As an associate lecturer, I teach across ten courses at UAL, each with a different climate. My students are often international, come from diverse backgrounds and have varied needs. Some international students face language barriers and cultural differences in learning styles. Meeting these varied needs must therefore be central to my teaching practice.
Last year, I learned of a model called Teaching for Artistic Behavior (TAB), proven to be an effective and adaptable approach to responding to these diverse needs (Nesmith, 2016). TAB is a student-centered pedagogical model that encourages learners to take ownership of their artistic process, fostering creativity, critical thinking, and personal expression. The philosophy behind TAB aligns well with my commitment to inclusivity, and offers a flexible framework in which each student’s unique abilities, challenges, and perspectives can be recognized and nurtured (Jaquith & Hathaway, 2012).
One example of how I have tried to apply TAB in my teaching practice involves an international student. She had limited proficiency in English, which led to some difficulties in understanding project briefs and instructions. Initially, the student struggled with contributing both in seminars and to smaller group discussion, which I think affected her self-confidence and participation in the course. My aim in using the TAB strategies was to support her in a way that was responsive to her needs.
The first step suggested by TAP was to ensure that students have ample opportunities for individual reflection and practice, allowing them to explore her ideas in a less pressured environment. By shifting the focus from teacher-directed instruction to student-directed exploration, I created a space where she could experiment freely with materials and processes without fear of being asked to present verbally. I hoped this approach could help her to build confidence in her own artistic voice.
Though it wasn’t possible to schedule an individual tutorial, I had a short check in with her at the start of class whilst students were arriving. I asked if visual and digital resources could help to support her learning, and she suggested that she finds it easier to understand concepts when presented in non-verbal forms. In the next class, I included diagrams on screen rather than bullet points in my slides. We began more frequent one-on-one check-ins at the start of class, opening a space for her to ask questions without the gaze of the whole class. She later reflected back that these check-ins allowed us to discuss ideas in a way that reduced her anxiety, making it easier for her to clarify her thoughts and express her vision without language being a barrier.
Recognizing the students cultural background, I tried to incorporate a more global perspective into the curriculum, encouraging her to draw upon her personal heritage as a Chinese student in her work. I hope that this cultural responsiveness not only made her feel more connected to the course content, but also encouraged her to see the value in her unique perspective. She began to use her background as a strength, and created a Chinese puppet theatre production as her final project.
Though I wasn’t able to implement all of TAB’s principles, the emphasis on autonomy and personal choice was influential to my teaching and I think helpful in the example of this student. She was able to set her own artistic goals, choose materials that suited her creative process, and define the direction of her projects. This empowerment, coupled with the check-in support, helped her navigate the challenges she faced in the course.
References
Jaquith, D. B., & Hathaway, N. (2012) The learner-directed classroom: Developing creative thinking skills through art. Teachers College Press.
Nesmith, C. L. (2016) “Teaching for artistic behavior: A collective case study” Masters Theses, 2010-2019. 90. https://commons.lib.jmu.edu/master201019/90