Languages and Related Studies

Objective:

• To get students engaged in networking
• To get students to understand what networking is
• To get students to see the value of networking
• To get students to acquire networking skills and techniques

Overview:

It goes without saying that networking is a really important activity. Yet students are often reluctant to engage in relationships beyond their immediatecircle. They have powerful aversions to networking partly based upon fears and misconceptions about what it is: selling (it's all about selling yourself and pitching), that it is about being an extrovert (sociable and bubbly), that they as students have nothing to offer (‘who would want to talk to me?'), that it seems pointless (students will have stories about going to events collecting business cards and nothing ever happening). They will have a multitude of good reasons why they can't and shouldn't do it. The challenge is to turn round these misconceptions and show students that networking is valuable, doable and indeed enjoyable.

Activity:

The first task is to get the misconception and fears about networking out into the open and to introduce different versions of what networking might be. This can't be done by asking students about their fears and why they don't currently engage in networking: this is sensitive and students may feel embarrassed talking about it.

The session begins with the value of networks and networking. This should be interactive, talking to students about their networks, how they found opportunities, but also using statistics about how many jobs are filled via networks rather than open advertising. This part of the session functions as a warm up and should get students feeling positive about networking.

The second activity is to get them into groups and ask them to draw a 'good' networker. This will bring out some of the negative misconceptions about it:students will draw someone who is extroverted, experienced, knowledgeable, valuable, confident, good at pitching – all the things they may not be good at. This is your opportunity to demonstrate that a good networker is someone who is good at listening, (not talking), it is someone who is genuine and open (rather than focussed on their own agenda) and that it is about building trust and rapport leading to a lasting relationship.It's an opportunity to discuss their value as students – which they are very anxious about as they have little work experience. Here a discussion about their value in terms of innovation, fresh thinking, new ways of doing things is important.

The third activity is a group brainstorm around how to create rapport with someone: suggestions will include, smiling, shaking hands, complementing people, being helpful, listening to what people have to say. This section could include a listening activity, for example where individuals have to listen to partners and paraphrase.

The final session involves practical activity. The students will network amongst themselves. It's important that they shake hands here: this is partly about creating the rapport, discussed earlier, but also about adopting a more professional outlook and attitude. The students will find this both fun and challenging and some students will become anxious about it so it is worth doing a bit of role play to try it out: i.e. demonstrations of how to shake hands and introduce yourself. The result is that students will feel more professional.

The assignment is:

Find a person, introduce yourself: impress upon them your integrity and openness.

Reflect on what you did and report:

One positive technique; One negative technique

The feedback will draw out feelings about handshaking, observations about body language, about personalising conversations by using the other person's name.

Skill Development:

This activity has been delivered with 3rd year Design and Visual Arts student, 2nd year Photography students and MA Contemporary Art students at Coventry University.

Through a clear group debrief, students' misconceptions about networking are reversed.

Students understand the networking is a skill that they can practice and develop. They learn the importance of networks and collaboration. They learn that networking and professionalism is a 'performance' which they can adopt when necessary – in this context it can be useful to talk about wearing different hats as they often think of themselves as 'students' which can carry a lot of negative connotations.

They feel more comfortable with the idea of networking – they thought it was all about sales and the pitch but find it is actually something they could do. Some students struggle with the handshake, they find it very unusual but with a bit of practice and shift in attitude, do get it.

A group of students who know one another is not as good as a mixed group where they might be introducing themselves to strangers. However, the practical element can be modified by asking students to find out something new about their colleagues, or to find out a shared interest they didn't know they had with a colleague which will help build rapport.

Objective:

• The learner will discover that they have entrepreneurial abilities and potential
• The learner will get an insight into the world of 'everyday' entrepreneurship
• The learner will become more alert to opportunity recognition
• This is a useful session for the reluctant entrepreneur – those who might think it's not for them, particularly arts students.

Overview:

Activity:

This is a two hour session and it will begin abruptly by creating a case study with the student group.

The idea is to pick on a student and announce in 5 years' time "Jane"(or John) will run a successful arts consultancy. This will raise some surprised gasps and giggles which will immediately engage students' attention. The narrative that unfolds will demonstrate: how Jane started out in one direction but discovered, and followed, opportunities elsewhere, how she took a few risks, showed resilience in the face of setbacks and how she turned to her networks (other students in the room who come into the story) to help her fill skills gaps and capacity problems.

The case study is pre prepared and can be tailored to the cohort. It should be approximately 10 mins long and the story should be plausible – not extraordinary – a case of everyday entrepreneurship. It will be fun as it draws the students into a fictional story.

Following this there is a 30 min breakout to discuss in groups of 3 or 4 to analyse Jane / John's journey: how did he do it, the key factors for success, would you have done it differently, could you have done the same journey, have you encountered any similar situations to John, if so what did you do? Students post thoughts on stickies.

The management of feedback here is important because the students, who are reluctant entrepreneurs, should be led to the explanation that this behaviour is entrepreneurial. The session is to not only identify the behaviour as entrepreneurial but to get the students to reflect on their experiences in similar situations and imagine how they would respond. The idea is for the students to see enterprise as tangible, every day (familiar even), as a series of minor steps and small scale risks and about trying things out to see what happens.

