FATIMAH SAWIFI
Head of Department (Aesthetics)
Chestnut Drive Secondary School
Fatimah Sawifi joined the Art teaching fraternity in 1993 as an Art and English teacher in Chestnut Drive Secondary School, and was made the Art Co-ordinator in 1995. In 2000 she was conferred BA Art (Arts) by Curtin University of Technology, Western Australia.
Fatimah was appointed as Subject Head Art in 2005, and a year later was appointed HOD Aesthetics, looking into curriculum design for Art, Music, Design & Technology and Food & Nutrition, as well as the arts education programme for the school. From 2002 till the present time, she spearheads various CDSS Arts Programme which she calls chestnARTSperience, with "ARTnovation" (mathemARTics, hisARTry, ART imitates life (sciences), musART) as CDSS maiden inter-disciplinary curriculum programme since 2002. In 2009, she brought her art students as well as students from various performing arts groups to "ARTSperience Down Under", an arts learning journey to Sydney Australia, a first for the school. With full support from the school, she supervised the planning and construction of CDSS first open Art Gallery, "ARTSpiration", which also doubles up as a learning centre for students.
Fatimah also initiated CDSS biannual School Musical, where she provided a platform for the Performing Arts Group to showcase their talents in the form of a musical, which was scripted in-house. The school has had its runs in external venues like SP Auditorium, ITE College West Auditorium and Alliance Francaise Auditorium since 2008.
As a firm believer in arts education, Fatimah collaborated with the school's ICT Department and introduced iftART programme (pronounced istART), where teachers are encouraged to use the arts and ICT as tools to enhance their teaching and engage students' learning. She introduces the 'Da Vinci Award' to give affirmation and recognise teachers who infuse arts tools in teaching their respective subjects. This award has been given out annually since 2010.
Fatimah also makes time to contribute beyond school by being involved in various projecs and discussions as well as sharings helmed by CPDD Art Unit (now known as AEB), STAR and NIE. She was part of the team that curated SYF art and craft exhibition in 2012. She was also the the finalist for President Award for Teachers in 2007 and 2008. She was conferred AST's Academy Awards for Professional Development (Associate) in 2013 and 2014. She also received the National Day Award (Commendation Medal) in 2011.
Despite her commitment to her work, Fatimah ensures that she observes work-life balance and spends meaningful time with her 5 children and her husband, and enjoys doing family activities over the weekends and school holidays. She also puts aside time for herself to do what she loves most apart from the arts, which is running and mountain trekking.
She believes that it is her passion in what she is doing that drives her to do and be at her best.
Learning Journey to
National Design Centre
Friday, 27 February 2015
3:00pm - 5:30pm
This was my visit to National Design Centre. I really did not know what to expect from this visit when I came, but I was excited to see and find out what I can learn from this visit.
National Design Centre took over the building where NAFA used to be, at 111 Middle Road. I was pretty impressed that they did very little changes to the building facade, in fact I was surprised that NDC was situated in that old rustic but all too familiar building.
We were greeted by Mahendran Reddy and Zeth, our hosts, and the session started with a video on Design culture in Singapore and how local designers are supported to encourage their craft. This was followed by a very informative sharing by Terry, who spoke about how design transforms life, and how National Design Centre was started to support this cause.
Part of its efforts in supporting local designers and enterprise is through giving out grants. NDC also supports continuous learning by offering post-graduate scholarships to deserving designers. By conducting Design Thinking classes, providing prototyping lab which is opened to the public, hosting learning journeys to schools, showcasing state-of-the-art design deliverables through exhibitions, organising and curating Singapore Design Week, giving out President Design Award, and housing 12 design consultants under its roof to encourage collaborative work, there is no doubt that National Design Centre is the hub for design in Singapore.
I for one am glad that Singapore stays truthful in supporting its creative talents by offering many platforms for these talents to develop and grow. With the growing interest in Science, Technology, Engineering and Mathematics (STEM) in schools, National Design Centre definitely adds value in the areas of research, development and collaborative opportunities for our schools.
DAY ONE
SINGAPORE-Narita-Minneapolis-Atlanta-NEW ORLEANS
Saturday, 21 March 2015
21 flight hours and 7 waiting hours
What a long day!
