Doctoral Pilot Study – Part 3c

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“I don’t know where I’m going from here, but I promise it won’t be boring” [David Bowie].

 Observations of my practice

The Art of self-reflection

Since commencing my Doctorate in January 2015, I have immersed my self in researching the industry and field of my practice, attempting to better understand how my practice sits within the very broad fields of music and sound. As I drilled down further, I defined a number of divergent disciplines within the field of music and sound that had emerged as technologies developed (Théberge 1997, in Page 2015a). Reflecting on the path my music practice had taken over a number of decades, I noticed that my path had taken what could only be described as a diagonal trajectory, across a number of the disciplines of music practice, as technologies were developed. Like many of my peers, I seemed to be attracted to new technologies and attempts to apply these, like to a moth to a lamp, I was passionate about analogue technologies; but I was also curious as to the opportunities that digital technologies brought to practice: the multiple array of sound options within a small device, relative to the multiple analogue devices that would be needed to produce a similar array of sounds. Then as virtual environments became possible with the development of computer technologies, my curiosity was again attracted to the possibilities: the exponential array of sound options, within a relatively small device such as a desktop computer, relative to the multiple digital devices that would be needed to produce a similar array of sounds (see History Music Production Part 5a). As I delved deeper into my past, I accepted that I did not see my self as an innovator, just curious. A music practitioner who was attracted by new sounds and approaches to music production and performance. I began to recognise that I naturally took a multi-disciplinary approach in not only my music practice, but in my life in general. I recall few times in my life where I was content to focus on one discipline for an extended period of time. I have accepted that my practice now covers three broad disciplines: a broad definition of music practice (Small 1998), education and learning practice, and my most recent engagement, research practice.

Research Practice

Continuing on from my previous blogs in this series; I have actively engaged in research practice investigating various research methodologies, I started to define my view of what my practice was. Whilst I have not formally studied Reflective Practice at a tertiary level, I have been presented a number of formal tertiary milestone opportunities where I was required to reflect on my practice. As a post-graduate research student, I am reading broadly about this particular methodological practice in order to improve my understanding. Whilst reading, I have found my self reflecting on each of my various forms of practice, and speculating how the particular methodological practice may apply to any of these forms.
Questions arising in my mind over the past several months have included:
  • What is the range of opinions about the process of reflecting within academic literature?
  • What of these opinions have been related to the context of creative practice?
  • What benefits might I expect as result of my reflecting on my own creative practice?
    • Should I expect these benefits to be of a tangible or non-tangible form?
    • If of a non-tangible form, how will I know that I have received the benefit?
  • Does the current literature differentiate between the process of reflecting, and what is referred to as reflective practice?
  • What are there different models of reflective practice, and how could they be applied?
  • Could different models of reflective practice be more appropriate to different forms of practice?
  • Is the act of reflective process in itself expected to bring benefit to my practice?
As I have progressed my Project 1’s creative process over the past several months – particularly in terms of the collection of data and accompanying documentation process –  I have found myself considering:
  • if I reflect in my music practice?; and if so,
  • how do I reflect in my music practice?
Further questions have arisen:
  • assuming I reflect, at what point in my practice – ie when – did I engage in reflective practice?
Further:
  • were there any observations in regard to the timing of my reflective practice? (ie: positive, neutral or negative implications);
  • had I observed that my reflective practice occured as a planned or unplanned process?
  • what did my reflective practice process look like? (ie: site, time relative to my practice, did I collect evidence of these reflections? and if so, how did I collect this data/by what mediums did I collect this reflection data)?
  • had I observed any benefits from engaging in reflective practice?
  • to what degree would I classify these benefits as being tangible or non-tangible?
  •  how did I engage in the act of reflection or reflective practice? 
Given that I nominated a number of authors in my project brief  who I had thought I would align myself to their approaches to reflective practice, have I found any of these models useful in the process of investigating my practice?
  • If so, which particular model or models have I found to be useful at which stage of my practice?
  • If not, are there other reflective practice models defined in academic literature that may better apply to my practice?
  • If so, which model or models may these be?

Reflective versus Reflexive Practice

The other side of the discussion practitioners may have with fellow reflective practitioner models is: when does creative practice move from one of reflection, to that of reflexive practice?  Reflexive practice is referred to when practice is reflected upon, and  choices of improvements are determined to trial and integrate into one’s practice moving forward. There is a sequence to the two forms of practice merely by definition, but as to how I can use or integrate these into my practice is still unclear to myself.
For me as a songwriter, I have for many years acknowledged that I intuitively use a writing technique called stream of consciousness – writing commenced from a specific stimuli (visual or other), writing continuously, pursuing a thought process without stopping for contemplation, narrowing ones’ focus in on a central theme, until the point of a specific topic and line of thought is illuminated and committed to the document (paper of electronic). I find as part of the process I actually move into a semi-conscious state. It is as Ryan describes Archer’s model in “Reflective Practice in the Arts”. Whilst not music practice specific, Ryan talks about performative practice which applies very well to this experience of this creative stage of my music practice. Archer’s model terms this type of reflective practice  as [bottom right point] “Expressivity – reflecting as performer to improve/change in the moment” (Ryan 2014, 80).

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Figure I – Archer’s Reflective Practice model (Ryan 2014)
At the moment of time within my stream of consciousness writing, I am performing – improvising within my mind, considering and expressing, and then responding to my prior thought/s. It is much the same way I respond when I am performing music, and improvising. I am reflecting in the moment, and within a slit second responding with another melodic, harmonic and rhythmic line. I think the key aspect of this type of reflection is ‘in the moment’.  The reflective practice is on-site, in the moment. As noted in a previous blog, Schon (1983) refers to this reflective practice as being “reflection-in-action”. As a music practitioner I engage in this form of reflective practice regularly. Effectively,  I am in the creative process, performing. The evidence of this reflective practice is actually the output of the performance – the cultural production; whatever form that may be. Whether the improvised instrumental solo that may or may not be captured on tape or video; or the stream of conscious writing committed to the document (paper of electronic).
Aesthetics is another stage of the reflective practice process according to Archer: “Aesthetics – reflection of the perceiver of art” (Ryan 2014, 80). According to Archer’s model, aesthetics is a arm’s length reflective practice. It may also include other’s in the performance piece, other than the creative practitioner such as an audience member, who is observing the performance as it occurs, with the performer actually responding to their response (facial, vocal, etc) and altering their creative practice as a result. However, as a researcher observer of my own creative practice, stopping and considering my process from a distance – perhaps even only at an arm’s length – is highly likely going to cause the creative performance in the moment, to stop, while the practitioner, the observer, steps back and look at their art from a greater distance than in the first step of the reflective practice stage; that of expressivity.
The last stage of Archer’s reflective process is that of expression: “Expression through symbolic capture – reflecting on and learning about self through the semblance produced” (Ryan 2014, 80). This process is likely to be in contrast to the two former stages of the reflective practice process. Instead of being on-site, this part of the process, is likely to be away from site, as part of what Schon (1983) has referred to as either “Reflection-on-Action”; or possibly what Pascal and Thompson (2012) has referred to  as “Reflection-for-action”.
With this distinction, I realised I needed to read more broadly and deeply to consider my reflective practice model options from other specialist research practitioners, to apply to my particular auto-ethnographic research study. These are likely to be, in addition to the previously discussed Schon (1983), Brookfield (2002,1995, 1986), Archer (2010,2007), Ryan (2014) and Griffiths (2010); Rolfe (2002), Kolb (1984), Lawrence-Wilkes and Ashmore (2015), and Boud (2001).
I also need to research how one is expected to then test one’s practice, pre-reflection and post-reflexive developments. It would seem to be quite a challenging task, but a necessary one to be able to provide qualified or quantified evidence of either positive or not positive results from such reflective and reflexive practice within my research study. It is after all a requirement of robust academic research – to demonstrate thorough research practice.
This blog series is planned to continue next month with Research Practitioner Part 6. It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.
References
Archer, Margaret S. 2007. Making our way through the world: human reflexivity and social mobility. Cambridge: Cambridge University Press.
Archer, Margaret S. 2010. Conversations about reflexivityOntological Explorations. New York: Routledge.
Bowie, David David Bowie quote  Accessed 3rd January 2016.
Boud, David. 2001. “Using journal writing to enhance reflective practice.” New Directions for Adult and Continuing Education 2001 (90): 9-18. doi: 10.1002/ace.16.
Brookfield, Stephen D. 2002. “Using the lenses of critically reflective teaching in the community college classroom.” New Directions for Community Colleges 2002 (118): 31-38.
Brookfield, Stephen D. 1995. Becoming a critically reflective teacher. San Francisco: Jossey Bass.
Brookfield, Stephen. 1986. Understanding and facilitating adult learning: a comprehensive analysis of principles and effective practices. Milton Keynes: Open University Press.
Griffiths, Morweena. 2010. Research and the self. In The Routledge companion to research in the arts, edited by M Biggs and H Karlsson, 167-185. London: Routledge.
Kolb, David A. 1984. Experiential learning: experience as the source of learning and development. New Jersey: Prentice-Hall
Lawrence-Wilkes, L and A Chapman. 2015. Reflective practice. Accessed 2nd June 2015. http://www.businessballs.com/reflective-practice.htm.
Page, David L. 2015a History Music Production Part 4 – Large Format Console Studios to Digital Project Studios  Accessed 18th March 2016.
Page, David L. 2015b. History of Music Production Part 5a – Rise of the DIY Practitioners Accessed 18th March 2016.
Pascal, J and N Thompson. 2012. “Developing critically reflective practice.” Reflective Practice: International and Multidisciplinary Perspectives 13(2) 311-325. Accessed June 12, 2015. doi: 10.1080/14623943.2012.657795.
Question mark image courtesy of: Cool Text Accessed March 18, 2016.
Rolfe, Gary. 2002. “Reflective practice: where now?” Nurse Education in Practice 2 (1): 21-29.
 Ryan, Mary Elizabeth. 2014. Reflective practice in the arts. In Literacy in the Arts, edited by G Barton, 77-90. London: Springer.
Schön, Donald A. 1983. The reflective practitioner: how professionals think in action. Aldershot, England: Arena.
Self reflection image courtesy of: Self-reflection-for-personal-growth  Accessed 18th March 2016.
Small, Christopher. 1998. Musicking: the meanings of performing and listening. Hanover: University Press of New England.
Théberge, Paul. 1997. Any sound you can make: making music/consuming technology. Hanover: University Press of New England.

 

Bibliography
Blom, Diana, Dawn Bennett and David Wright. 2011. “How artists working in academia view artistic practice as research: Implications for tertiary music education.” International Journal of Music Education: 0255761411421088.
Ellis, Carolyn. 1997. “Evocative autoethnography: Writing emotionally about our lives.” Communication Faculty Publications Paper 304.
Ellis, Carolyn S and Arthur Bochner. 2000. “Autoethnography, personal narrative, reflexivity: researcher as subject.” In The Handbook of Qualitative Rsearch, edited by Norman Denzin and Yvonna Lincoln, 733-768. New York: Sage.
Ferry, Natalie M. and Jovita M. Ross-Gordon. 1998. An inquiry into Schön’s epistemology of practice: exploring links between experience and reflective practice. In Adult Education Quarterly48 (2): 98-112. doi: 10.1177/074171369804800205.
 Finlay, Linda. 2008. “Reflecting on ‘reflective practice’.” Practice-based Professional Learning Centre paper 52 29 (August 12th, 2015). www.open.ac.uk/pbpl.
Franz, Jill M. 2010. Arts-based research. Researching Practice: A Discourse on Qualitative Methodologies 2: 217-226.
Gibbs’ Reflective cycle image courtesy of: https://www.pinterest.com/pin/543739354987865666  Accessed March 18, 2016.
Grace, S and R Ajjawi. 2010. “Phenomenological research: Understanding human phenomena.” Researcing practice: A discussion on qualitative methodologies. Rotterdam: Sense.
Haseman, B 2015. Forensic reflective practice: effecting personal and systemic change. Accessed 7th July, 2015. https://blackboard.qut.edu.au/webapps/blackboard/content/listContent.jsp?course_id=_118711_1&content_id=_5744651_1.
Kolb, Alice Y and David A Kolb. 2009. “Experiential learning theory: a dynamic, holistic approach to management learning, education and development.” In The Sage handbook of Management Learning, education and Development, edited by Steve J Armstrong and Cynthia V Fukami, 42-68. London: Sage.
Knowles, Zoë, Gareth Tyler, David Gilbourne and Martin Eubank. 2006. Reflecting on reflection: exploring the practice of sports coaching graduates. Reflective Practice 7 (2): 163-179.
Lyons, N. 2010. Handbook of reflection and reflective inquiry: mapping a way of knowing for professional reflective inquiry. Vol. 1 New York: Springer.
McKee, Alan. 2003. Textual analysis: a beginner’s guide. London: Sage.
Mykhalovsky, Eric. 1996. “Reconsidering Table Talk.” Qualitative Sociology 19 (1).
Pace, Steven. 2012. Writing the self into research using grounded theory analytic strategies in auto ethnography. TEXT Special Issue Website Series 13.
Page, David 2016 QUT KKP622 Mid-Project 1 Research Study Progress Report submission draft Accessed 18th March 2016.
Page, David 2015c QUT KKP603 Project Development in the Creative Industries submission DLP DCI Project Brief  Accessed 18th March 2016.
Roth, Robert A. 1989. Preparing the reflective practitioner: transforming the apprentice through the dialectic. In Journal of Teacher Education 40 (2): 31-35.
Wright, David George, Dawn Bennett and Diana Blom. 2010. The interface between arts practice and research: attitudes and perceptions of Australian artist‐academics. Higher Education Research & Development 29 (4): 461-473.
– ©David L Page 20/03/2016
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

Now

This blog is a continuation of a series. See here for the previous blog.

The Opportunity

The here and now always represents an opportunity – an opportunity to change, or not to change. To choose either is a choice, despite what we may tell ourselves.
As the image above highlights, life is dynamic, flowing in patterns. However unlike the image above, the patterns of life are not always as obvious to us humans. Sometimes we are too close and involved to see. We may need some distance, or an outside opinion to gain some perspective on the actuality of the situation.
In all aspects of life, irrespective of whether we are engaging in sport, in exercise, a hobby, a job, or being a family member, a lover or a friend, it is our responsibility to develop our practice – the way we engage and do things.
It is our responsibility to plan, to act, to stop, to reflect and consider, to seek outside opinion and feedback, to critically analyse our actions and the outcomes realised, to propose and to adapt, and then to continue our practice. The discipline of development via reflective and reflexive practice is not a one-off affair, but an on-going commitment to the advancement of our maturity, our wisdom, our knowledge, and our skills.
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In my life I have had the opportunity of diverse experiences across a number of industries and disciplines in a number of cultures and countries. I am very fortunate to have had such diversity of opportunities. However, at certain junctures we are presented with opportunities to reflect on our practice, our current trajectory, and change our direction.
QUT Industries logo
My current doctoral research study in the Creative Industries is an opportunity to explore a new direction, and most importantly as part of the process, stop and critically reflect on my four decades of music practice to investigate the way I engage and do things as a contemporary DIY music practitioner. Now represents an opportunity – an opportunity to develop a plan, to act, to stop, to reflect and consider, to seek outside opinion and feedback, to critically analyse my actions and the outcomes realised, to propose and to adapt, and then to continue my practice. Hopefully as a more mature, wise, knowledgeable and skilful practitioner.
This blog series is planned to continue next month with Research Practitioner Part 3. It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.
References
DL 2005 US Review image courtesy of DL. Accessed 14th January, 2016
QUT Creative Industries image courtesy of QUT Creative Industries. Accessed 14th January, 2016
Pulsating image courtesy of: Image Accessed 15th January, 2016
– ©David L Page 15/01/2016
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

Me, myself, I – my lifelong commitment to advancing my self & my creative practice

September 2015 Message sent to my HE undergraduate Creative Practice students at the completion of their Trimester studies.

The Art of self-reflection

“I think the grades and comments are reflective of your personal learning and effort across this Trimester. Irrespective of your grade or overall result, I trust that everyone has an increased awareness of their Creative Arts practice, and themselves as a Creative Arts practitioner.
In my experience, learning never ceases; as long as we keep reflecting on what we are doing, analysing how we are doing it, and then considering how we can improve. And lastly of course, applying new ways back into our practice (reflexively). This process is best done not only to our practice, but perhaps most importantly, to our selves, as practitioners. We should see our selves as commanders of our own ships, in need of ongoing development and improvement.

