Formative Intervention Plan

Posted on 26th May 2025 by Yui Yamamoto

Position:

I currently work as a Visiting Practitioner for the MA Performance: Design and Practice as well as an Academic Support Tutor across the Performance programme. This intervention plan is based on Live Art Practice Seminar, which I have led as part of the MA P:DP. The seminar is currently on pause, but I am proposing a revised and critically informed structure for its potential restart in September 2025.

Background:

Live Art Practice Seminar provides students with the opportunity to explore Live Art through its history, key terms, concepts, and influential artists. Students will enhance their critical skills by interrogating the works of significant artists as well as their own creations.

Challenge:

In addressing the history of Live Art and Performance Art, I have frequently drawn on Performance Art: From Futurism to the Present by RoseLee Goldberg, a foundational text by one of the most prominent American art historians in this field. While the book offers a well-informed and comprehensive overview of significant artists and movements, its perspective remains largely Euro-American. I recognise that this framing can inadvertently marginalise alternative histories, particularly those from non-Western contexts.

This presents an ongoing challenge. As international artists and educators working within predominantly Western institutions and economies, we are constantly navigating questions of positionality. How can we critically engage with the systems we are part of while remaining attentive to their exclusions? What responsibilities do we have in broadening the canon, and how do we model this for our students?

This reflection becomes even more pertinent given the demographic of the seminar group, where approximately 80% of the students identify as East Asian. The group is also diverse in terms of disciplinary background and artistic interests. This raises important pedagogical questions: What should be taught in a Live Art seminar in a globalised, multicultural educational setting? How can we create space for students to critically examine their own positionalities while challenging the dominance of Western narratives in contemporary art discourse?

Potential Intervention Plan:

Diverse teaching materials – Rather than relying solely on canonical performance art histories, I intend to introduce a wider range of inclusive and globally diverse references. The seminar will prioritise a discussion-based format over traditional lecture delivery, allowing students to critically engage with the material through dialogue.

To support students in critically examining their own positions as artists, I have already embedded a workshop focused on self-reflection and artistic identity. While participation is not framed around cultural self-disclosure, I am considering an additional workshop that more explicitly explores identity through the lens of intersectionality. It draws on case studies of artists whose practices reflect layered identities and social positions, offering students tools to reflect on how their own contexts inform their work.

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Reflection on Faith, religion, and belief

Posted on 21st May 2025 by Yui Yamamoto

When I first encountered the terms faith, religion, and personal belief, I found them quite alienating. These concepts had always felt distant from my everyday experience. Growing up in a non-religious environment, surrounded by people who shared similar beliefs—or rather, a shared absence of belief—religion never became a central concern in my thinking.

However, moving to the UK and becoming part of a minoritised group, often categorised as “non-white,” I began to realise that, even if I did not seek to differentiate myself from others, others would inevitably differentiate me—based on my facial features, accent, and appearance. I became aware of how being marked as different shapes everyday interactions, and how these subtle but persistent experiences of “othering” can accumulate.

This has helped me better understand the challenges faced by Muslim women who wear the hijab. Reading Ramadan’s (2022) study on Muslim women in academia, I gained insight into how the intersection of religion, gender, and cultural identity can pose significant barriers to career progression. These women often navigate stereotypes, Islamophobia, and even lack of support from within their own communities. This resonates strongly with Kimberlé Crenshaw’s (1991) theory of intersectionality, which explains how multiple identities—such as race, gender, and faith—interact with systemic structures of power and discrimination.

To further analyse these dynamics, I find Pierre Bourdieu’s theory of capital useful. His framework offers a way to evaluate the forms of capital—economic, cultural, and social—that individuals possess and how these influence their position in the field. (1986) While many of us, including these Muslim women and I, may hold certain privileges (for example, economic or cultural capital), acknowledging this shouldn’t end the conversation. Instead, it can be a point of departure for challenging dominant structures. Bourdieu’s idea of the avant-garde—the push to disrupt established norms and create space for new values—feels particularly relevant here.

