Student Engagement in Higher Education Journal <p>SEHEJ is an international peer-reviewed journal supporting the work of the <a href="">RAISE network</a>. Thus the focus is on student engagement, the active participation of students and staff and students working in partnership. We have just moved to a new hosting service and haven't got everything in place yet, but you can sign up as a reviewer, reader, or author and contact the editorial board on;</p> <p>&nbsp;</p> <p>&nbsp;</p> RAISE en-US Student Engagement in Higher Education Journal 2399-1836 Authors who publish with this journal agree to the following terms:<br /><p>a. Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a <a href="" target="_new">Creative Commons Attribution License</a> that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.</p><p>b. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.</p><p>c. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See <a href="" target="_new">The Effect of Open Access</a>).</p> CREATIVITY FOR STUDENT ENGAGEMENT: PURPOSE, PROCESS, PRODUCT Sam Elkington Copyright (c) 2019 Student Engagement in Higher Education Journal 2019-11-08 2019-11-08 2 3 1 6 ‘Born Originals, how comes it to pass we die Copies?’ (Edward Young): A case study analysing the Masters’ thesis as a vehicle for student creativity, engagement, and transformative learning. The poet Edward Young’s question in Trilling (1972) poses an important question for educators: how best to resist the pervasive tendency towards conventionalisation of thought and action and support students to discover their authentic voice and place within their chosen discipline and field? Teachers in higher education are often exhorted to stimulate and develop their students’ creativity through creative teaching methods as the antidote to standardisation, but they may have limited knowledge of creative approaches to teaching or baulk at what they perceive as the additional work required to implement them (Jackson et al, 2006). This single case study focuses on ‘Sarah’, a primary school teacher studying for the MA in Education at the University of Sunderland. Sarah engaged deeply and emotionally (even passionately) to produce a 20,000 word research thesis that stood out for its moments of inspiration, originality and discovery, elements often associated with creativity. The case study explores in what ways the process and outcomes were creative with reference to the concept of ‘little c’ creativity and reminds us that the familiar student task of producing a Masters’ research thesis does offer a framework and scope for creative engagement. It concludes that a key to helping students to engage creatively is to help them to tap into their own deeply held and felt values. Mike Cooper Copyright (c) 2019 Student Engagement in Higher Education Journal 2019-11-08 2019-11-08 2 3 7 14 Modern English Poetry and Turkish Undergraduates: Learning Strategies Matter <p>This paper aims to demonstrate how learning strategies engaged Turkish English as a Foreign Language undergraduates studying Modern English poetry. The students believed they would not understand Modern English Poetry but ended up publishing a book of their own poetry resulting from classroom activities. This case study details the process of building engagement through connectedness and social constructivist communicative language teaching approaches. Slowly, as an interactive, learning-based classroom evolved from pair and small group discussions, cognitive reading activities and statements about the text that required support, students gained confidence and expanded their English language resource. Universal themes linked Turkish poetry and student life experiences. Interactive communication and sharing of ideas enlivened the class as students responded to each other, to the poetry and then began writing their own individual expressions. Enthusiastic applause from classmates encouraged more creative poetry and the notion of publishing a poetry book of the students’ work. The poetry book product was advanced by a student editorial team in collaboration with the teacher and published just before their graduation. Similar strategies can be used in other teaching contexts to engage and encourage student voice and creativity. </p> Sally Ann Ashton-Hay Copyright (c) 2019 Student Engagement in Higher Education Journal 2019-11-08 2019-11-08 2 3 15 25 Using drawing, model making and metaphorical representations to increase students’ engagement with reflections Within the current higher education discourse regarding student-staff partnerships key elements reported on are the empowerment of students, the roles and responsibility of the partners in the co-construction of knowledge, and the student engagement and motivation through such partnerships. However, what is often not really considered is the nature and depth of students’ engagement. This article seeks to redress this gap by providing an example from a teacher education programme. At first, we provide a brief overview of the background and context of the teacher education programme, which forms the basis for this article. In the subsequent sections, we outline discourses around student engagement, whereby we will then focus on engagement in relation to reflective practices within teacher education. Subsequently, we provide insight into the use of creative activities to improve students’ conceptual understanding and application of