DIY Image

Please be as proactive in your practice as you can afford the time over your break. I look forward to seeing you around the college you next Trimester”. 
Regards, Dave
What I am listening to: The Beach Boys’ “Smile”  Peace out!
References
DIY image courtesy of: DIY Accessed 9th September 2015
Self reflection image courtesy of: Self-reflection-for-personal-growth  Accessed 9th September 2015
– ©David L Page 10/09/2015
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

Educational Philosophy Part 3c

On track to develop mastery of one self, what is your approach to education and learning? (contd)

Continuing on from my previous blogs in this series: it is my desired goal to develop a collaborative, collegial, safe learning environment. Trust and respect are core to this process.
As mentioned in the previous Layer, prior to the learning practice session I need to be in a position to pre-assess the learning group. In instances where I do not have the required background information – which I admit to being the majority of cases – I would need to structure my initial class room activities to include activities which enable me to educe the range of background information and understanding I consider relevant and useful. To facilitate the needed getting to know my learners phase, I find being open with my learners along similar levels of information and behaviour that I expect of them. I consciously invest time in the initial stages of the learning experience with a new group of learners to develop an appropriate learning session culture, which includes confirming the agreed learning outcomes. This step is necessary to ensure the learner’s expectation and the learner facilitator’s expectations are aligned; and if not, to take the opportunity to discuss and address any misaligned of expectations at the earliest opportunity. The ultimate goal of a learning experience is to optimise the effective student learning experience of the particular learners. In clarifying both the learner’s and my learning facilitation expectations, I am in my experience removing possible issues or objections that may arise later. Even if issues or objections regarding levels of expectations do arise later in the learning experience, at least there has been prior dialogue – a conscious reference point from the outset – to return to and continue discussion. This process is all part of developing trust and respect for a collaborative, collegial, safe learning environment.
Learner assessment – during session delivery
Throughout the learning experience I will be informally assessing the progress of the learner group, and as much as humanly possible, the progress – in real time assessment –  of each of the individual learners. My goal at any point in time thought the learning experience is to confirm all of the learners are engaged and are being presented with a learning experience that is compatible with their personality type, their thinking approach, their intelligences, and their learning styles (Light et al 2009, 77). I need to confirm the learner’s understanding independently throughout the learning experience by a range of means. Two such means are via questioning techniques; and observing students in action. Concept checking questioning techniques (CCQ) and instruction checking questions (ICQ) enable me to effectively and efficiently achieve this, ensuring that I systematically include all participants within the particular learning experience – as appropriate (Fisher and Frey 2007; Angelo and Cross 1993). Observing of students carrying out a task can also confirm to you as the learning environment facilitator that your instructions were clear. But such observation allows you to also confirm the student’s approach to a particular function; the degree of competence that may or may not have with that particular function; any gaps in knowledge they may or may not have; and the opportunity for you as their learning facilitator to further assist them in order to optimise their effective learning experience. This later observation in the environment of audio training used to be conducted in workplace training contexts (the apprenticeship model), but in the contemporary environment, much of this type of training is now conducted in formal education programs (Billett 2001): formal education programs such as SAE Institute’s Creative Media degree, Bachelor of Audio Production program (SAE Institute, 2015).
As a learning experience facilitator, my desired goal is to develop a collaborative, collegial, safe learning environment. Trust and respect are core to this process. As part of this process, my aim is to reveal my self as candidly as is appropriate – socially and culturally. In my experience, the more I know my self as a practitioner, the more congruent I can be with others – including my students; and the more potential I have to be able to optimise the effective student learning experience of those particular learners.

Layer 10: Evaluation of the learning practice

The evaluation of the learning practice session is what I consider to be one of the most important stages of the education & learning process. The purpose of this stage is to have the learners evaluate the learning session in terms of the content and/or processes.
I have observed many novice education and learning practitioners in many different scenarios overlook this stage, unaware of the importance of this stage. I have laid this evaluation section out in the following five (5) parts.

Layer 10a: Evaluation of the learning practice Pt1

This process commences at the conclusion of the central learning practice session. Often, I will have a break at the end of the central learning practice session, before I commence the evaluation stage.
In preparing for this stage prior to the commencement of the learning session, I need to consider how I am planning to have the learning session evaluated in terms of the content and/or processes. I consider how I will effectively and efficiently draw the education & learning practice session to a logical conclusion so that the learners can effectively and efficiently evaluate what they have learnt.
The evaluation process can be either a formal or informal process. However for best practice, I would advocate to include both a formal or informal process in the evaluation stage.
  • An example of an informal process could include a cohort-wide round table debrief of “what I learnt today?” I have be known in this stage to make notes down as they share; or if i feel this to be intrusive, then I may make mental notes that I will jot down immediately after the learning session has ended.
  • An example of a formal process could include a pre-arranged summative evaluation tool such as a feedback form that the learners respond to questions regarding the various aspects of the learning session.  The primary benefit of this confidential response of each individual if that one may elicit some responses that a informal round table debrief may not.
Once I have completed this evaluation process, I end the learning session officially – restating any expected action or practice required prior to a further learning session. I then dismiss the learners.

Layer 10b: Evaluation of the learning practice Pt2

Once the learning session has concluded, I then need to consider the evaluations.  For the formal process, this will include considering the quantifiable or qualitative responses in order to draw conclusions of the learner’s evaluation of the learning session.
For the informal process, this may include revisiting some jotted down points during the actually learning session round table debrief; or if considered an intrusive process, actually noting down learners’ comments that were made during that session.
This evaluation process could also include a third party observer who may have been sitting in on the learning session. Such a third party observer’s observations and input could be very beneficial in the event that there is a difference of opinion as to the usefulness of the learning sessions content and/or processes, between some of the learners; or some of the learns and you as the facilitator of the learning session.
Irrespective of what tool or party provided the evaluation of the learning session, my aim is to gather data regarding the following questions:
Did the learners realise the aims and objectives of the learning session?
How do I know they did?
How did I know they didn’t?
Anecdotally what was the feedback?
In terms of summative feedback, what was the evaluations?
Were there any observers in attendance in the learning session?
Intuitively, how did the learners realise the aims and objectives of the learning session?
Did some learners realise the aims and objectives of the learning session, but others not?
Why do I think this did/did not occur?
Did the learners realise the learning session objectives?
Why/why not?
How do I know this?
Did the learners feel they realised the learning session objectives?
Why/why not?
How do I know this?
Once I have completed the data gathering stage, I need to take time to reflect on the evaluation of the learning session.

Layer 10c: Reflective practice following the learning practice Pt3

There are benefits of reflecting on a learning practice session once it has concluded. The degree to which one can reflect is dependent upon one’s knowledge of the content or the different learning theories and approaches. You can only reflect on what you know. It is very difficult if not impossible to reflect on an aspect of your practice that you are not yet aware of. Whilst i feel this is obvious – common sense – I think the point is lost of some education administrators.
My practice covers the three disciplines of creative (music) practice, education and learning practice, and my most recent engagement, research practice. In Layer 5 I noted that my approach to all of these forms of practice, I “make time to reflect every day at some time upon some aspect of my diverse practice, referenced against other practitioners, whether peers or those who I value their cultural production. My focus is to gain clarity, greater understanding, increased insight, considering possible alternative workflows I could have pursued, and decide what form of practice I will pursue the next opportunity a similar circumstance arises” (Page 2004). I also noted my daily practice is to engage in both reflective practice and reflexive practice.
        Reflective Practice – introduction
Many novice practitioners may consider casual options of reflection; such as on the way home on the bus or in the car whilst listening to music, as being sufficient to develop their practice. Haseman differentiates casual reflections and conscious planned reflective practice as the difference between navel-gazing and what he terms forensic reflective practice (2015). The goal of reflective practice should be to turn experience into learning (Boud et al 2013). Therefore a deliberate activity to consider a past practice event, and then analyse it critically, appears to be the minimal criterion that defines robust reflective practice. A practitioner should consciously make time and space at a specific part of the day when where they can engage undisturbed in reflective practice; considering what they did, or didn’t do in that lesson; or what you did or didn’t do in terms of the agreed aims and objectives contained within your learning experience plan.
Specifically, education and learning practice needs to be considered in terms of the respective andragogies or pedagogies of the learning group.  In order to avoid the ill-disciplined habit of informal reflection, it should be the aim of the practitioner to have clear and transparent processes so that they can be examined closely as to their value, limitations and assumptions (McKee, 2003). The result could be a practitioner’s reflective practice toolbox, offering a range of strategies for: reflection-in-action (Schön 1983), reflection-on-action (Schön 1983) and reflection-for-action (Pascal & Thompson 2012): demonstrated by real world examples across any of the common aspects of teaching, such as: curriculum design; learning experience planning; delivery; and post-delivery evaluation.
Figure II – Reflective Practices Summary (Anderson et al 2015)
There are a number of possibilities of focus to reflect on following the learning practice. One can reflect on the experience of the learner; your experience as the practitioner; or your experience as a participant observer (Griffiths 2010). Brookfield’s theoretical framework for reflective practice is provided to examine these pedagogical practices through four different lenses – through our own eyes; through your student’s eyes; through our fellow professionals’ eyes; and through established theoretical views (Brookfield, 1995). This reflective practice process should at best inform and and enrich ones’ education and learning practice, allowing the discovery of innovative or creative practices, while also acknowledging contemporary literature on the subject.
Roth’s model could also be used for unpacking the reflective process, encouraging greater depth of analysis and further investigation as required (Roth, 1989). Together, these conceptual frameworks provide several perspectives and facilitate ways in which to think critically about teaching, and uncover effective practice. This framework could provide a platform for revealing a desired result of reflective andragogical or pedagogical practices in line with industry standards.
  • Questioning what, why, and how one does things and asking what, why, and how others do things 
  • Seeking alternatives 
  • Keeping an open mind 
  • Comparing and contrasting 
  • Seeking the framework, theoretical basis, and/or underlying rationale 
  • Viewing from various perspectives 
  • Asking “what if…?” 
  • Asking for others’ ideas and viewpoints 
  • Using prescriptive models only when adapted to the situation 
  • Considering consequences 
  • Hypothesising 
  • Synthesising and testing 
  • Seeking, identifying, and resolving problems
 Reflective Practice – specific to an education & learning practice session plan
The process I follow at the end of a education & learning practice session includes the following areas, with accompanying questions:
REFLECTION ON LEARNER’S LEARNING PT1
I do this process in two stages. The first stage is on-site, immediate post-practice. The benefit of this process is that the practice events are still fresh in my mind. I can scribe the physical, visual, auditory or emotional events of the day with a high degree of detailed recollection due to the currency of the events that have just been experienced or observed. In many ways, it is very much an stream of consciousness process – scribing without considering too much or judging my responses.  In terms of a detail of recollection I find this on-site, immediate post-practice reflective practice session is very beneficial as an initial data collection exercise. This process commits to my sub-conscious content for consideration, and until the point that I make time to return to the second stage of the deliberate reflective process, my mind will be turning over that data, and distilling the less significant events from the more prominent and significant events.
The range of questions I ask of myself to scribe my immediate first responses are:
  • Did the learner realise the aims and objectives of the learning session?
  • How do I know they did?
  • How did I know they didn’t?
  • Anecdotally what was the feedback?
  • Intuitively what was the feedback?
  • Did some learners realise the aims and objectives of the learning session, but others not?
  • Why do I think this did/did not occur?
  • Did the learners realise the learning session objectives?
  • Why/why not?
  • How do I know this?
  • Did the learners feel they realised the learning session objectives?
  • Why/why not?
  • How do I know this?
REFLECTION ON LEARNER’S LEARNING PT2
The second stage is away from site, and after some time has lapsed post-practice. I find it is crucial to conduct this second stage reflective practice in a different site to that of the practice session, as it allows a separation of any possible automated response that may be activated by the actual practice site that I am reflecting about. Additionally, the amount of time expired between the actual practice session and this reflective practice session may vary in each circumstance: I have found over doing this process over many decades that it has to be an appropriate amount of time to allow my mind to turn over that data, and distil out the less significant events from the more prominent and significant events. Sometimes this takes a few days, and at others times, it has taken several weeks. I am experienced enough in this process now to trust my inner time clock to know which particular practice session I will choose to reflect upon in any of the regular scheduled evening reflective practice sessions I hold.
As inferred, the benefit of this process is that the practice events become distilled in my mind, with the more prominent or significant events rising to prominence in my mind. This stage of reflective practice also allows for any emotion around that particular practice session to recede to a level where perhaps a greater degree of perspective can be applied to the event. With distance and time away from the practice, I find I scribe the prominent or significant physical, visual, auditory or emotional events of the last practice session with a greater degree of critical thinking due to the distance – time and place – from the events that had previously been experienced or observed. I generally do this process once I have concluded my responsibilities of the day – when the house is quiet, when my mind is free of other responsibilities. I may or may not have a hot beverage, and I sometimes conduct this exercise against a backdrop of soothing music which I find allows my mind to delve into depths of thought and analysis. In contrast to the stage of on-site, immediate post-practice stream of consciousness process gathering of recollection data, I scribe very consciously, analysing what and how I respond. I certainly consider why I have acted in practice – and also responded – in the ways I do, dissecting each and every prominent or significant event within my practice session. It is a rigorous process that I find is both mentally exhausting, but also satisfying due to the crystallisation of thoughts and ideas that I find usually occurs.
In this Part 2 stage, the range of questions I ask of myself to scribe my second round of very considered responses are very similar – if not the same – set of questions as outlined above. However, I definitely drill down within each question to a far greater level of depth, looking for insightful distinctions about my practice. The question words of what, how and why are instrumental in this process. In doing this second round of reflective practice, I find is that I am far more detailed in the scribing process, critically analysing to a depth that is absent from my on-site, immediate post-practice initial data collection reflection process. It is within this reflective practice session that I crystallise my thoughts and understandings, and gain fresh levels of clarity about my practice.
REFLECTION ON FACILITATOR’S PRACTICE DELIVERY
Given the above reflection on student learning, I ask myself the following questions:
  • Were the learning session outcomes realised?
  • How satisfied am I with the learning outcomes?
  • If not completely satisfied: why/why not?
  • Do I consider any changes need to be made in the next education & learning session of the similar aims and objectives? 
  • What were the strengths and weaknesses of the learning sessions?
  • How was the timing or the flow of the education & learning practice session? 
  • What worked?
  • What and why?
  • What didn’t work?
  • What and why?
  • Had I planned for this event/factor to happen?
  • Was it conceivable that it could occur?
  • What was the percentage of time between facilitator-talk (Ft) and learner-talk (Lt)?
  • Was this as planned and described in the education & learning practice session plan?
  • Why?
  • Why not?
  • How useful was the education & learning practice session plan?
  • What was?
  • What wasn’t?
  • How closely did I stick to the education & learning practice session plan?
  • What happened that forced the change?
  • Why hadn’t I planned for this change to happen?
  • Was it conceivable that it could occur/arise?
In terms of the education & learning approach:
  • How effective was the particular pedagogical/andragogical approach?
  • What worked?
  • What and why?
  • What didn’t work?
  • What and why?
  • In terms of the methods/tasks/processes:
  • How effective was the particular methods/tasks/processes implemented?
  • What worked?
  • What and why?
  • What didn’t work?
  • What and why?
  • What changes will I make for the next education & learning session of the similar aims and objectives? 
  • Are their any techniques or skills in terms of teaching practice I need to develop to better faclitate the education & learning session?
  • How could I further develop Ir learning session plan to accommodate unexpected events when they arise?
  • If I were working within a team, are there any issues related to the teaching team that I need to follow up on?
REFLECTION ON THE LEARNING SESSION’S ASSESSMENT STRATEGY
  • Did the learner meet the assessment requirements of the learning session?
  • How do I know they did?
  • How did I know they didn’t?
  • What assessment strategy did I use?
  • How effective was tthat approach in Ir opinion?
  • What worked?
  • How do I know it worked?
  • What didn’t work?
  • How do I know it didn’t work?
  • What changes will I make for the next education & learning session of the similar aims and objectives? 
  • Are their any techniques or skills in terms of assessment planning I need to develop to better faclitate the education & learning session requirement realisation?
REFLECTION ON THE LEARNING SESSION’S CONTENT
  • Did the learners absorb the required learning session content?
  • How do I know they did?
  • How did I know they didn’t?
  • Based on the pedadgogical/andragogical approach:
  • How effective was tthat approach in Ir opinion for this particular content?
  • What worked?
  • How do I know it worked?
  • What didn’t work?
  • How do I know it didn’t work?
  • What changes will I make for the next education & learning session of the similar aims and objectives? 
  • Are their any techniques or skills in terms of content I need to develop to better faclitate the education & learning session?
  • Are there any content questions I need to follow up with the learners? 
REFLECTION ON THE LEARNING SESSION’S LOGISTICS
  • Were there any factors outside of the educational and learning facilitator’s control that impacted the session in any way?
  • Negative? 
  • What?
  • Positive?
  • What?
REFLECTION ON TECHNOLOGY USED
  • What technology or tools will I need to have prepared prior to class (physical, IT)?
  • What digital tools and/or resources will I use in this education & learning practice session?
  • Will I need any technical support? If so state when, where and when.
  • Do I need to contact IT support prior to my education & learning practice session?
  • Do I need to schedule time to load computer programs or learning technologies prior to class? 
REFLECTION ON RESOURCES USED
  • What resources or materials will I need to have prepared prior to class (human, physical)?
  • What tools and/or resources will I use in this education & learning practice session? 
  • If so what, where and when. 
REFLECTION OF SELF
  • What did I learn or observe about Ir self during this education & learning practice session now that I have considered all aspects of the practice session in detail?
REFLECTION FOLLOWING ENGAGEMENT WITH CRITICAL FRIEND
  • Do I still hold the same opinions regarding the education & learning practice session now that I have discussed the practice session with my critical friend?
REFLECTION OF SELF
  • What did I learn or observe about my self during this education & learning practice session now that I have discussed the practice session with my critical friend?
REFLECTION FOLLOWING ENGAGEMENT WITH LITERATURE
  • Do I still hold the same opinions regarding the education & learning practice session now that I have engaged education & learning literature in terms of my specfiic education & learning practice session?
REFLECTION OF SELF
  • What did I learn or observe about my self during this education & learning practice session now that I have engaged education & learning literature in terms of my specific education & learning practice session?

Layer 10d: Reflexive practice following the learning practice Pt4

Returning to Brookfield’s approach as outlined above, once a practitioner has engaged in reflective practice, irrespective of whether that evaluative data has been internally generated, from the learner group within or post the central or evaluatiion session, observed and feedback from either a supervised observer, a peer observer, a critical friend, derived from reading literature, or from engaging in either informal or formal forms of professional development programs; unless something is decided upon to be trailed into one’s practice, in order to develop that practice, then I would question the usefulness or the validity of that reflective practice. As introduced in my Music Practitioner – Part 3 blog, Haseman outlines that for practice to be forensic reflective practice, the reflective practice must progress to and include the extra step of developing one’s practice to include aspects that have been reflected on, and decided that are in need of improvement. Aspects that are thought will enrich ones’ education and learning practice, and developing one’s experience in different learning theories and approaches.

forensic-reflective-practice_haseman

Figure III – Forensic reflective practice chart (Haseman 2015)
Therefore I would ask my self the following questions to complete this process of reflective practice, preparing for reflexive practice – actually applying development and change to my practice.
REFLECTION FOR PRACTICE/DEVELOPMENT FOR FUTURE EDUCATION & LEARNING PRACTICE SESSION DIRECTIONS
  • What are there areas of my education & learning practice that I need to develop prior to my next education & learning practice session? 
    List these areas in detail:
  • Of these, what will I select to focus on?
  • What do I need training and development in, in order to realise these developments in practice?
  • How will I know when I have successfully achieved this desired development?