Among the readings, I found Wong et al. (2020) especially thought-provoking. They categorise student responses to racism into three discourses:

  1. The Naïve – Those who do not acknowledge the existence of racism and often believe that meritocracy is real and sufficient.
  2. The Bystander – Those who recognise racism but avoid engagement, either from discomfort or fear of involvement.
  3. The Victim – Those who experience racism firsthand but may normalise or internalise these encounters.

These categories helped me reflect on my own position. As a non-white and foreign person in the UK, I have encountered frequent microaggressions. Sometimes I find myself in the “Victim” category, experiencing racialised assumptions or dismissive behaviour. Yet I also identify with the “Bystander” role—too exhausted or preoccupied to address every incident. One colleague remarked during a PgCert session that constantly correcting or educating others is tiring. I couldn’t agree more.

Wong’s framework intersects meaningfully with Crenshaw’s intersectionality: individuals may shift between these categories depending on context and situation. It also prompts me to reflect on my own positionality as a Japanese person in the UK. While I fall under the BAME umbrella, I am aware of how Japanese identity is often perceived globally as a form of privilege—rooted in Japan’s imperial history and economy. Yet, in the UK, I am largely perceived as just “Asian,” and face the same stereotyping often applied to East Asians: polite, reserved, foreign. This blurring of nuance is itself a form of erasure.

As for what I can do in the classroom, I am still uncertain. But I recognise the importance of planning for intervention. Even small, intentional actions can begin to address these issues, as Simran Jeet Singh described. (Trinity University, 2016) Understanding my own position—its complexities and contradictions—is a necessary first step.

Bourdieu, P., 1986. The forms of capital. In: J.G. Richardson, ed., Handbook of Theory and Research for the Sociology of Education. New York: Greenwood, pp.241–258.

Crenshaw, K., 1991. Mapping the margins: Intersectionality, identity politics, and violence against women of color. Stanford Law Review, 43(6), pp.1241–1299.

Ramadan, I., 2022. When faith intersects with gender: The challenges and successes in the experiences of Muslim women academics. Gender and Education, 34(1), pp.33–48. https://doi.org/10.1080/09540253.2021.1893664

Trinity University. (2016) Challenging Race, Religion, and Stereotypes in the Classroom. YouTube video, added 6 December 2016. Available at: https://www.youtube.com/watch?v=0CAOKTo_DOk

Wong, B., Elmorally, R., Copsey-Blake, M., Highwood, E. and Singarayer, J., 2021. Is race still relevant? Student perceptions and experiences of racism in higher education. Cambridge Journal of Education, 51(3), pp.359–375. https://doi.org/10.1080/0305764X.2020.1831441

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Reflection on Disability

Posted on 25th April 2025 by Yui Yamamoto

https://moodle.arts.ac.uk/course/view.php?id=84288&section=8

After watching the four videos, I was inspired by how the individuals used their disabilities to inspire others, redefining their identities in opposition to society’s narrow definitions of disability.

The term “disability” implies that those with it are “not able,” often measured against a perceived standard of physical, sensory, or cognitive ability. It’s typically framed as a lack or deficit compared to what’s considered normal human capability. What stood out to me was the idea that disability is not solely about physical or mental difference—it is largely the result of social barriers. *1 Many buildings, for example, are designed based on the needs of able-bodied people, turning everyday environments into obstacles for others.

In the interview on Race and Disability, the Paralympian, Ade Adepitan states:

“What makes people disabled is not disability, but society itself. It’s systemic discrimination and oppression that hold disabled people back.” *2

This really struck me. The real challenge is not the disability itself, but how society creates additional limitations through inaccessible systems and infrastructure. The athlete emphasised that with the right equipment and support, disabled people have the ability to thrive. *2 I was especially moved by how everyone in the videos appeared highly autonomous—transforming their challenges into strengths, both for themselves and for society.