We survived a 30-hr journey from Singapore to New Orleans. There was a delay at Narita International Airport as the plan we wre supposed to be on encountered some technical difficulties with the air con unit. Because of this delay, we missed our connecting flight to New Orleans once we reached Minneapolis. We were re-booked on another plane to Atlanta, where another connecting flight would take us to New Orleans.
Unfortunately, the plane could not accommodate the nine of us, so Ira had to fly out first in another flight.
She ended up waiting patiently for us in New Orleans, but was able to re-arrange our airport shuttle while waiting. This helped a lot as the rest of us were able to be driven straight to our hotel without much fuss once we landed in New Orleans.
Thanks Ira! You are our hero!!!
DAY TWO
SHARING By VIVIAN LOH
“Student Engagement: Collaborative Inquiry in the Classroom”
Sunday, 22 March 2015
1:00pm - 3:00pm
One of our fellow delegates, Ms Vivian Loh from SJI presented her research paper on “Student Engagement: Collaborative Inquiry in the Classroom”, which she submitted her paper to NAEA Conference 2015. The NAEA delegates are privileged to have Vivian to share her research paper during this trip.
Vivian shared on the importance of student engagement, and how collaborative inquiry, which encourages pupils to learn through teacher-pupil and peer dialogues, can help pupils create environment for the students to discover things for themselves.
A teacher-centred classroom hinders collaboration. In an ideal situation, the teacher asks questions to engage thinking instead of giving the students the answers to problems. Research has shown that teachers are the culprits when it comes to the students doing less thinking by feeding ready answers to them and thus affects their learning and their creativity.
It has been observed that younger students love to talk. However, when they go to sec sch, this trait dissipates, as teachers spends more time to deliver lessons, and give less opportunities and time for pupils to think and discuss.
For her study, Vivian designed a 6-week art lesson package that involves several stages. In each stage, the lessons are designed to include opportunities for collaborative learning through well-thought activities. Her strategy includes:
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peer conversation
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group Interaction
The teacher divides the class into 3 different groups and provides them with controlled, moderate and open environment respectively. Pupils get to choose which group they want to be in. The teacher then observes the pupils' responses of these groups.
She found out that students do not know how to articulate their thoughts, hence the teacher needs to scaffold and provide guided questions to suggest on what the pupils can talk about. Time must be set aside for students to think as pupils do not have much opportunities to articulate their thoughts in other classes. Time to think, reflect and share is important.
Fielding (1989) suggests that in order for real learning to take place, teacher facilitation is most vital. Teachers need to plan and scaffold discussions, at the same time balancing it with less talking so that pupils can response more. Different strategies, such as writing instructions on white board so that students know what to do, have been tried out in classes. This reduce much “talking” by the teachers. It is vital for teachers to adopt new strategies in class and “keeping it fresh”.
Teacher first introduces the context of lesson, and then scaffold and facilitate. It has been observed that teacher introduction and context cascading is important to induce thinking process in pupils.
Willis (2007) research on art and neurological relationship. Imaging investigations through the brain scans show that facilitated passage happens when the environment is caring and safe. Through collaborative learning pupils increase their level of confidence with the teacher not being too judgemental on their responses, and hence provide the students with a more positive learning environment.
By listening to different pupils, teacher accepts diversity in thoughts and opinions. Willis (2007) suggested that a single correct judgement for group discussion is counter productive to stydents learning. Teachers are encouraged not to impose personal opinions. Students need to articulate and express opinions too. It is advised to encourage students to be willing to be challenged and for them to speak up so as diverse learning can take place in class.
Teachers must change their mindset and let go of controlled environment, instead they need to facilitate pupils’ conversation and dialogues to encourage thinking. Give them time and space to think. When pupils speak up, the teacher allows the class to see things from different perspectives, understand the importance of diversity and embrace and respect differences.
My response to Vivian's sharing:
Clarify
I'm not sure if pupils are able to make a sound decision when they were given a choice to be in either closed, moderate or open environment, and what criteria they looked at before making an informed decision about what type of teacher facilitation that they would prefer.
Value
Collaborative learning improves TSR (teacher-student rapport) as teachers accepts diverse thoughts and opinions and are less judgemental on the pupils. Pupils also learn how to give tactful response or feedback during peer dialogues.
Concerns
During collaborative sessions and dialogues, pupils may steer away from the issues that were being discussed, thus teacher facilitation is vital to ensure that the pupils are on course and on task.