Layer 11a: Reflective professional practice in contemporary higher education

Finally, I want to conclude with Light et al’s proposition of three (3) paradigms of academic development of educators and learning practitioners in a contemporary Higher Education environment (Light et al 2009, 12). Light et al describes a practitioner in terms of: their relative lack of engagement in their education and learning practice on a professional level; their relative lack of reflection and level of engagement with the context of the education and learning field and discipline; and finally, their engagement as a professional practitioner who also considers wider social and cultural issues and realities. As you read these, I request that you consider which one best describes your approach or situation to your learning experience practice:
  1. ad hoc paradigm: “is located primarily within the individual teacher, and essentially asserts that a good teacher is born, not made”. “Teaching is something one picks up and grasps informally and individually. It is non-reflective in the broader sense. The teacher is left to her own devices and draws upon past experience of being taught, trial and error, help from sympathetic colleagues when available, and her own natural affinities for teaching”(Light et al 2009, 12). Note: the self is at the centre of this paradigm;
  2. skills paradigm: “the development of teaching is an add-on process and rests in the accumulation and reproduction of performance and communication skills, competencies and tips. These skills are generic and provided by trainers and consultants who often have no formal experience of the discipline in which the trainers are working or even of higher education training”(Light et al 2009, 12). Note: both the self and the institution are at the centre of this paradigm;
  3. professional paradigm: “the location of the professional paradigm goes beyond the practitioner’s self and institution to embrace wider issues raised by society”: “professional status derives from the value that society places on higher education, the inclusion of specialised knowledge and the reliance on higher-order abilities critically to acquire, apply, reflect on and elaborate that knowledge. As such, it is essentially a reflective paradigm” (Light et al 2009, 13). Note: the self, the institution and society are at the centre of this paradigm.
    Which one best describes your approach or situation to your learning experience practice?
    Given this, in what ways can you develop as a professional practitioner?

Layer 11b: Reflective professional practice values statements

As developed across the 11 Layers of my approach to education and learning, I believe a contemporary practitioner needs to develop an understanding of their self – as a person, and as a practitioner. I believe the more self knowing a practitioner has of who they are in terms of their personality; their various thinking, learning orientations and intelligences; their values, beliefs and biases, the more congruent a practitioner can be with others. Ultimately, the more potential the practitioner is able to assist their learners in the learning experience – to develop their content, information knowledge base and skills level – the more opportunity the practitioner can guide the learner to maximise their development, their personal empowerment, in order for those learners to ultimately realise their full life potential. I consider this approach integral to becoming a professional practitioner.
The following statements are what I consider to be central to my reflective professional practice; values that I apply across all forms of my practice, whether it be education and learning, music practice, research practice, or life practice.

‘Know one self, develop mastery of one self

Take a proactive approach with your education and learning, investing in developing and advancing your content, information knowledge base and skill level 

A professional practitioner: 10,000 hours of practice, reflect, develop, practice, reflect, develop, practice, reflect, develop,practice, reflect, develop, practice..

As a reflective professional practitioner, embrace the wider social and cultural context rather than just the institution’s desired outcomes’ (© Page 2015)

References

Anderson, C, Carolyn Carattini, Heather Clarke, Gail Hewton, David Page 2015 QUT KKP623 Reflective Practice in Action Group Presentation submission Accessed October 24, 2015.
Angelo, Thomas A and K Patricia Cross. 1993. “Classroom assessment techniques: A handbookfor college teachers.” San Francisco: Jossey-Bass.
Billett, Stephen. 2001. Learning in the workplace: strategies for effective practice. Crows Nest, NSW: Allen & Unwin.
Boud, David, Rosemary Keogh and David Walker. 2013. Reflection: turning experience into learning. New York: Routledge.
Brookfield, Stephen D. 1995. Becoming a critically reflective teacher. San Francisco: Jossey Bass
Esposito, Emily 2015 The Essential Guide to Writing S.M.A.R.T Goals  Accessed 20th November 2015
Fisher, Douglas and Nancy Frey. 2007. Checking for understanding: formative assessment techniques for your classroom. New York: ASCD.
Griffiths, Morweena. 2010. “Research and the self.” In The Routledge companion to research in the arts, edited by M Biggs and H Karlsson, 167-185. London: Routledge.
Haseman, B 2015. “Forensic reflective practice: effecting personal and systemic change.” Accessed May 24, 2015. https://blackboard.qut.edu.au/webapps/blackboard/content/listContent.jsp?course_id=_118711_1&content_id=_5744651_1.
Light, Greg, Susanna Calkins and Roy Cox. 2009. Learning and teaching in higher education: the reflective professional. London: Sage.
McKee, Alan. 2003. Textual analysis: a beginner’s guide. London: Sage
Onion image courtesy of: Onion Layers Accessed 28th March 2015
Page, David L. 2015a. Music Practitioner Part 3 Accessed 28th March 2015
Pascal, J., & Thompson, N. 2012. Developing critically reflective practice. Reflective Practice, 13(2), 311. doi: 10.1080/14623943.2012.657795
Roth, Robert. 1989. “Preparing the reflective practitioner: transforming the apprentice through the dialectic“. Journal of Teacher Education 40 (2): 31-35
SAE Institute, 2015 SAE Institute Accessed 28th March 2015
Schön, Donald A. 1983. The reflective practitioner: how professionals think in action. Aldershot, England: Arena.
Springer, Sally P and Georg Deutsch. 1993. Left brain, right brain. 4 ed. New York: WH Freeman & Company.

Bibliography

Armstrong, Thomas. 1999. 7 Kinds of Smart: Identifying and Developing Your Multiple Intelligences. New York: Plume Books.
Ashwin, Paul. 2006. Changing higher education: the development of learning and teaching. New York: Routledge.
Bradbury, Helen, Nick Frost, Sue Kilminster and Miriam Zukus. 2010. Beyond reflective practice: new approaches to professional lifelong learning. New York: Routledge.
Brookfield, Stephen D. 2006. The skillful teacher: on technique, trust, and responsiveness in the classroom. 2 ed. San Francisco: The Jossey Bass.
Brookfield, Stephen D. 2002. “Using the lenses of critically reflective teaching in the community college classroom.” New Directions for Community Colleges 2002 (118): 31-38.
Brookfield, Stephen. 1986. Understanding and facilitating adult learning: A comprehensive analysis of principles and effective practices. Milton Keynes: Open University Press.
Chopra, Deepak. 1996. The seven spiritual laws of success: a practical guide to the fulfilment of your dreams. New York: Random House.
Covey, Stephen R. 2013. The 8th habit: From effectiveness to greatness. New York: Simon and Schuster.
Covey, Stephen R. 1991. Principle centered leadership. New York: Simon and Schuster.
Covey, Stephen R. 1989. The 7 habits of highly effective people. Melbourne: The Business Library.
Dyer, Wayne W. 1992. Real magic: creating miracles in everyday life. Sydney: Harper Collins.
Ericsson, K Anders. 2008. “Deliberate practice and acquisition of expert performance: a general overview.” Academic emergency medicine 15 (11): 988-994.
Entwistle, Noel and Paul Ramsden. 1983. Understanding Student Learning. New York: Routledge Revivals.
Gardner, Howard and Thomas Hatch. 1989. “Multiple Intelligences go to school: educational implications of the theory of multiple intelligences.” Educational researcher 18 (8): 4-10.
Gardner’s Multiple Intelligences image courtesy of:  Gardners’ MI   Accessed 28th March 2015
Gawith, Gwen. 1991. Power learning: a student’s guide to success. Melbourne: Longman Chesire.
Gerber, Michael E. 2005. E Myth Mastery. New York: Harper Audio.
Gerber, Michael E. 1999. The e-myth manager: why management doesn’t work – and what to do about it. New York: Harper Business.
Gerber, Michael E. 1988. The E Myth. New York: HarperCollins Publishers.
Grace, S and R Ajjawi. 2010. Phenomenological research: Understanding human phenomena. Researcing practice: A discussion on qualitative methodologies. Rotterdam: Sense.
Knowles, Malcolm S, Elwood F Holton III and Richard A Swanson. 2012. The adult learner: the definitive classic in adult education and human resource development. 7 ed. New York: Routledge.
Lawrence-Wilkes, L. & Chapman, A. 2015. Reflective Practice. Accessed March 28th, 2015 http://www.businessballs.com/reflective-practice.htm
Littauer, Florence. 1986. Your personality tree. Dallas: Word Publishing.
Markova, Dawna and Anne R Powell. 1996. How your child is smart: a life-changing approach to learning. Los Angeles: Conari Press.
Merriam, Sharan B. 2001. “Andragogy and self‐directed learning: Pillars of adult learning theory.” New directions for adult and continuing education 2001 (89): 3-14.
Millwood, Richard. 2013. Learning Theory v6_Millwood.D2.2.1.20130430  Accessed 20th July 2015
Page, David L. 2004. Educational Philosophy Part 1 Accessed 28th March 2015
Page, David L. 2015a. Educational Philosophy Part 2 Accessed 28th March 2015
Parker, A and J Cutler-Stuart. 1986. Switch on your brain: a guide to better reading, concentration and coordination. Sydney: Hale and Iremonger.
Pedagogy versus Andragogy chart courtesy of: Pedagogy vs Andragogy chart Accessed 28th March 2015
Peters, Thomas J. 2003. Re-imagine! London: Dorling Kindersley.
Peters, Thomas J and Nancy Austin. 1985. A passion for excellence. The leadership difference. London: Dorling Kindersley.
Peters, Thomas J, Robert H Waterman and Ian Jones. 1982. In search of excellence: Lessons from America’s best-run companies. London: Dorling Kindersley.
Pieper, Martha Heineman and William Joseph Pieper. 1999. Smart love: the compassionate alternative to discipline that will make you a better parent and your child a better person. Boston: Harvard Common Press
Robbins, Tony. 1991. Awaken the giant within: how to take immediate control of your mental, emotional, physical and financial. New York: Simon and Schuster.
Ryan, Mary Elizabeth. 2014. Reflective practice in the arts. In Literacy in the Arts, edited by G Barton, 77-90. London: Springer.
Schön, Donald A. 1987. Educating the Reflective Practitioner, San Francisco: Jossey-Bass. 355 + xvii pages.
Sperry, Roger W. 1975. Left-brain, right-brain. Saturday Review 2 (23): 30-32.
– ©David L Page 21/07/2015
– updated ©David L Page 20/11/2015
– updated ©David L Page 12/04/2020
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

Educational Philosophy Part 3b

On track to develop mastery of one self, what is your approach to education and learning?

Layer 8: My approach in preparing for a learning practice session

Continuing on from my previous blogs in this series: as I have indicated in my first blog, I have laid this section out in the following nine (9) parts.

Layer 8a: My approach in preparing for a learning practice session Pt 1

In preparing for an education & learning practice session, I develop a plan. In doing so, I commence five (5) tasks.
My first task in developing an education & learning practice session plan is to develop a succinct phrase of the title of the session:
  • The title of the session: What is the discipline topic of this education and learning practice session?
My second task in developing an education & learning practice session plan is to develop a succinct sentence stating the rationale of the session:
  • The rationale of the session:  What is the purpose of this education & learning practice session? What do I hope to achieve by the end of the education & learning session?
     TIP: Use future tense active words – such as will increase, will gain, will encounter – in developing the rationale of the session. These are to guide your development of practice during the preparation development stage of the session plan.
Examples of Rationale statements: 
1. This education & learning practice session will increase understanding  …..
2. Learners will gain a perspective on……….
3. Learners will encounter these concepts………..
          My third task in developing an education & learning practice session plan is to develop the aims of the session:
  • The aims of the session need to be holistic: What is the end goal of your education & learning practice session? What do you plan to do and achieve with the learners by the end of the education & learning practice session? It is very important when developing your aims to remain focussed on the primary aim of the education & learning practice session: to ensure the learners realise the agreed learning outcomes of this session. In order to assist in this process, it is suggested to use a goal-orientated guide such as SMART in developing your session plan: be specific; include measurable statements; ensure the final aim/goal is achievable; and relevant to the learner and the agreed session learning outcomes; and bound in time (Esposito 2015).
    TIP: Use active verbs words –such as practice, trial, discuss, search , research, gather, analyse, articulate, propose, develop, design, record, mix, produce or present – in developing your objectives to guide the learners during the education & learning practice session. The primary objective  of the education & learning practice session is to ensure the learners are engaged in learning as per the agreed learning outcomes of this session.
Examples of Aim statements: 
1. To offer experiential insights into ………
2. To expose the learners to the ……….
3. To have the learners engage in a………..
My fourth task in developing an education & learning practice session plan is to develop the objectives of the session:
  •  The objectives of the session need to be more specific than the aims, but still succinct sentences of intent: What are your smaller steps that will help you achieve the main aim of the session? These smaller steps should lead the learners to realise the agreed learning outcomes of this education & learning practice session. Each objective may have a number of learning outcomes. In order to assist in this process, it is suggested to use a goal-orientated guide such as SMART in developing your session plan (Esposito 2015).
TIP: Use active verbs words –such as practice, trial, discuss, search , research, gather, analyse, articulate, propose, develop, design, record, mix, produce or present – in developing your objectives to guide the learners during the education & learning practice session. The primary objective  of the education & learning practice session is to ensure the learners are engaged in learning as per the agreed learning outcomes of this session.
Examples of Objective statements: 
1. The learners identify ……….
2. The learners analyse  …………
3. The learners develop………..
4. The learners produce………..
5. The learners present ……..
My fifth task in developing an education & learning practice session plan is to develop the learning outcomes of the session:
  •  The learning outcomes of the session need to be more specific than the aims and objectives, but still succinct sentences of outcome: What are the learning outcomes for each specified objective of the session? These statements state the agreed learning outcomes of this education & learning practice session for both the learning facilitator and the learners. Each objective may have a number of learning outcomes. The learning outcomes must differentiate from each other in terms of an outcome, but may also overlap. In order to assist in this process, it is suggested to use a goal-orientated guide such as SMART in developing your session plan (Esposito 2015).
TIP: Use active verbs words – such as apply, identify, evaluate, formulate, implement, construct, critically analyse, articulate, communicate, develop, work with, create, maintain, plan, employ, demonstrate, develop, design, record, mix, research, propose and publish – in developing your learning outcomes to inform the learners’ from commencement of the education & learning practice session. The primary objective of the education & learning practice session is to ensure the learners are engaged in learning as per these agreed learning outcomes of this session.
Examples of Learning Outcome statements: 
1. The learners apply knowledge of ………
2. The learners evaluate the impact of ……..
3. The learners formulate and implement …….
4. The learners evaluate and maintain………
5. The learners plan…….
6. The learners employ (specific) concepts ……..
7. The learners demonstrate………..
8. The learners employ (specific) skills ………

Layer 8b: My approach in preparing for a learning practice session Pt 2

My primary goal for the learning practice session is to align the learning objectives, the learning activities, and the learning assessment tasks (Light et al 2009, 82). The goal in developing a learning practice plan is to focus, with the goal of optimising the effective student learning experience of the particular learners during a learning practice session. For me to develop learning practice plans for a specific environment and learning group, I must understand the parameters of both of these variables as a starting point.
  •         What will the learning environment be?
  •         And perhaps most importantly, who are my learners?
Learning Space
How I conduct myself in the learning environment will in many ways be dictated by the actual space. Questions regarding the learning space to be considered prior to developing a learning practice plan include:
  • Is the learning space part of an organisation with other inhabitants?
  • Is there natural light?
  • Is it ventilated suitably, or air-conditioned or heated in certain climates?
  • Is it free from disturbance from other activities in the shared building?
  • How large or small is the space?
  • Is it an open space?
  • Is it a space with other resources such as tables, chairs, computers within it?
  • Is there a degree of portability or movability with those resourses, or are they fixed?
  • Is the space naturally conducive to active learning, or passive lecturing?
  • Is there an appropriate space for the learning facilitator to manage the learning experience?
Knowing the space allows me to consider what learning activities may be appropriate. Or may prompt me to source alternative learning space options. For example, I may be able to use alternative space within the same building, outside, or even at the local studio or park. Once I have confirmed the learning space options available to me, I am then free to consider the learners.