Lastly, the interview touched on opportunistic discrimination—the idea that opportunities should be equally available to all, regardless of skin colour or disability. This could lead into a larger philosophical discussion: what does “ability” really mean? This notion connects with the Equality Act 2010, which advocates for equal opportunity for everyone.

I was particularly drawn to artist Christine Sun Kim’s approach to her practice. *3 As a deaf artist, she incorporates her lived experience and sign language into her work, transforming patterns of communication into visual art. To me, her lack of hearing is not a limitation but a strength that defines the uniqueness of her art, I would call it her ability of non-heaering. As a viewer, I find her work deeply intriguing—not out of sympathy, but out of genuine artistic appreciation of unique perspectives. Like many others, she transforms what is conventionally seen as a “disability” into a powerful creative tool.

These videos reminded me of my own experiences at art university. There are two main reflections I want to share.

First, the recognition of disability. While visible disabilities—such as deafness or physical impairments—are more widely acknowledged, invisible disabilities, like neurodivergence, are often overlooked. For example, in Japan, where I’m from, ADHD is not always recognised as a disability and is often misunderstood. These are hardly diagnosed and not widely spread as official disability. Knowing and acknowledging your disability seems a privilege for many. At least people like I am from non-western countries.

Second, I want to reflect on the challenges of collaborative practice. I’ve had several group projects with people diagnosed with ADHD, especially during university assessments. One particular student had self-diagnosed ADHD and was very controlling, often crying when things didn’t go her way. This left the rest of the group feeling confused and frustrated. Eventually, we decided to work separately. I think this kind of issue is especially prevalent in theatre, where production environments are technical, time-sensitive, and physically limited. How other people work with those who has disability is a question.

*1 University of the Arts London. (2018) The Social Model of Disability at UAL. [YouTube video] 2 April. Available at: https://www.youtube.com/watch?v=mNdnjmcrzgw (Accessed: 25 April 2025).

*2 BBC Stories. (2019) The truth about being disabled and black. [YouTube video] 11 July. Available at: https://www.youtube.com/watch?v=KAsxndpgagU (Accessed: 25 April 2025).

*3 Channel 4. (2016) “What makes you disabled?” | Paralympics with a difference | Channel 4. [YouTube video] 5 September. Available at: https://www.youtube.com/watch?v=2NpRaEDlLsI (Accessed: 25 April 2025).

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Case Study 1: Knowing and Responding to Your Students’ Diverse Needs

Posted on 18th March 2025 by Yui Yamamoto

Contextual Background (c. 50 words):
I began working as a Graduate Teaching Assistant (GTA) 2.5 years ago in the MA Performance and Practice course. After one year as a GTA, I transitioned to the role of Visiting Practitioner (VP). Despite this change, I have continued to handle student communication, including tasks such as room bookings, tutorials, event organisation, and liaising between students and technicians.

Evaluation (c. 100 words):
Most of the emails I send and receive from students involve class announcements, guest passes, timetables, room bookings, and event scheduling. While Moodle announcements are the university’s preferred communication tool, I noticed that students often overlook important emails. To address this, I adopted a hybrid communication system, sending important announcements via both email and a WhatsApp group chat. I also use WhatsApp reminders, which, although informal, have proven effective for both students and staff. This approach suits the relaxed communication style of the course and the frequent schedule changes typical of a performance course. This also works with the size of our group which is under 30. However, a challenge is that students often message me directly on WhatsApp, leading to a high volume of messages.

Moving Forward (c. 350 words):
Handling all student inquiries efficiently has been a challenge. While the journal article ‘The Design Critique and the Moral Goods of Studio Pedagogy’ (McDonald and Michela, 2019) focuses on feedback approaches, some of its case studies offer insights relevant to my situation. As a young tutor, I initially felt insecure when students did not respond to me promptly. However, as my responsibilities have grown, I have realised the need to shift from a proactive to a more passive approach. Instead of managing every task, I will focus on solving specific student problems and delegate administrative tasks, such as guest passes and room bookings, to the course administrator.

