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A Studentcentred Perspective on Pedagogy In 32 ‘The answer is brought about from within you’: A Student-Centred Perspective on Pedagogy in Art and Design Susan Orr, Mantz Yorke and Bernadette Blair Abstract This article reports on the ways that a group of The study reflects on the centrality of project third-year undergraduate art and design centred learning in art and design and explores students conceptualise the pedagogy they the challenges concerning the nature and experience on their course. This study is part of scope of the art and design lecturers’ role, broader research funded by the Group for particularly in the context of the UK’s increased Learning in Art and Design (GLAD) and the student fee regime. Higher Education Academy (HEA) that employs qualitative interviewing approaches to explore Keywords the ways that a small sample of art and design art and design, higher education, National students studying in two English post-1992 Student Survey, pedagogy, teaching and universities interpret and understand the ques- learning, studio, curriculum tions in the National Student Survey (this is a questionnaire that UK students complete during the final year of their undergraduate stud- ies). The analysis suggests that the students’ conceptions of art and design pedagogy might be best understood as a form of ‘reverse transmission’ that places the students as active co-producers of their learning. iJADE 33.1 (2014) © 2014 The Author. iJADE © 2014 NSEAD/John Wiley & Sons Ltd BW147 Jade 33.1_text_AW.indd 32 12/02/2014 12:15 Introduction 33 In the UK all final year undergraduate students We know how students answer the questions in Susan Orr, are invited to complete a satisfaction survey the NSS. The results are published and analysed Mantz Yorke and Bernadette Blair called the National Student Survey (NSS). This every year. We know much less about how the was introduced in 2005 as part of government students understand the questions themselves. policy to offer national benchmarking data on The NSS questions are uniform across all disci- student satisfaction rates in relation to the qual- plines to allow sector comparisons to be made. ity of university teaching. It is a government The questions aim to be generic but concerns requirement that this information is made public have been expressed in the art and design so that prospective students can use it to inform community that the questions can not be easily choice. Whilst the NSS is a controversial evalua- applied to the experience of art and design tion tool that has been questioned in terms of its education. This study explores these concerns. empirical robustness (Harvey 2008), the univer- One aim of this research concerned itself with sity league tables that incorporate NSS results understanding the ways that art and design are an important part of the terrain of Higher students interpreted a selection of the NSS Education evaluation, and UK universities chase questions (Blair et al. 2012), whilst a second aim higher ratings through a variety of initiatives to of the study was to explore the students’ repre- improve student experience. The development sentations of the art and design pedagogy they of the NSS in the UK was informed by the use of experience to build a picture of pedagogy as the Course Experience Questionnaire (CEQ) in described from the perspective of the student. Australia which predates it by several years and, By asking the students to comment on the NSS to a lesser extent, by the use of the National questions, the students are invited to offer a Survey of Student Engagement evaluation tool portrayal of teaching and learning in their disci- (NSSE) in the USA. In the UK this focus on measur- pline. It is this second research aim that is ing student satisfaction coincided with the intro- reported on in this article. This study resides duction of annual tuition fees for undergraduate within a constructionist paradigm taking the students (now around £9,000 per annum). This view that ‘All knowledge, therefore all meaning- fee regime means that UK students are experi- ful reality as such is contingent upon human encing tuition costs that are similar to those paid practices, being constructed in and out of inter- by undergraduates in other countries (for exam- action between human beings and their worlds, ple the USA and Australia). and developed and transmitted within an essen- The NSS is the subject of considerable tially social context’ (Crotty 1998, 42). debate in the UK higher education art and design community, because art and design students, Method as a group, give lower ratings when compared Third-year undergraduate art and design to many other subjects. Thus the average score students from two post-1992 English universi- for art and design is lower than the average ties were invited to participate in a study about score in many other subjects. There is much the National Student Survey. Twelve students speculation about why this might be so. agreed to be interviewed (six at each university). Vaughan & Yorke (2009) were the first to study The researchers employed in-depth semi-struc- the NSS in art and design. They carried out a tured interview approaches. The researchers quantitative exploration of the NSS data in crea- asked the students to reflect on what they were tive subjects and they interviewed art and thinking about when they completed the design lecturers and managers. In their conclu- National Student Survey and what they under- sion they point out that a study into the ways stood by 8 of the 22 questions (see the Appen- that students understand the NSS questions dix for a list of all 22 questions and the 8 ques- would be of value and the research reported tions selected for the research). The study here responds to this invitation. focused on eight of the questions to allow for iJADE 33.1 (2014) © 2014 The Author. iJADE © 2014 NSEAD/John Wiley & Sons Ltd BW147 Jade 33.1_text_AW.indd 33 12/02/2014 12:15 34 in-depth questioning approaches to be adopted Finally, there was a fourth category that Susan Orr, and to ensure that the interviews did not last for collected students’ understanding of learning Mantz Yorke and more than 45 minutes (the duration of the inter- and teaching in relation to theory and practice in Bernadette Blair views was limited to promote participation). The art and design education. eight questions selected by the researchers all had particular reasons for inclusion. The ques- Project centred learning tions that had a pedagogic focus relating to the As the two extracts below illustrate, the research question were selected. Thus ques- students frequently alluded to the project based tions on teaching, assessment and feedback nature of their learning: ‘You kind of make it your- were included because there was an interest in self, like you choose your own project, you pick mapping students’ understanding of these what you want to do.’ ‘You choose your own questions with the ways that teaching, assess- brief, you make it your own.’ The students talk ment and feedback are managed in the studio. about being given projects or briefs that provide Questions on organisation, management and a vehicle for their learning. Project centred learn- resources were selected because art and ing is portrayed in the extract below. The student design courses (like other practice-based explains that they are told what they need to courses) are premised on the organisation of hand in (the output) but that this is very open specialist space, technical support and teaching ended so that individual student outputs are that is in contrast to non-practice-based distinctive and diverse. The student sees the subjects where generalist teaching spaces are brief as a means for students to demonstrate used. It was also noted that NSS scores in this their initiative, and whilst this particular student area are low. was initially bewildered he concludes that this approach is needed in art and design education: Analysis All the interviews were transcribed and I think explaining things – they [the lecturers] analysed. The analysis was an iterative process didn’t . really – they told you what they needed in which emergent categories were checked you to hand in, but never really went into as much and rechecked (Smith 2002; Wengraf 2001). The depth about what they wanted so people kind of three researchers verified the emergent catego- had to discover that, people were handing in ries as part of an ongoing dialogue to reach totally different things to what other people were consensus. As stated, another element of the handing in, so we had to discuss amongst study foregrounded the students’ understand- ourselves what we were going to do, sort of thing, ing of the NSS questions (see Blair et al. 2012), and, like, someone would hand in something and one element of the study foregrounded the that’s totally different, and we’d go heck, well, students’ conceptions of pedagogy. For this what’s that? We did know about that, but they second element of the study all references the didn’t explain about it. People were just going off students made to the approaches to teaching or on their own initiative and doing stuff which is their experience of learning were coded. This obviously, what we should be doing, really. led to the identification of an overarching cate- gory which we labelled Project Centred Learn- Another student says that a project-based ing (PCL). Beneath this overarching category lay approach to learning means that: three sub-categories pertaining to different aspects of PCL namely: They [the lecturers] don’t spit it out for you but they get you to think, and sometimes that can be tTIBSJOHSFTQPOTJCJMJUZGPSMFBSOJOH frustrating because when they’re not telling you tFYQFSUJTFBOENFBOJOHNBLJOH the answer because there is no answer.
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