The upshot of the feedback session is that the students 'discover' the entrepreneurial mind-set for themselves – they have not listened to an expert talk about it for 50 mins – and that they identify with it as something they can do themselves.

Skill Development:

The session finishes with 10-15 mins reflection where students have to pledge to do something entrepreneurial that week. It could be something they had been thinking about for a while but had made excuses not to do it. Others may need a little help and guidance from peers about what they might do, so reflection and pledge setting should be discussed in groups. The follow up session (if appropriate) will be when more detailed reflections can emerge and when students can get a measure of where they might be regarding their own development in terms of entrepreneurship and the enterprising mind-set.

Resources:

• Post-its or similar sticky pads
• Pens
• Flip chart

Objective:

• Use and explain the critical interdisciplinary definitions related to organizational culture and entrepreneurship.
• Describe the relationship between organizational culture, structure, and leadership.
• Evaluate personal approaches to a professional work-life.
• Design and assess an emerging organizational culture.
• Critically evaluate the approaches to the intentional creation of organizational culture.

Overview:

By the time most enterprise founders start thinking about ensuring a healthy culture in their business, it is usually too late. The culture has already emerged and is not always the most conducive to the health of the founder and employees, or even the enterprise itself. The culture of the enterprise emerges from the mind, values, and practices of the founder(s) while the business is being created, a time when the founder generally places more priority on the creation of economic value than the creation of culture. This exercise is based on a combination of organization and entrepreneurship theory and uses an off-the- shelf computer game, The Sims: Open for Business™, to investigate the core values, assumptions, interpretations, and approaches that combine to define the culture of a new venture. The students are assigned to play the game for a minimum of two hours outside of class, with no introduction given around the concept of culture. The heart of the exercise is the in-class debrief (including viewing the game), which reveals the culture that was created, what it means for all stakeholders, and what actions could be taken to adjust that culture.

Usage Suggestions

This content of the exercise works for all audiences, undergraduate, graduate, executive, or practitioner. The delivery requires that the students have access to the game and are able to play it before the discussion. The exercise lends itself well to online courses, as the debrief and illustration can also be done online, preferably in a synchronous mode, although asynchronous will work too. The exercise works best when each student is able to log on to his orher game for the debrief. This exercise is positioned in the course when emphasis is on resources. Culture is presented as a resource that can either add to or detract from the value of the company.

Activity:

Pre-Work Required by Students

• Play The Sims: Open for Business™ for a minimum of two hours.

Time Plan (90 minutes)

This 90- minute exercise can be adapted to fit various time schedules, including an entire class. Prior to the exercise the students would have been told to play the game for two hours. No other instructions are given. In this way, playing the game provides a shared experience and serves as the live case for the discussion.

Step 1 (Introduction) 0:00–0:10 (10 minutes)

Ask the students to open their laptops and log on to their games. Each game should open at the point at which the student left the game. The opening or warm- up questions should be about just playing the game:

• How many of you had played some version of The Sims before? Anyone played this particular expansion version?
• How was it? Did you enjoy it? If so, why? If not, why?
• Were there any particular challenges?
• Where there any particular surprises?
• How long did you actually play? (Probe for who played the longest and why.)

Step 2 0:10–0:40 (30 minutes)

Divide students into groups of five to six and give them the following directions: “Please select a scribe and a reporter to first capture the themes of your work and then be ready to report out to the full class on your work. First, individually, each write down the answer to this question: What is the culture of the business you created – and how can you tell? You have five minutes for this individual work. After five minutes, and I’ll tell you when the time is up, we’ll switch to working with your team. 

1. First, each student please share with your group the business you created.
2. Second, as a group create your list of criteria that create an organizational culture.
3. Third, please describe the impact of how people will carry out work given the culture you have created.

Step 3 (First report out and discussion) 0:40–1:10 (30 minutes)

Start with the first table and have the reporter share their top two criteria, along with an explanation and illustration of each. Then ask each table to add two criteria to the ones already listed. If desired, you can take a hand count at the end to establish what was considered as most important, and so on. The board map should match the theoretical criteria of your choice. For the purposes of this teaching note the primary source is Schein (1983) and focuses on the basic underlying assumptions around which cultural paradigms form. Examples include:

• The organization’s relationship to its environment: Is recycling important?
• The nature of reality and truth: How important is time?
• The nature of human nature: how employees (insiders) are treated and how customers (outsiders) are treated.
• The nature of human activity: the physical design of the employee break room.
• The nature of human relationships: Is the focus on competition or cooperation?

Summary and Close 1:10–1:30 (20 minutes)

Ask the students to again work individually and list the three things they would keep about their culture and the three things they would change, along with how they would implement that change. Lead the closing discussion in such a way that the students discover:

1. What types of cultural approaches are common across most businesses?
2. What is the role of fit between the founder, the company, and the environment in creating culture?
3. How does culture become a positive resource for your business?

