Category: Reflections

Questionnaire preparations

This week I focused on refining the questionnaires, one for students and one for technical staff and visiting practitioners, which will help me understand how photographic studio terminology is learned, used, and sometimes misunderstood.

Both questionnaires were designed to gather specific insights:

  • The staff questionnaire explores observed challenges, levels of student confidence, and the types of support technicians feel would be beneficial.
Staff_Questionnaire_MIDownload
  • The student questionnaire focuses on prior experience, familiarity with terminology, confidence levels, and preferred forms of support.
Student_Questionnaire_MIDownload

Following the ethical requirements, each includes an embedded Participant Information Sheet, a clear consent statement, and no identifiable data are collected. All responses remain fully anonymous.

As part of the preparation, I contacted the MA Fashion Photography course leader to request permission to attend an upcoming session and allocate 10 minutes for students to complete the questionnaire. I also sent a group email to all technical staff explaining the project and inviting them to participate.

Screenshot: Email to Paul
Screenshot: Email to staff

Reflection: “Knowing Me, Knowing You” 

Reframing My Research Approach

At my first *proper* tutorial with Andrew, it became clear that I was approaching my action research project from a wrong lens. I had jumped straight into thinking about solutions, specifically the glossary app, without fully understanding the problem. I had assumed the app was the answer before I had properly interrogated what the question actually is.

One thing Andrew pointed out, which immediately resonated and made me realise something true about my own approach, was that I seemed to be working from a place of certainty rather than curiosity. In other words: I was acting as though I already knew what students struggled with and what they needed, even though I had not formally asked them. This was an important moment of self-awareness. It made me recognise how easy it is, as a practitioner, to rely on instinct, repetition, and experience – especially when I spend so much time teaching in the studio and seeing students’ reactions in real time.

But Andrew’s comment made me realise that my understanding is still partial. I see what students do in workshops, but not necessarily what they feel, what they assume, or what they fear they don’t know. I see the visible challenges, not the invisible ones.

This insight is pushing me to ask a more profound question:
“What don’t I know?”

This question completely reframes my approach. Instead of starting with a proposed solution, I now need to put my focus on the students themselves. What they experience. What they understand. What they struggle with. What they wish they had. And just as importantly: what I might be misinterpreting or overlooking.

I already know from teaching the MA Fashion Photography that students arrive with widely different levels of photographic knowledge. They come from different cultural, educational, and linguistic backgrounds. Yes, I have observed a language barrier (especially between native and second-language English speakers) and I do recognise that this may only be one layer of the issue. Some students may not know technical terminology simply because they have never been exposed to studio practice before. Others may feel embarrassed to ask questions. Some may use different terminology from their home countries. Some may feel overwhelmed by fast-paced workshop environments.

But (and this is the key point) I do not know this for certain until I ask them.

  • How can I engage students who know a lot alongside those who know very little?
  • How can I understand what students already know before assuming what they don’t?
  • How can I meaningfully uncover the silent, hidden, or unspoken gaps in confidence?
  • How can I create space for students to tell me what they need, instead of me deciding it for them?

I had been thinking too far ahead, my solution-focused mindset skipped over the most crucial step: understanding the problem from multiple perspectives. Once I truly understand this, the right form of intervention—digital or not—will become clearer.

This encourages me to take a step back, sit in the uncertainty, and begin again from a position of curiosity. This shift opens up space for a more honest, inclusive, and reflective enquiry – one that starts with students’ realities rather than my projections.

I cannot support students effectively unless I first understand them, and unless I also critically reflect on what I don’t yet know about their learning needs.

Reframing the project this way is fundamentally reshaping my direction. The research now begins with enquiry, listening, and discovery and not with a predetermined outcome. 

The true purpose of action research: to learn before acting!

‘Unknown unknowns’

“Reports that say that something hasn’t happened are always interesting to me, because as we know, there are known knowns; there are things we know we know.

We also know there are known unknowns; that is to say we know there are some things we do not know.

But there are also unknown unknowns – the ones we don’t know we don’t know.

And if one looks throughout the history of our country and other free countries, it is the latter category that tend to be the difficult ones.”

– Donald Rumsfeld, U.S. Department of Defense Briefing, 12 Feb 2002

Source: https://en.wikipedia.org/wiki/There_are_unknown_unknowns#cite_note-defense.gov-transcript-1

ABBA (1976) Knowing Me, Knowing You. Arrival. Available at: Apple Music (Accessed: 7 November 2025).

Reflection: Belief, Discomfort & Politics of Inclusion

In our last workshop on faith, religion and belief, and through conversations with peers, I came to realise how institutional norms continue to shape – and often restrict – how belief and identity are recognised in education. Our discussions around positionality made me reflect more critically on how technical teaching, too, is embedded within these structures. It is not neutral. In adapting to students’ needs, I now recognise my adaptability not only as a teaching strategy but as a political act, one that challenges normative expectations and seeks to centre difference as a pedagogical resource.

