Oral Assessment in Creative Practice

Heather SymondsLondon College of Communication

University of the Arts London

Origins in searching for accommodation ending in

inclusion

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Current HESA stats 2009www.hesa.ac.uk

• Rise in undergraduates 30,415 with spLD dyslexia

• Approximately one fifth chose creative arts

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Viva Voce- Living Voice

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Learning Outcomes

Mapping across to orality Rubric of assessmentExemplars

http://www.arts.ac.uk/itrdu/podcasts/accom_assess_01.mp3Handbook

Altering the DiscourseFdA Digital Media Production

Learning outcomes:• Analyse and evaluate the critical and historical influences on

the development of digital media production and assess their impact upon contemporary communication media.

• Research and write structured reports containing rigorous argument and theoretical models which underpin practical work.

• Use a variety of communication, interpersonal and enterprise skills required for effective practice in the digital media industry.

• Effectively engage in visual communication and technological research processes.

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Guides• Contents of the Viva Guide (Symonds 2006)•• What is a viva?• Who will be present at the viva?• Why are dyslexic students allowed to undertake a viva?• Suitability of a viva and consent• Process of a viva • Consent form exemplar• Liaison with Study Support staff- structure • Performance Assessment • Narration versus analysis• Building Blocks to a viva• References extract from Viva Voce Guide

UAL©

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The Living Voice

• http://ualresearchonline.arts.ac.uk/536/• Kontas, Costas (2006) A critical analysis of Keiji

Haino. Other thesis, London College of Communication, University of the Arts

• London. [Creative Arts and Design > Music]• WritingPAD Goldsmiths 2005 Discourse on

assessment

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Pitching and Performing

Vocational VariedVibrant • BA Sound Arts Design• BA Fine Art• BA Fashion• BA Graphic Design• FdA Photojournalism

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Help

• Patsy Rodenburg- Vocal Imperialism• Youtube- Presentations• Vimeo uploads

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Assessment

• Traditional- Objectivist- Knower & Known• 'learners arrive at meaning by actively

selecting, and cumulatively constructing, their own knowledge, through both individual and social activity' (Biggs, 1996)

• Constructivist

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Assessment Variety• Thinking • Solving • Performing • Managing and developing oneself • Accessing • Demonstrating • Designing• Communicating • Variety • Rust- Oxford Brooks

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Reality

• Real time • Oral Presentation skills in curriculum • Examiner Training and supervisor• The resistant • Short term time consuming- long term –

cheaper and immediate

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http://www.dotheduty.org/

The Professional Conversation

• MA Inclusive Learning South Bank University • Orality as professional competence • Portfolio• Guided learning/orality – Supervisor• Recorded

• Assessment practice

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Impact assessment

• Greater feedback

• Better monitoring

• Develop other models

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Successful orality for all ?

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Dave Crabtree – Independent consultant/SBU tutor and Adviser

• Incurriculum at House of Commons

• Enthusiasm for deep learning and pragmatism• Collaborative partner

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Activity • Supporting a student through orality

• Analyse and evaluate the critical and historical influences on the development of digital media production and assess their impact upon contemporary communication media.

• How might you assist a student with • The above learning outcome for an

assignment or project ?• What supportive portfolio might be required• How might these outcomes manifest

themselves in a Professional Conversation• What are professional competences?

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References• Lottes, J. (ed) (1973) Development and Assessment of Professional Competence in Teaching (Austin) Texas Pubns.• McMillan, M. (2010) The Front Room, Black Dog Publishing

• Riddick, B (2001) Dyslexia and Inclusion : Time for a social model of disability perspective in: International Studies Sociology of Education Vol 11, No.3

• Symonds, H. (2009) Teaching, Learning and Assessment: It’s Not Like You Think, In: Pollak, D. (ed) Neurodiversity in Higher Education (London) Wiley

• • Symonds, H. Introducing oral assessment within creative practice: ‘I can write but it's like walking against the wind’

Journal of Creative Writing Vol.1 Issue 3 pp: 227-236- 2009• • Thilakaratne, R. Competence –Based Assessment in Professional Education Validation in: Quality in Higher

Education Routledge Volume 12 Issue No 3 (DATE??)• RMIT/La Trobe, (20007) Doing It Better: A Learning Forum on Learning Difficulties in Education, Storey Hall, RMIT

University, Melbourne, Australia, 14th and 15th May 2007 • http://prospectus.lsbu.ac.uk/courses/course.php South Bank University prospectus {accessed: 06.06.2010} • http://www.commongroundpublishing.com/ conference organisers and publishers {accessed: 06.06.2010} • Symonds, H (2006) ‘Structured vivas as accommodated assessment for dyslexic students’ University of the Arts,

Teaching and Learning Report 2005/06. Available from: http://ualresearchonline.arts.ac.uk/516/1/devt_heathersymonds1.pdf. [Accessed: 02.05.2010]

• WritingPAD Writing Purposefully in Art & Design. www.writing-pad.ac.uk

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