Abstract

This paper argues for visual playfulness in Higher Education learning and teaching practice. We offer a case study example of how we, the authors of this paper, have incorporated creativity into our teaching - the Facilitating Student Learning module, the first module in the Postgraduate Certificate in Learning and Teaching in Higher Education. We outline how we used ‘visualising to learn’ and what learning resulted from our visualisation practices. With our staff learners, we found that visual play gave them the freedom to experiment, to question and to progress; important in these supercomplex, uncertain times. Our desire was not to ‘fix’ or train academic staff, but to give them the space and tools to become liberatory professionals on their own terms and in their own ways so they can support their students to also become academic without losing themselves in the process. We propose that what is needed are methods and methodologies that enable learners - staff and students - to evolve and transform as they co-construct their knowledge in ludic ways. We incorporate images of the representations that our participants have made of themselves, of their students and of Higher Education systems to illustrate the challenges and possibilities of visual learning - and of creative staff development practice in general - and invite the reader to engage dialogically with them also to see what meanings they might make of them.

Highlights

  • Visual Metaphors and Visual Practice in Learning and TeachingArt has begun to feel not like a respite or an escape, but a formidable tool for gaining perspective on what are increasingly troubled times (Laing, 2020).Playful, creative and visual learning and teaching approaches have found their way into Higher Education (HE) - and into classrooms (James and Neranzti, 2019; Nerantzi, 2016)

  • Creative and visual learning and teaching approaches have found their way into Higher Education (HE) - and into classrooms (James and Neranzti, 2019; Nerantzi, 2016)

  • What is called for is an epistemological shift: developing a praxis that consists of ethics, aesthetics, production and explanation - the bringing together of theory and practice (Bernstein, 2001) - and for us this starts with visual play

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Summary

Introduction

Art has begun to feel not like a respite or an escape, but a formidable tool for gaining perspective on what are increasingly troubled times (Laing, 2020). Creative and visual learning and teaching approaches have found their way into Higher Education (HE) - and into classrooms (James and Neranzti, 2019; Nerantzi, 2016). What is called for is an epistemological shift: developing a praxis that consists of ethics, aesthetics, production and explanation - the bringing together of theory and practice (Bernstein, 2001) - and for us this starts with visual play. For it is in play and only in playing that the individual is fiercely alive, able to use the whole personality, creatively (Winnicott, 1971). We showcase the work we have undertaken and discuss the artefacts produced along the lines of a Creative Analytical Process (CAP) ethnography (Richardson and St Pierre, 2005) - as a promotion of a more creative HE searching for increased social justice

Facilitating Student Learning
How we Encourage our Students to Become Creative
Discussion
Implications for Praxis
Taking Down the Lego Tower
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