In the framework of different categories of placement and non-placement work-integrated learning (NPWIL), ‘studios’ of ‘studio-work’ is reflected as a foundational form, potentially high in authenticity, but low in proximity.
The word ‘studio’ brings to mind a range of images, such as ‘the working place [workroom or atelier, from French—literally meaning a pile of splinters/chips (from Late Latin astella)] of a painter, sculptor, or photographer’; or a place of instruction or the practising of dancing or acting; or ‘a place where audio recordings or motion pictures are made’; or ‘a place maintained and equipped for the transmission of radio or television programs’; or a residential ‘studio apartment’. ‘Studio’ originated from the Latin stadium, literally meaning to study. (https://www.merriam-webster.com/dictionary/studio and https://www.dictionary.com/browse/studio). Studio-based learning (SBL) is rooted in the apprentice model of learning, where students understudied a master trade’s person, in order to develop their craft. The intent of studio-based learning is to mirror practice within the field, within tuition, to resemble as closely as possible actual tasks the graduate will encounter in the occupational field. Fast forward to 2021 and the impact of Covid-19, studio-based learning probably entail approximating occupational (or professional) practice in an online virtual learning space or environment.
Lisa LaJevic (2021), an Associate Professor of Art Education (Art and Art History) at The College of New Jersey, Ewing, share her reflection on the Covid pandemic experience of having had to switch quickly, without much support, to remote instruction. Aware that many students were temporarily living with their parents under lockdown conditions, she was challenged to teaching activities based on materials and resources available to students that are confined to their homes. Although filled with uncertainty, opportunities for experimentation, and for risk-taking resulted in taking control in relatively powerless situation. Weekly assignments became a way for students to express themselves, cope, to de-stress, and even involving family members. Students were engaged, self-motivated, and learning activities helped dealing with anxieties. LaJevic succeeded in creating individualised virtual studios for teaching contemporary-art creativity with available art materials, processes and techniques. She made use of pre-recorded imperfect narrated PowerPoint presentations on Canvas, and mini-studio assignments which typically entailed creation of two artworks per week, dedicating 60 minutes to each, and then sharing of work on a discussion board and participation in critique.
Although studio-based learning is typically used in the fields of architecture, design, software engineering, and creative - and performing arts; Heikkinen, Seppänen and Isokangas (2016) regard studio-based learning and studio model education as promising pedagogical methods for developing an entrepreneurial mindset. The LAB studio model, pre-incubator style studio education, enables connections between work-life based problems and the development of business prototypes and start-ups. Studio-based learning could be diverse in form, but focuses on learning through action. Projects, based on the given problems serve as medium for educating. Heikkinen, et al. (2016) advocate moving beyond lessons and textbook structure, by connecting more strongly with activities focused on societal use. Although their focus is entrepreneurship education, working under pressure, uncertainty and solving contradictions in the activity, are common in most workplaces. Heikkinen, et al. (2016) promote learning methods that include functional project-based learning, with sufficient level of challenge and uncertainty. Students should be active and learning self-directed; and the building bridges with societal learning networks instilled. The LAB Studio Model (LSM) is grounded on the studio-based learning. LSM is an interdisciplinary education model entailing self-directed teams, with proven business pre-incubator potential. Students engage in relevant authentic learning and reflective practice or ‘knowing- and reflecting-in-action’, as well as integration of experienced professionals and coaches from the industry, that are bringing problems or ideas directly from targeted industries to the LSM, say Heikkinen, et al. (2016).
Dreamson (2020) remark that the online design studio is the emergent form of design education, not the next best contemporary alternative. The same could possibly be said about placement-based WIL? Dreamson (2020) states that the romanticised atelier model and apprenticeship system is no longer a sound approach in the digitally networked world. He asserts the transition from masters to apprentices cannot be retained or revert to. Rapid technological advancement and the tremendous speed at which knowledge and skills are updating through the network, have forever changed the landscape of education. The worldwide Covid-19 pandemic has merely accelerated the transition to digital teaching and learning. Educators have been cast into the new learning environment, and even if the pandemic ends, the changed landscape will probably not revert, says Dreamson (2020). Although “some essential physical design activities such as rendering & animation workstation, industrial design (e.g. jewellery engraving machine), and a large format printer in graphic design, could not be replicated to online activities” (p. 495), such would not stop digitisation of education. Instead, physically distanced, digitally integrated, instruction would be implemented for required physical activity.
Dreamson, N. (2020). Online design education: meta-connective pedagogy. The International Journal of Art and Design Education (iJADE), 39(3), 483-497, published in association with the National Society for Education in Art & Design (NSEAD). Electronically accessible from https://onlinelibrary.wiley.com/doi/full/10.1111/jade.12314
Heikkinen, K-P., Seppänen, U-M., & Isokangas, J. (2016). Entrepreneurship education in studio based learning practices. In the proceedings of the 11th European Conference on Innovation and Entrepreneurship, Finland, 247-256. Electronically accessed from https://www.proquest.com/docview/1860088388?pq-origsite=gscholar&fromopenview=true
LaJevic, L. (2021). My experience with remote instruction: choices in learning and artmaking. Art Education, 74(2), 10-13. Electronically accessed from https://www.tandfonline.com/doi/full/10.1080/00043125.2020.1852383
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