Professional Documents
Culture Documents
As an art and design lecturer I face in every day practice as a educator decisions that I have to
‘wisely’ make. This is of course concerning the ways in which I teach and in my relationships
with students and colleagues. Like the rest of the teaching community I do as a habit rationalise
the decisions I make from a ‘simplistic’ understanding concerning my own human nature, ability
to control my own destiny, and a conception of what teaching is all about (Schwartz & Webb,
1998). On his foreword notes for Peter Schwartz and Graham Webb’s book, ‘Case Studies on
Teaching in Higher Education’, David Boud tells us:
“While there is often a great deal of discussion in staff rooms about academic issues, when
it comes to teaching, discussion focuses on little more than anecdotes about particular
students who may have caused irritation. Discourse and learning about the art of teaching
are lamentably absent in most departments. While there are many reasons for this state of
affairs, there will never be a significant improvement in what we do unless we subject what
occurs in the classroom and lecture hall to scrutiny and analysis. Without that each one of
us may be forever destined to invent solutions to what, for all we know, may be common
problems”. (Boud, 1993)
Although, some will argue, the existing condition in the art and design education in Universiti
Teknologi MARA (UiTM) sees a handful of the undergraduate students are still incapable of
explaining, building and arguing critical concept or current discourses. My thought on the matter
is that I should be the first one to take my own responsibility need to crucially question why such
predicament is happening in the first place in a non ‘pointing the finger’ manner. For such reason
I would like to stress out that in my early stage of inquiry, this ‘why’ question was more of my
own self-assessment questioning and not so much on pointing the case towards the ‘convicted’
doers or other people (lecturers). Meaning, I as the educator should be the first party to be put on
the examining table. This is because as a human being unconstructive cultural patterns which are
long shaped without constructive enquiries and dialogue most of the time can cloud rational and
constructive judgments (Routledge & Paul, 1961).
Regardless on how I perceived and understand the idea of what and how an educator is and has
mature throughout my profession, it should always be understood that unconstructive culture and
1
habits can always seep into ones action without one realising it happening. In relation to that, one
of the principal aspects in approaching this issue is to do reflective teaching in my teaching. Only
by doing so my student will get the full potential of my practice. Reflective teaching is a
powerful technique for self-improvement. It allows educators/academicians to clearly distinguish
towards its strengths and areas in which developments can be made and culminates in planned
improvement actions (Ross, 2005). This in turn will then be monitor for further progress.
Throughout my survey, I came upon a very interesting model which deal with reflective
teaching. I found that the model can be use specifically by educators/academicians in the art and
design field. This model which I am talking about is from a comprehensive competency studies
done and developed by the National Staff Development Council of Oklahoma. The whole
concept for the competency studies was for putting up a reflective tool that is designed to
evaluate a teacher’s (high school) growth toward developing and implementing effective
teaching habits in their daily reaching routine (www. okcareertech.org). The assessment tool call
GROWTH is an acronym for Gaining Real Outcomes With Teaching Habits. The GROWTH
assessment tool (GAT) is named so because it can be used to both target and occasionally assess
a lecture’s professional growth in effective teaching approaches and activities. The GAT can also
be used by individual lecturer to help him/her achieve effective personal and classroom
outcomes through the lecture’s development of effective teaching practices by using an
‘Induction Plan’.
Surprisingly while examining the model which is constructed for high school teacher’s level in
the US, I conclude that the model can actually be ‘design’ for the undergraduate level or in this
context, specifically for the art and design area. This is because most of the key objective are
very universal in its concept and can be apply to any discipline and also to the undergraduate
studies. Below are my conclusions which I will only concentrate 6 models out of the 7 models
2
(2-7) due to the nature of it being more about teaching activates. Model number 1 is for
curriculum development.
3
the student’s ability levels and learning styles.
I provide contextual lessons that are clear, logical, creative, and sequential
with effective introductions, objectives, and closures while communicating
specific goals and high expectations for student achievement and behaviours.
I use effective questioning techniques, emphasising higher-order critical
thinking skills.
I handle unruly students effectively and resolve studio/lab condition
maintaining character, integrity, and self-esteem of others.
I emphasise safety practices appropriately by managing a safe and organised
studio/lab and conducting frequent hazard analysis/safety checks.