Suggestions
Teacher can articulate the differentiated facilitation that will be given to the three different environment (closed, moderate and open) at the beginning of the lesson so that pupils are aware of how they will be guided during the whole process of learning.
DAY THREE
SCHOOL VISIT
Young Audiences Charter School at Kate Middleton
Monday, 23 March 2015
8:00am - 11:30am
We were greeted very warmly the minute we stepped out of the cab by the teachers. There was a signage outside the school to welcome the visitors from Singapore, that’s us J…
The school principal, Mr Folwell Dunbar brought us on a personal tour around his school while giving us comprehensive commentary about his school programme, but not before he addressed the whole school, reminding the students to uphold values, in a tongue-in-cheek and caring manner. His chirpiness added a positive feel to the learning environment. He led us through corridors and hallways, which was filled with motivational quotes from several artists. A visionary leader, he led the school in its arts-integrated curriculum that reflects recent research from the arts education field which provides significant evidence of the value of the arts in the learning process. In the school, the teachers and administrators work together to create and support a culture of high expectations that allows each student to reach their greatest potential. It provides a creative, nurturing, and challenging academic environment to encourage students’ individual learning.
Mr Dunbar stayed with us throughout the whole school visit, the whole 3 ½ hours of it. We were brought to different classes ranging from the 1st grade to the 4th grade, and we got to see how the arts are integrated into the various lessons.
The profile of the students are those with learning disability, behavioural challenges and those whose academic abilities are either one or two level below. Since the school is not situated in a residential neighbourhood, most of the pupils stayed quite a distance from the school.
Facilitating Idea Generation
Using the arts as a tool to enhance teaching pedagogy, the teachers are able to teach concepts to the class easily and in a fun and interesting manner, for example:
In the 1st grade Maths class, Music was used as a tool to teach addition, through the beating of drumbeats and the clapping of hands. The class teacher worked alongside a practicing musician.
In the 2nd Grade class, the students were tasked to draw the body of an animal from print of their portrait. This class used drawing as a tool to teach a Social Studies (the environment) lesson.
Through drama and movement, a 4th Grade class had to use the kinesthetic skills to describe adverbs and adjectives in their English class, co-taught by the English teacher and a practicing actor. In a 3rd Grade class, the teacher used story-telling and drama toolkit to teach History.
Facilitating Reflection, Critical Thinking and Creativity
We also had the opportunity to observe a Form Teacher time with a 3rd grade class. During this session, the teacher, who is a visual artist, led her pupils through critical thinking skills. The pupils used the “I see I think I wonder” approach, using a photograph as the visual stimulus. Pupils were definitely engaged in the discussion as to what the photograph is about. This session happened to be the prelude to their Maths class which were to take place in the later part of the day.
Creating Opportunities for Group Collaboration
The school collaborates with practising artists who co-teach the class with the teachers. We came across a dancer who co-teaches PE lessons, Drama coach who helps out the English class, a professional pianist who works with the teacher in social study class, and a visual artist, who also doubles up as the class teacher.
On top of that, the school works very closely with the community and garners support from other organisations and local companies. For instance, parents helped the school to paint murals on the walls in the school and a local construction company is in the midst of building a puppet theatre for the school.
The fact that the school also receives grants from external agencies and has a strong partnership with community who offers sponsorship for their various projects shows that it is well supported by the community who believes that its arts-integrated programme has brought values to the community.
Creating a Lively and Visually Inspiring Arts Learning Environment
Although the building of the school is old, it was made alive by the so many art works and art ideas that made the physical environment inspiring and vibrant. Even the lockers were painted in bright colours, to wash away its dull grey façade. Every artwork displayed along the corridor came with the art task, which was framed with essential questions. This helped the audience gained a more profound understanding of what the artwork represented.
We were also fortunate to see the pupils play in the courtyard during recess time. It was obvious that the school offered a very safe environment for the pupils, I witnessed no less than 4 pupils went up to the principal and gave him hugs. These emotion and were reciprocated with full attention by the principal. There was a boy or two who were dressed up in cones and walked around the courtyard in imaginative play. A group of girls also spontaneously burst into a song and dance performance for us. All in all it was evident that the environment was conducive for the young creative minds to express themselves.
Noticeably, there is a very strong teacher-student rapport in the school. The pupils were friendly and greeted every teachers that they passed along the hallway. Although the principal shared with us that there were quite a few students with learning and behavior disability, we did not see any students with discipline issues as all were engaged in their lessons.