This realisation is also reflected in Ramadan’s (2021) article, where they explore how hijab-wearing Muslim women academics are subject to gendered Islamophobia, with their beliefs pathologised and rendered incompatible with institutional norms. Similarly, McKeown and Dunn (2021) argue that ethical vegans must often prove the seriousness of their convictions in legal settings – a process that delegitimises belief systems that fall outside dominant worldviews. Both readings speak to bell hooks’ concept of marginality as a site of resistance, as discussed in Fitts (2011), which challenges us to embrace discomfort as a site of possibility, not failure.

Our conversations also touched on institutional data, with questions about who is included, how information is gathered, and how flawed data can misrepresent lived experience. As one peer put it, institutions can be transformed by one student—but only if systems are built to listen. Kozleski (2016) reminds us that social justice education is not just about changing people; it’s about challenging the systems that reify inequality. This also relates with the call by Joseph-Salisbury and Connelly (2021) for education to go beyond awareness and actively inspire students to be part of change. Jawad (2022) offers a practical application of this in sport, urging institutional reform to create spaces where visibly Muslim women are welcomed, not merely accommodated.

These reflections are also prompting me to think more critically about faith and religion. Having grown up in a religious-oriented education that led me to distance myself from organised belief, I’ve tended to hold religion at arm’s length. Yet, as an educator, I’m beginning to recognise the importance of stepping beyond that discomfort.

Embracing belief in educational spaces enables the fostering of inclusive and daring learning spaces. It invites a shift: to hold space where faith, religion, and belief are not just tolerated, but recognised as vital dimensions through which transformation can begin. A crucial part of existing collaboratively and co-creating spaces of justice, where discomfort, belief, and identity are not viewed as obstacles, but as entry points for meaningful change.

References:

Fitts, S. (2011) ‘Theorizing transformative and revolutionary praxis through the lens of bell hooks’, Taboo: The Journal of Culture and Education, 11(2), pp. 71–88.

Jawad, H. (2022) ‘Islam, Women and Sport: The Case of Visible Muslim Women’, LSE Religion and Global Society, 22 September. Available at: https://blogs.lse.ac.uk/religionglobalsociety/2022/09/islam-women-and-sport-the-case-of-visible-muslim-women/.

Joseph-Salisbury, R. and Connelly, L. (2021) Anti-Racist Scholar-Activism. Manchester: Manchester University Press, pp. 150–155.

Kozleski, E.B. (2016) ‘Reifying categories: Measurement in search of understanding’, DisCrit: Critical Conversations across Race, Class, & Dis/ability’, Teachers College Press, pp. 101-115. https://www.researchgate.net/publication/308787505_Reifying_categories_Measurement_in_search_of_understanding

McKeown, P. and Dunn, R.A. (2021) ‘A ‘Life-Style Choice’ or a Philosophical Belief?: The Argument for Veganism and Vegetarianism to be a Protected Philosophical Belief and the Position in England and Wales’, Liverpool Law Review, 42(2), pp. 207–240.

Ramadan, I. (2021) ‘When Faith Intersects with Gender: The Challenges and Successes in the Experiences of Muslim Women Academics’, Gender and Education, 34(1), pp. 34–36.

Additional readings:

https://tns-gssi.newschool.org/2022/02/23/how-to-radically-transform-society-with-bell-hooks

Reflection: on Intersectionality, Disability, and Structural Change in the UK

Recent conversations and interviews have underlined an important truth: Access is not an individual privilege – it is a collective responsibility. As educators, artists and citizens, the choices we make about inclusion are deeply political and personal. Whether in learning environments or cultural spaces, we must stop framing accessibility as a favour or accommodation. Instead, it is a prerequisite for equality and equity

In our group tutorial, we reflected on how inclusion starts with ourselves – how we engage, listen and build relationships. We discussed the challenge of intersectionality and the importance of recognising that people fall into multiple, intersecting systems of oppression. Our teaching spaces need to respond to this – not by ticking boxes, but by being radically open to structural rethinking.

This was made clear in the interview with Chay Brown (@TransActual), who highlighted the real-life barriers faced by disabled LGBTQ+ people – lack of accessible toilets, venues without step-free access, events that exclude neurodivergent people through noise, chaos and an alcohol-centric culture. Chay reminded us that accessibility isn’t just about ramps and elevators – it’s about asking people what they need, budgeting for accessibility and being prepared to be told, “You could have done better.”

What resonated deeply was Chay’s statement that it’s not enough to just listen – we need to take notes and implement change. This is access as collective responsibility. However, if we look at the wider societal context, we can see how far we are from this ethos.

