Tutor Observation

Record of Observation or Review of Teaching Practice   

Session/artefact to be observed/reviewed: Tutorials 

Size of student group: 3x 1:1 

Observer: Tim Stephens Observee: Nina Manandhar 

Note: This record is solely for exchanging developmental feedback between colleagues. Its reflective aspect informs PgCert and Fellowship assessment, but it is not an official evaluation of teaching and is not intended for other internal or legal applications such as probation or disciplinary action. 

Part One 
Observee to complete in brief and send to observer prior to the observation or review: 

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

20 minute Tutorials for Creative Identity Brief.  This is the students second tutorial on the project, and we have been running tutorials on rotation between 3 tutors. Please see a copy of the brief, plus tutorial timetable for reference.  

Creative Identity – Tutorial Schedule.docx 

Aims are to assess progress since Tutorial 1 and support project development. A client brief has taken place since the previous tutorial on Feb 5th.  

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

Stage 2 lead since September 2023. 

What are the intended or expected learning outcomes? 

The overall Learning Outcomes for Creative Identity project are: 

To identity key themes and motivations of their practice and use this to create a self-initiated project for their portfolio 

To develop technical skills in relation to their chosen medium  

To develop creative team building skills, where relevant  

To build and understanding of the positioning their work in a Fashion Communication context 

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

The tutorial is part of a longer brief.  

Are there potential difficulties or specific areas of concern? 

Client brief having taken up time preventing progress. 

How will students be informed of the observation/review? 

Via email ahead of the session and reminder in person on the day. 

What would you particularly like feedback on? 

Feedback style and methods 

Ways to be challenging and encouraging? 

How can I provide helpful feedback to students whose work may be outside my expertise? 

Practical tips for improving respect/discipline. Tutorial structure.  

For example, ending sessions that are overunning in a confident way and encouraging students to be on time etc 

How will feedback be exchanged? 

We will arrange a session soon after the Observation for feedback, combined with a catch-up session after session missed. 

Part Two 

Observer to note down observations, suggestions and questions: 

Student 1 

Student arrives late, as do I, you explain my presence very professionally and also launch into the student time to share… 

Tell me about ‘negrita’ (?) world! 

You ask for feedback on which skills the student wanted to develop, from previous assessment or point of discusson/activity 

They share their progress on planning/concept development and context including references from culture, TV, film, other 

Student “overusing” the word “messy” 

You try to work out what another conceptual term might be…’surreal’? 

Tutorial – film role within the film? You suggest creative director and explain; also break down the different roles required in this task. 

Very fluent communication of ideas to student 

Plenty of listening time given to the student. 

Also, you are questions for clarification, e.g. clarifying those involved and student’s ideas and then suggesting a stylist (role), and the benefits of working with one in the team; suggest some sources; what it will allow them to focus on. 

You look through the portfolio – on the desk between you – 

You refer to Fabu ? TV channel…a reference source, context that may be in the student’s ‘vibe’; great use of empathic way to reference, whilst also tune into the perhaps aesthetic and reference of the imaginative world of the student’s project.. 

Use the term ‘immersive’, that the student had mentioned at the beginning; very useful (counselling/listening) technique to communicate your understanding. 

Exploratory questions: do you want to explore your making skills, use of greenscreen tech., 

How many looks? 5? Maybe 2-3, rather than 5 looks, get model, formula, book studio  

Student 2 

How’s it going? 

Student starts…explains Twin Peaks and others…(very fast talker) 

What was the first outcome? 

Student explains they don’t have computer… 

Explains the programmes, films they have watched, and the references, mafia, locations, set-design, costumes, explaining the actress and role’s she; talks about Spanish family background. Hispanic forms of media, latin American, interests. 

Shares the ‘photo-novellas’ and also ‘tella novellas’ (?) in portfolio… 

You listen, read and allow space as she is quite talkative, 

You clarify, so ‘mimicking it’?  St. “Not exactly…” 

N: ‘Is it’…’you suggest a name’ and connect with her on the iconic shoot, example/documented in a booklet form. 

Student talking and thinking about technical photography and ‘medium format’ cameras – explaining the conceptual drive up until now. 

You know when you did your film…are you always the photographer; interesting question for perspective. 

Have you ever done that? Student explains camera/s experience and explains various aspects and angles, and so on. 

St. reflecting on skills acquisition and stopping to evaluate. 

N: In terms of this being a fashion communication project, how does fashion sit within this… 

What is the outcome…is it for an exhibition, a gallery… 

Student explains wall gallery vision.. 

N: why so? 