Teaching Tips

The game generally has to be ordered online, so you need to allow students time to order and receive it. The ideal experience is for the classroom to have wireless internet access and for each student to have a laptop. However, if teaching students with no access to computers or ability to buy the game, the instructor can lead the class in playing the game as a group, with one computer and the screen projected on the wall.

Skill Development:

Key Takeaways

• The importance of intentionally creating organizational culture during firm emergence.
• Organizational culture can be a positive or negative firm resource.
• Organizational culture needs to be a fit between the founder, the firm, and the environment.

Resources: 

Materials List

• Video game: The Sims and the expansion packet The Sims: Open for Business™.

The full text ‘Teaching Entrepreneurship: A Practice-Based Approach’ can be purchased here > http://www.amazon.co.uk/Teaching-Entrepreneurship-A-Practice-Based-Approach/dp/1782540695

References:

This exercise is taken from;

• Heidi M. Neck, Patricia G. Greene and Candida G. Brush, 2014. Teaching Entrepreneurship: A Practice-Based Approach (pp.110 – 113). Edition. Edward Elgar Pub.

Suggested assigned reading:

• Schein, Edgar H. 2010. Organizational Culture and Leadership, Vol. 2, Chapters 1 and 11. Wiley.com.

Theoretical Foundations

• Barney, J.B. 1986. Organizational culture: Can it be a source of sustainable competitive advantage? Academy of Management Review, 11, 656–65.
• Brush, C.G., Greene, P.G., and Hart, M.M. 2001. From initial idea to unique advantage: The entrepreneurial challenge of constructing a resource base. Academy of Management Executive, 15(1), 64–78.
• Cameron, K.S., and Quinn, R.R. 1999. Diagnosing and Changing Organizational Culture: Based on the Competing Values Framework, Chapters 2 and 3 only. Reading, MA: Addison- Wesley.
• Schein, E. 1983. The role of the founder in the creation of organizational culture.
• Stinchcombe, A.L. 1965. Social structure and organizations. In J.G. March (ed.), Handbook of Organizations (pp. 142–93). Chicago: Rand- McNally.

Author:

• This exercise is taken from, Heidi M. Neck, Patricia G. Greene and Candida G. Brush, 2014. Teaching Entrepreneurship: A Practice-Based Approach (pp.110 – 113). Edition. Edward Elgar Pub. and is reprinted with the kind permission of the authors.

Objective:

Students should be able to:

• identify, analyse and respond to relevant opportunities
• develop and produce multiple solutions to identified problems, shortfalls and similar challenges
• be flexible and adaptable, seeing alternative perspectives and offering a choice of solutions
• review and evaluate multiple solutions in contexts that anticipate and accommodate change and contain elements of ambiguity, uncertainty and risk.

Overview:

With the support of alumni who engage through social media (facebook; twitter etc) an/or Skype, students are given incremental weekly instruction that builds into an overall assignment. This interactivity means that deadlines can changed and information updated, often in response to newsworthy or other high profile influences and the students need to adapt throughout the module. (The assignment usually mirrors an actual assignment undertaken professionally by an Alumni professional). The project is designed to precede later work where the students will engage with real clients, so as to better enable them to respond proactively to change.

Activity

This activity is undertaken in semester 1 of a second year course of study (15 weeks – 2.5 hour sessions with anticipated 2.5 hours private study per week) and runs across all Visual Communication and Design courses. Each course's relevance is ensured as the framework can be adapted to specific study areas and alumni inform the actual project – so as to ensure relevance and to maintain student motivation (See: Continuous Conceptual Review Model). The sample offered here is for two cohorts (approximately 50 students) from the film and media production courses and from the Advertising and Brand Management course – who will subsequently engage in an interdisciplinary module.

The following provides an outline of the activity as delivered to these disciplines, and was first introduced in 1995 following alumni feedback on the value of their educational experiences. Other disciplines use their own alumni and realistic contexts.

Week 1

Students expect the lecturer to lead the class, but an unannounced stranger is brought in (alumni - in person or via skype) who asks the group about their career aspirations and challenges their understanding of the world of work. He or she explains their busy lifestyle and asks them to quickly help him or her with a problem they have – how to visualise a brand for a new academy of creativity, but explain that they have to go and leave them to it. Normally 90-95 per cent of responses include a light bulb.

Week 2

Student's have been discussing the individual and although not told, want to question the alumni about their work (curiosity based learning). The alumni,still in a rush, starts to explain that the headmaster for this new school will be Sir Humphrey Davy... then the connection is lost. Quick internet searches reveal that this is a historical project, as Sir Humphry Davy lived in 1778 – 1829 and that his work preceded the invention of the light bulb. Past work is discarded (with occasional moans and groans) and new research starts into historical images that represented creativity - prior to the invention of the light bulb. New / alternative ideas start to emerge.

Towards the end of the session the alumni reconnects / re-enters the room and takes questions about their work as a freelance storyboard writer for major TV companies. Scripts are discussed and student interest gained – a promise to see a script is made by the alumni.