To ensure smooth collaboration with the course administrator, I will establish a clear communication structure for students and step in only when necessary. This will allow me to focus on my core responsibilities while ensuring students receive the support they need.

Regarding WhatsApp messages, I have learned that it is acceptable to ignore non-urgent messages when necessary. As a practical solution, I will hide my online status so students cannot see whether I have read their messages. This will help me manage my time more effectively. Additionally, I will work on overcoming my initial insecurity as a tutor and set clearer boundaries with students. This does not mean neglecting their needs but rather distributing communication responsibilities among staff members to ensure a balanced workload.

By implementing these changes, I aim to create a more structured and efficient communication system that benefits both students and staff. This approach will allow me to focus on my teaching responsibilities while ensuring students receive timely and effective support.

References (additional to word count):
McDonald, J.K. and Michela, E. (2019) ‘The design critique and the moral goods of studio pedagogy’, Design Studies, 62, pp. 1–35. doi:10.1016/j.destud.2019.02.001.

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Case Study 2: Planning and Teaching for Effective Learning

Posted on 18th March 2025 by Yui Yamamoto

Contextual Background (c.50 words):

I organised the How to Write an Artist Statement workshop as part of my academic support role. Since I work across courses in the performance department, I offered this workshop for MA Performance: Screen students as part of their major project, which prepares them for professional careers. It was their first structured workshop on this topic and was conducted in person and online over two hours.

Evaluation (c.100 words):

As this session was part of a peer observation exercise, I would like to incorporate some of the feedback I received. One key strength of the workshop was its practical focus. As second-year MA students must write artist statements after graduation, we prioritised generating content over theoretical discussions. Additionally, I structured the workshop as a hybrid session to enhance accessibility. While I typically avoid recording sessions for privacy reasons, the live online and in-person formats helped increase attendance.

One challenge was managing group work, as it sometimes disrupted the workshop’s rhythm. However, I intentionally paired participants so they could generate material by interviewing one another about their artistic practices. While the session leaned more towards professional development than creative practice, I was able to incorporate my performance skills into the workshop structure.

Moving Forwards (c.350 words):

Managing a hybrid workshop was challenging, particularly in balancing in-person and online engagement. At times, I unintentionally overlooked online participants or missed messages in the chat. Additionally, the class structure required different exercises for online and in-person students, which led to uneven outcomes. For example, when asking students to interview each other about their artistic practice and interests, in-person participants could easily pair up, whereas forming pairs online proved difficult to coordinate. While technically feasible, handling multiple logistical aspects simultaneously was not ideal. As a result, I asked online students to complete the task individually instead. In future sessions, I will explore better strategies to ensure both online and in-person students can fully participate.

Another area for improvement lies in the workshop content itself. Observer feedback highlighted that some concepts should have been explained in greater depth—for example, the nuanced differences between terms like interdisciplinary and multidisciplinary art. To address this, I plan to conduct further research and prepare more comprehensive explanations. I may also consult other art practitioners to gather additional insights.

Overall, if given the opportunity to run similar workshops in the future, I would continue using the hybrid format while proactively addressing potential challenges in advance.

References (additional to word count):

O’Byrne, W.I. and Pytash, K.E. (2015) ‘Hybrid and blended learning: Modifying pedagogy across path, pace, time, and place’, Journal of Adolescent & Adult Literacy, 59(2), pp. 137–140. Available at: https://doi.org/10.1002/jaal.463

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Case Study 3: Assessing Learning and Exchanging Feedback

Posted on 18th March 2025 by Yui Yamamoto

Contextual Background (c. 50 words):
As a visiting practitioner, I do not assess students. In this case study, I evaluate my one-to-one tutorials with second-year MA Performance & Design students. They are working towards their final projects and have completed an interim performance show called Scratch performance. The Unit 2 assessment involves a reflective journal documenting the development process of their work. While I have not read any of the written assessments, I have watched all 25 students’ shows.

