Using the Arts in other Disciplines to foster Transformative Learning in Higher Education Associate Professor Digby Warren London Metropolitan University.

Using the Arts in other Disciplines to foster Transformative Learning

in Higher Education

Associate Professor Digby WarrenLondon Metropolitan University

presentation to Lady Irwin College, 16 January 2014

Arts-based LearningThis approach has been called “Arts-based inquiry” – a term adopted from research literature by Louise Younie

Definition:“student practical engagement with any art form – poetry, photography, painting, narrative, sculpture, dance, music etc. - as they reflect on their experiences” (Younie 2013, p.25)

Art forms can stimulate “inquiry” in the sense of seeking to understand in a new and deeper way

Arts-based Learning across DisciplinesExamples • art / image-making – Medical education, Healthcare,

Marketing, Child Care• video / photography – teacher education• film (cinema) – Economics• music-making – Leadership & Management• drama – Applied Ethics• poetry – Business, Healthcare• story-telling – Social Work, Healthcare• labyrinth – various disciplines (Dentistry, Law, MBA etc)See McIntosh & Warren (eds) (2013) Creativity in the Classroom: Case Studies in Using the Arts in Teaching and Learning in Higher Education

Power of Creative MethodsArts-based methods use symbolic objects = multi-sensory, multi-faceted forms of expression, which can:• generate rich insights by unlocking unconscious ideas,

feelings or memories • employ the power of metaphorical thinking at both

theoretic (reasoning) and poetic (imagination) levels• foster student reflection, self-knowledge, creative thinking

and metacognition (awareness of one’s thinking and learning processes)

• enable “transformative learning” approaches concerned with whole person development

Transformative Learning (TL)• Mezirow’s (1991) notion of “perspective transformation” =

shift towards “more inclusive” perspectives (ways of seeing) as a result of critical reflection on our existing beliefs and assumptions; a rationalist model of TL

• holistic notions of TL - “use of all the functions we have available for knowing, including our cognitive, affective, somatic, intuitive, and spiritual dimensions” (cited in Taylor 1997 p.49) = mind, heart, body and spirit all involved in coming to know/make sense of things

• Barnett (2007) – urges that Higher Education should take seriously the student as a human being and learning as journey of engagement, passion, being and becoming

Arts-based Inquiry• creative methods used as vehicles for exploration of

and reflection on prior experience, e.g.– using a poem to think about patient care (doctors and

nurses in training) and develop empathy• activities as direct forms of experiential learning, e.g.– learning about teamwork via collective music-making =

metaphor for leadership (as “improvisation”) and teamwork (as “performance”)

– reflecting on one’s life path or ‘script’ through telling stories based on professional experiences (e.g. child care workers)

– walking a labyrinth = meditative space for reflection and creativity

Arts-based Inquiry Challenges • metaphors can constrain ways of seeing – consider

limitations of particular metaphors (where appropriate)• stories can be oppressive, if used to preach or control –

ensure ethical, anti-discriminatory practice• students feeling blocked by lack of artistic skills or ‘internal

critic’ - point of the exercise is engagement• initial anxiety or some potential resistance – clarify the

purpose of tasks & allow students time to settle into them• uncovering of unconscious emotions, attitudes or beliefs

can be cathartic but also mixed reactions – acknowledge the emotional, be available to talk privately to individuals

Arts-based Inquiry Role of the lecturer• set clear boundaries and ground rules – safe space,

rapport and trust• ‘leader and facilitator’, also ‘questioner, challenger,

supporter, clarifier and explainer’• authenticity – being open and honest inspires

students to be the same• choose assessment methods appropriate to the

nature of the learning in subject/course• clear guidance about assessment expectations and

potential learning benefits of creative approaches

Outcomes (from real case studies)deeper learning:• increased motivation, participation and enjoyment by

students• “more democratic” interaction and more co-learning

between students and teachers • enhanced confidence, resilience and self-belief • deeper reflection and creativity stimulatedtransformative learning: • deeper awareness of own values, aspirations, emotions

and inert prejudices, and how to deal with them better in professional situations

• more openness towards others and to alternative perspectives

Arts-based Inquiry Assessment example: portfolio of “patch work” texts

1. Formative elements (“patches”) relevant to the subject matter/course and chosen by the student, e.g.• a short story or poem (written by the student)• an article or book review• visual reflection on a personal experience (drawing, collage,

photograph) • application of a theory to professional practice• notes from a field trip or museum visit

patches discussed with peers

2. Summative element: critical commentary“stitches” together the patches and draws on further (theoretical) reading to produce a synthesis which addresses the main aims of the module/course

References

Barnett, Ronald (2007) A Will to Learn: Being a Student in an Age of Uncertainty. Berkshire: Open University PressMezirow, J. (1991). Transformative Dimensions of Adult Learning. San Francisco: Jossey-BassTaylor, Edward W. (1997) Building on the theoretical debate: A critical review of the empirical studies of Mezirow’s transformative learning theory. Adult Education Quarterly, 48 (1), pp. 34-59 Younie, Louise (2013) Introducing Arts-based Inquiry into Medical Education: ‘Exploring the Creative Arts in Health and Illness’, in Paul McIntosh & Digby Warren (editors), Creativity in the Classroom: Case Studies in Using the Arts in Teaching and Learning in Higher Education. Bristol: Intellect, chapter 2