I employ a variety of teaching methods/learning strategies within each lesson
that challenge, motivate, and actively engage all students, i.e., formal studio
presentations, demonstrations, group discussions, group activities,
instructional games, guest speakers, field trips, etc.
I provide appropriate modifications and accommodations for students with
disabilities (if such condition does exist)
I infuse theoretical, philosophical, thought-provoking, problem-solving
opportunities within the lesson, stimulating students to reflect on their own
ideas and those of others.
I show awareness of growth and development patterns of the students and
adjust instruction accordingly; I provide remediation on a continual basis.
………………………………………………………………………………..
………………………………………………………………………………..
4
showing respect for their worth.
As noted earlier, the key aspect in approaching the modules is very elastic. Each factor is very
fundamental but (importantly) need to be self-culture and self-regulate. It should be fully
understood that the quality of teaching has a profound effect on students’ performance and
achievement. For me to be an effective lecturer I always need to encourage my student’s interest
in their subject and communicates the principles of the subject effectively and also ‘wisely’. For
6
me to be a ‘good’ teacher-lecturer I regularly review my student’s studio/classroom performance,
do reflection on constructive criticism from not only from peers but also from students
themselves. Above all my teaching attitudes has evolved towards motivating and encouraging
self-learning from the students. This is because I believe that the process of gaining knowledge
and self-learning is as important for humanistic reason.
The basic argument behind this essay is actually the exact consequences of what I have been
trying to achieve in my practice as an educator. I believe that teaching is a process of learning to
unlearn and re-learn which is also the very foundation of teaching reflective. As what Joan Wink
wrote in her book ‘Critical Pedagogy’. Essentially it is not so much about the idea of ‘totally
eradicating imperfection’ but more of knowing how important it is to understanding and self-
realise ‘those imperfections’ in one self and how improvement can be made:
“…long before I ever heard of Alvin Toffler, relearning and unlearning had very specific
meanings for me based on the context of my own teaching and learning – good example of
generative knowledge. For me relearning relates to methods. In the 1970s and early
1980s, I was always relearning, relearning, relearning. It seemed that every time I finally
knew how to do something in classroom, I had to relearn it. Relearning can be
uncomfortable at first, but eventually it becomes something we do without thinking.
Relearning can be tough, but we know it is doable. Unlearning for me, however, is
something very different. It is the fundamentally more painful. It involves a complete re-
examination of philosophy, beliefs and assumptions. It means I have to look seriously at
myself and not at others, never a simple task. Unlearning is jumping across the great
paradigm.” (Joan, 2000)
____________________________________________________________________________
7
References
Boud, David. (1998). Assessment and learning – Unlearning bad habits of assessment,
presentation to the Conference 'Effective Assessment at University', University of
Queensland. Retrieved June 19, 2008 from
http://www.tedi.uq.edu.au/TEN/TEN_previous/TEN2_99/ten2_boud.html
C. Richards, Jack(1997). The Teacher Trainer, Towards Reflective Teaching. Retrieved June 17,
2008 from http://www.tttjournal.co.uk/uploads/File/back_articles/Towards_Reflective_
Teaching.pdf
Dover, Kimeiko Hotta , Adult Learning Theory: Dr. Malcolm S. Knowles and Andragogy.
Retrieved June 19, 2008 from http://adulted.about.com/cs/adultlearningthe/a/knowles.htm
Heriot Watt University, (2007) The Quality Reference Manual, Evaluation of Teaching.
Retrieved June 20, 2008 from http://www.hw.ac.uk/quality/TeachingEvaluation.htm
John A. Ross. (2005) Ontario Institute for Studies in Education University of Toronto, Teacher
Self-Assessment: A Mechanism for Facilitating Professional Growth. Retrieved June 18,
2008 from http://www.oise.utoronto.ca/field-centres/ross/Ross-Bruce%20AERA
%2005.pdf.
8
Lloydene, F Hill. ( 2001). Pedagogical and Andragogical Learning Retrieved June 19, 2008 from
http://authorsden.com/visit/viewArticle.asp?id=1416
Routledge & Kegan Paul. (1935). Patterns of Culture. Retrieved June 18, 2008 from
http://kahome.co.uk/abst1.htm
Schwartz, Peter & Webb, Graham. (1993). Case Studies on Teaching in Higher Education,
London: Kogan Page.
Wink, Joan. (2000). Critical Pedagogy, Notes from real world, Second edition, United Stated:
Pearson Education.