Evaluation (c. 100 words):
Evaluation is conducted through verbal feedback in person. I often use sketches and engage in brainstorming sessions with students to discuss strategies for their next steps. Meeting students face-to-face works well, as it allows for nuanced communication. I frequently ask students to share their sketches and inspirations as part of the brainstorming process. I focus on understanding what they feel passionate about, rather than solely focusing on the theories they are engaging with.

However, a limitation is that my feedback is based solely on what I observe during the performance. It is not my responsibility to read their written assessments, but this sometimes makes it difficult to provide comprehensive suggestions. For example, I once encountered a student whose work I did not find engaging, despite knowing it was based on an established dance method. Without understanding their research, I could only offer honest feedback based on my observations, which the student seemed to find offensive.

Moving Forward (c. 350 words):
I believe that assessment—or even feedback in my case—should evaluate multiple aspects holistically, rather than solely focusing on learning outcomes (O’Reilly, 2023). During a workshop discussion, I sought advice on how to provide feedback on work I did not find compelling. A peer suggested that it is important to review the student’s research process and evaluate their work holistically. This aligns with O’Reilly’s perspective in the journal, which emphasises the importance of understanding the broader context of a student’s work.

Moving forward, I plan to read students’ research journals when providing feedback, particularly for works that I find challenging to engage with. This will allow me to offer more informed and constructive comments. However, I also believe that honest feedback is essential. While I will not shy away from sharing my subjective impressions of a student’s work, I will ensure that my comments are balanced and considerate. As a qualified practitioner, I believe it is important to provide candid feedback, even if it may not always be well-received.

At the same time, I will encourage students to seek opinions from other practitioners and lecturers. When I was a student, I found this approach helpful, especially when receiving harsh but constructive criticism from my tutors. By fostering a culture of diverse feedback, students can gain a more rounded perspective on their work and develop resilience in responding to critique.

References (additional to word count):
O’Reilly, J. (2023) ‘“See you on the other side”: Researcher identity, threshold concepts and making a ritual of confirmation’, Spark: UAL Creative Teaching and Learning Journal, 6(1), pp. 10–22.

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Reflection 3: Education Purpose

Posted on 18th March 2025 by Yui Yamamoto

I studied for a Bachelor of Arts in Japan and a Master of Arts in the UK. I also spent a year as an exchange student at the University of Manchester.

During my undergraduate studies in both Japan and the UK, I was given a large number of readings, lectures, and assignments. The marking was brutal, as it directly impacted future opportunities, such as studying abroad or securing scholarships. To achieve higher marks, I had to study hard and seek advice from tutors and professors. Everyone understood that we were in a university setting where grades carried significant weight. However, this was higher education in social sciences—not fine arts.

In contrast, passing a master’s degree—especially in art studies—seems much easier. What truly matters is NOT how engaged you are in your studies but how well you can connect your study experiences to your future career. In my experience, the vocational aspect of art education is quite strong.

Central Saint Martins holds significant global prestige, which naturally attracts students. The institution heavily relies on international students due to their high tuition fees. While the university presents various strategies (UAL, 2022), these often appear to serve bureaucratic purposes—mainly to secure funding. Ultimately, the institution is deeply tied to the capitalistic and economic structures of the country.

Despite its ability to attract students, there is no real safety net for artists after graduation in the UK. The cost of living in London continues to rise, making it extremely difficult to sustain a career as an artist. Of course, not everyone can—or should—become a professional artist or designer. However, countries like the Netherlands (with the Mondriaan Fund) and Finland (through The Arts Promotion Centre Finland, Taike) have schemes to support freelance artists. Although the UK has Arts Council England (ACE), it does not fully accommodate the needs of individual artists or the scale of demand.