The teachers are either practising artist themselves, or if they are not, they are paired with a one help with the arts integration component. Although funds are available for the teachers to develop themselves within the arts, I feel that the same should be extended to the practicing artists to familiarize themselves with pedagogical or classroom management skills, as teaching also requires specialized skills.
DAY FOUR
SCHOOL VISIT
ISIDORE NEWMAN SCHOOL (PRIMARY)
Tuesday, 24 March 2015
10:00am - 12:00pm
Isidore Newman School is a co-educational independent school that serves high-achieving and highly motivated students in pre-kindergarten through 12th grade. The school has a national reputation for excellence and achievement in academics, athletics and the arts.
Facilitating Idea Generation
The art teacher, Ms Victoria Calabrese uses sketchbooks to facilitate idea generation. Her students also use sketchbooks to do personal sketching when taking a break from class activities. At the same time, the teacher provides visual stimulus and reference materials to the students.
Arts integration is evident from students generating ideas from the other subjects that they did in other classes.
Lesson pace is very comfortable for the students, as the teacher allows the students to take break from actual work to do references from their earlier sketching in the sketchbooks.
Facilitating Reflection, Critical Thinking and Creativity
Reflection is infused into artwork, it is progressive instead of doing it at the end of the lesson. The lesson is very well-scaffolded.
Teacher facilitated reflection via consultation, progressive as the students continue with their art making.
Creating Opportunities for Group Collaboration
Teachers from different levels work in silos. There isn't any yearly progressive curriculum that the teachers follow. The teachers plan the lesson based on their assessment of their pupils' learning needs.
Creating a Lively and Visually Inspiring Arts Learning Environment
The pupils' work were hung all around school, in a gallery-like manner. This helps inspire the school to produce work of high standards. Classrooms as well as the school hallways are made vibrant with the pupils' work.
DAY FIVE
PRE-CONFERENCE SESSION
NEW ORLEANS MUSEUM OF ART (NOMA)
Museum Educators - Leading Together
Wednesday, 25 March 2015
9:30am - 3:00pm
Session 1: Leading Audiences Breakout Session: Teens
9:30am - 11:00am
Our delegate were broken out into different focus group discussions and I was aptly placedwith the teens grouping. There was only about 12 of us in the group, which was led by two museum officers Alice Vango and Taylor Browning. Much of the discussion was about how to get teens to visit art museums, and be involved with the programmes and activities designed for them. I felt a little bit out of place in the group as the rest of the participants were museum officers from all over the U.S., with the exception of one Rebecca Daniels, who toggles between working for the museum and teaching art at a high school. Interestingly, none of the participants mentioned collaborating with schools or art teachers. Apparently they prefer not to involve teachers at all, which I found a little odd. There was an intensified sharing on how each museum plans programmes to entice the teenagers to visit the art museum, and some went as superficial as offering free drinks and snacks to try to entice teenagers to the museum. One of the museums even shared that the museum she is working with organised a dance for teens called teens' night, which is more of a social event. At some point during the sharing I realised that the main drive to get teens into the museum programme is not only about numbers, but also about dollars and cents. This is because that visitors, even locals, have to pay to go to the museum. The art museums are not state-run, and much of their income depends heavily on the number of visitors to the museum.
We were then given post-its to come up with suggestions as to what kind of programmes or activities that could encourage the teens to want to visit the art museum.
I am thankful and grateful that Singapore extends free entry to NHB museums to its citizens, and that each museum puts in valiant efforts to collaborate with schools and come up with elaborate educational packages to complement their exhibits to the school's curriculum. I feel that we have found a formula to get our teens to be interested in the exhibits brought in by the museums through nation-wide publicity, as well as offering educational packages to school.
Outdoor lunch at NOMA. We made a new friend from Dallas, Maria Teresa Pedroche, who sat with us throughout lunch :)...
Session 2: Explore NOMA
12:00pm - 2:00pm
While the rest of the delegate attended a panel discussion on career with the museum, Haryana, Norlita, Hsia Li and myself explored the exhibits in NOMA. We were all lost in the beauty of the artwork, both in the Sculpture garden and the paintings in the gallery. Because of time constraint, we were able to onl;y explore the 1st level of the gallery (there were 3 levels in the museum), which exhibit American and European Art. We were in awe to see the works of Henri Moore, Picasso, Pisarro, Monet among others!
