Innovative Practice in Higher Education
https://journals.staffs.ac.uk/index.php/ipihe
<p>This independent online journal (kindly hosted at Staffordshire University) is an opportunity for any colleagues in HE to share their work on delivering teaching and learning.</p> <p>It is a double blind peer reviewed publication, now into its fifth volume and is aimed at promoting and sustaining a research culture amongst practitioners in higher education who have an interest in the development of the HE student experience. The journal is inter-disciplinary in approach and accepts full papers of typically 5000-7000 words, short papers, posters (with audio commentary) and ‘student voices’ papers (first hand reflective accounts of innovative practices from the learners’ perspective). Topics include: tutoring, research, equality and diversity, internationalisation, classroom innovation, widening participation, assessment and feedback, research-informed teaching, information and digital literacy, teaching and learning processes and a range of other relevant topics.</p> <p>We are particularly proud of our posters section which is an innovative way of sharing innovation in teaching and learning. Each poster publication is presented with an accompanying podcast which gives more context and detail to the content.</p> <p>Please submit your manuscript as an Email attachment to <a title="Chris Little" href="http://journals.staffs.ac.uk/index.php/ipihe/about/editorialTeamBio/256" target="_blank" rel="noopener">Chris Little</a> (c.little@mmu.ac.uk) </p>en-USInnovative Practice in Higher Education2044-3315Editorial: GLAD-HE 2023 Post-Symposium Publication
https://journals.staffs.ac.uk/index.php/ipihe/article/view/265
<p><strong>GLAD-HE 2023 Post-Symposium Publication</strong></p> <p> </p> <p><strong>Gathering Ourselves</strong></p> <p>“To gather means to come together, assemble or accumulate (often from scattered sources), to collect, to harvest, to increase in force or to summon up.”</p> <p><strong> </strong></p> <p><strong>Editorial</strong></p> <p><strong>Jess Power<sup>a</sup>, Louise O’Boyle<sup>b</sup> and Davina Whitnall<sup>a</sup></strong></p> <p><sup>a</sup>University of Salford, <sup>b</sup>Ulster University</p> <p>Group for Learning in Art and Design (GLAD HE)</p> <p>Corresponding editor: <a href="mailto:e.j.power@salford.ac.uk">e.j.power@salford.ac.uk</a></p>Jess PowerLouise O'BoyleDavina Whitnall
Copyright (c) 2024 Innovative Practice in Higher Education
2024-07-042024-07-0462The Gallery in the Expanded Field: Russian art students investigate the diversity of international DIY gallery spaces
https://journals.staffs.ac.uk/index.php/ipihe/article/view/268
<p><strong>Abstract</strong></p> <p><em>The Gallery in the Expanded Field</em> is a case study of the development of a pedagogic model which involves art students working with a range of international DIY gallery spaces. Students gain first-hand experience of exploring the possibilities of exhibition making, and how initiating and running a gallery programme can be a creative and empowering activity.</p> <p>Participants are exposed to different models of what could constitute an art gallery beyond those of simply the museum and commercial dealerships. The gallery spaces that the project has worked with were chosen for their unusual physical manifestations and have included: an iPhone, an overcoat, an art school locker, the grease pit of a former garage, a hair salon, a world-wide shipping container and a small Scottish town. Through their dialogues with artists and gallerists, students start to understand how, through their own agency, they can begin to engage with the art world.</p>Sean Kaye
Copyright (c) 2024 Innovative Practice in Higher Education
2024-07-042024-07-0462Experience as a transformational practice
https://journals.staffs.ac.uk/index.php/ipihe/article/view/269
<h2>Abstract</h2> <p>The field of Experiential design has gained more relevance as new technological advances change the way we register and document cultural content, audiences are becoming more active in seeking active participation, and cultural organisations are being forced to re-evaluate traditional spaces and approaches to cultural display. As educators working in this field, we are interested in the emergent conceptual spaces created by these advancements and the possible frameworks required to guide our pedagogical thinking. In this paper, we explore how experiential design has the potential to act as a catalyst for exploration and discovery. Through case studies, we explore how alternative ways of inclusivity can be achieved by challenging human-centric perspectives, and how experiential dialogues have the potential to blur the lines between performer and audience. Thus, creating dynamic spaces for exchange, exploration, and collaboration; and how cultural associations facilitate ways to become spaces of possibility where transformative experiences can unfold.</p> <h2>Key Words</h2> <p>Experience, Inclusivity, Representation, Perspective, Dialogues, Spaces of possibility.</p>Carolina Ramirez-FigueroaGian Luca AmadeiNirit Binyamini Ben MeiraCecilia MartinAdam Kaasa