That said, one criticism of such support systems is that they do not necessarily produce better work. Some argue that artists working under these structures tend to create more mediocre art due to the security provided. Additionally, the sustainability of these government support systems remains uncertain, given the unpredictable global economic climate.

There is no doubt that universities operate as businesses—this is undeniable. However, individual tutors often place great value on higher education, beyond the institution itself. As Grayson Perry says successful artists are not necessarily those who are frequently referenced by others, but those who develop a strong internal reference system understanding their sensitivities and feelings. (Alexander and Meara, 2022). While universities emphasise visibility and employability, it is equally important to maintain a critical, provocative, and challenging identity—just as institutions themselves should.

Alexander, L. and Meara, T. (2022) Central Saint Martins Foundation: Key Lessons in Art and Design. London: Thames & Hudson.

Arts Council England (n.d.) Arts Council England. Available at: https://www.artscouncil.org.uk/ (Accessed: 4, March, 2025).

Arts Promotion Centre Finland (Taike) (n.d.) Taike – Arts Promotion Centre Finland. Available at: https://www.taike.fi/en (Accessed: 4, March, 2025).

Mondriaan Fund (n.d.) About the Fund. Available at: https://www.mondriaanfonds.nl/en/about-the-fund/ (Accessed: 4, March, 2025).

UAL (2022). Our strategy 2022-2032. [online] UAL. Available at: https://www.arts.ac.uk/about-ual/strategy-and-governance/strategy.

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Reflection 4: Artist as a Teacher

Posted on 17th March 2025 by Yui Yamamoto

These are personal reflections on teaching as part of my artistic practice. I will raise questions and explore them accordingly.

Can non-artists teach artists?

One of my best educational experiences came from a professor of social science. Equally, I’ve learned a lot from farmers, elementary school teachers, and my grandmother! My background is in social science, and ideally, I would like to incorporate different areas of expertise into my pedagogy in higher education of art.

Art theory books are not necessarily ideal for artists to study. In my opinion, they are written for art historians, curators, and academics—not for practitioners—because they often suggest what is “right” rather than allowing for exploration. Instead, I would recommend reading philosophy books, art history books, novels, and academic journals from other disciplines.

Can artists teach artists?

As a Visiting Practitioner, I assisted the Site-Specific Project led by AL and artist Geraldine Pilgrim. Here’s what I learned from her:

  • She doesn’t compromise on details. She shows commitment, works long hours, and takes her practice seriously. Sometimes she is quite strict, but students follow and understands the moral code.
  • Adapting to students’ needs isn’t always beneficial. It’s important to clarify priorities and set clear expectations.
  • Sometimes she exposes students to her artistic ideals. A very established artist might be in a position to do so. long hours of waiting and physical labor can be exhausting for both students and assistants and lose momentum for learning rhymes.
  • Not managing emotions well is not ideal in an (contemporary) educational setting.

What can artists teach in universities?

As seen in Geraldine’s project, she teaches what she specialises in—site-specific work—by sharing her skills, knowledge, and methods. Similarly, many workshops in art galleries, such as those at Tate Modern, often feature artists leading sessions.
https://www.tate.org.uk/whats-on/tate-modern/an-introduction-to-collage

But what distinguishes higher education pedagogy from this? Should it be different? Learning Outcomes (LOs) make things different? I don’t have a definite answer as it likely varies across institutions and individual’s skill set. So far, Joseph Beys is my leading model. I would like to discover more on this.

Can artists work with their students?

As an artist, I sometimes struggle with this dilemma. I once made the mistake (?) of involving a student in my work, only to be accused of exploiting the student—even though that was never my intention. The answer to this question is unclear. Perhaps the safest approach is to avoid involving students in personal projects altogether. Alternatively, could I frame a project as a collaborative workshop instead? I need to research this further by speaking with other artist-educators.

How to avoid becoming a slave of students?