DAY FIVE
SCHOOL VISIT
NEW ORLEANS CENTRE FOR CREATIVE ARTS
(NOCCA)
Wednesday, 25 March 2015
4:00pm - 5:30pm
This school reminds me of the 80's American hit series "Fame". This is where artistic talents are developed to maximise their potential in the chosen area of the arts.
NOCCA is a regional arts training centre that offers students intensive insruction in culinary arts, dance, media arts (film-making and audio production, music, theatre arts (drama, musical theatre, theatre design), visual arts and creative writing, while offering simultaneous integrated and condensed academic courses (maths + science, language + humanities). The school, which was established in 1973, produces graduates in the likes of Harry Connick Jr.
Approximately about 95% of its graduates go on to pursue college education and conservatory programmes, with 80% receive scholarships to pursue higher education. As a Louisiana state-run school, students attend school for free, and has to only pay a nominal sum for departmental fees, which is equivalent to Singapore's supplementary fees. The school also receives funding from commercial agencies, in their efforts to show support for the arts. Admission to the school is by audition only. The school has a population of only 225 students.
The arts teachers in this school are also practising artists. This adds value to the students as the teachers are able to give them first hand experience of what is is like to be practising artists in the real world.
This is the last of the 3 schools that we visited while in New Orleans. The State of Louisiana definitely believes in arts education, and that arts integration helps students do better academically. They are committed to support this cause through its generous funding. What interests me is that two of these schools (YACS and NOCCA) takes in academically low and mid ability students, and in YACS especially, based on their results for the past two years, the arts has definitely help the students do better academically.
In Singapore however, SOTA only accepts academically high ability students. I believe if we are to offer arts intergration programme in our schools, our students, especially those who are from the NA and NT streams, will do better in school.
DAY SIX
NAEA CONFERENCE
DAY ONE
Thursday, 26 March 2015
9:00am - 5:50pm
It was interesting how the conference opened with Madi Gras-like festivities. The opening really captures the culture of New Orleans, with its vibrant colours and big band music to usher in the first general session. The speaker at this session is none other than Tim Gunn, who was once an art teacher but is n ow known for as a mentor to contestants in the Emmy Award-winning television show "Project Runway". Also, under his belt, he has his own TV shows "Under the Gunn" and "Tim Gunn's Guide to Style".
He talked about his experience as a teacher and passion for education, teachers who have inspired him and his commitment tp inspire and encourage the next generation of artists and designers.
I feel I am able to relate to a lot of his experience, on balancing the desire to want to show studens how things are done and to allow the students to embark on a self-exploratory journey.
Art As A Vehicle of Design Thinking
by Yolanda Dranchak
Ms Dranchak, an art teacher in a middle school shares how the school has been using art as a vehicle in intergrative learning, using Design Thinking pedagogy.
Using minimalist art as a stimulus, the students were brought through a journey to see how Islamic Art and Geometry provides authentic learning experience. Guiding questions were an important aspect to ensure Inquiry-based learning took place in class. The use of sounds in their work made it a lot more challenging, especially having to infuse the understanding of pattern and rhythm together.
I learn that in order for an integrative programme to work, thorough planning and getting the buy-in from all the teachers is vital. If planning is poor, students will not get the maximum benefits available from such programmes.
Not Standardization: Curriculum and Core Values in Next Generation Standards
by Olivia Gude
Interpretations of the new standards shape the discursive spaces within which art educators will create a new culture of curriculum for art, design and media education.
Dr Gude unpacked the definition of terms used in the new standards of American art education, and challeged audience to relook at the norm that we have grown so much accustomed to.
SLOs: Designing and Documenting Student Learning Outcomes
by Linda McConaughy
Ms McConaughy investigates what kind of evidence art teachers can collect to clearly document learning about art and artmaking, and clarify to school leaders the kinds of learning that take place in the art classroom.
I am in disagreement to what was shared by Ms McConaughy, in terms of designing ribrics to impress the school leaders. Art education is about looking at students' learning, not so much as to be accountable and answerable to school leaders. As teachers, it is our duty to help our school leaders to understand the rationale of art education, and not to craft rubrics to appease them.
Inquiry-Driven Learning: Design Thinking Processes in Visual Art
by Delane Ingalls Vanada
Dr Vanada explores learner-centered, design thinking strategies that link connection-making, inquiry-basec learning and self-direction. Teachers as designers can unleash a balance of creative, critical, and practical skills and mindsets for success.