Layer 8c: My approach in preparing for a learning practice session Pt 3

The Learners/Learner pre-assessment/pre-delivery session
The word assessment is an interesting term in education and learning. Mention of the word quite often leads people to recall past experiences of being formally assessed in schools, quite often tarred with negative memories or emotions. In extreme cases I have observed people experience a complete shut down of their senses due to the extremity of their previous formal assessment experiences.
The other use of the term in education and learning is that of informal assessment of a learner: an assessment of the learner from your professional practice perspective – a needs analysis as such of who the learner is. An informal assessment of what the learner needs to ensure they are developing their content, information knowledge base and skills level, in order to maximise their development, their personal empowerment, in order for them to ultimately realise their full life potential.
Step 1: In the development of initial drafts of a generic learning practice plan, I specify the learning aims and objectives. These aims and objectives need succinctly describe the education and learning practitioner’s educational approach, the outcomes of the session, and holistically establish the expected interaction between the learner and the practitioner, predict the likely learning activities, and infer the likely learning assessment tasks. The learning aims and objectives should be the mission statement for the particular learning practice session. It is essential therefore, that the aims and objectives remain the highest priority, as these become the ground that the learning practitioner can bring the learners back to during moments of uncertainty. With so many variables which can potentially change during a learning practice session, it is imperative that the learning practitioner does not waiver from, or neglect the aims and objectives of the learning session.
Step 2: Prior to the learning practice session I want to be in a position to pre-assess the learning group. The extent of the information I ideally need to know prior to developing my learning practice plans is about the background of each of the learners. Having taught across many nations and cultures, the following represents a typical list of information I would be seeking prior to a learning experience session:
  • Nationality – what is there nationality, and can any introductory stereo types be gleaned from this about this learner?
  • Culture – what is their culture, their values and beliefs? Are there any learners from a particular culture that may require consideration in the planning of this particular education & learning session?
  • Native Language – what is the 1st language of this nationality, and can any introductory assumptions be made about this learner?
  • Age – what is their approximate age, their life experience, and their generation?
  • Life experience – based on their age, can we make any assumptions about this learner?
  • Gender – what is their gender and can any national, cultural or age assumptions be made about this learner?
  • Education – where are they educated? and to what level of reading, writing and mathematics?
  • Work Experience – are they currently skilled in terms of an industry role/occupation, and if so, what type of skill is it (white collar, blue collar, other)?
  • Previous experiences in learning – what have their previous learning experiences been? And are these predominantly positive or negative experiences?
  • Learner personality. To what degree will the learners be able to engage in any and all types of planned learning tasks, without concern for their lack of engagement due to fears or discomfort with risk-taking, being shy, or introverted?
  • Learner aptitude – what are the learner’s aptitude to learning? To what degree have the learners previously demonstrated that they are able to learn in a learning session situation similar to what they are about to engage in?
  • Learner strategies – are the learner’s likely to have developed strategies to apply in this learning session situation to successfully realise the learning outcomes?
  • Learning styles – what range of learning styles are they likely to have; both in terms of VAKD modalities, and also according to Gardner’s multiple intelligences? How differentiated will the learners’ styles be within this group?
  • Learners motivation for engaging in this learning experience. What is their motivation for learning in this instance of learning?
  • Content experience – What experience do they have in the planned education and learning context? What do they already know of the planned content? What have they studied or learnt before? How will the planned content of this education and learning session potentially build upon their existing knowledge? To what degree can this learner already demonstrate understanding of content knowledge, or competency of the applied content?
  • Declared learning, medical, mental health, intellectual or physical impairment conditions. Do any of the learners have any declared learning, medical, mental health, intellectual or physical impairment that need to be planned for? Do any of learner’s suffer from hearing or sight issues? Anxiety issues that could be prevent them from undertaking a particular type of task? Are there likely to be environmental concerns such as access? How will you plan to support learners with declared learning, medical, mental health, intellectual or physical impairment conditions?
  • Undeclared or unaware disabilities that could affect the learners’ ability to successfully realise the planned sessions’ learning outcomes? How will you plan to support learners whose undeclared learning, medical, mental health, intellectual or physical impairment conditions may arise during your education & learning session?
Some important clarifying questions for this final point could be: Is there a required prerequisite to this learning session content?; and if so, what level has the learner likely to have achieved in that content – theoretically and practically? Has the learner also likely to have since that pre-requisite learning event, been able to gain experience applying it in a real world context? In terms of the cohort of learners for this learning experience: can it be assumed that all of the learners will be on the same level of this assumed pre-requisite content? If not, I would need to plan for a mixed-levels education and learning session, being prepared for disparate levels across the cohort, and have pre-thought of a range of multi-level tasks with varying degrees of expectations of activities and tasks, to accommodate the potential range of learner levels, depending on the learners actual level – theoretical or practical – at this time.

Layer 8d: My approach in preparing for a learning practice session Pt 4

 If the information highlighted in any of these points is not accessible prior to developing my learning practice plans, then I need to develop what I classify as a generic education & learning practice session plan – an education & learning practice plan which allows me to ascertain such information from within the classroom environment when I first meet with the learners, and then as I grow to know over the ensuing sessions that follow.
Step 3: In the development of initial drafts of a generic education & learning practice plan, I take into consideration the learning session aims and objectives, and plan for a number of education & learning experience scenarios. In order to address the likely event of having a greatly differentiated learner group – a learner group with a wide range of learner types with various thinking orientations or intelligence – I am likely to be in a position where I need to make assumptions, and plan for a range of different scenarios.
Stages of Practice
In every education & learning practice session, there are specific stages of practice. The stages of practice aid the flow of the practice session overall, by dividing the education & learning practice session into logical divisions of introduction, development, conclusion, and closure.
However, these stages of the practice session are dependent upon the approach – theory and method – of the education & learning practice. Therefore I need to answer the following question:
  • What is the approach that I will adopt for the education & learning practice that will inform my practice?
I consider a range of learning theories and methods that could be appropriate for this particular education & learning session. As an integral part of this process, I consider the basis of the learning outcomes. Are the required learning outcomes – in nature – technical? functional? interactive? or situational? I make a decision as to what approach I will adopt for this particular education & learning practice, and am now in the position to plan the stages of practice in greater detail. The four (4) stages are:
  • Stage 1: the introduction stage to the learners and the learning session  – sets out how I am planning to situate this particular  learning session for this particular group of learners?; how I am planning to illuminate to this particular group of learners, the planned learning outcomes of this session?
  • Stage 2: the central stage of the learning session (also referred to as the core stage of learning session) – describes how the purpose of the learning session – content and/or process – will be delivered across a series of tasks and activities. Describes how the learning session is going to be developed so that the desired content and/or process will align with the pre-agreed learning practice aims and objectives;
  • Stage 3: the evaluation stage – describes how I am planning to have the learning session evaluated in terms of the content and/or processes. How will I draw the education & learning practice session to a logical conclusion so that the learners can effectively and efficiently evaluate what they have learnt?  What evaluation tools will I use – informal and/or formal?
  • Stage 4: the closure stage – describes how the session will be closed.
Sub-stages of Practice
Stage 2 the main stage then needs to be further detailed into a number of discrete education & learning sub-stages. Depending upon the chosen theory or approach, the sub-stages of the Stage 2 learning practice can include:
    • Stage 2a: establishing the context for the learning content and/or process in a situational example;
    • Stage 2b; presentation/instruction stage, teaching of new content and/or process;
    • Stage 2c: a heavily guided scaffolded learning practice stage;
    • Stage 2d: a moderately guided scaffolded learning practice stage
    • Stage 2e: a lightly guided scaffolded learning practice stage, and ;
    • Stage 2f: a performance practice stage.
    • Stage 2g: a debriefing stage, reflecting on, and evaluating the experience of the practice stage
    For greater description of these sub-stages, I refer you to my blog.

Layer 8e: My approach in preparing for a learning practice session Pt 5

Step 4: The next step in developing the draft education & learning practice plan is to consider what learning activities and tasks I intend to draw upon to support the learning objectives.These education & learning activities and tasks need to be congruent with the learners background and their expectations, as discussed above. These activities can be intellectual, physical or multi-modal activities. Each of these stages of education & learning practice should allow the education & learning facilitator to facilitate activities and tasks that engage and mobilise the learners, providing effective and efficient opportunities for the learner.
All activities need to be carefully planned and described in detail, predicted times for each activity to be allocated, and clear instructions for those activities and tasks written. These activities and tasks may encompass one or more of the communication modalities: speaking and listening; writing and reading. For example, an education & learning activity and task could be:
  • a lecture,
  • a workshop  – the workshop is likely to include (in no particular order):
    • an individual work component;
    • a pairwork component;
    • a group work component – perhaps small group, or perhaps whole group.
  • or an external task-based project.
The learning session facilitator needs to consider the core learner modalities engaged in during a learning task. Is it predominantly verbal, visual (image, graphic or data-based such as text), or kinaesthetic? Will the planned task fully engage a differentiated learner group? If not, how can the task to be modified?
The learning session facilitator needs to consider the planned interaction that may occur during these activities and tasks, between the facilitator and learner. Facilitator talk is not problematic, providing the time spent is actually realising a very specific objective of the education and learning session.
I consider the likely flow of communication will be at each and every stage of the education & learning practice session. Ultimately: how much time will the facilitator be talking (Ft); and how much time will the learner be engaged in either speaking and listening, or writing and reading (Lt). On every education and learning plan, I provide a narrow column down the right-hand side, where I note the focus of the learning task – either Ft or Lt – and how much time it involves. I am then in a position to add these figures up, informing me of how much facilitator talk (Ft) time there is planned; and how much learner talk (Lt) time there is planned. This is a very quick way to ascertain the probable balance of the proposed education and learning session, with the opportunity for change prior to the session if a likely imbalance is predicted.
Lastly, I need to consider what activity is planned to occur during this time.
  •  What will learner be doing? 
I need to detail how the learners are expected to work during each specified task.
Similarly, I also need to detail what I as the facilitator will be doing
  • What will I do during this time?
    • classroom management?
    • managing education & learning practice session flow?
    • learning checks?
    • how will my voice likely be? animated? calm?
    • my positioning to the learners?
    • my engagement with the learners?
    • to what degree or distance will I be facilitating the process?
FINAL NOTE: Session activities and tasks need to be aligned with the chosen education and learning theory or approach, and ultimately the aims and the objectives of the particular practice session.

Layer 8f: My approach in preparing for a learning practice session Pt 6

Step 5: The next step in developing the draft learning practice plan is to consider what learning assessment tasks are going to be introduced throughout the learning practice, in order to evaluate the learners’ learning. These can be either:
  • Informal ‘on the fly’ formative assessment tasks by the learning practitioner;
  • More structured formative assessment tasks, or possibly even;
  • Formal summative assessment tasks as required for a formal accredited course.
The challenge of formatively assessing the learners can be outlined by the following questions:
  • How will I monitor learner progress and needs across the education and learning practice session?
  • How will I record the data or evidence of learner’s realised learning?
  • At any point in time, how will I best assess the learners are learning?
  • What prompting questions could I use to assist the formative assessment process?
  • What clarifying questions could I use to assist the formative assessment process?
  • What probing questions could I use to assist the formative assessment process?
  • What concept checking questions could I use to assist the formative assessment process?
  • Essentially, how will I identify if the learners have actually learnt the objective of the task?
 Irrespective of the type of learning session, it is usual for the first type of learning assessment to make up the majority of in-class assessment. It is not unusual for a proactive education and learning practitioner to be assessing the learners – individually, in small groups, in larger groups, or as a whole group – constantly throughout the learning session. Such attention to the learners at any point in time is I believe a significant aspect of the role of a contemporary education and learning practitioner. With large classes, such attention can become quite consuming; and therefore a more structured assessment task may be considered timely to relieve the education and learning practitioner for a period of time, effectively affording them a break from their practice oversight. Such a more structured assessment task can also afford the learner an alternative modality of engagement to the activities they have been engaged in. These learning assessments can be intellectual, physical or multi-modal activities. Irrespective, all learning assessment activities need to be carefully planned, times to be allocated carefully considered, and clear instructions planned. Lastly, it needs to be noted that these learning assessment activities need to be congruent with the proceeding activities, as well as the learners background and their expectations, as discussed above.

Layer 8g: My approach in preparing for a learning practice session Pt 7

Step 6: As indicated earlier, with my primary goal for the education & learning practice session to align the learning objectives, learning activities and tasks, and the learning assessment tasks, as I develop the draft learning practice plan, I take the predicted learner experience into consideration. I need to consider how the members of this particular learning experience are likely to approach the pending learning session. Entwistle and Ramsden outline a deep and a surface level of approach “used by students in a wide variety of tasks in different disciplines and departments” (1983, 136).
Deep levels of approach are listed as:
  • Personal experience – “integrating the task with one self”
  • Relationships – “integrating the parts into a whole”, and
  • Meaning – “integrating the whole with its purpose”.
Surface levels of approach are listed as:
  • Unrelatedness – “defining the task as separate or its parts as discrete
  • Memorisation – “defining the task as a memory task”, and
  • Unreflectiveness – “defining the task in an external way” (Entwistle and Ramsden 1983, 137)
Depending on the agreed outcome of this particular education & learning experience, the learners need to be prepared for the style of learning experience they are about to engage in. If the content is required for a competency assessment at a vocational level, one may find a surface level expectation is inherent within the learner. This may be appropriate to the way you as the learning facilitator may intend to engage in, and deliver the content. However, if a surface level expectation is inherent within the learner, and the agreed outcome of this particular learning experience is that of an undergraduate degree module, perhaps the expectation of the education & learning facilitator and the learner will be misaligned – at odds with each other. This misalignment of learning expectations could be problematic within the learning experience, causing a range of possible outcomes such as: learner resistance; learner unwillingness to be involved, engage, or share in the learning experience; further learner attitudinal issues such as becoming introverted, or in contrast, being disruptive or aggressive; or either learner of learner facilitator frustration. It is therefore necessary to ensure that the learner expectation and the learner facilitator expectations are aligned; and if not, addressed at the earliest opportunity.

Layer 8h: My approach in preparing for a learning practice session Pt 8

Step 7: The last step in developing the draft education & learning practice session plan is to consider what resources, tools and technology I may need to organise in order to support the specified learning objectives, learning activities & tasks, and the assessment tasks of that practice session.
Some focus questions could include:
  • What needs to be considered and completed before the education & learning practice session commences?
  • What materials and resources will I need to have prepared prior to class (human, physical, IT)?
  • What digital tools and/or resources will I want to use in this practice session?
  • Will I need any technical support? If so state what, where and when.
  • Do I need to contact IT support prior to my education & learning practice session?
  • Do I need to schedule time to load computer programs or learning technologies prior to class? 

Layer 8i: My approach in preparing for a learning practice session Pt 9

The final stage in this process – once the education & learning practice session plan has been developed – is to consider the various forms such a plan may be required to be presented in. Whilst I have outlined each of these forms via a specific applied example of education & learning practice in another blog series series (Page 1990), an overview of these are:
  1. Synopsis Education & Learning Practice Session plan: this summary paragraph will be used by the marketing department to actually advertise the education & learning practice session – to attract learners of the potential fit of this program for their specific needs
  2. Summary Education & Learning Practice Session plan: this brief summary document may include only a section of either the aims, objectives or learning outcomes; and probably the task headings of what is to be on the agenda of the education & learning practice session. It could be used to present to the learners at the start of the session to outline the skeletal program of the education & learning session. Good practice would be also to use at the close of the session to recap what has been covered over the course of the learning session;
  3. The Interpretive Education & Learning Practice Session plan: this document would include the rationale, the aims, the objectives, and the learning outcomes, but may or may not include an education & learning approach to be taken. This level of documentation could be used by facilitators who are going to deliver the program that can be afforded some individual freedom of the approach and the tasks;
  4. Prescriptive Education & Learning Practice Session plan: this document would include the rationale, the aims, the objectives, the learning outcomes, and the intended education & learning approach indicating the pedagogy or andragogy. This document can be used for facilitators who are required to deliver a course in a specific way. A tertiary level course with multiple tutorial groups could require this level of documentation. In this scenario there are likely multiple instructors across multiple classes of learners who the administrators believe would benefit from sharing a similar experience;
  5. Prescriptive Plus Education & Learning Practice Session plan: similar to the above, this document would also include the rationale, the aims, the objectives, the learning outcomes, and the intended education & learning approach indicating the pedagogy or andragogy. Perhaps a formal industry accreditation course with ongoing multiple tutorial groups could require this level of documentation. The facilitators are delivering a course with important outcomes, demanding a duplicatable session so that irrespective of which session a learner attends, the learners will share a similar learning experience to that of another person in another session;
  6. Full/Detailed Education & Learning Session Plan. This is the master, fully-scoped document that I as the practice session developer developed as part of my preparatory practice, detailing every aspect of the education & learning practice session, including the learner group, and contingency strategies to address possible changes in circumstances during the actual practice sessions; or
  7. Instructional Education & Learning Session Plan. This is another version of the full/detailed Education & Learning Session Plan, that may include specific criteria terminology outside of what one may expect in a usual Education & Learning Session Plan. The Instructional Education & Learning Session Plan may be provided to a practitioner-in-training in an organisation which requires specifically worded criteria to be met in order for that practitioner-in-training to meet minimum performance standards. Whilst the criteria terminology may be different to usual education & learning practice session, it certainly should only differ to a usual Education & Learning Session Plan in the way the essential elements are divided or described. It should in short, contain all of the usual Education & Learning Session Plan elements (Page 1990).
            This blog series is planned to continue with Educational Philosophy Part 3c .

References

Entwistle, Noel and Paul Ramsden. 1983. Understanding Student Learning. New York: Routledge Revivals.
Esposito, Emily 2015 The Essential Guide to Writing S.M.A.R.T Goals  Accessed 20th November 2015
Light, Greg, Susanna Calkins and Roy Cox. 2009. Learning and teaching in higher education: the reflective professional. London: Sage.
Onion image courtesy of: Onion Layers Accessed 28th March 2015
Page, David L. 2015a. Educational Philosophy Part 2 Accessed 15th June 2015
Page, David L. 2015b. Educational Philosophy Part 3a Accessed 15th June 2015
Page, David L. 2015c. Educational Philosophy Part 3c Accessed 15th June 2015
Page, David L. 2004. Educational Philosophy Part 1 Accessed 15th June 2015
Page, David L. 1990. E+L Session Plans Part 1 Accessed 15th June 2015

Bibliography

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Ashwin, Paul. 2006. Changing higher education: the development of learning and teaching. New York: Routledge.
Bradbury, Helen, Nick Frost, Sue Kilminster and Miriam Zukus. 2010. Beyond reflective practice: new approaches to professional lifelong learning. New York: Routledge.
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– ©David L Page 17/06/2015
– updated ©David L Page 20/11/2015
– updated ©David L Page 12/04/2020
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

Reflective Practice – Part 5

In addition to formal industry training, imitation and scaffolded experience, a third essential aspect of training and developing ones’ creative practice, is reflection (Burgess 2013, 35; Schön 1983, 3; McKee 2003; Roth 1989). Lawrence-Wilkes & Chapman (2015) encourage practitioners irrespective of their level within an industry or field: “Reflective practice provides an opportunity to enhance professional performance and self-development by enabling insight and assisting learning for new understanding, knowledge and action”.  Certain scholars believe reflective practice is so essential, one will experience a “crisis of confidence in professional knowledge” if it is lacking from ones’ practice routine (Schön 1983, 3). 