Copyright (c) 2024 Innovative Practice in Higher Education
2024-07-042024-07-0462Moving, Sensing, Being – leaning into embodied design education
https://journals.staffs.ac.uk/index.php/ipihe/article/view/267
<p><strong>Abstract </strong></p> <p>This paper aims to identify guiding principles for integrating somatic learning and literacy in third-level design education. It forms part of a larger research project, exploring embodied and situated knowledge in design education. The neutral stance, traditionally taught in designer education, contrasts with emerging paradigms and critical approaches in 21<sup>st</sup> century design education, including post-capitalism, decolonisation, and feminist approaches. Complexities, and ‘wicked’ problems, require designers to think critically about the complex power structures and systems we are part of. This paper proposes pluriversal, situated, and embodied approaches. First, the body is located within contemporary design education. Next, drawing from interdisciplinary literature in body-centred disciplines, as well as design, adult, and early years education, guidelines are identified to scaffold somatic design education. Integrated intelligence, conscious embodiment, somatic literacy, design-specific approaches, and disruption are identified as guiding principles to implement somatic approaches in future practice, in third-level design education.</p>Emma HoganEmma CreightonMarcus Hanratty
Copyright (c) 2024 Innovative Practice in Higher Education
2024-07-042024-07-0462‘A space to question the current ways of life’ —fostering creative possibilities through liminal experiences
https://journals.staffs.ac.uk/index.php/ipihe/article/view/266
<p><strong>Abstract</strong></p> <p>There is an extensive body of work that explores the transformative power <br>of co-creation of curriculum in learning and teaching with students as partners. This article builds on the existing research but focuses on the <br>co-curricular activities as a lesser explored aspect of the student experience <br>in co-creation literature. We employ the concepts of liminality and third space initiated with students between 2020-2023. We argue that the flexibility afforded through non-curricular activities produces an under-utilised space <br>for participants, stimulating new ways of interdisciplinary thinking, exploration, and creative outputs. In doing so, such projects can be powerful mechanisms to shape/inform staff and student experience of what university learning should be about.</p>Clare ConwayAybige Yilmaz
Copyright (c) 2024 Innovative Practice in Higher Education
2024-07-042024-07-0462Curriculum Design & Delivery Kit: A flexible and hybrid toolkit for co-designing and delivering a curriculum
https://journals.staffs.ac.uk/index.php/ipihe/article/view/272
<p><strong>Curriculum Design & Delivery Kit: </strong><strong>A flexible and hybrid toolkit for co-designing and delivering a </strong><strong>curriculum</strong></p> <p>Nadia Malik, London College of Fashion (LCF), University of the Arts London (UAL), <a href="mailto:n.malik@fashion.arts.ac.uk">n.malik@fashion.arts.ac.uk</a></p> <p>Andy Lee,London College of Fashion (LCF), University of the Arts London (UAL), <a href="mailto:a.lee@fashion.arts.ac.uk">a.lee@fashion.arts.ac.uk</a></p>Nadia MalikAndy Lee
Copyright (c) 2024 Innovative Practice in Higher Education
2024-07-042024-07-0462Case Study: Collaborative Pedagogic Research as Bridge between PGT and PGR Programmes
https://journals.staffs.ac.uk/index.php/ipihe/article/view/270
<p><strong>Case Study: Collaborative Pedagogic Research as Bridge between PGT and PGR Programmes</strong></p> <p>Veronique Chance, Anglia Ruskin University, <a href="mailto:Veronique.chance@aru.ac.uk">Veronique.chance@aru.ac.uk</a></p> <p> Sarah Strachan, Anxiety of Interdisciplinarity, <a href="mailto:anxietyofinterdisciplinarity@gmail.com">anxietyofinterdisciplinarity@gmail.com</a></p> <p>Ayeshah Zolghadr, Anxiety of Interdisciplinarity, <a href="mailto:anxietyofinterdisciplinarity@gmail.com">anxietyofinterdisciplinarity@gmail.com</a></p>Veronique ChanceSarah StrachanAyeshah Zolghadr
Copyright (c) 2024 Innovative Practice in Higher Education
2024-07-042024-07-0462A gathering of creative outputs as a case study for transformational change
https://journals.staffs.ac.uk/index.php/ipihe/article/view/271
<p><strong>A gathering of creative outputs as a case study for transformational change</strong></p> <p>Eve Blezard, University of Salford, eve.blezard@hqnetwork.co.uk </p> <p>Jess Power University of Salford <a href="mailto:e.j.power@salford.ac.uk">e.j.power@salford.ac.uk</a></p> <p>Davina Whitnall University of Salford <a href="mailto:D.C.Whitnall@salford.ac.uk">D.C.Whitnall@salford.ac.uk</a></p>Eve BlezardJess PowerDavina Whitnall
Copyright (c) 2024 Innovative Practice in Higher Education
2024-07-042024-07-0462