-class activities (Sell & Mazur, 2015).
Students are expected to come to class prepared to practice and assimilate their newfound knowledge. In other words, they do what would traditionally be thought of
as assigned homework during class. Learners are not expected to master or fully understand the content they encounter, but they should be able to have some
understanding based on the context of their prior knowledge. In other words, students should recognize how what they are learning relates to what they learned in
previous lessons. It is expected that students be prepared for assessment on information they integrated into their understanding and are ready for more teaerprovided course resources to be studied between classes.
Students become responsible for managing their study, resear, and critical thinking skills in order to arrive at understandings from out-of-class resources. Learners
must also analyze concepts and synthesize information in preparation for the next class meeting. As proof of the intended learning outcomes students are commonly
asked to produce their own content in the form of photos, writings, multi-media presentations, websites, blogs, and/or videos. It is also very common for students to be
quizzed at the beginning of ea class on content they studied before that class.
When the class meets, most of the time is dedicated to applying concepts. is way, students have opportunities to demonstrate their depth of understanding and
teaers are there to, in a very timely way, correct any misunderstandings. Teaers can oer valuable feedba at the moment they see confusion expressed. From this
perspective, face-to-face time with students is considered to be the most valuable, meaningful, and useful time for catalyzing the process of teaing/learning.
Students typically spend some of their class periods interacting in group discussions or critiquing photographs, giving presentations, and taking instructional quizzes.
Sco McMaster points out:
I think ea student also has the potential skills of both teaer and leader, whi is why aer covering new concepts and tenical skills I like students to pair up and review or discuss
the topics and brainstorm or mind-map, to allenge, build upon or possibly take the lesson in a new direction. Essential to our group discussions will be constructive and critical
discourse about the history, culture, and politics of art as well as the underlying meaning of the artworks we view, both in and outside our studios.
(McMaster, 2/22/15)

Teaers also facilitate and moderate what Eric Mazur calls peer-instruction, where students discuss their understandings with ea other in order to arrive at a greater
understanding of topics like composition, ethics, critical theory, or visual literacy (Mazur Group, 1/5/15).
Photo teaers who are interested in ipping their classrooms have many resources available to oer guidance, examples, and recommendations. Because of the sheer
number of classrooms that have converted to a ipped model, one can nd teaers who freely share their experiences online and oer help. And, the number of ipped
classes have been increasing over the last few years. One resource for ipping, the Flipped Learning Network, reported that membership increased from 2,500 in 2012 to
15,000 in 2013. Resources include books, videos, organizations, conferences, websites, and, most valuably, colleagues who have already transformed their courses.

Seven Steps for Flipping a Photography Classroom

1. Identify the core objectives
First the teaer must:
identify the lessons core objectives, from simplest to deepest, tracing the path of knowledge that students will follow. Lower-order targets (the what) should be sorted out for video
delivery, while higher-order objectives (the how and why) should be tagged for deeper exploration.
(Hirs, 2014)

Teaers establish the purpose of the course by visualizing all the topics it will cover. Also, educators establish the learning objectives and expected outcomes for the
course.

2. Guide students through the learning objectives

e teaer designs a series of lessons that will guide students through the learning objectives and result in them being able to demonstrate intended outcomes. ey
also oose the methods for facilitating those teaings. Lessons will gradually build upon prior knowledge, leading students through the learning process of increasing
complexity, from aieving a proper exposure to advanced levels of editing, composition, and critique. Lessons could take the form of pre-class self-study, in-class
activities, eld trips, and extracurricular activities. Once the progression of teaing methods and subject maer are designed then resources can be selected to help
tea those concepts.

3. Consider how students will be assessed

Consideration is given to how students will be assessed based on their ability to demonstrate what they have learned. is could be in the form of photo assignments,
presentations, quizzes, and/or tests. Assessments could be formal, as part of a grade, or informal where learners play games, ask/answer questions, or have discussions.

4. Provide concepts and information

Resources are curated to provide rst-exposure experiences to concepts and information about photography. In order to gather eective source materials for a ipped
course, the teaer must know how the resources are going to be used to scaold the learning topics over the semester. For example, when covering the topic of
exposure, the teaer may provide to students a video that talks about and illustrates how exposure functions to control the light that falls on the sensor. In addition, a
complementary reading explains exposure and the law of reciprocity. Finally, having students try out an interactive site like camerasim lets them see, in real-time, how

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the anges in seings aect the appearance of the image. With camerasim, students can gain some understanding from a pre-experiential perspective. At the same time
concepts from the other sources are reinforced. Finally, students must make their own images to illustrate the degree of their understanding. Ultimately it is the
experience of applying their knowledge by photographing that allows learners to integrate the knowledge into their understanding.