St. explains 

Q: What I’m getting at is it…for exhibition, magazine, where you see it going.. 

St. responds 

N: continuing with a process of inquiry that is gentle, persistent, focussed and also aims towards problem solving. 

St. names a person, and you reflect and connect with that reference, and also find a way in to explain your points and feedback;  

N: “both people who have brought a lot of their own aesthetic to what they do”… 

Placement year; in LA, and the context. 

N: We’re in London for this project, you gently bring student back to the project from the placement year. 

Set and location. 

N: ‘We’re coming to time in a minute, so to  be practical’ You explain about the timelines, holidays and  time allowed; 

Positive feedback on references and research encouraging a bigger picture approach ‘a lifetime to make work’. 

N: Thank you Stella, see you in a few weeks. 

Student 3 

St started something and you congratulate here on that… 

Arr. finding student later to discuss other issue.. 

Working with Chris 

You respond to his connections and popularity 

N: Let’s focus on this project, time set aside for this. 

Student explains… 

Previous project discussed and you give positive evaluative feedback on the AI project, as being a moment of things coming together for them. They agree. 

N: So you’ve found a designer to work with…? 

St explains who it is and how they are working, shares project images and references 

What is Chris bringing in? St explains, 

Who is leading the project? St explains, 

You attempting to clarify roles and working relationships around the project 

N: Work is more for your portfolio..? 

St. explains the output; amongst other platforms, of how to build a portfolio and why.. 

You clarify ‘who’ the work is for…bring in the fashion film/fine art film project previously 

N: You’ve got a plan. 

St. updates you on their other work streams and activities, leaving weekend job and so on. 

Discussing the booking of spaces, I think. St seems very well organised and preparing in advance – in amongst a busy time. 

You structure another meeting with them later. 

There seems to me to be a noticeable difference between the questions you’ve asked for feedback on, and the very positive ways I saw that you seem to have answered your own questions. That is, I think you are maybe much more skilled than you think you are. 

Let’s look at the list and maybe take each one in turn: 

Feedback style and methods – You have a wide range of feedback methods. Your ability sometimes reminded me of counselling skills, and there is a way that tutorials overlap with that skill set (whether or not we have been trained as counsellors). That is, listening. The ability to be still, wait, patient, and be both open and present. You did this well. In client centred counselling, a branch of humanistic therapy pioneered and integrated by Carl Rogers, we have the skills that start with presence and positivity, he called it ‘unconditional positive regard’. You have that capacity for sure! 100% enacted in your ability to set the tone. 

Then we can see some of the skills that go along with that; checking in, clarifying, using the student’s language and terminology, repeating what they have said so you and they can check understanding; even some advanced empathy, using your own genuine emotion, likes, and moving in to affirmation and positive feedback and encouragement. 

Ways to be challenging and encouraging? 

You have a lovely way to encourage students to talk and share, “tell me about…”, sharing your likes with them (empathy, authenticity), this is clear that they trust you. They can talk A LOT! Your listening (receptivity) skill/attitude is great. Then, you do also manage to challenge, e.g. your role within the film, how many looks, a better word, be practical, who is the work for…etc. These are all ‘directive’ comments that move from reflection to guidance; and show you are able to very quickly see the problems they are likely to have and then ‘deconstruct’ the problem that might lead to. Honestly? This was very impressive. Excellent tutorial skills. 

One way you could take a leap and experiment, is try more meta-communication. Firstly, for them e.g. take a pause and think; what’s your preferred way of communicating this; what will help you communicate to me; etc. For you, e.g. I’m going to take 2 mins to give you advice (how do you want to record or remember this?), I’m taking a pause from listening to look at your images (whilst you think of your next most important question in the time we have left), I am imagining what that might look like, (give me some colours/references/designers that will help me visualize what you are saying). For you both, e.g. Right we have 20 minutes, how shall we structure the time. You are a fast talker, which is a great skill, but when I need you to pause or slow down, I’ll raise my hand, is that okay? If you want me to explain something differently, let me know, okay? What helps you remember conversations in general, with me, I like it when…etc., etc.  

Another way that tutors can develop their tutorials, in general, is to take a leaf out of counselling skills communication training, e.g. checking understanding questions are key. Sometimes called ‘reflecting back’. Have I understood you correctly when you say…What you think now is that…You first explained this then reached the conclusion that…I heard you say this, and then that and then make a conclusion that….is this correct/would you agree/is that how you see it/…. 