The UK in 2025 is a difficult place for disabled and marginalised people. Recent Supreme Court rulings have curtailed workers’ rights, protections under the Equality Act are under threat, and benefit cuts have left thousands of people with disabilities in financial and housing precarity. The erosion of public health and social care funding means that many are being pushed out of their homes, education or jobs.

This is not happening in isolation. The rise of fascist rhetoric, increasingly hostile immigration policies and the suppression of protest and activism through legislation such as the Public Order Act amendments in 2023, are part of the same systemic architecture. These mechanisms exacerbate instability for those already at the intersections of oppression – disabled people, migrants, trans people, racialised communities. Institutional structures not only ignore these problems, but actively contribute to causing harm.

This political landscape stands in stark contrast to Christine Sun Kim’s reflections on Berlin — a city she describes as providing support, language and resources that give her and her family stability. In the UK, this support feels increasingly out of reach. And yet, as Kim says, “If you don’t see us, we have no place to be.”  Her experience highlights the urgent need for visibility – not just in representation, but also in design, language and policy.

In my teaching practice, I experience that some workshops remain inaccessible, and adaptations are often reactive. There is an urgent need to shift the notion of disability from individual need to systemic design failure. Our conversations about intersectionality reminded me that we cannot separate disability from ethnicity, class, gender or immigration status – these are interwoven, lived realities.

What kind of society do we want to build, and what kind of educators do we want to be? If access is everyone’s responsibility, then silence and inaction is complicity.

Inclusion must be embedded, practiced and fought for — not just in our classrooms, but in every corner of the institutions to which we belong.

References:

Adepitan, A. and Webborn, N. (2020). Nick Webborn interviews Ade Adepitan. ParalympicsGB Legends [Online]. Youtube. 27 August.

https://www.youtube.com/watch?v=bnRjdol_j0c

Brown, C. (2023) Interview with ParaPride. Intersectionality in Focus: Empowering Voices during UK Disability History Month [Online]. Youtube. 13 December.

https://www.youtube.com/watch?v=_yID8_s5tjc

Sun, C. (2024). Christine Sun Kim in ‘Friends & Strangers’ – Season 11 | Art21. [online] YouTube.

https://youtu.be/2NpRaEDlLsI

Additional Reading:

Walker, P. (2025) ‘Ill and disabled people will be made “invisible” by UK benefit cuts’, The Guardian, 8 April. 

https://www.theguardian.com/society/2025/apr/08/ill-disabled-people-uk-benefit-cuts-policy-in-practice [Accessed 26 April 2025].

Walker, P. and Butler, P. (2025) ‘Equality Act under threat from new UK Supreme Court interpretation’, The Guardian, 15 April. 

https://www.theguardian.com/law/2025/apr/15/equality-act-under-threat-uk-supreme-court-ruling[Accessed 26 April 2025].

Syal, R. (2025) ‘Sadiq Khan warns democracy at risk from rise in fascism’, The Guardian, 18 January. 

https://www.theguardian.com/politics/2025/jan/18/sadiq-khan-warns-western-democracy-at-risk-from-resurgent-fascism-ahead-of-trump-inauguration [Accessed 27 April 2025].

Reflection: on Assessment Dimensions and Art Criticism

Reflections on Assessment, Art Criticism, and Student Attainment

Assessment plays a critical role in shaping students’ learning influencing how they engage in creative practice. The reading of Dimensions of Assessment (Anon, n.d.) highlights the need for different methods of evaluation that balance formative and summative approaches, while bell hooks’ Talking Art as the Spirit Moves Us (1995) critiques the power structures that shape artistic validation. Reflecting on these readings within my role as a technician, I recognise the challenge of ensuring students value formative feedback while advocating for assessment practices that acknowledge diverse artistic expressions.

The role of formative feedback in technical learning

In my workshops, I primarily provide formative feedback and offer students real-time guidance for their technical and creative decisions. However, as Dimensions of Assessment suggests, formative work is often perceived as less critical when it does not contribute to the final grade (Anon, n.d.). This is consistent with my observations — students sometimes overlook the importance of these sessions to their academic progress. To remedy this, structured reflection and peer feedback mechanisms are needed to help students recognise the formative process as essential to their learning.

Beyond the product: Assessing process and artistic intent

Traditional assessments in creative education often emphasise the end product, such as a fashion campaign or a 3D rendering, over the actual creative process. hooks (1995) refers to Sylvia Ardyn Boone’s discussion of the Mende aesthetic, in which true artistic perception requires a deep intellectual and cultural initiation. Similarly, assessment should move beyond superficial judgement and consider artistic intent and process. By encouraging students to document their experimentation, decision-making, and influences, a more holistic approach to assessment can be developed (Anon, n.d.).

