Re-encountering myself a student by encountering new teachers.
Reflecting back across the TPP Unit, I am struck by the importance of encounter, of learning from others and how these exchanges lead to transformation.
When I was a student, I had an amazing lecturer who inspired me to want to teach. My logic was that if I could be even half the lecturer she was, I would be changing the lives of many developing artists for the better. She was smart, political, socially engaged, passionate, patient, knowledgable and caring – and most importantly she made me feel that my voice mattered. Her approach helped me shed the feelings of self-doubt, stress, and academic anxiety that often overshadowed my creativity. I could make art I cared about, and that transformation was a direct result of her guidance. She made me feel seen, heard, and valued in a way that shifted my entire perspective on education.
However, starting this course led me to slip back into those initial feelings of discomfort, self doubt and stress that I felt in my early twenties as a undergraduate student. It was a strange and unsettling sensation, but it made me empathise with how some of my students, particularly those at Masters level, might feel as they re-enter education. This feeling helped me reflect on how vital a supportive and inspiring teaching environment is for students to thrive.
Thankfully, this time around, those feelings shifted fairly quickly as I realised that I was surrounded by teachers who embodied many of the qualities my favourite lecturer had. A real highlight of this course has been the ability to connect with so many brilliant and inspiring people, who have taught me so much. Below are some of the teachers I have encountered, each contributing to my development as a student and an educator.
Hannah Kemp-Welch, who I was partnered with for the ROT, has been a significant source of inspiration. She has shared countless stories, references, and wise advice, offering continuous support to me throughout this journey. From her, I learned the importance of seeking diverse references, the value of regular check-ins and check-outs, and how peer support can truly foster growth.
My tutors Linda and Karen have been so kind and knowledgable, giving me a wonderful perspective on navigating the university system, and invaluable feedback on my practice. They taught me about the context in which the modern university system was shaped, the importance of accessibility in my teaching materials and they modelled the benefits of co-teaching in the classroom.
The micro-teaching group played a crucial role in my learning. Being able to immerse myself into their creative approaches and to receive their feedback on mine was a gift that I will cherish. They taught me about game design, the importance of accessibility in powerpoint designs, and how to find creative solutions to disruptions in the classroom (thanks, also I guess, to the fire alarm system at LCC).
Outside the classroom, my classmates, particularly Adam, Fred, Anna, and Lily, have filled me with inspiration through our discussions over lunches and coffees. They’ve reinforced the significance of community, care, and social practice in our work as educators.
Participating in class discussions with the wider cohort has taught me the importance of hearing multiple perspectives, of sharing knowledge and experiences, which has broadened my understanding of teaching and learning.
The writings of other influential academics, such as bell hooks, Robin Wall Kimmerer, Christine Morley, Sherri Spelic, Susan Orr, Catherine Cronin, and Laura Czerniewicz, have shaped my pedagogical approach. Their work has provided me with the theoretical framework and language to articulate what I value in education.
My colleagues at CSM have offered me sage advice on navigating the challenges of juggling studies with my workload, and have taught me about the importance of solidarity and co-creation.
Finally, and perhaps most importantly, my students have been some of my greatest teachers. My current cohort have been incredibly supportive and generous when I delivered the observed teaching session with them and have been endless sources of inspiration in my motivation for completing this unit. My students have taught me so much about the world, about possibility, resilience and community. They have taught me about conflict resolution, about speaking truth to power, about resistance. They have taught me that one size does not fit all, and that the nurture each individual artist needs to grow is unique. They’ve shown me that to be a good teacher requires continuous self-reflection, collaboration and learning.
Re-encountering myself as a student through encounters with other teachers has been a transformative experience. Each teacher, peer, and student I’ve met has shaped my understanding of education, reinforcing the idea that learning is a lifelong, collaborative process.
References
Akomrah, J. (1986). Handsworth Songs.
Arao, B., & Clemens, K. (2013). ‘From Safe Spaces to Brave Spaces: A New Way to Frame Dialogue Around Diversity and Social Justice,’ in Landreman, L.M. (ed.) The Art of Effective Facilitation: Reflections from Social Justice Educators. New York: Routledge, pp. 135-150.
Bergman, I. (1966). Persona.
Blocker, J. (2009). Seeing Witness: Visuality and the Ethics of Testimony. Minneapolis: University of Minnesota Press.
Blythman, M., Orr, S., & Blair, B. (2007). Critiquing the Crit.