What is reflective practice?

The Art of self-reflection
Reflection allows for the consideration of your practice – “to understand, question, and investigate” – to appraise if one’s current processes are the most appropriate, or best practice (Brookfield 2002, 32). Reflective practice is learnt, a skill that develops with practice; and in my life experience, a skill you will draw on throughout your life, irrespective of your profession or role, or role in either family or society, to examine your practice – your strategic positioning or workflow. Schön believes reflective practitioner advocates are developing an “epistemology of practice implicit in the artistic, intuitive processes which some practitioners do bring to situations of uncertainty, instability, uniqueness and value conflict” (Ferry and Ross-Gordon 1998,99), for the benefit of all practitioners across all industries and fields.
Some academics have referred to reflective practice as ” ‘bending back’ upon oneself” (Archer in Ryan 2014, 80) in order to critically reflect on ones’ practice. Effectively looking over one’s shoulders back at their practice that they are either in the process of, have just completed, or completed some time previously in preparation for more practice. These steps are referred to as reflection-in-action, reflection-on-action and reflection-for-action (Schon 1983; Pascal and Thompson 2012). As Haseman (2015) acknowledges, such investigation is not referring to the casual capturing of aspects of ones’ practice, but the conscious deliberate disciplined act of probing ones’ practice. In contrast to Archer’s approach, Griffiths (2013) takes a more introspective approach with her focus on the self as a necessary part of effective reflective practice. It must be noted though, irrespective of their approaches, both Ryan and Griffiths agree that once critical reflective practice has taken place, then a practitioner needs to integrate the positive learnings into their practice from this point forth. Known as reflexive practice, this is a crucial step effectively completing the reflection process of: consideration of one’s practice, evaluating and analysing one’s options, choices, decisions, workflows, and results, concluding with the development of one’s practice with what one has learnt as a result of the reflection process.
Therefore in summary: Haseman’s (2015) model, referred to as Forensic Reflective Practice, requires the following criteria:
  • Reflexive practice rather than only reflective practice
  • Inclusion of the field, the site and autobiography of the practitioner, and
  • Tools for probing practice, rather than casual capturing of phenomena

forensic-reflective-practice_haseman

Figure I – Forensic reflective practice chart (Haseman 2015)

Strategies to practice reflection?

Tools for probing practice can take many forms, and again their is much opinion regarding what form and medium these tools take. Gibbs’ model relies on questions that the practitioner can ask of themselves within a conscious reflective practice cycle, such as:
  • Description: what happened?
  • Feelings: what were you thinking and feeling?
  • Evaluations: what was good and bad about the experience?
  • Analysis: what sense can you make of the situation?
  • Conclusion: what else could be done?
  • Generalizable rule: If it arose again, what would you do?
  • Description: etc, etc
Reflective Practice Cycle_Gibbs.1988
Figure II – Reflective Cycle (Gibbs in Knowles et al 2006)
Roth’s (1989) model for unpacking the reflective process is somewhat similar, though encouraging greater depth and further investigation as required. Together, these conceptual frameworks provide several perspectives and facilitate ways in which to think critically about practice, and uncover what is, exactly, effective practice. They provide a platform for revealing the efficacy of reflective pedagogical practices in light of industry guidelines.
  • Questioning what, why, and how one does things and asking what, why, and how others do things
  • Seeking alternatives
  • Keeping an open mind
  • Comparing and contrasting
  • Seeking the framework, theoretical basis, and/or underlying rationale
  • Viewing from various perspectives
  • Asking “what if…?”
  • Asking for others’ ideas and viewpoints
  • Using prescriptive models only when adapted to the situation
  • Considering consequences
  • Hypothesising
  • Synthesising and testing
  • Seeking, identifying, and resolving problems
As practitioners often use reflective practices informally {see above point re casual capturing of aspects of ones’ practice}, it is the aim of experienced reflective practitioners to ensure the reflective practice processes are clear and transparent so they can be examined closely for their value, limitations and assumptions of the practitioner (McKee, 2003).

Advice for novice reflective practitioners

Reflective practice is a raw and in-depth account of one’s practice. It is meant to be reflective and introspective. It is not meant to be a sales pitch to another person, irrespective of whether that person is in a position of authority (for example a HE Lecturer for an assessment task) or not.
For those practitioners who are engaging in reflective practice for the first time, I provide the following considerations. In my experience a range of potential challenges may be encountered in reflective practice, where one is both the researcher and the subject of the study [“research as subject” (Griffiths 2011,184)]. Given this practice, it is critical that one demonstrates academic virtue, rigour and transparency of researcher as subject to avoid bias. As a researcher, I subscribe to Griffith’s view that irrespective of what research methodologies one utilises – quantitative, qualitative ethnographic or auto-ethnographic – the researcher must illuminate their “relationships, circumstances, perspectives and reactions”, making these clear to the reader (Griffiths 2011, 184). One way of addressing the separation of the self, is to ensure there are a diverse range of reflective devices and mediums in order to capture the data, so that these multiple-methods can then be used to distill the true data about my self and processes, in order to crystalize the outcomes and conclusions. It is a goal of mine in my research studies to showcase the benefits and merits of such a qualitative study, particularly within a creative arts field, and therefore to have demonstrated academic virtue (Bridges 2003 in Griffiths, 2011, 183), be considered to have rigour, and guarded against bias, is a primary goal of mine for this KK59 Doctorate of Creative Industries research study.

Methods I employ in reflective practice

I regularly and deliberately take the time to reflect on what I am doing in my practice: reflection-in-action, reflection-on-action and reflection-for-action (Schon 1983; Pascal and Thompson 2012). This reflection could occur on-site of my practice, or off-site. Not only do I observe my practice, but by networking, collaborating, researching and pursuing the education of myself,  I get to observe my peers’ practices. This may be done by direct observation of peers or mentors, via resources such as texts and videos, or via attending courses.

reflection-in-on-for-action

Figure III – Reflective Practices Summary (Anderson et al 2015)
I am looking for innovative structures, techniques or equipment that other practitioners may be employing in their creative, pre-production, production, or post-production stage processes, in order to realise unique musical or sonic qualities or textures. I closely observe their practice, evaluating and analysing their options, choices, decisions, workflows and results. Reflexively, I then consider any disparities, innovations and possible developments that I may choose to integrate and develop my practice with what I have learnt as a result of the reflection process.
It is imperative that one has systematic methods and mediums decided upon prior to embracing reflective practice. The multiple-mediums and methods I use to record, describe or reflect on my experiences or observations during, immediately after, or some time after, are:
  • Pro Tools DAW software
  • Apple Macintosh iMac 27”, and Apple Macintosh MacBookPro 17”
  • iPhone for notes, impromptu recordings, messages
  • Zoom H6 recording device
  • Use a Microsoft Office programs such as excel and word to produce Content chart and Headings to enter structural notes – main topic headings, and sub-headings – and then develop as ideas and thoughts comes across ones mind whilst reading or typing;
  • Use of electronic folders on my computer HD with each folder representing a heading, and/or sub-heading etc. Folders can then also contain related word docs, pdfs, graphics, charts, etc;
  • Using pen and paper to create mindmaps while conceptualising, reading, summarising at certain times of the day;
  • Using iThought (mind map app) to create mindmaps while conceptualising, reading, summarising whilst using a computer;
  • Using iNotes (notepad on Mac) to jot down points as I am reading electronic journals or texts;
  • Directly copying a significant quote with full reference into word doc (with full reference imported into Endnote), so as to return to it later;
  • Highlighting significant passages or references, or writing into the sides of paper texts or journals, and then transferring these into word document to keep a more developed log or commence to develop a draft of an essay;
  • Use pieces of paper or iPhone to record ideas or thought comes across ones mind whilst reading, typing, driving, walking, having a coffee, chatting with peers, critical friend.
  • Creating charts to chart my progress – physical and electronic;
  • Prose and song lyrics;
  • Musical compositions;
  • Doodles, graphics or images;
  • Recording video and audio messages and notes;
  • Blogs, or web-based curation;
  • Network of critical friends, as external eyes and ears for both personal, creative, affective and effective development.
References
Anderson, C, Carolyn Carattini, Heather Clarke, Gail Hewton, David Page 2015 QUT KKP623 Reflective Practice in Action Group Presentation submission Accessed October 24, 2015.
Brookfield, Stephen. 1986. Understanding and facilitating adult learning: a comprehensive analysis of principles and effective practices. Milton Keynes: Open University Press.
Burgess, Richard James. 2013. The art of music production: the theory and practice. New York: Oxford University Press.
Ferry, Natalie M. and Jovita M. Ross-Gordon. 1998. An inquiry into Schön’s epistemology of practice: exploring links between experience and reflective practice. In Adult Education Quarterly 48 (2): 98-112. doi: 10.1177/074171369804800205.
Gibbs’ Reflective cycle image courtesy of: https://www.pinterest.com/pin/543739354987865666  Accessed 5th June, 2015
Griffiths, Morweena. 2010. Research and the self. In The Routledge companion to research in the arts, edited by M Biggs and H Karlsson, 167-185. London: Routledge.
Haseman, B 2015. Forensic reflective practice: effecting personal and systemic change. Accessed 7th July, 2015. https://blackboard.qut.edu.au/webapps/blackboard/content/listContent.jsp?course_id=_118711_1&content_id=_5744651_1.
Knowles, Zoë, Gareth Tyler, David Gilbourne and Martin Eubank. 2006. Reflecting on reflection: exploring the practice of sports coaching graduates. Reflective Practice 7 (2): 163-179.
Lawrence-Wilkes, L and A Chapman. 2015. Reflective practice. Accessed 2nd June, 2015. http://www.businessballs.com/reflective-practice.htm.
McKee, Alan. 2003. Textual analysis: a beginner’s guide. London: Sage.
Pascal, J and N Thompson. 2012. Developing critically reflective practice. In Reflective Practice: International and Multidisciplinary Perspectives 13(2) 311-325. Accessed June 12, 2015. doi: 10.1080/14623943.2012.657795.
Roth, Robert A. 1989. Preparing the reflective practitioner: transforming the apprentice through the dialectic. In Journal of Teacher Education 40 (2): 31-35.
Ryan, Mary Elizabeth. 2014. Reflective practice in the arts. In Literacy in the Arts, edited by G Barton, 77-90. London: Springer.
Schön, Donald A. 1983. The reflective practitioner: how professionals think in action. Aldershot, England: Arena.
All other images and charts courtesy of: DLP Accessed 7th June, 2015
Self reflection image courtesy of: Self Reflection for Personal Growth  Accessed 5th June, 2015
– ©David L Page 08/06/2015
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

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Educational Philosophy Part 3a

On track to develop mastery of one self, what is your approach to education and learning?

Layer 7: My approach to educational practice

Continuing on from my previous blogs in this series: as I have indicated in prior blogs “I have been fortunate in my educational practice career to have taught across different eras, across a diverse number of fields and disciplines, across different environments and situations, for different desired outcomes, and to vastly different sets of learners. I therefore, have had the privilege to develop a diverse range of educational practice, across many different learning theories” (Page 2004). Millwood’s (2013) project Holistic Approach to Technology Enhanced Learning  (HoTEL) visually highlights the many different approaches an educator or facilitator may approach a specific learning environment and group of learners. All are potentially useful depending upon the context, the desired outcomes, and the learners. As I stated previously, it “would be foolish, and I believe the voice of inexperience for anyone to suggest one discipline and learning paradigm as being superior to another. They are different, and have developed as a result of different needs in different situations with different practitioners for different learners” (Page 2004). Though with time and conscious development, I have developed my personal philosophical approach to not only life, but also to my educational practice.  Fundamentally,
“my educational practice, how I engage within the site, and with my learners, and in fact how I approach all aspects of my life – my practice, and my self – is within a Learning Organisation paradigm” (Page 2004).
Pedagogy vs Andragogy
A Learning Organisation paradigm fits appropriately along side of the andragogical movement of adult educational practice (Knowles et al 2012). The andragogical movement differentiates itself from a pedagogical perspective of practice primarily around the age and dependence of the learner. Pedagogy, based on the greek word for child assumes the learner is a dependent, reliant upon the educator in the learning environment. In contrast, the andragogical movement defined as “the art and science of helping adults learn”, assumes the learner is self-directed, and responsible for their own learning (Knowles in Merriam 2001, 5).
Figure I – Pedagogy vs Andragogy Chart (2015)
There is some debate as to the validity of the andragogical approach being used in the same breath as a pedagogical method. However, my view is both approaches have their place in contemporary adult and education and learning practice. Whilst fundamentally I am predisposed to a andragogical approach to my education and learning practice, it does not exclude instances where I consider a pedagogical approach may be more appropriate in order to optimise the effective student learning experience of a particular learner or learners at that time (Boud in Ashwin 2006,19). I rely on sound sustainable and replicatable methodological approaches within my education and learning practice. As mentioned, I am in a position to draw on developed content, information knowledge and skill gained across a wide range of experience in different learning theories and approaches. I have yet to experience one theory or approach that is optimal in every contemporary adult education and learning practice context.
Multiple-facetted approach
I also rely on my life experience to assist in the learning process as I see appropriate.  I regularly draw on a broad range of roles and faces to assist me in my educational practice. Assuming that within a learning practice session of say twenty-four (24) learners, there is expected to be a wide range of backgrounds, personalities, thinking and learning orientations. I as the learning facilitator approach the learning experience knowing I need to be flexible and adaptable to cater to, or relate to, the individual learner. Some of the roles or faces I see my self as having include that of: an educator, a teacher, a facilitator, an authority, a coach, a motivator, a guide, a mentor, a consultant, a manager, a delegator, a performer, an adviser, a supervisor, a curator, a learner, a peer, a team member, an empathiser, a friend, a parent, a disciplinarian, a court jester, a cajoler, a philosophiser, an administrator, a carer, or a (small c) counsellor, to name a few (Light et all, 2009, 122). I find having such a multiple facetted role and face approach in the practice of education and learning is particularly necessary when approaching students who have varying degrees of learner experience and development. For instance, as Knowles et al summary of four (4) stages in Adult Learner Learning Autonomy highlights, for each stage of a student’s development, the learner facilitator will require a different role or face.
  • Stage 1 learner development: student dependence, in which the teacher may need to be one of an authoritative figure or a coach;
  • Stage 2 learner development: student interested, in which the teacher may need to be one of a motivator or guide;
  • Stage 3 learner development: student involved, in which the teacher may need to be one of a facilitator;
  • Stage 4 learner development: student self-directed, in which the teacher may need to be one of a consultant or delegator (Knowles et al 2012, 185).
Further to this, I have regularly found that even within the one learner, they may be at different stages of their learner development depending upon what the task at hand is. For example, if a learner is expected to engage in four (4) tasks during a 180 minutes learning session – for example researching, analysing, discussing and writing – a learner may have differing levels of aptitude, competence and development across these four (4) functions. Therefore, as a professional learning practitioner, I am likely to draw on a range of my multiple facetted practice roles and faces within the learning environment context in order to optimise my interaction with the learners.
My sole purpose of engaging in these multiple practice faces is to assist the learner in gaining an understanding or insight of their learning challenge at that particular point in time. My goal is always first and foremost to assist the learner, and optimise the effective student learning experience at that moment in time. I would also like to state: I would be incongruent if I was to claim that I always get the correct balance when approaching a particular learner or group of learners. I don’t. However, as a practitioner and social being I need to take ownership of what choices and decisions I have made at any point in time, and at a later time, make the time to reflect on my decisions, actions and  outcomes that presented themselves within the learning environment I was responsible for.
Replication and Duplication of Practitioner Practice
Some observers could consider such a multi facetted practice approach as being problematic in terms of institutional management, given that such an individual practitioner approach may not be a replicatable or duplicatable methodological approach across faculty.  As most are aware, the landscape of higher education has rapidly changed over the past decade, and is continuing to evolve. Business measures of success have increasing become measures of higher education institutions – economic effectiveness and efficiency.  Accepted business processes are being developed in order to attempt to control the three (3) pillars of higher education activity: teaching, research, administration & service (Light et al 2009, 3-8).  I believe the parameters surrounding these three pillars can be and should be defined to benchmarked best practice in order to maintain levels of service delivery to all learners irrespective of the institution they attend. But I do not agree that learning practitioners could ever, or should ever have their unique practitioner approaches restricted – as long as these practices are aligned with optimising the effective student learning experience of those particular learners. I rely on sound sustainable and replicatable methodological approaches within my educational practice. However, as developed across the preceding Layers, my view is that each practitioner is a unique self, with potentially differing culture, education, age (generational experience), work experience, previous experiences in learning, learning styles, motivation to learn, and prior experience in the pending agreed learning experience discipline or subject area. Each practitioner should also have a uniquely personalised and developed content, information knowledge base and skill level. Each practitioner will therefore bring to a learning experience a unique approach to practice, in order to optimise the effective student learning experience of those particular learners. I consider the uniqueness of the professional practitioner to being a valid and exciting aspect of the contemporary education and learning field.
Practitioner Congruence
It is important to note: in order for me to practice to a level of personal integrity – being professionally congruent with my practice – irrespective of who my learners are. I must ensure that my educational philosophy is aligned to the executive leadership of the education institution where I am conducting my practice. As a professional education and learning practitioner, I accept one of my core values is to assist people with their learning. Having experienced issues with learning at certain stages of my development, I consider my self to have an empathy and a holistic care for people, wanting to assist them in any way that they need, to ensure they are developing their content, information knowledge base and skills level, maximising their development, their personal empowerment, in order for them to ultimately realise their full life potential.
It would be problematic for me to engage in educational practice within an organisation or institution where their educational philosophy was not aligned to my philosophy and approach. In approaching an educational or learning program, I either commence by creating a curriculum from this philosophical stance. However, if I am in a learning institution where I have not been part of the curriculum development process, I need to ascertain and absorb the specifics of the content; determine how best this content can be delivered to address the learning outcomes in way that is aligned to my philosophy; develop a teaching program across the full duration of the course; and then at that point I can begin to draft the individual learning experience plans.
       Professional Practice
As mentioned in Layer 2 of my previous blog, my over riding philosophical stance embraces the 10,000 hours trades philosophy of skilled craftworkers (Ericsson et al 1993). I value and believe in the merit of developing of a skill, a trade, a craft, or art – for that practitioner developing specialist knowledge and tools over many thousand’s of hours of practice, to ultimately express one self through uniquely personalised and developed content, information knowledge base and skill level. I consider this approach integral to becoming a professional practitioner.
            This blog series is planned to continue with Educational Philosophy Part 3b.