Week 3

An outline of a TV script is presented to students by the alumni. They or another alumni start to explain how camera angles and specialist instructions such as close ups or super close ups need to be incorporated in the storyboards. Examples from well know TV programmes or Films are shown when possible. With support from the alumni, students attempt to develop a storyboard through acting out the script and noting important aspects such as emotional engagement. Identification of the brand is central to the story line.

Week 4

The alumni explains that he or she has just met the producer, who is happy for them to see other scripts for later episodes. Episode two has the main character Davy waking up in the future and looking at a barren landscape, one which is littered with light bulbs - which is now a thing of the past. The alumni explains that their brand has to survive the passage of time and that it has to be recognisable in the year 2020. Research into potential future understanding of creativity commences and students envisage / storyboard a potential future scenario based on the script.

Week 5

The alumni / staff set up an opportunity for the students to pitch their ideas to the alumni. They have an hour to prepare a presentation and are requested to discuss and argue a minimum of three ideas. This was unexpected. After 20 -25 minutes the alumni asks them to limit their presentation to one or two minutes, so that he / she can hear them all. Students are asked at random to present. Time may run out and alumni ask students to make a pdf version to email (via staff).

Week 6

The alumni explains the future direction of the time travelling Davy, and introduces the idea that he may meet aliens in his travels. Some students have already discovered Davy claimed this through their research. The task now is to create a pitch as to why aliens would find the brand design that they are developing to be credible.

Weeks 7–9

Students develop their storyboards and at least 3 brand ideas in the sessions. More in depth research is undertaken and initial concepts re-evaluated anditeratively developed. Arguments for the solutions are mapped and explained as reflective mind maps – so as to illustrate the thinking journey.

Week 10

With 2 or more alumni present or available via Skype, students are asked to consider how this kind of work could be best assessed and who should assess it? Using a pro forma, students suggest how their could be meaningfully evaluated. Through discussion, research, and assisted by appropriate lines of questioning by the educator and alumni, the idea of flexibility, adaptability and the requirement for multiple solutions emerge. Students come to realisethat their response to change is a key factor and that when faced with incomplete data (QAA, 23 states "students can be required to work with incomplete information or information that is incrementally offered after a review of their initial findings"). As multiple and responsive outcomes are the most important aspect, the theory of divergent production is introduced, i.e. more solution developing capabilities, many alternative solutions that respond to change, plus the value of distinctiveness of ideas (similar solutions being less creative than distinctly different ones).

Week 11–13

Students develop their ideas further, in the knowledge that the alumni will be commenting and advising the educator, and that they will be assessed on the distinctiveness of a range of ideas that relate to the assignment given to them by the alumni. These will be evidenced by charts that illustrate the critical elements of their research and how the research informed their solutions. In simple terms, the more divergent the thinking the more complex the charts, hence students can easily recognize the range of solution development that has taken place in a clear and transparent manner.

Week 14–15

Pitches take place and the alumni adds their thoughts and comments. Assessment is based on the range of alternative ideas, the divergence of alternative ideas and their ability to be used flexibly in the scenarios described in the scripts supplied by the alumni.

Note: later, in the next semester's module, the process continues and approximately 5 weeks into the projects each class will be provided with a theory session on brain functionality and how these kinds of activities enhance 'aha' moments of creative discovery (See: Penaluna, A., Penaluna, K and Diego, I. (2014) The role of education in enterprising creativity. In Sternberg R and Krauss, G. (2014) Handbook of Research on Entrepreneurship and Creativity. Cheltenham / Massachusetts: Edward Elgar). Thus practice informs personal theory development and theory follows practice, "reflective practice enables students to 'join the dots' of past experiences and perceptions" (QAA, 14).

Skill Development:

The assignment is constructively aligned (Biggs, 2003) as it enables students to demonstrate their skills and responses in meaningful and relevant (to their studies) scenarios that engage true to life experiences of alumni – who are partners in the process / most of whom have now experienced it for themselves in their own education and are familiar with the concepts.

Of interest is that the assessment strategy is often new conceptually and structurally, but through debate and discussion (week 10) the students feel engaged and very aware of the goals – which are not as they first perceived.

The assignment also leads into later QAA areas, for example they learn to "robustly justify their decision making processes" (QAA, 17) and includes "pitches to peers and expert advisors" (QAA, 23) that involves "feedback from different viewpoints" (QAA, 26).

Moreover, aspects of decision making supported by critical analysis and judgement (QAA, 19) can be evidenced in this and later assignments based on the same approach. Specifically, the assignment discussed here adopts the following QAA (19) guidance on delivery approaches:

• recognise or create multiple opportunities through actively making connections
• make connections as a result of problem solving, evaluating and assessing ideas, and iterative development strategies involving critique and enactment
• develop relevant subject expertise, as well as awareness of contemporary issues, both of which should feature strongly in any strategies for recognising opportunity

Resources:

Open plan and flexible working environments suited to enactments and pitching – ideally simulated professional design studio with access to online resources

Access to, and ongoing (committed) virtual engagement by appropriate alumni – determine brief/project

Pens and software utilised in storyboard development and brand evolution.

References:

Penaluna, A., Penaluna, K and Diego, I. (2014) The role of education in enterprising creativity. In Sternberg R and Krauss, G. (2014) Handbook of Research on Entrepreneurship and Creativity. Cheltenham / Massachusetts: Edward Elgar).

