
Digby Warren
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Papers by Digby Warren
development of a new hybrid organisation, a ‘third space’ characterised by reciprocity,
commitment, effective communication, competence and trust.
value of such an approach is illustrated through a case study of a module that forms part of a postgraduate qualification in higher education teaching and learning.
Through undertaking a real course design and/or evaluation project, participants have an opportunity to develop a scholarly approach via the application to practice of curriculum and pedagogic theory and possible linkage of teaching with their research interests. Peer assessment is incorporated as another means to promote critical engagement with the curriculum field. The module is reviewed with reference to its theoretical content, delivery, assessment and feedback from participants and external examiners. Participants found that the module enhanced their intellectual grasp of curriculum issues and their capacity to cope with the challenges of teaching
themes in relation to the goals, methods, challenges and outcomes of arts-enriched
pedagogies as applied to professional and other (non-arts) disciplines.
Collectively, the approaches illustrated in these case studies represent various
types of ‘arts-based inquiry’, a term borrowed from the research literature that Louise
Younie (Chapter 2) has aptly extended to the learning and teaching domain. In her
definition, arts-based inquiry refers to ‘student practical engagement with any art form –
poetry, photography, painting, narrative, sculpture, dance, music, etc. – as they reflect on
their experiences’. It offers opportunities for students ‘to engage in their own creative
process’ and to ‘draw out’ the learning they have acquired.
present the challenge of developing curriculum models that can accommodate a
more heterogeneous student body. Drawing primarily on the South African
experience, and similar findings from Australia, this article examines various forms
of provision in terms of intended target group, assumptions, goals and curriculum
context. A distinction is made between separate, semi-integrated and integrated
approaches and associated models. On the grounds of both educationally relevant
theory and actual practice, it is argued that ‘separate’ provision of the ‘academic
support’ type has a limited impact, and that a mix of semi-integrated and integrated models of curriculum provision offers better prospects for helping a wide
spectrum of students to succeed at university. Some implications for teaching
and curriculum development are illustrated with reference to the Arts and
Humanities.
development of a new hybrid organisation, a ‘third space’ characterised by reciprocity,
commitment, effective communication, competence and trust.
value of such an approach is illustrated through a case study of a module that forms part of a postgraduate qualification in higher education teaching and learning.
Through undertaking a real course design and/or evaluation project, participants have an opportunity to develop a scholarly approach via the application to practice of curriculum and pedagogic theory and possible linkage of teaching with their research interests. Peer assessment is incorporated as another means to promote critical engagement with the curriculum field. The module is reviewed with reference to its theoretical content, delivery, assessment and feedback from participants and external examiners. Participants found that the module enhanced their intellectual grasp of curriculum issues and their capacity to cope with the challenges of teaching
themes in relation to the goals, methods, challenges and outcomes of arts-enriched
pedagogies as applied to professional and other (non-arts) disciplines.
Collectively, the approaches illustrated in these case studies represent various
types of ‘arts-based inquiry’, a term borrowed from the research literature that Louise
Younie (Chapter 2) has aptly extended to the learning and teaching domain. In her
definition, arts-based inquiry refers to ‘student practical engagement with any art form –
poetry, photography, painting, narrative, sculpture, dance, music, etc. – as they reflect on
their experiences’. It offers opportunities for students ‘to engage in their own creative
process’ and to ‘draw out’ the learning they have acquired.
present the challenge of developing curriculum models that can accommodate a
more heterogeneous student body. Drawing primarily on the South African
experience, and similar findings from Australia, this article examines various forms
of provision in terms of intended target group, assumptions, goals and curriculum
context. A distinction is made between separate, semi-integrated and integrated
approaches and associated models. On the grounds of both educationally relevant
theory and actual practice, it is argued that ‘separate’ provision of the ‘academic
support’ type has a limited impact, and that a mix of semi-integrated and integrated models of curriculum provision offers better prospects for helping a wide
spectrum of students to succeed at university. Some implications for teaching
and curriculum development are illustrated with reference to the Arts and
Humanities.