The creative suburb: A study in creative reflective practice

As long as population growth continues, policies for urban consolidation closer to city centres fail, and there is land available, Australians will continue to build in new Greenfield suburbs. However, the 50-year legacy of the homogeneous one-size-fits-all approach to suburbia beyond the sticks and sometimes hours away from where one can find a job, is proving unsustainable, the commute alone a significant contributor to greenhouse gas emissions across the globe. The ‘creative suburb’ was inspired by the possibility to create new, innovative and entrepreneurial suburbs, places which are more self-sufficient and self-contained than the ‘product’ perpetuated down under even today. The ‘creative suburb’ draws on significant primary research with suburban home-based creative industries workers, vernacular architecture, and town planning in the Toowoomba region, in the state of Queensland, Australia, as inspiration for a series of new building and urban designs available for innovators operating in new suburban greenfield situations in Queensland and possibly further a field. This paper considers the role ‘creative reflective practice’ played in the process of developing the building and urban designs presented in a book and showcased in a building as creative outputs of this practice-led and property development industry embedded inquiry.

Stepping outside the circle : a reflective practice framework for creative facilitators

Stepping Outside the Circle was a practice-based research project focussed on creating a professional reflection framework for creative facilitators working within the community, education, corporate and health and wellbeing sectors. Underpinned by theories of critical reflection, transformative learning, reflexivity and agency, this study explored the potential benefits of multimodal inquiry processes, adapting existing reflective practice models for the unique requirements of creative facilitation contexts. Through application of the key findings from this research, synthesised in a practitioner resource, it is hoped that individual practitioners and creative organisations may develop their understanding of evaluation strategies, self- reflexivity, professional sustainability and practitioner self-care.

Narrative as a tool for critical reflective practice in the creative industries

This paper explores the efficacy of narrative in reflective practice across a range of creative disciplines. As practitioners within the creative industries the authors internalise experience and re-contextualise it as stories, designs, music videos, fiction and non-fiction films and dance. They are uniquely placed to examine narrative in critical reflection through the prism of their creative practice and in so doing offer insights into reconceptualising professional practice. The authors demonstrate how engagement with and reflection on and in their stories enables wider reflection. Their purpose in reflection is not just to learn from mistakes but to develop an epistemology of practice that enables them to apply rigorous academic inquiry to articulate their tacit professional knowledge and establish new methods for dealing with uncertainty in creative practice research.

Enhancing learning in dance technique through on-line-mediated reflective practice

‘Practice makes perfect’ expresses the common misconception that repetitive practice without appropriate feed-back will deliver improvement in tasks being practised. This paper explores the implementation of a student-driven feed-back mechanism and shows how functional and aesthetic understanding can be progressively enhanced through reflective practice. More efficient practice of clearly understood tasks will enhance dance training outcomes. We were looking for ways to improve teaching efficiency, effectiveness of the students’ practice in the studio and application of safe dance practices. We devised a web-based on-line format, ‘Performing Reflective Practice’, designed to augment and refine studio practice. Only perfect practice makes perfect!

Rock, paper, scissors : reflective practice for design process in the novice landscape architect

We describe a pedagogical approach that addresses challenges in design education for novices. These include an inability to frame new problems and limited-to-no design capability or domain knowledge. Such challenges can reduce student engagement with design practice, cause derivative design solutions as well as the inappropriate simplification of design assignments and assessment criteria by educators. We argue that a curriculum that develops the student’s design process will enable them to deal with the uncertain and dynamic situations that characterise design. We describe how this may be achieved and explain our pedagogical approach in terms of methods from Reflective Practice and theories of abstraction and creativity. We present a landscape architecture unit, recently taught, as an example. It constitutes design exercises that require little domain or design expertise to support the development of conceptual thinking and a design rationale. We show how this approach (a) leveraged the novice’s existing spatial and thinking skills while (b) retaining contextually-rich design situations. Examples of the design exercises taught are described along with samples of student work. The assessment rationale is also presented and explained. Finally, we conclude by reflecting on how this approach relates to innovation, sustainability and other disciplines.