Scott, J., Penaluna, A., Thompson, J & Brooksbank, D. Experiential entrepreneurship education: Effectiveness and learning outcomes. International Journal of Entrepreneurial Behaviour and Research (Forthcoming)

Jones, C., Penaluna, A., Matlay, H., Penaluna, K. Discovering the Soul of Enterprise Education. Education +Training, Emerald Publishing (Forthcoming)

Penaluna, K., Penaluna, A., Jones, C. and Matlay, H. (2014) 'When did you last predict a good idea?: Exploring the case of assessing creativity through learning outcomes', Industry and Higher Education, Vol.8, No.6, December 2014: 399 - 410

Penaluna, A., Coates J. and Penaluna K., (2011) Creativity-Based Assessment and Neural Understandings: A Discussion and Case Study Analysis. Education + Training, Emerald Publishing, Volume 52, Issue 8/9, pp. 660 - 678

Objective:

• To test subject-related knowledge and/or ability to make judgements, synthesize information and make decisions within a time-pressured environment.
• To create a learning environment where learning from 'failure' is permissible (accepted and rewarded, as it can improve student outcomes (scores) if they are willing to adapt with new information or learn from observation / from the group decision making).

Overview:

Based on the 80's TV classic format "Runaround" this highly interactive task energises and tests the learner's ability to recall or synthesis information within a short time frame (15-30 seconds). This is an active "on-your-feet" activity, designed to get the whole group "running around" between potential answers for subject based quiz questions. It does require preparation (of quiz questions and answer "zone" markers such as A, B, C, D as well a consideration of the space/safety issues when working with a given number of students.

Activity

PREPARATION: As a tutor you will need to prepare a set of (subject based) multi-choice questions to ask the group as a whole. These can be factual or can draw upon their skills of synthesis and instinctive decision-making as you challenge students to apply knowledge and learning to new areas in order to answer the questions presented to them.

In addition you need to create 3 or 4 (depending upon the number of options of your multiple choice questions) letters (A-D) for the students to move towards. These can be chalked on the floor, but ideally are large letters stuck to the wall (rather than the floor to avoid slipping).

In addition a large visible timer can drama to each question, but you can use a watch or phone as a timer, or adjust time scales relating to the difficulty of the questions asked by just declaring "time up" as you judge the room to have "settled".

Task: as the tutor you will gather all the students into the middle of a large learning space and then invite them to move to the areas (A-D) in order to show their answer to the questions you are 'shouting out'* to them.

*Depending upon the room, and the learning support needs of the students it can be beneficial to have these questions and their answer-options on PowerPoint.

As the questions are asked, there is a short time for the individuals to decide which answer they support and move to the letter that represents their answer (so the students are "running around" to stand by the answer they feel is right). It is best conducted with 1 right option and the others being false, if close, answers.

Students must go to the area that they think is the correct answer – undertaking "the runaround". They are then given the chance to change their position if desired, in a further "runaround". The answer is then revealed with a full explanation. This active form of learning means that students are fully engaged in the learning process and increase what they remember due to the jeopardy and risk associated with this game. Emphasis is placed on engagement, not on “winning” and active revision takes place. A handout of the slides can be provided at the end of the session to promote further engagement and continue the learning, by promoting discussion and reflection after the task is completed.

By creating questions that might split the group or by releasing further information as they move, you build student confidence in their decision making (as they are allowed to move during the "decision time") and reducing the stress associated with risk of failure. It is also a way to support those who less confidence or understanding as they are not isolated within the group, but able to see the consensus of views and chose to follow the majority if they wish. It also allows those who appear to be' failing' to change their answer by moving to a different letter, if they see that the group members have selected a different answer.

FINAL NOTE: Of course the safety of students is paramount and this should only be done if it can be carried out safely with the number of students and if all students are in a position to actively engage or can be supported to do so.

Skill Development:

A key pedagogic note is that students feel quite happy about taking part because they get the chance to change their minds, without embarrassment whilst less confident students gain a sense of confidence in their own ability.

Confidence can be built by awarding team points rather than individual points as this encourages the group to invite those it fears as having the wrong answer to join them, within the time limit. However it is worth noting that individual marking option makes this particularly useful technique for revision or 'last class before the exam'.

Whilst this game is fast and furious it is designed to limit failing and support those who may expose a lack of understanding, as the majority response to the questions is always visible. It is therefore important to reflect upon this at the end of the task to ensure that the difficult (subject) questions are reviewed (especially those that the group got wrong) but also that the confidence in each other as knowing and supporting each other as team members.

Resources:

Preparation of multiple choice quiz questions

Large "answer zone" signs (A, B, C, D)

Optional: handout of questions and answers for post-activity individual reflection

References:

Inspiration: Runaround TV Show: http://en.wikipedia.org/wiki/Runaround_(UK_game_show)

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Objective:

• To provide students with opportunities for authentic problem enquiry and response.
• To provide students with opportunities to be innovative and creative.
• To provide students with opportunities to take risks, and take actions.
• To provide students with opportunities for true collaboration.