Supporting students is energy-consuming, especially when combined with administrative responsibilities. At this stage of my career, balancing these demands is challenging—I need to perform well, but I also need to protect time for my own practice and earn enough to survive in London. Setting boundaries with students is often the topic. Since they pay high tuition fees, their expectations are often high—and criticism can be brutal if they feel unsatisfied.

Tate (2024). An Introduction to Collage | Tate Modern. [online] Tate. Available at: https://www.tate.org.uk/whats-on/tate-modern/an-introduction-to-collage [Accessed 17 Mar. 2025].

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Record of Observation 3: Yui Yamamoto from Dr. Frederico Matos

Posted on 17th March 2025 by Yui Yamamoto

Session/artefact to be observed/reviewed:

Size of student group: 18-15

Observer: Dr Federico Matos

Observee: Yui Yamamoto (Academic Support Tutor role)

Part One

What is the context of this session/artefact within the curriculum?

Part of the Major Project for MA Performance Screen Year 2. Towards the final project, they prepare for the professional practice. As an academic support, I offer two workshops on practical writing: artist statement and funding application. This time is the second session: how to write funding application. Lecture happens morning and afternoon is practice.

How long have you been working with this group and in what capacity?

Although I know some of students through project of MA Performance Design Practice (I am working for MA PDP as a VP too), this is my second time to teach this group.

What are the intended or expected learning outcomes?

Students will understand the insight of funding application and start composing the application.

What are the anticipated outputs (anything students will make/do)?

Writing the draft of artist statement and generating the materials.

Are there potential difficulties or specific areas of concern?

Some people might not like the exercises I offer. Engagement due to the lack of previous contacts. Might be boring but this workshop is mandatory. Hopefully the attendees are motivated enough.

How will students be informed of the observation/review?

I will explain this to students in the introduction.

What would you particularly like feedback on?

Practicality (if the workshop is useful or not), Clarity, engagement.

How will feedback be exchanged?

Through this reflection form or discussion.

Part Two

Observer to note down observations, suggestions and questions:

Yui, thanks for having me observe your session and for the detailed observation form.

I really enjoyed your session and how you engaged with students both in class and online. Hybrid sessions can be challenging but I think you managed this well. There is a very friendly and supportive environment, and students seemed to feel really comfortable in the session, working on their bids and learning with you and each other. You also seem to know the students, even if this the second session you have with (some of) them.

You established a nice, conversational, environment at the start before the class started and this was kept throughout the session. You asked at the start if students had managed to collect materials as per the task you had set them prior. Then you move to focus on what students must do for their pitch. This was clearly valuable for the students, and this was obvious by the engaged way they focused on the tasks in class. The focus on assessment is important. Possibly there are links here to future careers that could have been highlighted perhaps, and I wonder if that focus could have been made more explicit. This could have been discussed earlier or later in the session, as I only observed 1 hour of a longer session.

You go through the slides explaining the expectations of the funding application and you answer all the questions the students ask. You have a really friendly demeanour and come across as knowledgeable and experienced in the field, and it is clear that students appreciated and valued this. I think that some slides could be clearer with less information or bigger fonts, as I found some hard to read. I was at the back of the room so this could be a reason for this, while students were much closer to the slides. Still, I think this is something that you could consider in future sessions.

You explain really well the different considerations students need to have in mind, from writing to understanding jury process. You keep your attention towards your students. I think the class layout worked really well.

I wonder if in setting the task you could maybe suggest clearer ideas of how students can provide peer feedback and so they can have parameters for providing it. As a suggestion, you could maybe relate to the LOs for the unit, or along the lines of ‘what makes an application ‘successful’ – though the ‘text of proposal’ slide does provide a useful set of questions to consider. It was great that you provided an example of a funding library.

Before students set on their tasks you asked if they understand what they were expecting to do in a supportive and encouraging way. A student then asked you to read their draft. You provided clear feedback about clarity and motivations in a very friendly and supportive way.