References

Ashwin, Paul. 2006. Changing higher education: the development of learning and teaching. New York: Routledge.
Ericsson, K.A., Krampe, R.T. and Tesch-Römer, C., 1993. The role of deliberate practice in the acquisition of expert performance. Psychological review100(3), p.363.
Knowles, Malcolm S, Elwood F Holton III and Richard A Swanson. 2012. The adult learner: the definitive classic in adult education and human resource development. 7 ed. New York: Routledge.
Light, Greg, Susanna Calkins and Roy Cox. 2009. Learning and teaching in higher education: the reflective professional. London: Sage.
Merriam, Sharan B. 2001. “Andragogy and self‐directed learning: Pillars of adult learning theory.” New directions for adult and continuing education 2001 (89): 3-14.
Millwood, Richard. 2013. Learning Theory v6_Millwood.D2.2.1.20130430  Accessed 28th March 2015
Onion image courtesy of: Onion Layers Accessed 28th March 2015
Page, David L. 2015a. Educational Philosophy Part 2 Accessed 28th March 2015
Page, David L. 2015b. Educational Philosophy Part 3b Accessed 28th March 2015
Page, David L. 2004. Educational Philosophy Part 1 Accessed 28th March 2015
Pedagogy versus Andragogy chart courtesy of: Pedagogy vs Andragogy chart Accessed 28th March 2015

Bibliography

Anderson, C, Carolyn Carattini, Heather Clarke, Gail Hewton, David Page 2015 QUT KKP623 Reflective Practice in Action Group Presentation submission Accessed October 24, 2015.
Angelo, Thomas A and K Patricia Cross. 1993. “Classroom assessment techniques: A handbookfor college teachers.” San Francisco: Jossey-Bass.
Armstrong, Thomas. 1999. 7 Kinds of Smart: Identifying and Developing Your Multiple Intelligences. New York: Plume Books.
Bradbury, Helen, Nick Frost, Sue Kilminster and Miriam Zukus. 2010. Beyond reflective practice: new approaches to professional lifelong learning. New York: Routledge.
Billett, Stephen. 2001. Learning in the workplace: strategies for effective practice. Crows Nest, NSW: Allen & Unwin.
Boud, David, Rosemary Keogh and David Walker. 2013. Reflection: turning experience into learning. New York: Routledge.
Brookfield, Stephen D. 2006. The skillful teacher: on technique, trust, and responsiveness in the classroom. 2 ed. San Francisco: The Jossey Bass.
Brookfield, Stephen D. 2002. “Using the lenses of critically reflective teaching in the community college classroom.” New Directions for Community Colleges 2002 (118): 31-38.
Brookfield, Stephen D. 1995. Becoming a critically reflective teacher. San Francisco: Jossey Bass
Brookfield, Stephen. 1986. Understanding and facilitating adult learning: A comprehensive analysis of principles and effective practices. Milton Keynes: Open University Press.
Chopra, Deepak. 1996. The seven spiritual laws of success: a practical guide to the fulfilment of your dreams. New York: Random House.
Covey, Stephen R. 2013. The 8th habit: From effectiveness to greatness. New York: Simon and Schuster.
Covey, Stephen R. 1991. Principle centered leadership. New York: Simon and Schuster.
Covey, Stephen R. 1989. The 7 habits of highly effective people. Melbourne: The Business Library.
Dyer, Wayne W. 1992. Real magic: creating miracles in everyday life. Sydney: Harper Collins.
Entwistle, Noel and Paul Ramsden. 1983. Understanding Student Learning. New York: Routledge Revivals.
Esposito, Emily 2015 The Essential Guide to Writing S.M.A.R.T Goals  Accessed 20th November 2015
Fisher, Douglas and Nancy Frey. 2007. Checking for understanding: formative assessment techniques for your classroom. New York: ASCD.
Gardner, Howard and Thomas Hatch. 1989. “Multiple Intelligences go to school: educational implications of the theory of multiple intelligences.” Educational researcher 18 (8): 4-10.
Gardner’s Multiple Intelligences image courtesy of:  Gardners’ MI   Accessed 28th March 2015
Gawith, Gwen. 1991. Power learning: a student’s guide to success. Melbourne: Longman Chesire.
Gerber, Michael E. 2005. E Myth Mastery. New York: Harper Audio.
Gerber, Michael E. 1999. The e-myth manager: why management doesn’t work – and what to do about it. New York: Harper Business.
Gerber, Michael E. 1988. The E Myth. New York: HarperCollins Publishers.
Grace, S and R Ajjawi. 2010. Phenomenological research: Understanding human phenomena. Researcing practice: A discussion on qualitative methodologies. Rotterdam: Sense.
Griffiths, Morweena. 2010. “Research and the self.” In The Routledge companion to research in the arts, edited by M Biggs and H Karlsson, 167-185. London: Routledge.
Haseman, B 2015. “Forensic reflective practice: effecting personal and systemic change.” Accessed May 24, 2015. https://blackboard.qut.edu.au/webapps/blackboard/content/listContent.jsp?course_id=_118711_1&content_id=_5744651_1.
 Lawrence-Wilkes, L. & Chapman, A. 2015. Reflective Practice. Accessed March 28th, 2015 http://www.businessballs.com/reflective-practice.htm
Littauer, Florence. 1986. Your personality tree. Dallas: Word Publishing.
Markova, Dawna and Anne R Powell. 1996. How your child is smart: a life-changing approach to learning. Los Angeles: Conari Press.
McKee, Alan. 2003. Textual analysis: a beginner’s guide. London: Sage
Page, David L. 2015c. Music Practitioner Part 3 Accessed 28th March 2015
Parker, A and J Cutler-Stuart. 1986. Switch on your brain: a guide to better reading, concentration and coordination. Sydney: Hale and Iremonger.
Pascal, J., & Thompson, N. 2012. Developing critically reflective practice. Reflective Practice, 13(2), 311. doi: 10.1080/14623943.2012.657795
Peters, Thomas J. 2003. Re-imagine! London: Dorling Kindersley.
Peters, Thomas J and Nancy Austin. 1985. A passion for excellence. The leadership difference. London: Dorling Kindersley.
Peters, Thomas J, Robert H Waterman and Ian Jones. 1982. In search of excellence: Lessons from America’s best-run companies. London: Dorling Kindersley.
Pieper, Martha Heineman and William Joseph Pieper. 1999. Smart love: the compassionate alternative to discipline that will make you a better parent and your child a better person. Boston: Harvard Common Press
Robbins, Tony. 1991. Awaken the giant within: how to take immediate control of your mental, emotional, physical and financial. New York: Simon and Schuster.
Roth, Robert. 1989. “Preparing the reflective practitioner: transforming the apprentice through the dialectic“. Journal of Teacher Education 40 (2): 31-35
Ryan, Mary Elizabeth. 2014. Reflective practice in the arts. In Literacy in the Arts, edited by G Barton, 77-90. London: Springer.
SAE Institute, 2015 SAE Institute Accessed 28th March 2015
Schön, Donald A. 1987. Educating the Reflective Practitioner, San Francisco: Jossey-Bass. 355 + xvii pages.
Schön, Donald A. 1983. The reflective practitioner: how professionals think in action. Aldershot, England: Arena.
Sperry, Roger W. 1975. Left-brain, right-brain. Saturday Review 2 (23): 30-32.
Springer, Sally P and Georg Deutsch. 1993. Left brain, right brain. 4 ed. New York: WH Freeman & Company.
– ©David L Page 25/05/2015
– updated ©David L Page 20/11/2015
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

Doctoral Research Study – Part 2e

My journey continues….

~DLP Pro Image Fun 5b small.20141020
(Page 2014a)
This blog is a continuation of a series. See here (Page 2015a) for the previous blog.