Introduction:

This module is an optional unit run over two semesters by Amanda Crawley-Jackson at the University of Sheffield for third year students studying French.

Students critically analyse the work and key themes of contemporary visual artists in France. They then work in groups to design their own virtual 3D artexhibitions, as well as an accompanying portfolio containing learning materials for visitors written in French. Students have the chance to interact withFrench artists and exhibition curators to help them to design their exhibitions. The students critique the work of other groups, and peer assess the final outcomes.

Activity:

• Authentic problem enquiry and response: Students are given an 'authentic' challenge – to design an exhibition to best represent the work of contemporary artists in France. They experience the challenges of working with constraints, by learning about practical issues such as insurance, public liability, access, budgets and so on. They also have to learn to use software which may be unfamiliar to them to present their final exhibition
• Innovation and Creativity: Students are challenged to design an exhibition which is innovative and attractive to visitors, and one that stands out from those of the other groups.
• Risk-taking: With this challenge, there is no 'right' answer. Students may design iterations of their exhibition that then receive poor feedback from the artists or curators. They have to learn from this feedback and continue to develop their ideas.
• Taking action: Students work as self-directed groups, and have to show initiative in their interactions with others.
• True collaboration: Students have the opportunity to interact with contemporary artists and exhibition curators, using French. Students have to make sure this interaction and communication is professional and productive. The students work in groups to a shared goal. The peer critique aspect of the module is also an important example of collaboration beyond group work.

Learner outcome:

Feedback from students included;

'I learnt a great deal about independent learning; I had to do my own research and at times I found this challenging, but I think it helped us to make bolder decisions'.

Resources:

More information can be found via the following link > http://www.sheffield.ac.uk/enterprise-education/resources/case-fre343

References:

Case Study: FRE343 Engaging with Contemporary Visual Arts in France - Resources - Enterprise Education - The University of Sheffield. 2015. [ONLINE] Available at: http://www.sheffield.ac.uk/enterprise-education/resources/case-fre343. [Accessed 30 July 2015].

Author:

With thanks to The University of Sheffield Enterprise Academy (USEA)

http://www.sheffield.ac.uk/enterprise-education

Objective:

• Students should be able to:
• identify, analyse and respond to relevant opportunities
• Develop and produce multiple solutions to identified problems, shortfalls and similar challenges
• Be flexible and adaptable, seeing alternative perspectives and offering a choice of solutions review and evaluate multiple solutions in contexts that anticipate and accommodate change and contain elements of ambiguity, uncertainty and risk

Introduction

• With the support of alumni who engage through social media (Facebook; Twitter etc.) and/or Skype, students are given incremental weekly instruction that builds into an overall assignment.
• This interactivity means that deadlines can changed and information updated, often in response to newsworthy or other high profile influences and the students need to adapt throughout the module.
• (The assignment usually mirrors an actual assignment undertaken professionally by an Alumni/professional).
• The project is designed to precede later work where the students will engage with real clients, so as to better enable them to respond pro-actively to change.

Activity

This activity is undertaken in semester 1 of a second year course of study (15 weeks – 2.5 hour sessions with anticipated 2.5 hours private study per week) and runs across all Visual Communication and Design courses. Each course’s relevance is ensured as the framework can be adapted to specific study areas and alumni inform the actual project – so as to ensure relevance and to maintain student motivation (See: Continuous Conceptual Review Model). The sample offered here is for two cohorts (approximately 50 students) from the film and media production courses and from the Advertising and Brand Management course – who will subsequently engage in an interdisciplinary module.

The following provides an outline of the activity as delivered to these disciplines, and was first introduced in 1995 following alumni feedback on the value of their educational experiences. Other disciplines use their own alumni and realistic contexts.

Week 1.

Students expect the lecturer to lead the class, but an unannounced stranger is brought in (alumni - in person or via skype) who asks the group about their career aspirations and challenges their understanding of the world of work. He or she explains their busy lifestyle and asks them to quickly help him or her with a problem they have – how to visualise a brand for a new academy of creativity, but explain that they have to go and leave them to it. Normally 90-95 per cent of responses include a light bulb.

Week 2.

Student’s have been discussing the individual and although not told, want to question the alumni about their work (curiosity based learning). The alumni, still in a rush, starts to explain that the headmaster for this new school will be Sir Humphrey Davy… then the connection is lost. Quick internet searches reveal that this is a historical project, as Sir Humphry Davy lived in 1778 – 1829 and that his work preceded the invention of the light bulb. Past work is discarded (with occasional moans and groans) and new research starts into historical images that represented creativity - prior to the invention of the light bulb. New / alternative ideas start to emerge.

Towards the end of the session the alumni reconnects / re-enters the room and takes questions about their work as a freelance storyboard writer for major TV companies. Scripts are discussed and student interest gained – a promise to see a script is made by the alumni.

Week 3.

An outline of a TV script is presented to students by the alumni. They or another alumni start to explain how camera angles and specialist instructions such as close ups or super close ups need to be incorporated in the storyboards. Examples from well know TV programmes or Films are shown when possible. With support from the alumni, students attempt to develop a storyboard through acting out the script and noting important aspects such as emotional engagement. Identification of the brand is central to the story line.