As I completed the observation, I can see students are working individually and in pairs/small groups in a very engaged way.

I think this session worked really well and supported students in their work.

Part Three

Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:

Thank you for the encouraging comment.

In this particular class, engagement was really high. The students were eager to listen and complete the tasks. Since we had a previous session with them—though on a different topic—they were more relaxed about what we were about to do. Topics such as artist statements or funding applications are crucial to an artist’s career, so they were very proactive.

The feedback on clarifying learning outcomes (LOs) could be a good point. However, since these tasks are directly related to their future careers, it’s ultimately up to them. If they don’t engage with the workshop, they might miss out on opportunities—which I clarify in the morning lecture. The aim of this unit’s learning outcome is to prepare them for professional practice, so my focus wasn’t necessarily on emphasising the LOs themselves.

I acknowledge that one of my strengths is engagement. As an artist who also works in this field, I can share up-to-date information on certain topics. If there’s something I could improve, it would be taking more time to research the details and philosophies behind funding applications, as well as drawing from my own successful experiences. This could enhance the credibility of my teaching.

Additionally, because my workshop is very practical, some topics might feel vague—which is fair, as there are certain things I don’t fully know myself, given that I’m still in the early stages of my artistic career. For example, I’ve never won a large-scale grant before! Acknowledging my limitations, I structured the workshop accordingly, but I see room for improvement in certain areas.

One aspect that worked particularly well was reviewing mock or past funding applications individually as a final exercise. This allowed me to assess each participant’s writing skills and provide more useful, tailored suggestions and advice.

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Reflection 2: Doubting Learning Outcome

Posted on 4th March 2025 by Yui Yamamoto

I believe Learning Outcomes (LOs) are a valuable tool for providing the frame in higher education. According to Addison (2014), LOs were developed to create consistency, increase clarity, and promote inclusivity. They serve as a guide for students and educators, ensuring clear goals and expectations for courses or programs.

However, the Learning Outcomes framework faces a lot of challenges. While it aims to standardise education, this emphasis on uniformity can restrict spontaneous and diverse learning experiences. LOs are often tied to bureaucratic systems that prioritise measurable performance over meaningful educational engagement (Addison, 2014). This focus on compliance can stifle creativity, particularly in creative disciplines like art and design.

For example, during an open day for prospective students, our course leader chose not to use the standardised PowerPoint provided by the university. Instead, they showcased live work and engaged directly with the audience. This approach resonated more with students, and our course attracted more applicants than others. While the course leader’s charisma played a role, this example highlights how standardisation can overlook the value of authenticity and spontaneity.

Although this scenario doesn’t directly relate to LOs, it illustrates how standardisation in large institutions like UAL can fail to recognise alternative, dynamic approaches. This raises broader questions: Are LOs being used primarily as a bureaucratic tool to measure administrative success, rather than fostering critical thinking, innovation, and risk-taking? If LOs encourage students to be critical and innovative, why does the university’s management seem reluctant to take risks in its operations? At times, UAL feels more like a corporation, prioritising numbers and buzzwords like “innovation” while lacking transparency and uniqueness.

I understand that large institutions like UAL must compromises a lot in order to stabilise the business and recruit large amount of students. However, there’s a disconnect between the purpose of LOs—encouraging critical and creative thinking—and the university’s actions. While LOs aim to empower students, the institution’s focus on external metrics can overshadow their needs, making its approach feel superficial.

In art education, I’m concerned about the impact of admitting large numbers of students, which can lead to a lack of quality education and support. While this contradicts UAL’s business plans, the reality is that higher education is heavily influenced by government funding and economic conditions. These factors are beyond our control, leaving us to focus on improving smaller, more manageable aspects of the system. Well, PgCert might be what I am talking about here. It could be just another educational bureaucratic measurement, but it might change something!?

Addison, N. (2014) ‘Doubting learning outcomes in higher education contexts’, International Journal of Art & Design Education, 33(3), pp. 275–285.

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