Brooks, K. (2008). ‘Could Do Better?’ Students’ Critique of Written Feedback.’
Cage, J. (1959). Water Walk.
Chion, M. (1994). Audio-vision: Sound on Screen. New York: Columbia University Press.
Czerniewicz, L., & Cronin, C. (2023). Higher Education for Good. Open Book Publishers.
Drever, J.L. and Hugill, A. (2022). Aural Diversity. Taylor & Francis.
Emiabata, T. (2025). DEI and Anti-Racism Training.
Ferner, A., & Chetty, D. (2019). How to Disagree: Negotiate Difference in a Divided World. White Lion Publishing.
Henningsen, T., & Joffe, J. (2022). Strangers Within: Documentary as Encounter.
Helguera, P. (2011). Education for Socially Engaged Art.
Hooks, B. (1999). All About Love. New York: Harper Perennial.
Hooks, B. (2003). Teaching Community: A Pedagogy of Hope. Routledge.
Internet Archive. (2017). Metz, Christian. Aural Objects: Free Download, Borrow, and Streaming: Internet Archive. [online] Available at: https://archive.org/details/Metz_Christian_Aural_Objects [Accessed 21st January 2025].
Kimmerer, R. W. (2013). Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants. Milkweed Editions.
London Sinfonietta (2022). Tell me when you get home – Alicia Jane Turner. [online] YouTube. Available at: https://www.youtube.com/watch?v=urMzDqYcKP8 [Accessed 21st January 2025].
Lucier, A. (1969). I Am Sitting In a Room.
Lowry, C. (2024). [Online Film] Can Everything Be Mended?.
Lowry, C., & Mayo, S. (2020-2025). [Podcast] The Breaks and Joins Podcast.
Martel, L. (2001). La Ciénaga.
Metz, C. (2017). Aural Objects: Free Download, Borrow, and Streaming. Internet Archive. [online] Available at: https://archive.org/details/Metz_Christian_Aural_Objects [Accessed 21st January 2025].
Miro.com. (n.d.). Disney Creative Strategy Template | Free Disney Templates Online. [online] Available at: https://miro.com/templates/disney-creative-strategy/.
Nicol, D., & Macfarlane-Dick, D. (2006). ‘Formative Assessment and Self-Regulated Learning: A Model and Seven Principles of Good Feedback Practice,’ Studies in Higher Education, 31: 2, 199-218.
Nishida, Y., & Shreeve, A. (2017). Art and Design Pedagogy in Higher Education. Routledge.
Orr, S. (2010). Making Marks: Assessment in Art and Design.
Orr, S., & Shreeve, A. (2017). Art and Design Pedagogy in Higher Education. Routledge.
Pazniokas, F. (2022). 6FT.
Race, P. (2001). A Briefing on Self, Peer and Group Assessment.
Regan, D. (2025). ‘Breaks and Joins: Inclusivity for Neurodiverse and Disabled Participants.’ Interview by Lowry, C.
Revell, I., & Shin, S. (2024). Bodies of Sound: Becoming a Feminist Ear. Silver Press.
Rovner, L. (2020). Sisters with Transistors.
Salomé Voegelin (2019). The Political Possibility of Sound: Fragments of Listening. New York: Bloomsbury Academic.
Salaman, M. (2018). Drawing Laboratory: Research Workshops and Outcomes.
Singer, M. (2000). Dark Days.
The Chemical Brothers (2009). The Chemical Brothers – Star Guitar (Official Music Video). YouTube. Available at: https://www.youtube.com/watch?v=0S43IwBF0uM [Accessed 9 Feb. 2020].
Toop, D. (2001). Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds. London: Serpent’s Tail.
Traumascapes CIC. (n.d.). Traumascapes. [online] Available at: https://www.traumascapes.org/.
Varga, N. (2017). The Happiest Barrack.
Von Trier, L. (2000). Dancer In The Dark.
Vijaypateltheatre.co.uk. (2018). Vijay Patel (He/They). [online] Available at: https://vijaypateltheatre.co.uk/?fbclid=PAZXh0bgNhZW0CMTEAAaZEoWlxYTVuyHjePyHScNqaO_22h43jnBLuKNk06fdr7BCc2QqZ5MdEXpU_aem_SjE1X9Kthc0QpW9KS-Aikg [Accessed 16 Mar. 2025].
Leave a Reply