Week 4.

The alumni explains that he or she has just met the producer, who is happy for them to see other scripts for later episodes. Episode two has the main character Davy waking up in the future and looking at a barren landscape, one which is littered with light bulbs - which is now a thing of the past. The alumni explains that their brand has to survive the passage of time and that it has to be recognisable in the year 2020. Research into potential future understanding of creativity commences and students envisage / storyboard a potential future scenario based on the script.

Week 5.

The alumni / staff set up an opportunity for the students to pitch their ideas to the alumni. They have an hour to prepare a presentation and are requested to discuss and argue a minimum of three ideas. This was unexpected. After 20 -25 minutes the alumni asks them to limit their presentation to one or two minutes, so that he / she can hear them all. Students are asked at random to present. Time may run out and alumni ask students to make a PDF version to email (via staff).

Week 6.

The alumni explains the future direction of the time travelling Davy, and introduces the idea that he may meet aliens in his travels. Some students have already discovered Davy claimed this through their research. The task now is to create a pitch as to why aliens would find the brand design that they are developing to be credible.

Weeks 7 – 9

Students develop their storyboards and at least 3 brand ideas in the sessions. More in depth research is undertaken and initial concepts re-evaluated and iteratively developed. Arguments for the solutions are mapped and explained as reflective mind maps – so as to illustrate the thinking journey.

Week 10.

With 2 or more alumni present or available via Skype, students are asked to consider how this kind of work could be best assessed and who should assess it? Using a proforma, students suggest how their could be meaningfully evaluated. Through discussion, research, and assisted by appropriate lines of questioning by the educator and alumni, the idea of flexibility, adaptability and the requirement for multiple solutions emerge. Students come to realise that their response to change is a key factor and that when faced with incomplete data (QAA, 23 states “students can be required to work with incomplete information or information that is incrementally offered after a review of their initial findings”). As multiple and responsive outcomes are the most important aspect, the theory of divergent production is introduced, i.e. more solution developing capabilities, many alternative solutions that respond to change, plus the value of distinctiveness of ideas (similar solutions being less creative than distinctly different ones).

Week 11 – 13

Students develop their ideas further, in the knowledge that the alumni will be commenting and advising the educator, and that they will be assessed on the distinctiveness of a range of ideas that relate to the assignment given to them by the alumni. These will be evidenced by charts that illustrate the critical elements of their research and how the research informed their solutions. In simple terms, the more divergent the thinking the more complex the charts, hence students can easily recognize the range of solution development that has taken place in a clear and transparent manner.

Week 14 – 15

Pitches take place and the alumni adds their thoughts and comments. Assessment is based on the range of alternative ideas, the divergence of alternative ideas and their ability to be used flexibly in the scenarios described in the scripts supplied by the alumni.

Note: later, in the next semester’s module, the process continues and approximately 5 weeks into the projects each class will be provided with a theory session on brain functionality and how these kinds of activities enhance ‘aha’ moments of creative discovery (See: Penaluna, A., Penaluna, K and Diego, I. (2014) The role of education in enterprising creativity. In Sternberg R and Krauss, G. (2014) Handbook of Research on Entrepreneurship and Creativity. Cheltenham / Massachusetts: Edward Elgar). Thus practice informs personal theory development and theory follows practice, “reflective practice enables students to ‘join the dots’ of past experiences and perceptions” (QAA, 14).

Impact:

The assignment is constructively aligned (Biggs, 2003) as it enables students to demonstrate their skills and responses in meaningful and relevant (to their studies) scenarios that engage true to life experiences of alumni – who are partners in the process / most of whom have now experienced it for themselves in their own education and are familiar with the concepts.

Of interest is that the assessment strategy is often new conceptually and structurally, but through debate and discussion (week 10) the students feel engaged and very aware of the goals – which are not as they first perceived.

The assignment also leads into later QAA areas, for example they learn to “robustly justify their decision making processes” (QAA, 17) and includes “pitches to peers and expert advisors” (QAA, 23) that involves “feedback from different viewpoints” (QAA, 26).

Moreover, aspects of decision making supported by critical analysis and judgement (QAA, 19) can be evidenced in this and later assignments based on the same approach. Specifically, the assignment discussed here adopts the following QAA (19) guidance on delivery approaches:

• Recognise or create multiple opportunities through actively making connections
• Make connections as a result of problem solving, evaluating and assessing ideas, and iterative development strategies involving critique and enactment
• Develop relevant subject expertise, as well as awareness of contemporary issues, both of which should feature strongly in any strategies for recognising opportunity.

Learner outcome:

The impact of engaging alumni with students is immeasurable and has impacted across the course. Seeking views from Alumni, their response to this approach was incredibly strong (as this ‘flash survey’(2015) below shows).

When asked about support (or otherwise) for learning environments where the working environment was simulated in their studies (through incomplete information, shifting deadlines and reference to newsworthy events that would impact on their solutions / fit within their personally identified problems to solve (briefs)) Alumni overwhelmingly confirmed its importance.