5. ink about ways to engage and motivate students

In this step educators think about ways to engage and motivate students so they come to class fully prepared. Teaers should keep an open line of communication with
students, through email or texting, so students can ask timely questions about obstacles that are preventing them from learning (like the online resource is not
accessible). By administering a quiz at the beginning of ea class, students are motivated to study. Study sheets also help students engage the pre-class study materials
and direct them toward the most important topics of learning. Planning strategies that help students succeed will prepare them for valuable in-class learning and deep
understanding.

6. Focus class time on higher-order cognitive skills

While time outside of class is centered on acquiring information, basic skills, and knowledge needed to build on prior understandings of photography, time in class is a
valuable opportunity to deepen comprehension through thoughtful investigation and practice. Critical thinking skills are developed through discussion and inquiry. For
example, students may have learned, between classes, about early photographer Hippolyte Bayard and his noble quest for the xed image. During the next class, peerdiscussions could be centered on the circumstances and ethics around Bayards loss of recognition through the Fren Academy of Sciences, the subsequent
documentation of his fake suicide, and the impact those actions continue to have on the perception of photography today. As a course continues, discussion topics are
designed to engage students on progressively higher cognitive levels.
Class activities are generally conducted for use with groups to allow for peer-to-peer discussion and collaboration. Many of the teaing approaes that follow are
based on the important resear and resulting methodology of Team-Based Learning creator Larry K. Miaelsen, author of Team-Based Learning: A Transformative
Use of Small Groups. As Miaelsen recommended, the purpose of the in-class activities is for students to practice using the concepts and skills they will need to
perform in the future as educated photographers. is could take the form of games (whi demonstrate cognitive understanding), eld trips (so teaers can oversee the
mastery of tenique), and discussion (for assimilation of content and Blooms higher levels of evaluating and creating).
In the case of group discussions, the teaer can help prepare students by providing a worksheet that includes clearly stated descriptions of the discussion challenge
along with any needed baground information. Discussion topics should be relevant to what is being studied and should be signicant in some way to photography.
Topics that are best apply to real-life photographic processes, concepts, theories, and constructs that either students are grappling with, will contend with, or other
photographers have struggled with.
Essentially the tactic is in creating barriers and obstacles for students, motivating them to rally around the issue, seed the circumstances with breadcrumbs to follow and provide the
resources and support to overcome the obstacle. ese obstacles may take many forms from a statement or position to a task that students will develop into an ownership of the
knowledge and the aievement.
(Tapia Urquiza, 2/2/15)

is approa will inspire participation among group members while also encouraging peer-instruction/learning. Also, by making the allenges more vague, it will
inspire more discussion (Sweet, 2012). Topics should encourage students to draw from their prior knowledge in addition to sourcing newly assimilated knowledge. As
the course continues through the semester, allenges appropriately require more critical thinking skills and are more intellectually allenging. Challenges may or may
not ask students to present correct answers, but more importantly require a traceable line of thought that leads ea group of students to some theory, conclusion, or
proposal. Students are many times faced with making informed (or partially informed) decisions about what actions they would take to address the allenge so they
need to oer supporting reasons for what they believe.
As a general rule, all groups work on the same discussion problem and they should do so at the same time. is way, at the end of the exercise, groups will be able to
compare and contrast nal conclusions. While the discussion is taking place the teaer travels from group to group listening to the quality of the conversations.
Two important things can be accomplished with this listening: 1) you send the message that what the students are saying is important enough that the instructor will listen, and 2) if
misconceptions or misunderstanding are preventing students progressing then you can intervene and provide some expert clarication or guided questioning either at the team level or
whole class level.
(Team-Based Learning Collaborative, 2/19/15)

e teaer plays the part of a coa, encouraging participants to take risks and become fully involved in the exercise. To view examples of discussion topics, see
Appendix 3 online at: hp://tiny.cc/422dxx.
By providing both theoretical and actual opportunities for student teams to cognitively engage problems like those above, teaers can assess how mu knowledge
they were able to acquire and assimilate during their studies prior to class. Problems ask students to develop a deep sense of inquiry into the subject maer while at the
same time calling upon them to apply both prior knowledge and newfound knowledge.
To develop competence in an area of inquiry, students must: a) have a deep foundation of factual knowledge, b) understand facts and ideas in the context of a conceptual framework,
and c) organize knowledge in ways that facilitate retrieval and application.
(Bransford, Brown, & Coing, 2000)

