Epistemic positioning and frameworks for participation: Learning to assess objects of craft in teacher education

Ekström, Anna

doi:10.1016/j.lcsi.2013.10.002

Cited by 18 publications

(16 citation statements)

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“…As shown in other studies, the creative subject content is part of the technical process of the craft to be learnt; in mastery as an aesthetic component (Tyson 2014), directly related to materiality (Gåfvels 2016) or simply organized in less articulated displays (Asplund and Kilbrink 2016). It is thus through materiality explored in interaction between participants that various aspects of aesthetics and creativity are made public, emerging embedded within layers of instructions (Ekström 2013;Ekström and Lindwall 2014) or as disciplinary knowledge displayed through assessments (Lymer 2013).…”

Section: Discussionmentioning

confidence: 86%

“…In the context of vocational education, research of hairdressing is also scarce (Andersson Gustafsson 2002;Öhman 2015;Öhman and Tanner 2017;Klope 2015) and feedback practices in interaction between teacher and student within creative subject content of hairdressing have not been accounted for. There is, though, a similar interest in professional vision and tacit knowing with dimensions of creativity within craftwork, in some studies from related educational programs such as floristry (Gåfvels 2016), bookbinding (Tyson 2014), textile craft (Ekström 2013) and architecture (Lymer 2013).…”

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confidence: 99%

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Twist and Shape: Feedback Practices within Creative Subject Content of Hairdressing Education

Öhman

2018

Vocations and Learning

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The aim of this study is to explore feedback practices and how such actions of assessment emerge from embodied participation in classroom interactions between teachers and students. Using video recordings of teacher and student interactions in hairdressing education, I look at how feedback practices within creative subject content are produced between the participants as social actions situated in interaction, using conversation analysis. Feedback is contingent upon an embodied moment-to-moment monitoring and collaboration between the teacher and student, and is organized as a trajectory from problem detection through exploration until a final solution is found. Feedback within creative subject content is displayed as a multifarious exploration of embodied as well as materially situated professional knowledge. Overall, the findings show how feedback is mutually produced in a process, making tacit dimensions of hairdressers' knowing explicit. This allows for improving the quality of the work over time in a trajectory of problem solving phases gradually displaying how to assess creative subject content of the material product worked on.Keywords Feedback . Assessment . Creative subject content . Vocational education . Participation . Conversation analysisThis article explores feedback practices within ongoing teaching in hairdressing education in Sweden, with a special interest in how feedback is organized as part of a creative process. The study is an empirically based contribution to research on assessment in classroom interaction that understands feedback as situated activities in social interaction (Merry et al. 2013). Studying this kind of educational activity, where the student is training on a mannequin head simultaneously to getting instructions and being assessed by the teacher, displays feedback as a social practice in a moment-byVocations and Learning https://doi

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Section: Discussionmentioning

confidence: 86%

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confidence: 99%

Twist and Shape: Feedback Practices within Creative Subject Content of Hairdressing Education

Öhman

2018

Vocations and Learning

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“…The popularity of this video gained in the online video sharing is, perhaps, due to the meaning and intention of the doer. It is under Goffman's [12] proposition that the presence of individuals in an encounter carries out some kinds of implication and meaning. To understand the body movement of the candidates, it is insufficient by analysing merely from the previous action, yet the whole context on the interaction is predominant.…”

Section: Introductionmentioning

confidence: 99%

“…Once he finishes, candidate 02 receives a minute talk to give feedback about the previous response. The emergence of bodily movement by candidate 02 as part of non-vocal activities becomes the focus of this paper in the conversational analysis because vocal and non-vocal activities are closely related in producing actions of interactants [13] or move based on Goffman [12].…”

Section: Introductionmentioning

confidence: 99%

“…Goffman [12, p. 128] dynamically defines footing: "a change in footing implies a change in the alignment we take up to ourselves and the others present as expressed in the way we manage the production or reception of an utterance." The definition of footing [12] covers five aspects: 1) participant's alignment, 2) the projection, 3) a continuum, 4) code-switching, and 5) episode of interaction. Succinctly, following O'Driscoll [17, p. 43], "footing describes a participant's interpersonal and social stance at a particular moment in an encounter, while frame involves a prototype of all participants' stances for an encounter as a whole.…”

Section: Introductionmentioning

confidence: 99%

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Footing in Presidential Debate of Indonesian Election

Amrullah¹

2019

Proceedings of the Proceedings of First International Conference on Culture, Education, Linguistics and Literature, CELL 2019,

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This paper attempts to explore further the unusual action in the first-round presidential debate of Indonesian election encounter by applying Goffman's interactional approach. It governs the notion of frame and footing. This viewpoint shows that, albeit there is politically a power asymmetry between the two candidates, they create an interactive symmetry in which one of them is de-ratified by spontaneous action. Speaking interaction between the moderator and the two candidates signifies two essential facts: power asymmetry in terms of conversation arrangement and interactive asymmetry in terms of turn taking scheme. The two candidates shift their footing as the moderator of the presidential debate allows them to do so. The Goffmanian perspective also shows the effect of public situational debate in this encounter.

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