Bio: Rita Marcalo is an academic researcher. The author has contributed to research in topics: Documentation. The author has an hindex of 1, co-authored 1 publications receiving 5 citations.
TL;DR: This article explored students' and lecturers' experiences of group work assessment in a performing arts department that includes undergraduate studies in theatre, dance and film, and found that students navigate complex trajectories where they collaborate and fight for their marks.
Abstract: The study explores students’ and lecturers’ experiences of group work assessment in a performing arts department that includes undergraduate studies in theatre, dance and film. Working from the perspective that assessment is a socially situated practice informed by, and mediated through, the socio‐political context within which it occurs, this research takes the form of an inquiry that employs qualitative approaches to data collection using interviews and focus groups. The aim of the study was to elicit students’ and lecturers’ views concerning the assessment of process (also known as contribution), conceptions of fairness and the management of free‐loading students. The tensions that reside in group work projects where students are marked for process as well as product are explored. The analysis shows that students navigate complex trajectories where they collaborate and fight for their marks. Reflective journals are often used as a tool to assess process in group work projects. This analysis challenges ...
31 May 2016
TL;DR: In this article, the authors present a practice-centred teaching method for collaborative writing for design teams at M-level in higher education (HE) by using Approaches, Practices and Tools (APTs) across three case study workshops.
Abstract: This thesis offers and evaluates collaborative writing practices for teams of Design students at M-Level in Higher Education (HE). The research begins by asking why writing is included in current art and design HE, and identifies an assumption about the role of writing across the sector derived from a misreading of the 1960 and 1970 Coldstream Reports. As a result, drawing on recommendations that were made in the Reports for non-studio studies to be complementary to art and design practice in HE, I focus on how teams of design students can complement their design skills with collaborative writing. Some studies for addressing how design students learn from writing in HE already exist, but none have established a practice-centred teaching method for collaborative writing for design teams at M-level. My research captures the effects of my Approaches, Practices and Tools (APTs) across three case study workshops. I compare these with the most common writing model in HE designed for text-based study in the humanities. My APTs use participants' designerly strengths to redesign how they can use writing to complement their practice. This provides learners with a means of identifying and creating their own situated writing structures and practices. I document how my practice-centred APTs position collaborative writing practices as a designerly mode of communication between design practitioners working in teams. I show it to be more complementary to practice and so more effective in comparison to models imported from the humanities. My explorations are carried out through two thesis sections. Section One is an in-depth literature-based rationale that critically informs my investigations. Section Two presents my methodologies and reports three case studies, in which I explore the emergent data collected through a range of qualitative methods, mapping and evaluative techniques. The findings are of importance to those teaching M-Level design courses.
TL;DR: It is found that researcher-creators faced some very different RCR challenges in comparison with their colleagues in the rest of academia, which should be adapted to respect the particularities of RC and allow its contributions to the academic world.
Abstract: This scoping review addresses the issues of responsible conduct of research (RCR) that can arise in the practice of research-creation (RC), an emergent, interdisciplinary, and heterogeneous field at the interface of academic research and creative activities. Little is yet known about the nature and scope of RCR issues in RC, so our study examined three questions: (1) What are the specific issues in RC in relation to RCR? (2) How does the specificity of RC influence the understanding and practice of RCR? (3) What recommendations could help address the issues highlighted in the literature? To answer these questions, we conducted a scoping review of the academic literature (n = 181 texts) dealing with RCR in RC. We found that researcher-creators faced some very different RCR challenges in comparison with their colleagues in the rest of academia. Addressing these issues is important for both the RCR and RC communities in order to ensure that the rapid development of this field occurs in line with the norms of RCR which, nonetheless, should be adapted to respect the particularities of RC and allow its contributions to the academic world.
TL;DR: The authors explored the use of a catalogue document that two of the authors used to encourage students to reflect as part of the B.A. (Hons) Theatre level 2 modules entitled performing the self and artist as witness.
Abstract: In this article we reflect on reflection. To do this, we share examples of pedagogic approaches used in undergraduate performance programmes at York St John University that re-situate reflective practice within creative practice. For example, we explore the creative, multimodal use of a catalogue document that two of the authors used to encourage students to reflect as part of the B.A. (Hons) Theatre level 2 modules entitled performing the self & artist as witness. These modules aim to encourage students to consider themselves in some sense auteurs of themselves and their art practice. The case study illustrates that we need to go beyond the familiar if we are to be reflexive about the role of reflection in creative practice education.
03 May 2017
TL;DR: The concept of creative media literacy is proposed in this article, which is a set of attributes with which students practice a systematic interrogation of their own productive processes and the meanings attributed to them.
Abstract: In this chapter, perhaps counterintuitively, we begin by challenging the orthodoxies of two key terms in media education (creativity and literacy) and then suggest that by bringing them together in a new way we can provide a framework for media production work that is critical, reflective and student-centred. We understand that production work takes place in a variety of educational contexts, some of which are explicitly vocational, but we suggest here that, if claims for production work are to be made as part of a wider project of literacy, some of the assumptions about the affordances of such work must be addressed and subjected to scrutiny. We propose, ultimately, the concept of ‘creative media literacy’ – a critically oriented set of attributes with which students practise a systematic interrogation of their own productive processes and the meanings attributed to them. Through a philosophically grounded critical framework and examples of pedagogic practice drawn from a three year study of student production work we show how creative media literacy can be recognised, developed and how the conditions of possibility for its emergence may be created.