Finally, tutorials are spaces that people do differently. Working with Students 1:1 is an under-researched area, Gina Wisker edited a book once I read on this, a while ago, you may need to search up more. Think about the culture you have, the culture you want, and what might be worth adjusting…Then think about how to communicate/create this. E.g. I like pauses, I like to create silence by stopping my own thinking, I like to add positive affect or positive feeling, I like to allow sadness or distress; in sound art, Pauline Oliveros called this Deep Listening, and there is plenty of material on this that is transferable. 

How can I provide helpful feedback to students whose work may be outside my expertise? 

This is a great question and shows your awareness of decolonizing, bias in teaching, equality, diversity and inclusion and cultural awareness of difference. Apart from the ‘checking in/reflecting back’ skills above….we can ask students in whose lived experience or identity or embodied experience we are interested in, simply; ‘can you tell me more about…’ Plus – we learn more. Minus – this gives them a burden of representation. We can also better inform ourselves before or after we speak to someone. 

Networks and sources of information are possible to know, in advance, even if we do not know the topic. E.g. Do occasional library, archive and research bibliography or website searches in areas you know less well, and keep these searches. I put together a list, over about 6-9 months on the ethics of Climate, Racial, Social Justice – I have yet to organize it!! 

We can be honest then; ‘I don’t know but I know that..perhaps the…’: British Library, UAL e-library, Iniva archive, list of professional associations, network of…etc. etc, may be helpful for us to look at together, etc. 

We can also refrain from judging, knowing, guessing, speaking or presuming; this is a very valuable strategy where we do not know, and gives both us and the other person space. 

We can use our intuition. This is based on hunch, gut feeling, lateral thinking, association, analogy….that we can then scrutinize and check out. ’This reminds me of…’ When I see this I think/feel/wonder/…’I once heard about…’. ‘This may be totally unrelated but..there’s a work by….that gives me a similar feeling…’ Etc. What this does is scaffold across the ‘ZPD (Zone of Proximal Development, Vygotsky), and sometimes provides a cultural bridge in situations like this; it goes some way to allow the other person to build across towards our ignorance. 

Practical tips for improving respect/discipline. Tutorial structure.  

For example, ending sessions that are overunning in a confident way and encouraging students to be on time etc. 

Again, I was happy to see you did this. ‘Discuss the booking of space!’ ‘How many looks?’, ’We’re coming to time in a minute…be very practical!’ These are all excellent; suggesting you are very able to do this also.  

If you want to get into this area, sometimes voice work makes a difference; how do you look after your voice. I often think/say our voice is one of our best teaching resources! We can sing, play with the voice, becomes aware of our posture, how we project and what tones of voice we can use, can we speak more deeply or excitedly at times, more slowly or quickly…sometimes it is a case here of unlearning habits, and stretching ourselves; ‘acting’, not always literally, noticing who we are with and when our voice feels more authentic and our own, etc. That is, this is another great question Nina, and another wonderful area to open up. 

Summary: I have addressed your wonderful suggestions for feedback and made this more responsive to your interests. ON balance I would say you have ‘excellent’ tutorial skills, and may well be much more skilled than you either judge, think or believe yourself to be. I don’t make these responses up, nor compliment people for the sake of it. This is my honest experience based on years of teaching and being around teachers. So, great work. Very impressive. 

Part Three 

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

It has been very affirming that Tim was able to see my tutorial approach as grounded in humanistic theories, something I wasn’t consciously aware of. I’m enjoying reading further into Carl Rogers work.

I am pleased Tim commented on my ability to challenge, push and direct as well as listen, and to ‘move from reflection to guidance’. In terms of being directive, I find it easier to provide practical strategies for students. My core drive is to draw out students’ authentic creative voices and instincts, this can make it more difficult when it comes to challenging their concepts, it can seem almost contradictory.  

I am keen to try out meta-communication in all aspects of my teaching, all new to me! It’s extremely helpful to have examples and scripts as to how I might do this, I think it will open up a space to think critically as well as listen in 1:2:1 tutorials.  

Over the summer I will compile a list of sources of information for areas I am less knowledgeable in, for example digital fashion communicators, so I can best direct students in the coming academic year. I will also try to allocate research time to keep up to speed in areas where my knowledge is lacking.  

I like the suggestion of investigating voice work, I plan to research workshops/exercises. Leading the whole cohort is something I find challenging, especially projecting my voice and feeling comfortable being at the front of the class. Oddly, this is not something I feel when I am presenting my practise work, where I have confidence to perform and act.  

Perhaps having increased confidence in the validity of my teaching approach will make all the difference in me physically embodying the role? As Carl Rogers says, “The curious paradox is that when I accept myself just as I am, then I can change.”