Year 2015: 2nd Observation Part e

2nd Observation.P2a.renamed

Bordering my music-making practice

As mentioned in the previous blog, I came to understand within the first few months I needed to broadly explore the fields and disciplines of contemporary music-making, in order to border – and define – my music-making practice. Due to the breadth and rapid exponential growth of the music-making industry over the past century, I felt it was necessary to review the industry, fields and disciplines of music-making.
Changing face of music-production
Perhaps motivated by the power imbalance and limited access to studios in the 1970’s and 1980’s, aligned with the broader social and cultural developments of DIY culture from the 1970s, the ever increasing available range of technology has enabled the process of music creation and production to exponentially develop, with musicians in the new era of project and mobile studios, emerging as a new generation of prosumers – both producers and consumers (Théberge 1997, P3). The acknowledged diversity of backgrounds of the contemporary DIY music production practitioner expanded to include: DJ, self-taught/school-trained and discoverer (Burgess 2013, 29).
Technological development provides multiple outcomes, including choices within music production practice: devices to use, work environment location, processes and procedures to use, skills to draw on and workflows, to name a few. In an article on best practice within the music industry, Wallis (2001, 13) observed that access to user-friendly technology has “resulted in many creative artistic talents achieving a high degree of IT literacy, leading to the emergence of the combined studio producer/ writer role. Max Martin from Sweden, writer and producer of the majority of songs recorded by artists such as Britney Spears, is such an example”. Just 5 years later, the ongoing technological developments that influence the project and portable studios further open the discipline to a broader prosumer market (Cole 2011, 448).
This in turn has attracted a range of people and what motivates them to produce music. Music production technology is now accessible to just about anyone who has any degree of interest in the creation and production of music, irrespective of their background {social status or professional role}, their musical or professional audio training and/or experience, or the genre of music they may be interested in attempting to produce, making for a truly eclectic music production society (Burgess 2014, 34; Rogers 2013). Rogers in his 2010 study on local musicians in the Brisbane scene to be of varying levels of professionalism: professional, semi-professional, emerging and several ‘non-commercial’ aspirational levels – including amateur or hobbyist practices – in the discipline (Rogers 2013, 168). I will apply the term “amateur not as a reflection on a hobbyists’ skills, which are often quite advanced, but rather, to emphasise that most of DIY culture is not motivated by commercial purposes” (Kuznetson and Paulos 2010, 295) . The “status and position of the amateur have been redeemed and a new, less aristocratic, breed of amateur has emerged .. (who) .. are technologically literate, seriously engaged, and committed practitioners”. (Prior 2010, 401).
The traditional definition of Music Producer
Traditionally, Music Producers were defined as being responsible for the: “control, guidance, and communication of the musical vision of the project”, seeing the completed product prior to the project even commencing (Gibson 2006, 1). A music producer was recognised as likely to originate from a diversity of backgrounds that would provide them with a different perspective and approaches in the studio. These background types were most commonly: artist/musician, audio engineer, songwriter, entrepreneur and multipath (Burgess 2013, 29).
A good producer was also seen to have a diversity of skills, beyond the specialist technical skills as outlined in the previous section. These skills, commonly referred to as soft skills (Page 2014b), would be:
  • understanding and proficiency of music;
  • high degree of communication skills;
  • motivational and inspirational skills to encourage greater performance and execution of roles;
  • inspirational skills to encourage a change of approach if or as required;
  • an experienced reflective practitioner;
  • project management and administrative skills to ensure the project remains viable and on target;
  • an understanding of business and have the associated skills or communication, negotiation, conflict resolution;
  • functional knowledge of the genre;
  • passion for music and all elements of the holistic music production process (Gibson 2006, 2-3; Griffin 1996, 15-19).
A new discipline of music-making emerges
Following substantial technological development from the late 1960s to today, music-making practice has diversified exponentially in a variety of social and cultural contexts (Wallis 2001; Watson and Shove 2008). Limited access to major corporate record label and broadcasting studios in the 1970’s and 1980’s aligned with the broader social and cultural developments of DIY culture from the 1970s, and with the ever-increasing available range of technology. This enabled the process of music creation and production to exponentially develop, with musicians in the new era of project and portable studios, emerging as a new generation of music practitioners (Théberge 1997, P3; Hracs 2012). A new music discipline has emerged – contemporary DIY music-making practice (Moran 2011; Watson 2014; Spencer 2005; Rogers 2013). Increased access to digital recording and production technology has enabled aspiring music practitioners from diverse backgrounds and interests to participate in a do-it-yourself (DIY) capacity, resulting in a significantly more fragmented industry (Kuznetsov and Paulos 2010; Spencer 2005; Moran 2011; Watson 2014). Wallis (2001, 13) observed that practitioners’ access to user-friendly technology has “resulted in many creative artistic talents achieving a high degree of IT literacy, leading to an even broader market”. Music production technology is now accessible to most people who have any degree of interest in music-making practice, irrespective of their social status or professional role, their musical or sonic training or experience, or the social and cultural context. This enables a truly diverse and eclectic music-making practice society (Burgess 1997, 34; Rogers 2013).
Practitioners now access and use broad range of music production and instrument technology, have vastly different workflows, for a broader range of music styles, and use a range of creative locations to create their EP’s. This diversity of practice now exemplifies contemporary industry (Ritzer and Jurgenson 2010; Purdue et al. 1997). As a result, recorded music is now created in ways that contrast with previous models, where cultural products resulted from established industrial hierarchies and imperatives (Burgess 1997).
Multiple options to play and produce music have implications on what elements of music production are used at any point in time: the creative technologies that can be used, the music style that emerges naturally out or certain technology, the creative location that practice occurs within, and the practice workflow. Further, as practitioners tend to assume all of these creative labour roles in their home-style project studios, contemporary music practitioners continue to extend their knowledge, skill level and technology, in obvious contrast with previous models (Izhaki 2013; Théberge 1997).
With the fragmentation of the industry, and the attracting diverse peoples in music-making practice, the contemporary practitioner’s motivations to practice music have also diversified. Rogers’ study highlighted varying orientations of motive amongst participants: professional, semi-professional, emerging and several non-commercial aspirational levels – including amateur or hobbyist practices. By far, the largest group was the amateur category (2013, 168). The term amateur is adopted “not as a reflection on a hobbyists’ skills, which are often quite advanced, but rather, to emphasise that most of DIY culture is not motivated by commercial purposes” (Kuznetson and Paulos 2010, 295). Not interested in the traditional music industry criteria of volume sales of commercially released tracks, these contemporary practitioners pursue music-making practice for their own motives – “their sense of identity is firmly attached to the pursuit of ‘serious leisure’” (Stebbins in Prior 2010, 401; Kuznetson and Paulos 2010, 295). The “status and position of the amateur have been redeemed and a new, less aristocratic, breed of amateur has emerged .. (who) .. are technologically literate, seriously engaged, and committed practitioners” (Prior 2010, 401).
With DIY perspectives on cultural production being particularly influential in music-making practice, in many ways redefining the field today (Frith 1992; Watson and Shove 2008; Watson 2014; Ritzer and Jurgenson 2010; Purdue et al. 1997), traditional standards of practice are now being challenged. Music industry standards (Burgess 1997, 162; Grammy Awards 2015; Gibson 2006, 42; Recording Producers and Engineers Wing 2008) appear to be less valued by DIY music practitioners. Notions of effective practice appears to be actively disregarded due to the DIY practitioners prioritizing of motivations such as creativity, emotional connection, networking, and free-spiritedness (Hracs, 2012; Kuznetsov and Paulos 2010). Burgess found contemporary music practitioners are likely to be: self-taught, and of a ‘discoverer’ learning style (2013, 29); with a preparedness to reject accepted industry practice (eg: technical or music style standards); and a willingness to borrow at will any music or sonic characteristics from other cultural approaches to fuse into their practice, leading to “unprecedented diversity” (Rogers 2013, 168; McWilliam 2008, 38; Davie 2012, 41).
With this diversity comes the portability of both production and performance technology. For example; producing a full EP on a beach, only needing to retreat to a location to get some electricity when my laptop battery runs empty; dance festivals in a forest where the artists arrive with as little gear as a laptop, or perhaps a USB stick and perform in front of 1,000 people for up to several hours; or, as a result of the technological developments, a new music style emerges because practitioners use the digital virtual technology as an instrument and performance tool, rather than for what it was originally designed for by the manufacturer {data management} (Hewitt 2008, xv). One of the best examples of this would be the creation of electronic music and its sub-genres of electronic dance music, trance music and chill music.
It could also be stated that in Electronic Music Production (EMP), musicians and producers generally use portable technology, accessing synthetic or digital instruments, and compose typically in a structured process (Gunderson 2004; Johnsen et al 2007; Davie 2014, 38; Duckworth 2005, 148; Goyte 2011a; Goyte 2011b; Davie 2015, 34; Holder 2011; Huber and Runstein 2014, 78). In contrast, Indie Rock musicians and producers generally use project studios, access acoustic or electric instruments, and quite often compose in an organic process (Emerick and Massey 2006, 306; Burgess 2014, 93; Dandy Warhols 2010; Leyshon 2009, 1309; Davie 2012, 44-45; Tame Impala. 2012).
The contemporary music-making practice
I propose contemporary DIY music-making practice is now positioned in large part due to factors including, the DIY cultural focus of the past 4 decades, spurred significantly from the punk music era of the 1970’s, where independence and expression was held in greater regard than either aesthetics, musical training or performance technique [DIY cultural pursuit as continued agency of change], and; the simultaneous technological development of the equipment and tools contemporary musicians as music producers use, facilitating unrivalled levels of access to professional equipment, significantly influencing the manner in which musicians as music producers engage in their practice (Wallis 2001). [technology as agent of change]. Additionally, effective contemporary DIY music production practice potentially has the following characteristics:
  • The practitioner is a prosumer, using professionals tools, but also be a consumer of the new technologies [technology as agency of economic change];
  • The practitioner interacts with the technology as a medium for creative expression, as if it were an instrument [technology as agency for creativity and differentiation];
  • The practitioner works in varied environments, use different processes, skills and workflows in order to achieve the outcomes that the musicians and music producers would have a decade ago {and probably including a portable environment} [technology as agency of change].
  • The practitioner works across varied genres, requiring different workflows and instruments
  • The practitioner works with a variety of technologies, likely to be a combination of digital, digital virtual and analogue equipment
  • The practitioner works with a combination of acoustic, digitalised and synthetic instruments
In framing my research study, I have broadly and deeply researched the technological advancements historically in the following audio and audio-related areas of: the telephone; the telegraph; the phonograph; microphones; gramophones; the recording process; the development of radio stations and broadcasting; the development of recording and recording studios; the development of alternative electronic instruments such as synthesisers, organs and samplers; recording consoles, multi-track recording devices, popular music production, large format console studios and analogue audio processing equipment; general computers and Apple Macintosh computers; the internet; digital instruments such as digital sequencers and samplers; digital consoles and audio processing equipment; virtual soft samplers and instruments; virtual Digital Audio Workstations {‘DAWs’}, and a range of exemplar artists (commercially successful, full-time practitioners) that were innovative in some way, influenced by the technological developments, and incorporated the new technologies into their creative works for either new or unique sounds, and/or improved workflow.
The contemporary music-making practitioner
Having explored how the technological development of general devices (namely personal computers and sound cards) and music-making equipment (namely samplers and digital interfaces), has had on, and continues to have on, the music production process, lets look at a profile of the contemporary DIY music production practitioner and the technology they use, we have unearthed to date.
The contemporary DIY music production practitioner may be of any age, of any social status or professional role, but are likely to be IT conversant. They are likely to come from a range of backgrounds such as: artist/musician, audio engineer, songwriter, DJ, self-taught/school-trained, discoverer, entrepreneur or multipath (Burgess 2013, 29). The contemporary DIY music production practitioner is likely to have at the very least a portable studio, or perhaps a project studio with a range of both outboard and in-the-box instruments and audio processing devices, or quality ranging from entry level, through to professional level. I believe that the term prosumer accurately describes the contemporary DIY music production practitioner, one who is both a purchaser and an operator of technology aimed at the level of domestic, semi-professional or professional use. This technology could be analogue, digital or virtual, procured as a DIY kit, as an assembled device via retail channels, or procured through a range of file share, shareware, or freeware, either legally or not. anti-consumerism, rebelliousness, and creativity. They most certainly possess a ‘just do it’ spirit as the Nike slogan has encouraged since 1971.
They may or may not be currently a professional or a semi-professional DIY music production practitioner, they may or may not be motivated by commercial aspirations to become a professional or a semi-professional DIY music production practitioner. They may be motivated by purely creative or social aspirations, operating on a non-commercial basis, at an amateur or hobbyist level. Kuznetsov and Paulos found the majority of DIY communities engaged “to express themselves and be inspired by new ideas”, “not to gain employment, money, or online fame” with an example being “amateur radio hobbyists in the 1920’s” (2010, 295). Operating at this amateur level does not however reflect their level of passion or commitment compared to the professional practitioners, just the reliance on alternative forms of income to fund their contemporary DIY music production practice.
If the contemporary DIY music production practitioner does have professional aspirations, they are more than likely an ‘entrepreneurial’ producer, “who must increasingly not only perform creative tasks, but also a range of business including searching for work, self-marketing and managing the finances of small studio facilities. This mirrors the increased entrepreneurialism found among independent musicians” (Watson 2013). I would argue, that in these times of tasking multiple roles in economically tight times (as Braithwaite alluded), the choice of music production environment and music production process comes down to what resources are available, how much time one has, and access to funds to support their passion (Théberge 2012). However, as the contemporary DIY music production practitioner is a resourceful species, in the new economy restraints of budget no longer guarantee there will be limitations of access as previous generations of aspiring music producers experienced. A slogan of  DIY practitioners in the new economy may be ‘where there is a will, there is way’. With access, comes choice: choice of technology, location, musical style and workflow. These elements of practice provide each practitioner many combinations of  options to apply to their practice, enabling uniqueness in process, sonics and musical style. Yes, the discipline of contemporary DIY music production is now “characterized by infinite choice” and as a result of the burgeoning numbers of practitioners, “intense competition” to have their music heard, irrespective of commercial or non-commercial motives. As a result, practitioners need to expand their focus from production to also include promotion, developing “strategies to ‘stand out in the crowd’” (Hracs et al 2010, 1,144). 
onion-layers
This blog series is planned to continue next month with Doctoral Research Study – Part 2f (Page 2015b). It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.
References
Burgess, Richard James. 2014. The history of music production. New York: Oxford University Press.
Burgess, Richard James. 2013. The art of music production: the theory and practice. New York: Oxford University Press.
Burgess, Richard James. 1997. The art of record production. London: Omnibus Press.
Cole, S. J. 2011. “The Prosumer and the Project Studio: The Battle for Distinction in the Field of Music Recording.” Sociology 45 (3): 447–463.
Dandy Warhols, The. 2010. The Dandy Warhols: best of the capitol years 1995-2007. Capitol Records. Compact Disc.DIY image courtesy of: DIY Accessed 5th May, 2015
Davie, Mark. 2015. “DIY: don’t be a tool.” Audio Technology2015 (106): 98.
Davie, Mark. 2014. “Danger Mouse: producer of the decade.” Audio Technology (100): 98.
Davie, Mark. 2012. “The diy revolution.” Audio Technology (91): 98.
DIY image courtesy of: DIY Accessed 5th May, 2015
Duckworth, William. 2005. Virtual music: How the web got wired for sound. New York, NY: Routledge.
Emerick, Geoff and Howard Massey. 2007. Here, there and everywhere: my life recording the music of the beatles. New York, NY: Gotham Books.
Frith, Simon. 1992. “The industrialization of popular music.” Popular Music and Communication 2: 49-74.
Grammy Awards. 2015. “The 2015 Grammy Awards.” Accessed 20th April, 2015. https://www.grammy.com/nominees.
Griffin, RW. 1996. Management. 5th ed. Boston: Houghton Mifflin Company.
Hewitt, Michael. 2008. Music theory for computer musicians. Boston: Cengage Learning Course Technology.
Huber, David Miles and Robert E Runstein. 2014. Modern recording techniques. 8th ed. Burlington: Focal Press.
Gibson, Bill. 2006. The s.m.a.r.t. guide to becoming a successful producer/engineer Boston: Thompson Course Technology.
Goyte. 2011b. Making Mirrors. Eleven May 5, 2015. Compact Disc.
Gotye. 2011a. “Making, making mirrors – a short documentary.” Accessed May 5, 2015. https://www.youtube.com/watch?v=2ZXLyeatI0s&list=PL2qcTIIqLo7WEHIeJ0s2Y21jgIKoQahkD&index=64.
Gunderson, Philip A. 2004. “Danger Mouse’s “grey album”, mash-ups, and the age of composition.” Postmodern Culture 15 (1): 7. doi: 10.1353/pmc.2004.0040.
Holder, Christopher. 2011. “Goyte.” Audio Technology (84): 98.
Hracs, Brian J. 2012. “A creative industry in transition: the rise of digitally driven independent music production.” Growth and Change 43 (3): 442-461.
Izhaki, Roey. 2013. Mixing audio: concepts, practices and tools. 3rd ed. Oxford: Focal.
Johnsen, Andreas , Ralf Christensen and Henrik Moltke. 2007. “Good Copy, Bad Copy.” Copyright and Culture Documentary. Accessed June 7, 2015. https://www.youtube.com/watch?v=WEKl5I_Q044&list=PL2qcTIIqLo7WEHIeJ0s2Y21jgIKoQahkD&index=72.
Kuznetsov, Stacey and Eric Paulos. 2010. “Rise of the Expert Amateur: DIY Projects, Communities, and Cultures.” In Proceedings of the 6th Nordic Conference on Human-Computer Interaction: Extending Boundaries, Reykjavik, Iceland, October 16-20, 2010, edited, 295-304. http://dl.acm.org/citation.cfm?id=1868914&picked=prox: ACM.
Leyshon, Andrew. 2009. “The Software slump?: digital music, the democratisation of technology, and the decline of the recording studio sector within the musical economy.” Environment and Planning 41 (6): 1309.
McWilliam, Erica. 2008. The creative workforce: how to launch young people into high-flying futures. Sydney: UNSW press.
Moran, Ian P. 2011. “Punk: the do-it-yourself subculture.” Social Sciences Journal 10 (1): 13.
Onion image courtesy of: Onion Layers Accessed 15th December, 2014
Page, David L. 2017 2nd Observation image courtesy of David L Page  Created 10th June, 2017
Page, David L. 2015b. Doctoral Research Study – Part 2f  Accessed 30th May, 2015
Page, David L. 2015a. Doctoral Research Study Part 2d  Accessed 20th May, 2015
Page, David L. 2014b Knowledge base & skill set required for Creative Artists today  Accessed 20th May, 2015
Page, David L. 2014a image courtesy of David L Page  Created 15th December, 2014
Prior, Nick. 2010. “The rise of the new amateurs: Popular music, digital technology and the fate of cultural production.” Handbook of cultural sociology. London: Routledge: 398-407.
Purdue, Derrick, Jörg Dürrschmidt, Peter Jowers and Richard O’Doherty. 1997. “DIY culture and extended milieux: LETS, veggie boxes and festivals.” The Sociological Review 45 (4).
Recording Producers and Engineers Wing, The. 2008. “Digital Audio Workstation Guidelines for Music Production.” Accessed May 27, 2015. https://www.grammy.org/files/pages/DAWGuidelineLong.
Ritzer, George and Nathan Jurgenson. 2010. “Production, consumption, prosumption: the nature of capitalism in the age of the digital ‘prosumer’.” Journal of Consumer Culture 10 (1).
Rogers, I. 2013. “The hobbyist majority and the mainstream fringe: the pathways of independent music-making in Brisbane, Australia.” In Redefining mainstream popular music, edited by Sarah Baker, Andy Bennett and Jodie Taylor, 162-173. New York: Routledge.
Spencer, Amy. 2005. DIY: The rise of lo-fi culture: Marion Boyars London.
Tame Impala. 2012b. Lonerism. Modular. Compact Disc.
Théberge, Paul. 2012. “The end of the world as we know It: the changing role of the studio in the age of the internet.” In The art of record production: an introductory reader for a new academic field, edited by Simon Frith and Simon Zagorski-Thomas, 77-90. Farnham, Surrey: Ashgate.
Théberge, Paul. 1997. Any sound you can make: making music/consuming technology. Hanover: University Press of New England.
Wallis, R Dr. 2001. “Best practice cases in the music industry and their relevance for government policies in developing countries.” Paper presented at the United Conference on Trade and Development, Brussels, Belgium, May 14-20, 2001.
Watson, Allan. 2014. Cultural Production in and Beyond the Recording Studio. New York, NY: Routledge.
Watson, Matthew and Elizabeth Shove. 2008. “Product, Competence, Project and Practice DIY and the dynamics of craft consumption.” Journal of Consumer Culture 8 (1): 69,74.
– @David L Page 20/05/2015
– updated @David L Page 30/05/2015
– updated @David L Page 10/06/2017
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

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Educational Philosophy Part 2

Know one self, develop mastery of one self

Vision Blueprint (2015)
Continuing on from my previous blogs in this series; I am a practitioner across multiple disciplines. My formal post-compulsory education qualifications include engineering, business, governance, teaching, education and sound production. I have held coal face type positions, project management and consultancy positions, numerous senior and executive management positions including leading a corporation in a managing director role, and have acted on several boards in governance roles. I have undertaken many more lessor accredited and non-accredited training programs across these disciplines and many industries. There are too many to list in name and content focus. I have been very fortunate to live in an era, a country and be of a gender and class where my access to knowledge is virtually boundless. What I have discovered over time, core to the range of roles I have engaged in professionally, irrespective of the discipline or industry, is knowing one self. Underlying what many are referring to as soft skills [see blog] , or as Light et al refers to as “Transferable skills – which include communication, teamwork, leadership, ethics, problem-solvingand information technology, etc – support the economic requirement of flexibility and adaptability which graduates expect to use in their future employment and careers, as well as in their life practices and activities”(Light at al 2009, 11). Skills which will enable people to manage themselves within society, and conduct themselves competently and professionally within industry.
As introduced in my blog Music Practitioner – Part 5 blog, “Ryan considers it essential for a creative arts practitioner to look deeper into self (Ryan 2014,77). Having been involved in multiple practice across disciplines, I would suggest that Ryan’s view equally applies to all practice. From the mid 1990’s there was a leadership movement present in most industrialised societies. Referred to by some as the new age management movement, industry or discipline leaders such as Tom Peters (Peters and Austin 1985), Michael Gerber (1988), Stephen Covey (1992), Anthony Robbins (1991), Deepak Chopra (1996) and Wayne Dyer (1992) presented seminars across the globe to concert halls of leaders, managers, entrepreneurs and  practitioners across a broad range of industries. The seminal message was very simple: for success you need to develop yourself as a practitioner. In order to do this, irrespective of your role or function, you will need to continue to develop your self until you have a degree of mastery of your self. Recent observations show an increased number of higher education learning support resources – what once had the singular focus of ontological, epistemological and methodological content – now reference learners and their self, their social and cultural considerations, their emotions, their learning styles and intelligences (Marshall and Rowland 2013, 2-16).
Core to my beliefs, a practitioner must get to know one self on many levels. For one to be able to interact and engage with others at an effective level, one must first understand oneself. I believe we as humans have multiple layers or facets which makes each of us truly unique. I personally like the analogy of an onion, peeling back each layer one by one as we progress through life, revealing another layer of our complex selves. For me, to consider my self as a learner practitioner, I must also include into my consideration, my self.  This should not perhaps be surprising given my higher degree research study is that of an auto-ethnographical study of my practice: an emergent research study that will no doubt have me revealing multiple layers of distinctions and understandings about my self, as I progress along my path – revealing my information of my practice, and my self.

Layer 1: My Background

I am a white male of european descent, born and raised in Australia by post-war baby boomers. I was raised and schooled christian, but have since spent time in both Japanese and Indian cultures for extended periods of time.  I share a culture with my life partner of Indian cultural background. As a result, we consciously developed a fusion of values and beliefs that were minutely agreeable over several decades to form our own unique culture. We have now been married for twenty-five years.
I was Australian public school educated. I was an above average student – working hard to achieve this – but several events inside and outside of my schooling discouraged my continuing engagement. I had found music, and by mid-high school I had lost interest and I left to pursue an alternative option – a trade. I recall the school counsellor advised my parents that the trade I was leaving to pursue was unlikely to keep me engaged for long; but my parents left the decision to me. Within two years I found the trade role was straight forward – just not interesting. By the third year, I found I spent most time at work in the medium sized business office serving customers, managing their expectations and developing the centre’s poor systems. By the fourth year, I was researching returning to school in order to enable me to enrol in a business degree.
Due to my school grades, my aptitude test, and my work experience, I was accepted into tertiary education. None of my family (immediate or extended) had pursued tertiary studies previously (I recall at the time only 11% of Australians went on to higher education). Having departed high school prior to Year 12 and having missed many of the formative subjects that the tertiary course content developed on from. I struggled through engaging in the course content to varying levels. I however chose to spend much of my time socialising and exploring the limits of being young and free in Australia and overseas. My love for and interest in music developed exponentially at this time, and I returned to a single-minded focus of music practice.
I left for overseas immediately after completing my final year, to which would become a significant period in my life. I got a role consulting with Japanese industrial organisations regarding their training and development. I was trained in educational practice and also delivered training across many industries.  I also formed an originals band with both locals and Internationals; played local venues, community events and festivals; writing, co-managing, and co-producing. I experimented with engineering on both analogue consoles and experimented within the developing digital technologies.
Upon returning back to Australia, I formalised my teaching experience, and gained diverse experience across a range of post-compulsory educational institutions –  including tertiary – experimenting, designing curriculum and programs, and teaching across a broad range of educational approaches (Milwood 2013). Additionally, I continued to develop and practice music – from writing to performing.
After several overseas ventures consulting with International organisations,  I formalised my education experience with a Masters degree. During this time, I was recruited by several educational institutions to assist them with leadership, curriculum design, developing systems, financial management, human resources management, strategic marketing, business development and governance. I continued with my music practice, outsourcing to many bands playing local venues and community events. I also engaged in community music programs as a mentor and coach.
During this time I took a leave of absence and studied at California’s Music Institute (MI) at the Guitar Institute of Technology (GIT).  I also ventured into the virtual world of music production (Pro Tools and Logic Pro) and explored the world of virtual instruments in contrast to the acoustic or electric instruments I had experience with until then.
 After a three year professional stint overseas, I returned to Australia and formalised my engineering and production experience in a course at SAE. One year later, I was invited to teach as a sessional Lecturer, which over time progressed into my current role as a Senior Lecturer. I am now formalising my broad Creative Practice in a professional doctoral program at Queensland University of Technology. What I am finding though, is that I am actually formalising all of my practice to date, across all disciplines and industries, with one of the two agreed outcomes being two original cultural productions (EPs) of my music and audio practice.

