Padlock Micro teaching feedback


The idea behind the ‘The Box’

During my elective unit, I followed an alternative road to promote the diversity from a different angle. Because the elective/The Inclusive Teaching and Learning Unit has evolved me personally so much but at the same time, it was hard to integrate with my own values and my own learning objective. But in that sense, facing with all the fact of capitalist postcolonial white supremacy pushed me to stay in the center, so that, I could keep my holistic perspective. It was hard to confront with all that reality, especially learning the facts; in the center of university education, the placing of commercial concerns, not the learner itself, has caused the students to be seen as a customer. The universities that need to produce knowledge but education is full of modern everyday concerns, that cannot produce shifted value from the true axis is used for social changes. I confront that, but the stickiest curriculums are in art & design education and current context of education is based on career and industry. In addition to this, in one of Terry’s attainment workshop, I learned that …the core knowledge coming from the ‘art establishment, Art Galleries, museums art publication ext. then, generated by their recognition’.  If this is true I assume that is true; how we can expect the student to be a freethinker in this condition. Also in that workshop, they identify that “…Art Education has generally been conservative, and Eurocentric racist and imperialist and have called for curriculum for social change…”Hatton’s 2015 Finnegan and Richards, (2016) p.8. My opinion is, the whole education system is feeding the capitalism, perhaps the education in general, been constructed that way to ensure it’s continuity.

According to S. Orr and A. Shreeve

“…The most significant change in art and design education since 1980…the emerges of the ‘anti-aesthetic’, as Hall Foster (2002) called it: the idea that visual art should be primarily interested in politics and social change. The ‘anti-aesthetic’ was the crystallization of anti-modernist initiatives that had begun in the 1960’s, and Foster’s edited book The Anti-Aesthetic marked the entry of political, anti- or non-aesthetic work into the curriculum. …”S. Orr / A. Shreeve(2017)

 To extend this view further, Great Russian filmmaker, director Torkovs:

“… Art is born and takes hold wherever there is a timeless and insatiable longing for the spiritual, for the ideal: that longing which draws people to art. Modern art has taken a wrong turn in abandoning the search for the meaning of existence in order to affirm the value of the individual for its own sake…” Torkovs

 So my concern was if the higher education axis had been moved that much away from its actual purpose, so the question was to me how we are going rotate and what kind value we needed to produce? The answer was might be in Paulo Freire’s critical pedagogy. “…Shape the purpose of education has to focus on students to be informed citizens, nurture of civic imagination or teach them to be a self-reflective about public issues and world in which they live…”H.A.Giroux

In addition to all if we want a change;

“Mankind has to change itself, not its concepts, to reach the real solutions. Such an important change is rooted in its ability to control thought, not in theoretical knowledge, but in self-knowledge. He says to those who set out for the journey of enlightenment, “Not outward, but from within.” He gave importance to the individual effort…” C.G. Jung

Freire was also spotting to the same point as C.G.Jung suggests.

Education”… to prepare students… for a self-managed life. And self-management could only occur when people have fulfilled three goals of education: self-reflection,..”know thyself,”…an understanding of the world in which they live, in its economic, political and, equally important, its psychological dimensions….critical” pedagogy helps the learner become aware of the forces that have hitherto ruled their lives and especially shaped their consciousness…set the conditions for producing a new life…[4]

What was this internal and external structure? Every one, same to be talking the same things, ‘knowing your self, ‘controlling yourselves’, and ‘knowing your outer world’. In fact, during my field studies around costume design, I found out that “…In all classical Greek genres, and thought – the world behind them, outer and inner worlds explain and influence each other. But in the fifth century, the dominant influence is not the inner world, as in our own Freud – framed era, but the outer…” “Ruth Pade (1992)

Carl G Jung also said that“…my life is a story of the self – realization of the unconscious. Everything in the unconscious seeks outward manifestation, and the personality to desires to evolve out of its unconscious and to experience itself as a whole.

Artifact – THE BOX

Extracting meaning from raw data, and building powerful narratives of  “Who we are?”