Once discussions start to wind down, the teaer announces a time limit, su as ve minutes, before groups must be prepared to summarize and present their
discussions. With the use of large paper tablets or white-boards, a representative from ea group records the key ideas and conclusions produced by their groups
discussions. Groups then present their results to the other groups, creating a fertile ground for further discussions as groups elaborate on and defend their logic and
conclusions. Again, there may not be any right or wrong answers, but what is important is the process that groups go through in order to arrive at their conclusions.
Aer they are nished, e groups ea formulate their own responses to the problems, the teaer leads a comparison of dierent responses by groups, and oers
feedba on the quality of their responses (Fink, 2002).
During the open-group discussion the teaer facilitates, making sure that ea member of every group has a ance to be heard. e teaer may pose further
questions to move the dialogue in a constructive direction or ask questions to get students to elaborate. It is very important for the teaer to provide space for students
to be able to speak about conversations on their own terms. is is where mu of the learning takes place. As the exercise concludes, the teaer reviews and analyzes
what was learned as a result of the discussions. Key points that were realized are emphasized so students have a clear understanding of exactly what was learned in the
exercise.
At the end of the discussions students turn in their worksheets, on whi they have recorded notes on their individual lines of logic. Pages can be turned in from
oversized tablets and/or photos can be made of any notes recorded on white-boards. ese records serve as evidence of ea students progression through their groups
discussions. Furthermore, this evidence should reect the overall class discussions between groups as ea presents their conclusions in relationship to other
conclusions. It is up to the teaer to decide whether or not to include these items as part of student grades.

7. Evaluate the Success of the Course

During the course teaers take the opportunity to continually evaluate the level of success for the ipped model of instruction. Teaers should also perform a
summative assessment and, based on what was learned, consider ways to improve the next course. Some questions to ask are:
Are students progressively gaining an understanding of the concepts and aieving mastery of the content?
Can learners demonstrate the things they are supposed to be able to do, like compose an image?
Are the strategies used in the ipped model delivering benets over the traditional approa to teaing?

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What strategies worked best to produce intended learning outcomes and whi ones did not?
In what ways could the course be modied in order to aieve greater student success?
At the end, ask students for feedba. Do they feel they had learned a lot about photo and are able to demonstrate that knowledge? What part of the course
do they feel was most dicult? Were they engaged, motivated, and allenged? Do they feel like part of the class photo community?

Four Tips on Creating and Curating Resources

1. Produce Course Content
Some photo teaers prefer, and enjoy, producing their own course content. It is fairly easy to make talking-head videos of lectures with a laptop, tablet, or smartphone.
Computers come with free soware to record video and voice. In addition, there are many free online resources both for laptops and mobile devices that help users
produce more visually interesting videos. For example, the mobile app Video in Video will allow users to record their screen while performing a tutorial, su as how to
convert RAW les using Adobe DNG Converter, while at the same time an inset screen displays the face of the teaer explaining the process.
Online recording soware Screenr or Jing also capture anything that is happening on a computer screen. It can be individual images, like a slide show, or a live
photo-editing tutorial. When using free soware it is important to note that videos are limited in record time. For example, Screencast-O-Matic allows users a maximum
video length of een minutes. To overcome time restrictions, teaers may oose to purase soware, like Camtasia, whi also oers additional, multifaceted
features and editing capability. For long lectures or presentations it is advisable to break them down into smaller, more topic-focused unks. In other words, it is more
user friendly for students if videos are produced between 510 minutes long (Ho, 2013). With screen-capture applications there is also the option of creating videos by
narrating PowerPoint, Keynote, or Prezi presentations. is kind of approa helps hold students aention because the videos are more visually interesting to wat.
By conducting an online sear of free video editing soware, teaers will discover a wide variety of mobile app and computer application soware. Once the
videos are produced, teaers can upload them to Vimeo or YouTube, where students can easily access them. While uploading, teaers have the oice of making the
videos public or private so only their students can see them. In addition to recording traditional-style videos, there are online sites that will let educators make
multimedia productions. Sites like Empressr, Animoto, and Google Docs are a few of the many tools available for producing professional-quality presentations for free.
By searing for make free multi-media presentations online teaers will locate a selection of free tools. Educators will also nd helpful links to sites that recommend
top user sites, along with descriptions of their capabilities, ease of use, and limitations. All these applications produce quality products and require lile time to learn.
With a small investment in time, teaers will become familiar enough to produce high-quality content.