reflective work. This will lead into an evaluative section where creative activities and student engagement will be discussed in a form that incorporates the points of view of two students (Aly Jafferani and Vanessa Pattharwala) and one member of staff (Nicole Brown). Our concluding thoughts will detail recommendations, next steps and the relevance of our experience for future work within the context of teacher education and higher education more generally. Nicole Brown Aly Jafferani Vanessa Pattharwala Copyright (c) 2019 Student Engagement in Higher Education Journal 2019-11-08 2019-11-08 2 3 26 33 Poverty at the UCL Art Museum: Situated Learning in a World of Images <p>This article is about fostering students’ ability to become creative interpreters of images using activities in a specially curated art exhibition. Drawing on theories of knowledge and learning that emphasize the role of communities of practice and situated learning, I make four related arguments. First, it is valuable for students to go beyond texts and engage critically with the images and other creative practices that form the texture of their everyday lives. Second, students come to us already as members of a community of practice that knows certain things: therefore their learning must engage directly with the things they already know and believe, in order to enable them to challenge received wisdom or defend their existing positions more critically and thoughtfully. Third, the images that surround them in everyday life create the conditions of possibility for their existing knowledge practices and those images have a history and context that is frequently not known or critically examined by students. Fourth, and consequently, it is important not only to enable students to engage with historical images that form the context to contemporary imaginations but also to support them in making the links between seemingly very different types of images from past and present. I conclude that, with appropriate scaffolding and support, we can use art galleries to help students learn to link their classroom and book learning with their everyday life experiences in order to become critical and engaged spectators in a world of images.</p> Cathy Elliott Copyright (c) 2019 Student Engagement in Higher Education Journal 2019-11-08 2019-11-08 2 3 34 53 Practising creativity to develop students in marketing <p>This paper presents the findings of a ‘client-based’ experiential learning innovation introduced into the curriculum of a postgraduate marketing and advertising programme at a UK higher education institution.&nbsp; Based on interview data from current and former students, academic staff and industry participants (representing an evaluation of up to five years post-implementation), and this research sought to offer empirically generated understanding of student engagement with creative problem-solving.&nbsp; Students worked in small groups to synthesize their prior learning of the subject in order to devise and competitively present an advertising campaign to a client firm.&nbsp; Findings highlighted the important role of realism in the approach adopted that led to the development of creative skills and resilience among the cohort.&nbsp; This paper concludes that whilst students place emphasis on skills that make them more flexible in the application of creative problem-solving, firms appear to value their fluency and ability to elaborate on their decision-making.&nbsp; With the increasingly prominent feature of experience in contemporary business and marketing programmes today, this paper therefore contributes to an understanding of the process and value of such experiential project-based teaching and learning approaches.</p> Tracy Harwood Wen Ling Liu Copyright (c) 2019 Student Engagement in Higher Education Journal 2019-11-08 2019-11-08 2 3 54 76 The Reflective Muse <p><strong>The Reflective Muse:&nbsp;</strong></p> <p>Inspiring a transformative writing practice.</p> <p>This case study charts the evolution of a developmental, reflective writing assessment in the&nbsp;<em>Travel Writing and Journalism (TWJ)&nbsp;</em>module that I previously taught at the University of Leeds.&nbsp;&nbsp;What started off as a free flowing writing exercise has become increasingly structured over time – with creative results.</p> <p><em>TWJ </em>is an optional module available to all second year students across the university.&nbsp;&nbsp;&nbsp;Participants are intelligent, well educated and motivated.&nbsp;They hail from across the globe and many have travelled widely.&nbsp;&nbsp;They enjoy travel and are motivated to write about it.&nbsp;&nbsp;</p> <p>&nbsp;</p> <p>As twenty something learners, many also start the course with limited knowledge of the intricacies of world politics and only a sketchy appreciation of the genre. The first assignment is designed to expand their boundaries both as writers and travellers, through a process that at the same time challenges them to become more self-aware and worldly wise.&nbsp;&nbsp;</p> <p>&nbsp;</p> <p>The assignment poses a 2000 word reflective writing challenge which tasks students to potentially transform their own travel writing practice, by reflecting upon it.&nbsp;&nbsp;&nbsp;</p> <p>&nbsp;</p> <p>Due in week 7 of an 11 week teaching schedule, the assignment requires that each student summarise what insights they have gained through their creative participation in the course during those first seven weeks.