So in art & design education identity awareness is an essential knowledge, in fact, after all the research my experience was telling me, in art & design education, we don’t really do anything to understand our inner-self, in practice, because we don’t really know how to practice ‘who we are’ in class. Actually, we did something similar in one of our first PgCert session: we had been asked to do a presentation, about who we are in a classroom. However, in art education, our focus is outer, not inner and I assume that apart from several, many of us never feel inquiry to question who we are? To me, the class environment actually very mechanically designed and there isn’t much room for any human emotional interaction during any session. No personal attachment, so, what is our purpose of doing things then? If we can’t produce any value for humanity, what is this all for. To me in order to have an intellectual maturity, human intellectual need a free space to think and discuss with others, to actually, grow their maturity; instead this interaction, it’s like a shopping you buy and go. In the olden days, education purpose was to complete ones-self identity. It was universal and it wasn’t for education, it was seeking a meaning of life.


And also we are living most of our daily life, out of our consciousness, this makes it everything harder to make some internal connection. Then we are talking diversity and inclusivity, plus attainment gap if we don’t make any personal attachment, how are we going to bring inclusivity? I experienced that student does not feel belong there stay silent sitting in the corner nobody even realize she is there. This is How I feel and I am thinking my critical pedagogy is a must practice, in higher education; Emotional attachments; In Sabri’s seminar, she was talking about BMA student attainment resold she was saying that, if the student emotionally attached to the teacher and attainment was getting higher.


So this is why I decided to create ‘The Box’ as an artifact. ‘The Box’ is actually an art piece created by me, to engage the student in a group practice to promote diversity and inclusivity. In ‘The box’ I have my personal belonging, all objects were carefully selected from my home, from photos to the cable and smell it’s emotionally attached to me. There is a purpose for using this type of object; the way we function, whatever happens, we are recording everything in our mind, but the fact is we may only remember the things that have a meaning for us or the things that reminded us something. These things can be an object, smell, music, a photograph or daily tools that we use, etc. In that sense, our internal relationships between external things maybe were reminding us our self-reality, so that we can make the right connections between our thoughts and emotions. Or it reminds us our feelings of humanity. As we became human we start making tools and objects, museums are full of objects, they all allow us to time travel in our own time. All those objects tell us many stories and bring narrative inquiries to think, they all help us to understand our past life, which we are, were we lived, what condition? Ext. It basically mirrors our past to us. Our relationship with objects also tells us many things about our internal that we are?

How do I know my artifact worked; I actually designed my artifact during for my microteaching session and used my artifact at my 10 minutes ‘microteaching session” this was actually a good opportunity to test my artifact with other people, especially with other teachers, who have more experience than me. The aim of this practiced based workshop is to promote diversity and introduce an experimental life drawing. After my introduction, when I opened my artifact ‘The Box’ had an immediate response from the learners and every one seem to be interested to analyze each object. This was what I was trying to get, to bring the everyone attention to that moment, when they were all paying attention to the objects, I start asking question about what all this object symbolises, what is the owners relationship with each object, what do the objects say about its owners, who is this person? Then I gave them silent reading time and 2 options to chose drawing or to right. I gave the student a paper and ask them to draw verbally or visually whatever they feel about the object or person. I measured the learner’s reflection towards my artifact and my session, what I observed; while the learners were analyzing the objects, as a whole they were also interacting with each other. They were talking and drawing and righting. The way I organized worked well and I was right to give two options for a learning outcome because I didn’t know what was the learner’s experience and interest. So having two options drawing and righting a visual literacy gave learners, the flexibility that they need, I assume, they didn’t feel any force; actually, my artifact made them functioned. This was my actual desired outcome. The reason behind my artifact was actually bringing learners some awareness about diversity and inclusivity, so that, each individual can internalize my implement.

By doing this artifact, I found many alternative new ways to generate more inclusive learning activities. The possibility that I can bring with my artifact could add learners many things. I am listing some possible learning outcome and areas to use, to demonstrate that, this artifact has a valuable consistency for teachers and student, it has those flexibilities to adopt.