2. Curate Course Content

Teaers may curate content from a vast collection of resources that have already been produced and posted online or exist in libraries. For a ipped classroom
educators discriminately select a group of sources that are accessible, understandable, accurate, and most valuable for the curriculum they have designed. It is an
important part of the teaers role to oose sources that are most relevant to their topics because, le on their own, students are not qualied to discriminate between
whi websites will deliver accurate information and whi ones will create confusion due to their inaccuracies.

3. Sources for Content

Textbooks are still a popular source for learning content. However, teaers can still add supplementary content to a course by searing topics online. It has even
become commonplace for textbook publishers to oer complementary learning content online in a variety of formats. In addition, there are free professional-quality
resources available from: Vimeos DSLR Photography Sool, Strobist.com, Adobe TV, Harry Lims Photography Blog, Imre Z. Balints site, NikonUSA, PhotoVideoEDU,
photography.tutsplus.com, diyphotography.net, learn.usa. canon, Photo.net, and B&H photo. ere is also a wealth of teaings on professional blogs like Chase Jarvis,
Sco Kelby, Trey Ratcli, Skip Cohen University, Fstoppers, and Julieanne Kost.
Online seares will lead educators to a number of resources for every aspect of photography, from oosing a DSLR, how to use the camera, composition, critique,
and critical theory. Websites can serve as helpful sources for videos, readings, and even interactive media, like canonoutsideofauto.ca. For inspiring students to think
critically, sources like the TEDx Talks collection on photography, camerabag.tv, foto8, the FRAMED show (FRAMED Network), PhotoShelter, Flakphoto, Lensculture,
and Photo Wings are essential. For a source on contemporary and historical photographers, pinterest.com/garinhorner is highly recommended. e above list does not
include fee-based sites like Kelby-One or Lynda.com.
ere are also many sites that specialize in the history of photography, critique, and critical theory. Je Curtos podcast at photohistory.jecurto.com is an invaluable
resource. Photocriticism.com, thoughtarcadium, photoaorney.com, and benson.readandnote.com are important sites to consider including in a curriculum. Vimeo and
YouTube are primary sources for locating topic-specic videos on photography. A sear on YouTube for learn photography turns up almost a million video hits
(YouTube, 1/2/15). e Society for Photographic Education has an educational video library. Another site, 100-websites-to-tea-yourself-photography, has an
impressive list of links where teaers can nd content. Exploring recommendations will reveal whi sites best serve as content for a particular ipped course.
Magazines that cover current events are jpgmag, absolutephoto, popphoto, Americanphotomag, dphotographer.co.uk, fstopmagazine, akphoto, and lemagazine.
Current-event sites like pdnonline, popphoto.com/news, worldphoto.org, in.reuters.com/news/pictures, dpreview, worldpressphoto.org, nppa.org, asmp.org, and
lensculture will help keep the photography teaer informed and up to date on photo news. ere is a wide selection of sites where teaers can nd news and
information specic to commercial photography, like americanphotographyassociation.org, apanational.org, and ppa.com. For live, up-to-the minute news, teaers and
students can sign up for the Twier feeds oered by all the resources listed above. For tips and conversations on teaing photography, readers can follow the author
@phototeaers. Teaers can follow respected photographers personal Twier feeds and/or RSS feeds on their blogs. ere is a lot to discover when looking for course
content and it can be overwhelming, but an educators discerning eye helps to select the content that best meets their expectations for quality and accuracy.
Many educators prefer to use textbooks. Other printed maer, like books, magazines, or journals, can be used in or outside of class as materials for learning and
discussion. Institutional and public libraries are major reserves for materials on all aspects of photography. By sourcing a book in a library, the teaer can purposefully
introduce students to a collection of informative, inspirational, and relevant materials about photography that they may not know exist. e same libraries may contain
DVDs about the subject of photography. ey could consist of documentaries, instructional processes, interviews, or ctional stories.
Teaers could also include unlikely resources, like ctional stories that could contribute to building a student culture around photography. Fiction can arm for
students the idea that there exists a diverse, creative, multifaceted tradition around photography, including a culture of individuals who use ideas about photography to
express a multitude of personal viewpoints. By recognizing this to be the case, students are able to visualize themselves as being or becoming part of that creative
culture. For example, in addition to non-ctional photo-resources, libraries may have in their holdings ctional materials like movies and books centered on
photography or photographers. ese materials can be subjects used for comparison/contrast discussions.
For example, the movie Fur: An Imaginary Portrait of Diane Arbus could be compared/contrasted against the objective evidence discovered by student resear on
Arbuss life. e numbers of topics for discussion in this case are plentiful. ese creative materials could simply be included on a suggested reading and viewing for
enjoyment list on the syllabus or a course/department/sool website. An internet sear for novels about photography or photographers or movies about
photography or photographers will provide a teaer with a list of titles that can be seared in the library database.