Reflective Practice in the Arts

In creative disciplines, reflective practice is an integral and cumulative form of learning. Reflective learning generates knowledge that is specific to oneself and is a form of evidence upon which to analyse and change one’s practice. Critical reflection requires a deep knowledge of the discipline and an awareness of one’s positioning within that discipline and in relation to one’s creative performance. Meaning making through performative expression allows for personal transformation through acute awareness of and reflection on one’s own beliefs, knowledges and values through the process of creating artistic work. Self-awareness and identity are significant both in the study of the arts and in becoming an artist, as aesthetic inquiry and performance are constituted by subjective self-expression in relation to objective conditions. Reflection can be expressed using symbols or semiotic systems other than language. Depending on the disciplinary context, particular modes or forms of expression will be privileged, including material forms of practice, still and moving images, music and sound, live action and digital code. This chapter explores the problematics of what counts as reflection in the arts and how reflection is represented, expressed and performed in discursive and non-discursive ways in becoming arts literate.

My career chapter as a tool for reflective practice

This paper addresses reflective practice in research and practice and takes the issue of consciousness of social class in vocational psychology as a working example. It is argued that the discipline’s appreciation of social class can be advanced through application of the qualitative research method autoethnography. Excerpts from an autoethnographic study are used to explore the method’s potential. This reflexive research method is presented as a potential vehicle to improve vocational psychologists’ own class consciousness, and to concomitantly enhance their capacity to grasp social class within their own spheres of research and practice. It is recommended that autoethnography be used for research, training, and professional development for vocational psychologists.

Using reflective practice assessment in the first year of law to encourage a positive professional identity and promote law student well-being

In this paper we argue that intentional curriculum design in the first year of law should encourage law students to develop an emergent sense of a positive professional identity. When first year law students engage with a nascent notion of a positive professional identity, their well-being is supported because their studies are informed and contextualised by a sense of purpose for their future professional life. In a first year law subject run for the first time at the QUT Law School in 2011, reflective practice was successfully used to achieve these goals. The paper discusses the subject, the opportunity of using reflective practice to teach a positive sense of professional identity, and some student perspectives on the subject’s design.

Reflective practice as a tool for addressing high levels of psychological distress in Australian law schools and the legal profession

This paper discusses: -The need for law schools to use curriculum as a site for positive interventions to support student psychological well-being. -The potential for law school interventions to impact on the psychological well-being of the profession. -Reflective practice as a possible tool for promoting psychological well-being in law school and the profession because it provides a way of coping with ‘indeterminate zones’ of experience.

Embedding reflective practice in professional practice with portfolios

Completing a professional portfolio as part of coursework gives beginning library and information professionals a tool which helps them bridge the gap between being a student and a practitioner. Portfolios require them to reflect on their learning outcomes, so that they can communicate these to employers, and encourage them to design strategies for professional development. Portfolios promote reflective practice and may continue to be used in the workplace. They are also a useful mechanism for established librarians who wish to record their professional growth, plans and contributions. The idea may even be applied to monitoring the achievements and performance of whole libraries or smaller units within libraries. The first part of this paper reviews portfolios as a tool for reflecting on, showcasing and developing the practice of entry level library and information professionals. Examples of portfolio contents, and reactions to the process, in this part of the paper come from students, (now colleagues), who have recently completed the Graduate Diploma of Information Studies [GDLIS] at the Queensland University of Technology [QUT]. The potential of portfolios as a reflective professional development tool raises interesting possibilities for organisations, educational programs and professional associations. For example, LIS educators could consider strengthening the role of portfolios in courses; organisations could use them as part of the employee selection process; and professional associations such as ALIA could use them as one mechanism for recognising professional status, or establish them as a recommended professional development tool. These roles for the portfolio form the focus of the second half of this paper.

Reflective practice: the enduring influence of Kolb’s Experiential Learning Theory

Since 1984 David Kolb’s Experiential Learning Theory (ELT) has been a leading influence in the development of learner-centred pedagogy in management and business. It forms the basis of Kolb’s own Learning Styles’ Inventory and those of other authors including Honey and Mumford (2000). It also provides powerful underpinning for the emphasis, nay insistence, on reflection as a way of learning and the use of reflective practice in the preparation of students for business and management and other professions. In this paper, we confirm that Kolb’s ELT is still the most commonly cited source used in relation to reflective practice. Kolb himself continues to propound its relevance to teaching and learning in general. However, we also review some of the criticisms that ELT has attracted over the years and advance new criticisms that challenge its relevance to higher education and its validity as a model for formal, intentional learning.