Such as below:

  • To change perception, for a better group interaction
  • Improve student inquiry skills around diversity
  • Understanding own-selves
  • Understanding our relationship with external things
  • For visual and literal observation development
  • Increase awareness around sustainability
  • Understanding the identity inquiries
  • Thinking through object
  • The object and symbolism
  • Understanding the social construction
  • How to construct reality
  • Understanding the function of human nature
  • Improve empathy and emotional attachment
  • Improve imagination
  • Improve the skill of telling who they are
  • Develop critical thinking skills


In fact, in art design education knowledge around identity is essential and my artifact could be a perfect example to practice with a student. ‘The Box’ could be a good tool for the student to discover the real human nature internally and externally. I prepare some possible areas to use my artifact.


  • When the student starts their higher education, this artifact could be used as a first project / or could be used in the first days of their course; to know teacher and others well.
  • It could be an art project for the first year Art & Design student, its all about letting them discover themselves as who they are or others.
  • For any theatre base course, my artifact could be used for a ‘Character analyze session.
  • This artifact could be used in a study support session, an opportunity for any student to practice their work or who they are.
  • Costumer analyze for any business related course.
  • For any course that related to product design, this artifact could be a good option to teach them our relationship with the object.
  • To teach sustainability to turn ordinary things into a meaningful object, this could fit with any Art & Design course.
  • Before starting any group project this type of artifact could be good for an Interactive group work /or an alternative way of learning each other.



My artifact worked effectively, why it worked? If I synthesize all, my whole experience suggesting me that; when I put some personal and emotional attachment into my session, my session turned into functional influence. I observed and experienced this as soon as my artifact had cached the learner’s attention, in fact, by doing that I even sense that, I ménage to remove all that walls that each individual had. So, my learning outcome from this experience was ‘personal and emotional attachments,’ was the key assumption for a real learning to have happened’ the learner’s immediate reflection for all was to articulate more in this area, and this proved to me that, this could lead me to internalize this to think more philosophically.  If I evaluate my experience, my rate would be for this experience is excellent because it encourages me to think a lot about object and teaching. It also provides me with many suggestions to create disciplinary variations of teaching.



  1. Object-Based Learning, the report from the HEA

  1. Carl Gustav Jung, Memories, Dreams, Reflection 2011 Knopf Doubleday Publishing Group, 2011
  2. Ruth Author. Padel, Ruth, 1946, In and out of the mind: Greek images of the tragic self /   Published. Princeton, N.J: Princeton University Press, c1992 .
  1. İkram Çınar, Küreselleşme, Eğitim ve Gelecek,Kafkas Üniversitesi Kuramsal Eğitimbilim, 2 (1), 14-30, 2009
  1. Orr, S. and Shreeve, A. (n.d.). (2018).Art and design pedagogy in higher education. Routledge
  2. ACE, S. and GRAVESTOCK, P. (2009) Inclusion and diversity: meeting the needs of all students. Routledge. (Key guides for effective teaching in higher education).
Loomba, Ania. Colonialism/Postcolonialism, Taylor & Francis Group, 2014. ProQuest Ebook Central, from UAL on 2018-05-23 03:36:38.
  2. Constructing the Literary Self: Race and Gender in Twentieth-Century Literature, edited by Patsy J. Daniels, Cambridge, Scholars Publishing, 2013. ProQuest Ebook Central, Created from UAL on 2018-05-23 03:52:10.
  3. Best, Shaun Understanding Social Divisions, First edition, Sage publication Ltd,2005 London
  4. HENRY A. GIROUX  journal Rethinking Education as the Practice of Freedom: Paulo Freire and the promise of critical pedagogy, Policy Futures in Education Volume 8 Number 6 2010
  5. Gabrial / S.A.Tate, Inside The Ivory Tower, First edition (2017) by the UCL Institute of Education Press, London
  6. 11. 
  7. A.C.G Grayling, The meaning of life, Applying Philosophy to Life, First Edition, by Weidenfeld & Nicolson), printed by Butler & Tanner Ltd, Frome& London
  8. Hahn Tapper (2013) ‘A pedagogy of social justice education: social identity, theory, and intersectionality’, 411- 
417(and see diagram on p.426) 60e6-4a4d-acf8-33da2852f16f%40sessionmgr120&vid=1&hid=118
  10. Bob Bates, (2016) Learning Theories Simplified
  • Thomas Luckmann,/ Peter Berger; Social Construction Of Reality (Penguin Social Sciences)(1991) Penguin UK









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