4. Students Produce Content

e ipped classroom model promotes the teaer-guided production of content by students. From this viewpoint, students become more than consumers of course
content: they become producers of content, taking on a partnership role with teaers in order to be more active participants in their own education (Mintz, 2014).
Photography students are likely candidates for this kind of educational model because a signicant number of them are already familiar with making presentations and
likely have experience with creating videos and posting them online. Photo-educator Hua-Chu Yen explains that, as part of his teaing philosophy,

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I seek to cultivate students who can respond to works of art in a nuanced, sensitive, and sophisticated manner. I also want my students to be producers of knowledge and of visual and
multimedia works that make use of the most recent tenologies.
(Yen 2/24/15)

Devising student-made projects in the early stages of the ipping process can help build a library of usable resources. For example, students may be required to learn
the video features on their cameras by being asked to produce instructional videos on photography. When a student makes a video on a topic, like posing, they present
evidence of both their knowledge about producing a video and their learning of posing. Also, this is a perfect way of building content for future courses. By posting the
most accurate, professional-quality presentations, future students can learn from their peers examples while at the same time seing high expectations for the
production value of future videos.
Photographic stills are additional sources for course content. e practice of making images is a crucial component of any photography curriculum, not only as a
method for assimilating visual competencies, but also as a necessary part of assessment. Other requirements may include making portfolio prints, maing, and framing.
e most successful examples, along with a few mediocre projects, can serve as exemplars for subsequent photo projects. Student-made instructional videos or still
images comprise only two possible methods for digital content building. Learners are capable of producing websites, multi-media presentations, animations, puzzles,
photo-based video games, online monographs, and Skype video interviews with photographers. Students can even facilitate and produce informational episodes for a
photography-program-TV-annel on YouTube or Vimeo. Students may even have a higher degree of mastery over these creative tools than the teaer, and that is OK.
Online publishing platforms oer many free user-friendly tools (mobile apps and computer applications) for digital storytelling. When publishing online, students
could share their content with classmates and the world, connecting them to other learners. Traditional methods for content creation are also useful. Students can
compose quizzes, resear papers, assignment rubrics, and make physical artifacts like lm cameras, pinhole cameras, and cameras obscura. Any type of alternative
process, including lm and darkroom work, qualies. Hands-on making that require crasmanship helps divert students from the familiar virtual environment ba into
the physical world. All quality products can become future teaing aids. 3D printers are also appropriate tools for students when making photo-related objects, like
working cameras (Sher, 2015).
One curriculum model asks students to create how-to guides and even their own physical photo textbooks. Students write and illustrate their own study texts over
time, as topics are learned throughout the semester. e act of making a textbook allows students opportunities to pursue and explore areas of photography that are the
most interesting to them, allowing ea student to follow their own sense of curiosity. One theory behind making things is that students learn during the making
processes and also they place a high value on the things they make. In other words, the content can become more engaging because students invest their own time,
energy and vision into creating it. at gives them personal ownership of their learning (Wheeler, 2013).
e photography teaer, as curator, takes advantage of all available materials with the intention of presenting a variety of tools for the curriculum. Students become
more engaged because they enjoy the sense of novelty and variety that multiple sources of information oer. Studies have shown that using a variety of approaes also
helps hold students aention (Goss Lucas & Bernstein, 2014). When students are aentive, they can make important intellectual connections from one lesson to the
next and among the resources presented for ea lesson. In a successful photo curriculum, Teaers must continue to promote making connections, at the highest levels
of human consciousness, between emotions and intellect in ways in whi we see as well as the ways in whi we make the things we see (Dunleavy, 2007).