&nbsp;&nbsp;&nbsp;Effectively then, assignment 1 has 2 parts: Students first need to engage with the course before they can later reflect upon that engagement.&nbsp;&nbsp;In other words, students are being encouraged to proactively seek out the insights that can emerge through creative reflection.&nbsp;The prescribed method to achieve this aim is to write down their response to the course context – thus forming a personal response to these learning opportunities.</p> <p>&nbsp;</p> <p>&nbsp;</p> Bronwin Leigh Patrickson Copyright (c) 2019 Student Engagement in Higher Education Journal 2019-11-08 2019-11-08 2 3 77 83 How student engagement has been enhanced through research into factors affecting creativity <p class="paragraph"><span>Student engagement is critical in helping students learn effectively and achieve success. For students working in the areas of art and design, there is also a strong emphasis placed on the importance of creativity. Over recent years we have conducted research into the factors and processes affecting creativity and explored how these insights can help improve student engagement and student creativity. The paper discusses the relationship between factors affecting student engagement and creativity; how our curriculum has been designed to develop student creativity; and how we have evaluated and refined our curriculum to enhance student engagement, based on our research into creativity. We present results from the National Student Survey (NSS) and from our own internal qualitative and quantitative data analysis highlighting areas where we have made a positive impact on student engagement. We also reflect on areas for further development and the possible impact our approach and curriculum design could have on other disciplines.</span></p> Gareth Loudon Bethan Gordon Copyright (c) 2019 Student Engagement in Higher Education Journal 2019-11-08 2019-11-08 2 3 84 101 ‘My two words? “Creative Energy”.’ Engaging students in a participatory story-making research project with disadvantaged young people <p>A UK Research Council-funded research project involving story-making by, with and for disadvantaged young people in the community became an opportunity to engage students. At each stage of the project, from getting to know the young people through to turning their stories into fictionalised animations and narrated videos, students participated, adding their own individual interests, passions and expertise. In the process, the project touched on a range of initiatives and values espoused by the wider university. Reflections from students, tutors and the community members with whom they worked, present an evaluation of the experience from their perspectives. The article provides testament from those directly involved to examine in detail the value of the <em>process </em>and the <em>product</em> of their engagement, thereby shedding light on its <em>purpose</em>. From there I will suggest how such work can be moved forward in ways that are meaningful for the participants themselves, while also fulfilling some of the requirements of universities today.</p> Candice Satchwell Copyright (c) 2019 Student Engagement in Higher Education Journal 2019-11-08 2019-11-08 2 3 102 117 Inextricable: Doctoral writing, engagement, and creativity <p>Engagement is an important issue for doctoral students since many feel a sense of isolation or alienation. In this paper we link doctoral writing to student (dis)engagement and suggest that creative writing practices are crucial to overcoming disaffection. Using autoethnography and arts-based methods (collage and narratives), we draw on our experiences from our different positionalities as doctoral student and doctoral supervisor to explore creativity, writing and doctoral student engagement. We find that creativity plays two roles: the individual insight and inspiration needed generate novel and original research ideas and conclusions; and the social-cultural interactions that result in community participation and building ideas off one another.&nbsp; Engaging in creative practice is not without challenges because of the conflicting discourses inherent in the concept, yet the benefits are surprising and valuable.&nbsp; We concluded that creative practices need to be mediated to encourage a critical consciousness; that these activities help to work through periods of being “stuck” and to value these liminal spaces; and finally, that the focus on creativity allows students to in chaotic research spaces in flexible ways.</p> Cecile Badenhorst Brittany Amell Copyright (c) 2019 Student Engagement in Higher Education Journal 2019-11-08 2019-11-08 2 3 118 137 Leveraging creativity to engage students in an agile ecology for learning <p>This article explores the concept of an agile ecology for learning and its potential in leveraging creativity to engage students. Creativity is both seen as something that students bring with them from different part of their lives, across different formal and informal learning environments, but it is also seen as something that can be encouraged and developed through deliberate design of learning experiences and environments. The agile ecology for learning is fundamentally about blurring boundaries between informal and formal learning environments. A case study of a Closed Facebook group managed by students is used as a case study to illustrate the potential of using an agile ecology for learning as the underlying ‘map’ for learning design. If done well, we argue that this allows us to leverage creativity in students as both a tool of engagement and a crucial component in the development of a way of being for students whereby using their creativity in critically reflective ways becomes the norm.