Layer 2: My generation

The types of information I ideally need to know prior to entering a education and training role, is to know myself.
I was born into Generation X (Gen X) – which has been referred to as the lost generation. As one of the smallest generational cohorts in terms of births, as a Gen Xer I found my parent’s baby-boomer generation to be quite overwhelming in terms of their large personalities and regular group get togethers. They were vocal, opinionated and highly engaged in living life to the fullest. As I was growing up, I recall I  struggled to find my voice at various times, often feeling relatively invisible. My dad worked in a senior Corporate role which occupied his days, including often his evenings and the weekends. He was well intentioned by volunteering to manage our local rugby teams, but the reality was that he was often unavailable due to work commitments. I would say therefore, that my father was relatively disengaged from me and my brother and sister’s lives. When I was almost seventeen years of age, my parents accepted an international position and moved overseas. This situation forced me to become independent virtually overnight. My parents were a very loving and compatible couple towards each other, and travelled extensively as part of their Corporate lives, inviting me over the Australian summer season. I have definitely absorbed these influences as my life with my partner has demonstrated, along my global travels.  I am also confident that my experiences of feeling invisible and voiceless at times allowed me to feel comfortable in engaging in other cultures of Japan and India.
Technology has played a major role in my life, having lives across many forms of developing media: from black and white television, to colour, to digital; computers from large room punch card devices, to personal computers, to portable laptop devices; landline to portable to mobile telecommunications devices; studios from large format studios to project studios to portable studios; analogue, digital and now digital virtual technologies in the music and audio field; This rapid change has aided me to being quite flexible and adaptable. One aspect that I have never felt a desire to embrace is gaming – digital or virtual. I was always too busy being physical or embracing physical instruments.
 As a result, I believe I possess the typical Gen X characteristics of: self-reliance;  seek a balanced life across work, family and interests; am relatively comfortable with technology; and comfortable working in non-traditional structures (environments,reporting lines, time of day, etc). The one train I do not share with fellow Gen Xers is my lack of adoption to DIY culture. I embraced punk is spirit, but not in activity.
“Whilst I am a very self-reliant practitioner, my over riding philosophical stance embraces the 10,000 hours trades philosophy of skilled craftworkers” (Ericsson et al 1993 in Page 2004)
I guess it is the phenomenologist within me, perhaps tied with my libran value of the aesthetic.
“In both myself and others, I value and believe in the merit of the the development of a skill, a trade, a craft, or art – for that practitioner developing specialist knowledge and tools over many thousand’s of hours of practice, to ultimately express one self through the development of a uniquely personalised quality end product. I accept at last that this is integral to how I conduct my self in my practice and life” (Page 2004).

Layer 3: My paradigm

As I outlined in my  Research Practitioner – Part 2  blog, my ontology is one of phenomenology. Specifically, I view the world through an experiential phenomenological lens. Experiential Phenomenology professional practitioners tend to be less interested in the philosophy of phenomenological method than its practice and application:
“In existential phenomenology the focus is on individual’s experiences of being-in-the-world” (Grace and Ajjawi 2010, 198).

Layer 4: My epistemology

My epistemology is empirical, relying on my senses of observation and experimentation.  It therefore should not be surprising that the methodology using a mixed-method qualitative methodology, including that of: practice-led research, evocative auto-ethnography, reflective practice, and reflexive practice, over the two projects. Reflecting on my life across numerous disciplines, I recognise I am the archetype who has to experience activities in life, rather than just theorising about it at arm’s length. Irrespective of my creative, sporting, or professional endeavours of education and management, I learnt early that I need to experience something to understand it.

Layer 5: My approach to all forms of practice

As introduced in my blog Educational Philosophy Part 1“My life philosophy is one of constant and never-ending improvement. It has been consciously so for over the past decade. Irrespective of what field or discipline I am operating within, I practice every day, in some way towards. As mentioned in Layer 2 above, my over riding philosophical stance embraces the 10,000 hours trades philosophy of skilled craftworkers (Ericsson et al 1993). I value the development of a skill, a trade, a craft, or art, developing specialist knowledge and tools over many thousand’s of hours of practice, to ultimately express my self through a uniquely personalised and developed content, information knowledge base and skill level. I consider this approach integral to becoming a professional practitioner.
As part of this practice, I also make time to reflect every day at some time upon some aspect of my diverse practice, referenced against other practitioners, whether peers or those who I value their cultural production. My focus is to gain clarity, greater understanding, increased insight, considering possible alternative workflows I could have pursued, and decide what form of practice I will pursue the next opportunity a similar circumstance arises” (Page 2004). 
I note that the life-long learning philosophy I have outlined aligns to what Billet and Newton refer to as a learning practice (Bradbury et al 2010, 52); and the daily practice I describe is both reflective practice (Schön 1983) and reflexive practice (West in Bradbury et al 2010, 66).

Layer 6: My learning styles

In terms of a personality type, I demonstrate characteristics of Littauer’s hippocratic approach as a sanguine (expressive), choleric (driving). I also have relative high levels of melancholic (analytic). Irrespective of the personality type I have taken over the years, I consistently test to these types. Having been immersed within Japanese culture for many decades, it not surprising that my blood type [Funukawa blood types]also matches constantly with the range of my personality type tests (Littauer 1986, 235).
As a left-handed person, I draw predominantly on the right-hemisphere of my brain. “The right-hemisphere appears to be responsible for certain spatial skills and musical abilities and to process information simultaneously and holistically”. That is not to say that I do not have access to the left-hemisphere of my brain, attributes which are usually noted as “analytic processes, especially the production and understanding of language, and it appears input in a sequential order” (Springer and Deutsch 1993, 5).  I am a swimmer and previously a jogger, so both sides of my body, including the hemispheres within my brain have since a very young age got equal attention in their development. In terms of my music practice, I developed a degree of ambidextrousness playing a two handed instrument over about four decades. However in order to develop my music practice to another level, about a decade ago I decided to develop a fingerpicking style of playing (in contrast to straight single note or rhythm playing) using both a plectrum and my lower three (3) fingers. Whilst this style is now very natural, it took considerable time reprogramming my quite limited rhythmical left arm (strumming arm). As a result, I now find I have similar levels of dexterity, accuracy, strength, rhythm and feel from the fingers between both my right and left hands now.
In learning educational kinesiology (EK) such balance is not always the norm. It is not uncommon for people in their day to day activities, to develop one side of their body, and therefore one side of their brain in greater proportion to the other side. Through EK I learnt exercises to do when I feel that I have lost a degree of balance due to my everyday activities. These exercises allow me to “integrate both halves of the brain”again –  and sometimes apply to my students as I feel it is appropriate and required –  “to make learning both easier and more enjoyable” (Parker and Stuart 1986, 16). I consciously continue to exercise and develop my right side of my body, and therefore my left hemisphere of the brain,  in order to maintain a more of a balanced life, and be flexible to switch my orientations when the situation requires it of me.
I am naturally a visual, kinaesthetic, auditory thinker. The core language characteristic is: “Speaks from personal experience a circling way” (Markova 1992, 65). This is perhaps not surprising to my peers and students who may have experienced this within the class room environment. It is also possibly goes a long way to explaining my affinity to circular curriculum (see below Layer 7 for more on this). But to suggest that I am only this would be incorrect. As per my natural hemisphere orientation, I have consciously developed myself in this regard to be comfortable across multiple thinking orientations such as. In any ways, my doctoral research study is an opportunity to demonstrate a range of thinking orientations.
According to Gardner’s multiple intelligences “each human being is capable of seven relatively independent forms of information processing with individuals differing from one another in the specific profile of intelligences that they exhibit”(Gardner and Hatch 1989, 4). 
gardners-8-multiple-intelligences-chart
Figure I – Gardner’s Multiple Intelligences chart (2015)
The intelligences that I exhibit are in no particular order or priority, and I have found to depend upon the environment and context at a particular point in time. They are: visual/spacial, bodily/kinesthetic, interpersonal, interpersonal, naturalistic and musical/rhythmic intelligences. Depending upon the situation, I have also learnt to develop over time both my verbal/linguistic and my logical/mathematical intelligences.
In terms of learning types I demonstrate an affinity to Gawith’s multi-sense learning – physical and emotive learning (1991, 2-6); and that a baker in terms of learning type. That is, I “like to see the whole cake in the mind’s eye first. Bakers feel most comfortable when they can conceive of each part or ingredient in terms of what it contributes to the whole. Bakers tend to be visual, inventive, holistic, intuitive learners. They are driven as much by what feels right as what the book says is right” (1991, 9). But as previously mentioned, I have consciously developed myself learning types
As mentioned in Layer 5, I value and believe in a committed approach to becoming a professional practitioner. I am motivated to learn to constantly improve.  It is now firmly integral within my core being. I have tried and have found to be unable to extinguish my desire to learning. I also attribute this desire to learn as an underlying reason why I have been able to overcome some of the learning challenges I experienced in my undergraduate degree, following being somewhat unprepared as an early school leaver.

This blog series is planned to continue with Educational Philosophy Part 3a.

References

Bradbury, Helen, Nick Frost, Sue Kilminster and Miriam Zukus. 2010. Beyond reflective practice: new approaches to professional lifelong learning. New York: Routledge.
Chopra, Deepak. 1996. The seven spiritual laws of success: a practical guide to the fulfilment of your dreams. New York: Random House.
Covey, Stephen R. 1991. Principle centered leadership. New York: Simon and Schuster.
Dyer, Wayne W. 1992. Real magic: creating miracles in everyday life. Sydney: Harper Collins.
Ericsson, K.A., Krampe, R.T. and Tesch-Römer, C., 1993. The role of deliberate practice in the acquisition of expert performance. Psychological review100(3), p.363.
Gardner, Howard and Thomas Hatch. 1989. “Multiple Intelligences go to school: educational implications of the theory of multiple intelligences.” Educational researcher 18 (8): 4-10.
Gardner’s Multiple Intelligences image courtesy of:  Gardners’ MI   Accessed 28th March 2015
Gawith, Gwen. 1991. Power learning: a student’s guide to success. Melbourne: Longman Chesire.
Gerber, Michael E. 1988. The E Myth. New York: HarperCollins Publishers.
Grace, S and R Ajjawi. 2010. Phenomenological research: Understanding human phenomena. Researcing practice: A discussion on qualitative methodologies. Rotterdam: Sense.
Light, Greg, Susanna Calkins and Roy Cox. 2009. Learning and teaching in higher education: the reflective professional. London: Sage.
Littauer, Florence. 1986. Your personality tree. Dallas: Word Publishing.
Markova, Dawna and Anne R Powell. 1996. How your child is smart: a life-changing approach to learning. Los Angeles: Conari Press.
Marshall, Lorraine and Frances Rowland. 2013. A guide to learning independently. 3 ed. New York: Open University Press.
Millwood, Richard. 2013. Learning Theory v6_Millwood.D2.2.1.20130430  Accessed 28th March 2015
Onion image courtesy of: Onion Layers Accessed 28th March 2015
Page, David L. 2015a. Educational Philosophy Part 3a Accessed 28th March 2015
Page, David L. 2015b. Research Practitioner Part 2 Accessed 28th March 2015
Page, David L. 2014. Soft Skills Accessed 28th March 2015
Page, David L. 2010 Music Practitioner Part 5  Accessed 28th March 2015
Page, David L. 2004. Educational Philosophy Part 1 Accessed 28th March 2015
Parker, A and J Cutler-Stuart. 1986. Switch on your brain: a guide to better reading, concentration and coordination. Sydney: Hale and Iremonger.
Peters, Thomas J and Nancy Austin. 1985. A passion for excellence. The leadership difference. London: Dorling Kindersley.
Robbins, Tony. 1991. Awaken the giant within: how to take immediate control of your mental, emotional, physical and financial. New York: Simon and Schuster.
Ryan, Mary Elizabeth. 2014. Reflective practice in the arts. In Literacy in the Arts, edited by G Barton, 77-90. London: Springer.
Schön, Donald A. 1983. The reflective practitioner: how professionals think in action. Aldershot, England: Arena.
Springer, Sally P and Georg Deutsch. 1993. Left brain, right brain. 4 ed. New York: WH Freeman & Company.
Vision blueprint image courtesy of:  Vision Blueprint   Accessed 28th March 2015

Bibliography

Armstrong, Thomas. 1999. 7 Kinds of Smart: Identifying and Developing Your Multiple Intelligences. New York: Plume Books.
Covey, Stephen R. 2013. The 8th habit: From effectiveness to greatness. New York: Simon and Schuster.
Covey, Stephen R. 1989. The 7 habits of highly effective people. Melbourne: The Business Library.
Gerber, Michael E. 2005. E Myth Mastery. New York: Harper Audio.
Gerber, Michael E. 1999. The e-myth manager: why management doesn’t work – and what to do about it. New York: Harper Business.
Lawrence-Wilkes, L. & Chapman, A. 2015. Reflective Practice. Accessed March 28th, 2015 http://www.businessballs.com/reflective-practice.htm
Peters, Thomas J. 2003. Re-imagine! London: Dorling Kindersley.
Peters, Thomas J, Robert H Waterman and Ian Jones. 1982. In search of excellence: Lessons from America’s best-run companies. London: Dorling Kindersley.
Pieper, Martha Heineman and William Joseph Pieper. 1999. Smart love: the compassionate alternative to discipline that will make you a better parent and your child a better person. Boston: Harvard Common Press
Sperry, Roger W. 1975. Left-brain, right-brain. Saturday Review 2 (23): 30-32.
– ©David L Page 30/03/2015
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

A Creative Artist’s need: gratitude

Gratitude 1
As I focus in on my creative art goals for the year, I consider what skills and experiences I need to have within me in order to be able to achieve these goals. Of the possible technical skills & experience I have gained on the job or formally via education over the years, I conclude the one element I predominantly require this year is …….  gratitude.
Many have said to me over the years, in order to get success “all you need is will .. will-power”. Having applied this perspective in many instances with varying degrees of success, I now wonder whether this was the best advice. Whilst it may have helped me to achieve certain outcomes, I am now pondering at what cost this orientation has had in terms of my creative arts aspirations.
Reflecting, the more I willed an outcome perhaps the farther I moved from my creative centre. And the farther I moved from my creative centre, the more I put my creative goals on the backburner. So was willing my prioritised outcomes actually bringing me closer to my core needs of creative expression, or in fact taking me further away from it?
So lets look at the act of willing. Will-power to me is the act of trying to guarantee an outcome, by trying to manipulate (via planning and coordinating) a number of different variables, in order to best promote the chance of realising the desired outcome. The possible negative of this orientation is that perhaps one overthinks the process, highlighting an amount of detail, and then gets caught up in trying to manage this detail. In my experience, the more one focuses on detail, the more detail one sees, and then the more one has to attempt to manage it.
An alternative perspective could be to care less about attempting to manipulate outcomes and just let things happen in a more natural way; allowing the energy to flow from oneself through a range of creative pursuits. “Life is about the moment ….. all things fluid ……. experiencing the moment… listening, observing, interacting, laughing, loving, enJOYing, soaking the moment in, digesting it, considering it, reflecting …. expressing ones’ being, streaming ones’ consciousness. While in the moment, everything appears suspended – almost in slow motion – and yet is still very much part of life and moving somewhere… “ (DLP, 2014)
In my observation, the elements of this orientation of letting it happen naturally are: self-belief and trust in the moment and process; regular quiet time, centring oneself to allow ones’ creativity out (often referred to as meditation); and perhaps most importantly, self-acceptance of all things around, including/most importantly, where one is at in life.
I think a key element of this orientation is being, and demonstrating gratitude. The Oxford Dictionary defines gratitude as: “The feeling of being grateful and wanting to express your thanks” (Wehmeier, 2005). I see gratitude as being grateful for one’s circumstances in life; accepting one’s position, whatever it is – no matter how humble or grand it is; accepting one’s success, and failures; being grateful for one’s degree of health – physical and mental – wealth and happiness; being grateful for one’s opportunities to experience, to travel, to learn, to meet, and to teach; being grateful for having received an education irrespective of the level realised; and being grateful for being brought up in a relative safe environment.
I also believe in demonstrating gratitude when I receive creative inspiration; and yet accepting when I desire creative inspiration, but it is no where to be found. For me, gratitude is to be able to be grateful for what one has in life, for what experiences occur in the moment; and for all of those opportunities, that still lie in front …
I am grateful for all experiences in my life, for I know I have lived a fortunate life. Looking over my Pinterest site (http://www.pinterest.com/dpgold), I accept that most of that which I have posted, is not what I aspire to, but that which I have experienced. I accept the opportunities and the wonderful experiences that my family and friends have provided, both intrinsic and material.
But in saying that, I accept that I still have things on my bucket list still outstanding…. Many things that I have wanted to realise since a very early age, but not yet done so. I accept these aspirations are what keeps me heading in a forward direction; they are what motivates me in the evening to conclude my day, get some rest, and then to spring out of bed in the morning to get busy with …..
Do I still have creative arts goals and aspirations? Of course. I actually feel, in many ways, that my greatest creativity is in front of me. I really believe my greatest creativity is still yet to come. I feel that in many ways, my experiences to date have just been establishing my foundation, coming to terms with myself, learning about my aspirations, my desires, myself: how I need to communicate better, express myself more effectively, and generally overcome my inhibitions. I feel, in many ways, my life has just begun.
But that is what I now realise life is about. What do they say? ‘Life is what happens to you while you are planning for your dreams’. So if that is the case: I have led a very full life, a very blessed life. And as the years pass by, I realise I am getting closer to my real core; to who I really am, and what I really stand for. And for this distinction, and opportunity, I am grateful…
So I suppose my goal this year is to be grateful for what I have, accept what I have not yet become, and to a greater degree, let things happen. Of course, I will apply myself to my creative pursuits on a daily basis, but not at the cost of a state of busy-ness, that will actually prevent me from being in a still space where I can creatively produce my art.
This blog series is planned to continue next month with Doctoral Research Study Part 1 (Page 2015). It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.
References:
Wehmeier, S et al. 2005. Oxford Advanced Learner’s Dictionary (7th Edition), Oxford, UK SBN-0-19-431606-8
David L Page’s About.me site:  http://www.about.me/dpgold accessed 15th January, 2015
David L Page’s Pinterest.com site:  http://www.pinterest.com/dpgold   accessed 15th January, 2015
Gratitude Image from:  Soulful power  accessed 14th January, 2015
Page, David L. 2015. Doctoral Research Study Part 1 Accessed 29th January, 2017
– ©David L Page 15/01/2015
-updated ©David L Page 29/01/2015
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

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