I learned how to inspire students to come out with design process, using the Design Thinking model. The challenge is how to balance between creativity and innovation against criticality and practical wisdom. The use of Integrative and Connective Learning plays a part in mindset grwoth. When this happens, students will have a balanced thinking skills and disposition.
DAY SEVEN
NAEA CONFERENCE
DAY TWO
Friday, 27 March 2015
9:00am - 5:50pm
Process as Practice: Designing and Documenting Moments of Arts-Centred Learning
by Jack Watson and Todd Elkin
The two art teachers shared their research-based studio processes that capture learning and meaning making which happens while creating art.
They discussed the three differentb processes ad practice: Visualising, Cobeptual and Documentation Processes.
In Visualising Process, the following strategies are adopted: art task, material examinations, post-it walls, the eall of Grabbiness, padlet walls, collaborative brainstorm plus capturing.
process blogs and mind mapping. Conceptual Process includes inquiry,inn-process critique, social practice inquiry, instructions and generative systems. Strategies for Documenting Process are accordian book, portfolio/annotated student worl,and video documentation.
I find that these strategies are helpful in facilitating my students art processes. It makes the learning process more meaningful and purposeful when students thoroughly understand and enjoy artmaking.
Curriculum Slam! Assembling Comprehensive Contemporary Art & Design Curriculum
by Ann Gerondelis, Catherine Muller, Jake myers, James Rees, Kate Thomas, Lydia Ross, Madeleine Stern, Nicholas Hotsert, Olivia Gude, achel Valsing. Raja Schaar, Ron Wigglesworth and Steve Ciampaglia
Teachers from across the continent share curriculum in fast, functional and fun format. Each presentation introduces freesh activities and artmaking approaches.
I find the art lessons and approaches shared during this session very refreshing and fruitful. It provides and triggers more ideas on how to customise some of these lessons i to my classroom, within the local context, and culture.
Transforming Your Learning Environment Using Studio Habits of Mind
by Jacobo Lovo, Kristin Ottosen, Kristina Jacobs and Lauren Navarro
Yet another sharing on how the teachers transform instruction in visual art, language arts and mathematics classes as theu collaborated on project-based units of study.
Like the previous sharing, it takes thorough planning and co-ordination to ensure smooth running of interdisciplinary projects.
Engaging Teenagers Through Art: A Transdisciplinary Approach
by Rebecca Daniels
Ms Daniels shared an art appreciation course designed to engage a diverse student population in civil discourse used students' interests as a bridge to understanding art.
Her approach to art history and criticism lesson is to allow the students to choose areas which interest them instead of a common task to the whole class. On top of that, she authenticate the lesson/task by engaging the students to make connections to the now and present.
I learn that sometimes it is okay to be flexible when designing tasks to the students, and to get them to really embark on atask that they feel comfortable and confident with so as to engage them, and thus maximum learning can take place.
DAY EIGHT
NAEA CONFERENCE
DAY THREE
Saturday, 28 March 2015
9:00am - 12:00pm
WHY Choice-Based Learning?
by Elizabeth Rubenstein
Ms Rubenstein took us through different journals and books to explore concepts uniting the minds of creative professionals and use them to support the power of student-directed practice in the art classroom.
In order for us to have the choice as to which pedagogy to adopt or even strategies for a more engaged learning, we have to update ourselves through readings and attending workshops.
At the end of the day, we must have the ability to customise our teaching to the learning needs of our own classes.
Designing Art Units Using the Understanding bt Design (UbD) Framework
by Daisy McTighe and Julia Mc Tighe
The next generation Art Standards (U.S.) are based on the UbD framework. Both the speakers, who are the wife and daughter of the co-author of UbD explore how this framework can be used to plan art-aligned units.
Last Caucus Session
by 2015 NAEA Singapore Delegate
Our Team Leader, Ira Wati led us through the discussion to cosolidate our learning for the past 4 days (conference only), according to 4 different themes: Museum Education, ICT-based Learning, Pedagogies for NT/Design, and Others.
We structured our discussion based on K-W-L (Know-What-Learn) Framework - what you know (prior knowledge), what you want to know (what do we want to learn), what you have learned (takeaways).
The discussion summarised our learning for the past 4 days, and we ended the session feeling enriched with newfound knowledge, as well as feeling refreshed and renewed.