</p> Megan Y.C. Alexandria Kek Henk Huijser Lindy Abawi Jill Lawrence Copyright (c) 2019 Student Engagement in Higher Education Journal 2019-11-08 2019-11-08 2 3 138 153 Co-creating the Curriculum <span>This article takes the form of the letter entering into dialogue with students about their experience of co-creating the curriculum and undertaking a creative assessment. It draws on a case study from an art history module, <em>Researching the Contemporary</em>, studied as part of a joint honours Fine Art and Art History undergraduate course. It examines the ways in which theory and practice could be connected through an understanding of research as a creative practice. In framing co-creation as a creative process which produces different ways of being as learners, the article assesses various reconfigurations of relationships: to learning, to each other, to research, to the institution and to our emotions. The main part is structured in response to issues and ideas raised by a student collaborator, reflecting on the contexts of co-creation, the intersections between how and what we were learning, the links between history, theory and practice and our positionality as learners, researchers, producers and creators. It argues for the productive nature of vulnerability, uncertainty and risk and the potentiality of not-knowing for engendering forms of creative thinking and doing essential for the learning process. </span> Helen Potkin Copyright (c) 2019 Student Engagement in Higher Education Journal 2019-11-08 2019-11-08 2 3 154 171 Play and Creativity as Extra-Curricular Festivities: A Case Study Following the Play and Creativity Festival <p>This paper will draw on the experience of engaging students and staff in extra-curricular pedagogic practices through the University of Winchester’s annual Play and Creativity Festival. The article will firstly explore the theoretical grounding for the importance of playful and creative pedagogy in higher education. Thereafter, it will discuss the Play and Creativity Festival as a case study that put theory into practice as an extra-curricular opportunity to engage the entire university community in an annual event at the university. Finally, the paper will explore the effect of engaging staff and students in the Play and Creativity Festival, as both participants and champions of Play and Creativity. The festival turned all participants, regardless of their position, into students who were learning something new together. This lead to a dismantling of preconceived notions of hierarchy through the engagement of students and staff on an equally novice playing field. This paper will explore this effect and highlight the importance of play and creativity in student engagement initiatives, through the case study of the Play and Creativity Festival.</p> Cassie Lowe Alison James Copyright (c) 2019 Student Engagement in Higher Education Journal 2019-11-08 2019-11-08 2 3 172 180 Designing Curation for Student Engagement <p>In this article we discuss the ways students currently engage with, and navigate through, their learning resources. Working from the argument that students now read and research in ways that privilege assembly, visualisation and interconnection, we propose that questions of student engagement can be opened up profitably by concentrating on a particular trope of learning and assembly. That trope is ‘curation’ and we explore how this approach and activity might be used to enhance student learning, creativity and ownership. In our discussion we explore particular theories of curation, ‘bricolage’ and collaborative assembly, and explain ways in which these are directly relevant to today’s patterns and habits of student scholarship. After offering case-studies of curation pedagogy at the scales of module, programme, project and institution, we conclude by visualising and explaining our ‘curation learning cycle’. In this way, we tie theory, case-studies and taxonomy together to propose a curriculum design approach that heightens student learning and engagement.</p> Raphael Hallett Nicholas Grindle Copyright (c) 2019 Student Engagement in Higher Education Journal 2019-11-08 2019-11-08 2 3 181 198 Creativity and Collaboration: An Exploration of Empathy, Inclusion, and Resilience in Co-Creation of the Curriculum <p>This research article uses an inductive approach to analyse the nuanced nature of creativity within co-creation of the curriculum in higher education. Co-creation of the curriculum is one form of engagement in learning and teaching in which students and staff work in partnership so that each has a voice and a stake in curriculum development. Using qualitative research methods, this research focuses on the creative practices of co-creation of the curriculum and draws new connections between student engagement, creativity, and authenticity in learning and teaching. Themes that are explored include: (A) innovation through dialogue and collaboration within the community, (B) play and creatively trying new things despite risks, (C) enjoyment of creative learning and teaching, (D) shared ownership leading to intrinsic motivation and creativity, and (E) creatively challenging the status quo. The author suggests that it is the inclusive processes and products of creativity within co-creation of the curriculum that helps students and staff to develop essential skills and attributes – such as confidence, empathy, and resilience – that help them engage in authentic learning and teaching experiences and learn to cope with supercomplexity in today’s ever-changing world.