Guidance on How to Interact with ContentVideo

Because a large part of the ipped classroom means delivering course content to students outside of class, students become responsible for interacting with videos and
readings in a way that results in learning. But, it cannot be assumed that students will have the skills necessary for eectively studying the content. Learners will need
guidance on how to study the materials in a way that helps them think, understand, and remember. For example, educators cannot presume that learners know how to
wat a video in a way that they can extract the information. Students are used to passively wating videos for entertainment. ey may not know how to interact
with video content in a way that helps deconstruct the information they are expected to study and learn.
Here are four tips to support student learning with video course content. Educators can:
1. Create a study guide with questions on the concepts and topics students need to learn from the video. estions could be designed to prompt viewers to
analyze and think critically about the content. Study guides could also include a place to record factual information, along with a section for dening
vocabulary words.
2. Tea students how to take notes using a study method, like the Cornell Note Taking System (Bergman, 6/6/15).
3. Ask students to wat the video more than once. Aer the rst viewing they can wat the video in unks by pausing ea minute to summarize and
analyze what the video is teaing and record, literally, what they have observed happening on the screen. en record any conclusions that can be
drawn from that minute of video.
4. Oer transcripts along with videos since it will help some students to be able to refer to the transcripts. If there are no transcripts, they can be wrien by
students.
e educator can easily make the same assumptions about reading. Many students, even in college, la the skills to read, understand, and be able to draw
conclusions from the content. It would help prepare students for a successful ipped classroom experience to go over how they should study the readings they will
encounter. Again, it will be helpful if the teaer provides a study guide with learning questions and vocabulary.
ere are many eective methods for advising readers how to thoroughly study wrien material and it is up to the educator to introduce those methods they nd
most useful. For example, teaers may introduce the SQ3R (survey-question-read) method or ways to use mind-mapping to increase comprehension and learning.
Whiever methods the teaer wants to use for videos or readings it is important that instructions be given to students, along with in-class demonstrations.

e Power of Peer Feedba

Students become highly motivated to participate in group activities when they know their peers are going to review their performance. Students value the opinions of
their peers and their actions are inuenced by those opinions. One study found that students preferred peer and group feedba, even over teaer feedba on
performance (Parikh, McReelis, & Hodges, 2001). e purpose of peer feedba is to help maintain students rights to express their perspectives on ea group members
willingness to contribute. Opinions may dier on topics, but everyone has the right to be heard. Also, feedba helps keep communication open within groups.
Comments should be given with the intention of being helpful to the group and to the individual receiver. Lastly, peer reviews help students feel accountable not only to
the teaer but also to their team members. Group members should feel as though every person on the team is contributing equally and that everyones contribution is
important.
Larry K. Miaelsen and Emily E. Sultheiss developed a list of potential qualities that feedba should have in order to be most helpful for the growth of the
receiver. e list describes helpful feedba as being:
1. 1. Descriptive, not evaluative, and is owned by the sender.
2. Specic, not general.
3. Expressed in terms relevant to the self-perceived needs of the receiver.
4. Timely and in context.
5. Desired by the receiver, not imposed on him or her.

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6. Usable; concerned with behavior over whi the receiver has control (Miaelsen & Sultheiss, 1988).

Koless Team-Based Peer Feedba form is a valuable peer review tool that was produced by the Team-Based Learning Collaborative. e link for the form can be
found at the boom of this page: www.teambasedlearning.org/page-1032389.
Instead of providing paper forms for students to ll out, there are other methods for peer feedba like the online tool iPeer. Students may feel more comfortable
expressing their opinions online instead of having a wrien sheet with their name on it, whi may be seen by a classmate. Giving feedba to peers can be required as
part of a student grade or the data could be used solely to supply the teaer with information needed to manage an eective class. e data gathered from these
questions are of critical importance for helping students maintain positive relationships in their groups. It also informs the teaer of how interpersonal interactions are
impacting the learning process.
e information gathered will tell teaers whi students are contributing to or preventing positive learner experiences. It can help identify four categories of
learners within groups that Merrill Harmin and Melanie Toth refer to as: fully active learners; responsible students; halearted workers; and work avoiders (2006). With
this information the teaer can respond appropriately by communicating with underperforming team members. In these ways, everyone benets from peer feedba.
Implementing peer review is one of the best pedagogical decisions that I have made. I am happier, the students are more productive and congenial. . . . Most importantly, students are
empowered to independently problem-solve their way out of group crisis and positively reinforce constructive behavior.
(Dyrud, 2001)

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