Addressing power structures in assessment and art criticism

hooks (1995) critiques how mainstream art institutions often validate artists of colour if their work conforms to prevailing narratives. This raises critical questions about assessment in arts education: Who sets the criteria for success? Whose artistic values are given priority? Standardised grading systems run the risk of reinforcing dominant perspectives and excluding diverse, situated knowledge (Anon, n.d.). As educators, we must advocate for assessment frameworks that recognise multiple artistic languages and perspectives.

Using ‘Make the Grade’ to reduce referrals and resubmissions

The Dimensions of Assessment (Anon, n.d.), suggests that students often lose marks because they misunderstand the assessment criteria or overlook key elements (Anon, n.d.). One possible solution is to implement structured interventions, such as the Make the Grade approach. Finnigan (n.d.) explains that Make the Grade aims to help students manage assessment expectations by unpacking assignments, building checklists, and conducting structured workshops. By integrating this approach into technical workshops, students can gain a clearer understanding of what is expected, reducing the amount of revision and improving performance. In addition, using self-assessment checklists prior to submission can help students identify gaps in their work and make necessary adjustments (Finnigan, n.d.).

Conclusion: Rethinking assessment as a space for dialogue

hooks (1995) calls for a more engaged and dialectical approach to art criticism — one that encourages meaningful discourse rather than prescribing a rigid framework. Similarly, assessment should not just be a tool for judgment, but a space for dialogue, reflection, and growth. By integrating structured feedback, process-based evaluation, and inclusive assessment practices, we can better support students in bridging technical skills with conceptual depth, ultimately fostering a more critically engaged learning environment.

References

Anon. (n.d.) Dimensions of Assessment. Unpublished document.

Finnigan, T. (n.d.) Make the Grade. University of Derby.

hooks, b. (1995) Art on My Mind: Visual Politics. New York: The New Press.

Observation of my teaching practice by my tutor

(Part Two & Three: Feedback & Reflection)

ROT_Tutor-Kwame_17-3-25Download

Kwame’s feedback was a thoughtful and encouraging reflection on my teaching practice, highlighting both strengths and areas for further development. His observations reassured me that my approach is supporting students in meaningful ways, particularly in developing their portfolios and encouraging deeper engagement with their creative direction.

It was great to hear that my teaching not only provides technical support but also encourages students to critically evaluate the structure of their work. Kwame’s appreciation for how I balance technical considerations — such as colour theory, print formats, and sequencing — with creative intentions was particularly gratifying. I find his suggestion to develop a separate lesson on colour theory for photographers very valuable and will definitely explore further, as it would provide students with a more solid foundation in industry-relevant presentation techniques.

I also appreciate Kwame’s comments on my ability to create a supportive and empathetic learning environment. He noted that my approach encourages students to move confidently in different directions, which emphasises my commitment to student-led instruction. His comments on my calm manner and ability to adapt to students’ perspectives confirmed that my approach helps to build their confidence in their creative choices.

His feedback on accessibility and adaptability was also valuable. He acknowledged how I adapted my approach to ensure all students were included and highlighted the one-to-one support I provided to a student without a laptop as an example of inclusive pedagogy. This reinforced my belief that flexibility is essential in practical, skills-based teaching.

Thank you very much, Kwame! 

Observation of my teaching practice by a peer (Part Three: Reflection)

Ian’s feedback provided a valuable perspective on my teaching approach, highlighting both strengths and areas for further development. It was reassuring to hear that the session felt structured and effective, that students were actively engaging and producing work that met industry standards. Dealing with lateness was a challenge that I had anticipated, and I am glad that my approach helped to keep disruption to a minimum. His comments on the balance between the workshop and the concurrent one-to-one tutorials were also encouraging — it can be difficult to balance both, but it was great to have the workshop ran smoothly.

One of the key takeaways from Ian’s notes was the importance of prompting more student responses before offering explanations. Ian pointed out moments where I could have encouraged students to analyse visual elements on their own instead of immediately giving answers. More active participation in these situations could help students engage more deeply with the material and build their confidence in discussing visual concepts.

His feedback on cultural considerations in composition techniques was particularly insightful. The observation that reading direction influences composition and design, and that this varies from culture to culture is something I to consider more in future discussions during the workshop. His comment about L2 speakers and pronunciation difficulties was also useful — I had not previously considered how emphasising certain words can improve engagement and communication.

The structure of the lesson seemed to work well, and the use of previous student work to demonstrate real-life applications was effective in reinforcing key concepts. In the future, I will continue to refine my approach and ensure that students are more actively involved in the discussions while maintaining a structured and professional learning environment. This is also part of my ongoing case study research where I am investigating how different teaching methods impact on student engagement and learning outcomes.

Overall, Ian’s feedback was very helpful, and I will take these points into consideration when developing workshops.