</p> Tanya Lubicz-Nawrocka Copyright (c) 2019 Student Engagement in Higher Education Journal 2019-11-08 2019-11-08 2 3 199 213 Seeing and Sticking, Being and Becoming: The Kaleidoscopic Impact of a Creative Intervention <p>New academic staff in universities experience uncertainty, liminality and ontological disturbance as a result of shifting professional identities and attempting to inhabit a complex role within the supercomplex world of the University. The uncertainty and instability experienced by new academics can be read as a microcosmic manifestation of the uncertainty of the modern age, which presents within the HE curriculum as a wicked problem, demanding innovative pedagogic solutions that build resilience and creativity within learners. This case study describes the use of collage-work within a PGCert Learning and Teaching in HE, which aims to break down discourses of certainty for participant groups consisting of new academic staff, through a process of collaborative meaning-making centred on visual metaphor. In a reflexive turn, the case study incorporates the voice of one of these student-academics, who reflects not only on the impact of the collage activity for her sense of academic and professional identity, but also on the way in which she has repurposed and re-imagined the collage as a pedagogic tool within her own teaching. The multiple iterations of the collage work are therefore revealed to have a cascading impact across learner groups, building resilience to an unknowable future through creative work that is in itself fluid and unpredictable.<strong></strong></p> Anna Clare Hunter Kathryn Woolham O'Brien Copyright (c) 2019 Student Engagement in Higher Education Journal 2019-11-08 2019-11-08 2 3 214 221 Do something different- navigating the writing process during a time of stress <p><strong>Abstract</strong></p> <p><strong> Sarah Jones completed the Master’s in Modern and Contemporary Literature in 2017 at the University of East Anglia (UEA), where Zoë Jones is a Learning Enhancement Tutor. They worked together as tutor and tutee over several months, meeting regularly while Sarah was working on her master’s dissertation. Sarah found the process of writing the dissertation stressful to the point of needing to intercalate. Once Sarah had returned to the University to complete her dissertation, she explored a range of creative and innovative techniques with Zoë for producing the necessary writing to complete her course. The result was that Sarah was able to submit a piece of work of which she felt proud. In this collaborative paper, Sarah and Zoë share their reflections on the work they did together and give insights into some of their successes. This case study will be of interest to anyone looking for ways of renewing their engagement with their writing, or to tutors or academics working with students during periods of difficulty</strong></p> <p>&nbsp;</p> <p><strong>Key words: </strong>creativity; writing processes; wellbeing; stress&nbsp;</p> Zoe Jones Sarah Jones Copyright (c) 2019 Student Engagement in Higher Education Journal 2019-11-08 2019-11-08 2 3 222 233 What and who really drives pedagogic innovation? <p>This article reports on findings linked to the conditions that foster pedagogic innovation in higher education. These emerged from the pedagogic innovators project (#pin), an exploration into the factors that aid and hinder the development of pedagogic innovators. They provide insights into the key factors that push individuals in higher education to innovate in their teaching. The findings of this study indicate that these are strongly associated with the individuals themselves, their attitudes, behaviours and beliefs towards creativity, innovation and the value they place on development as well as their determination to pro-actively experiment on their own and in collaboration with others. The institutional context, culture and availability of resources appears to be perceived of lesser importance. The implications these findings have for how pedagogic innovators work within higher education institutions is explored and recommendations are made that could foster conditions to cultivate and spread pedagogic innovation within and beyond a particular institution.&nbsp;</p> Chrissi Nerantzi Barbara Thomas Copyright (c) 2019 Student Engagement in Higher Education Journal 2019-11-08 2019-11-08 2 3 234 260 Uncovering and discovering creative practices that foster student and staff engagement <p>This special issue is a potpourri of vibrant contributions that evidence the importance of creativity for personal and professional development across disciplines and contexts. Creativity has clearly been recognised and embraced by practitioners aiming to diversify provision and develop creative confidence and capabilities that make learning and teaching stimulating and exciting for students and staff.</p> Chrissi Nerantzi Copyright (c) 2019 Student Engagement in Higher Education Journal 2019-11-08 2019-11-08 2 3 261 264