Question: Before students work with real clients, & to help get them, lecturers should simulate reality & change deadlines / add info to projects as they go along. (E.g. Partial assignments are issued & newsworthy events make it more real).

Perhaps the most marked response is the alumni support for an educational experience where change occurs and situations of ambiguity and risk require them to develop resilience and flexible responses - so as to prepare them for the real world beyond graduation. This 91.84% (45) support rate aligns with the QAA (2012, 23-24) guidance views that:

Knowledge that is continuously being 'harvested' during a project or assignment may bring new dimensions into play at any time, and both the student and the educator must be flexible and adaptable to changing scenarios…Enterprise and entrepreneurship are dynamic and changing. Ambiguity and risk are difficult to evaluate in predictable and forcastable schedules. Shifts and changes by the educator
can be effective ways to assess flexibility and adaptability.

The findings are also a good fit to The Wilson Review of Business-University Collaboration recommendations (2012, 50), which state that:

Enterprise skills require responsiveness to unexpected pressures and tasks; they require reaction to changing circumstances and disruptive interventions. These attributes are contrary to the established framework of assessment processes. Enterprise skills do not presently lend themselves to formal assessment methods.

Resources:

• Open plan and flexible working environments suited to enactments and pitching – ideally simulated professional design studio with access to online resources.
• Access to, and ongoing (committed) virtual engagement by appropriate alumni – determine brief/project.
• Pens and software utilised in storyboard development and brand evolution.

References:

• Penaluna, A., Penaluna, K and Diego, I. (2014) The role of education in enterprising creativity. In Sternberg R and Krauss, G. (2014) Handbook of Research on Entrepreneurship and Creativity. Cheltenham / Massachusetts: Edward Elgar).
• Scott, J., Penaluna, A., Thompson, J & Brooksbank, D. Experiential entrepreneurship education: Effectiveness and learning outcomes. International Journal of Entrepreneurial Behaviour and Research (Forthcoming)
• Jones, C., Penaluna, A., Matlay, H., Penaluna, K. Discovering the Soul of Enterprise Education. Education +Training, Emerald Publishing (Forthcoming)
• Penaluna, K., Penaluna, A., Jones, C. and Matlay, H. (2014) ‘When did you last predict a good idea?: Exploring the case of assessing creativity through learning outcomes’, Industry and Higher Education, Vol.8, No.6, December 2014: 399 - 410
• Penaluna, A., Coates J. and Penaluna K., (2011) Creativity-Based Assessment and Neural Understandings: A Discussion and Case Study Analysis. Education + Training, Emerald Publishing, Volume 52, Issue 8/9, pp. 660 - 678

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Objective:

• Understanding entrepreneurial experience and unpacking the expertise of the learners/participants
• Benchmarking the group to plan development and awareness activities

Introduction:

This activity is a great start to a business planning or business start-up module, as it works well as an ice-breaker in any group seeking to explore the spectrum of activity and can be repeated at the end of teaching programme/input to see how the levels of student confidence in the topic have changed.  

Activity:

At the very start of an activity as an ice-breaker, students are asked to line up (single-file) in a continuum of entrepreneurial experience (from ‘I have never heard of entrepreneurship’ to ‘I am running, or have ran my own business’. They have to talk to one another in order to position themselves. A selection of willing group members from various stages of the link tell the group why they are standing where they are. After each one, individuals are asked if they would like to reconsider their position in the line. Teaching and activities follow that unpack the entrepreneurial mind-set, and ways of developing the characteristics, drawing equally on entrepreneurship and intrapreneurship, and then the line-up is repeated. If you have the opportunity for multiple interventions, the line-up can be repeated at any point (formatively or summatively), to help students learn from each other and the teacher/facilitator to learn more about the needs of the cohort as a whole.

Impact: 

It also denotes a significant change in teaching style – and therefore student learning and engagement – will be required for this module. It signifies that there will opportunities to share experience, and pitch own expertise or ideas. 

It allows the students to benchmark where they are in the context of peers and understand where they may gain further support from during the programme.

It builds confidence by drawing out smaller examples of entrepreneurial endeavour, particularly those that have taken place through involvement in clubs, societies or outside education.

Learner outcome: 

For a short ice-breaker, or reflective activity this group tasks alerts students to the approach being taken within this area of teaching - “I knew this class was going to be different when we all had to stand up before the PowerPoint had even been turned on”.

Students ‘huddle’ together and start discussing their experiences in the area and this forms bonds and provides insights to potential future group members.  The outcome is a powerful ice-breaking activity that builds confidence in the group as a whole.

References:

Link to HOW TO GUIDE _ Interpersonal Icebreaker: Line of Evaluation

Objective:

• Understand the factors to consider when producing a sales forecast for their business
• Understand the implications of variations from forecasts, particularly in terms of receiving payments

Overview: 

This activity is designed to provide an opportunity for the entrepreneur / small business owner to develop their forecasting skills and consider different scenarios of their business performance, specifically in terms of potential sales. 

Activity:

To consider and collate information to produce informed sale forecasts, gather the relevant information:

The Sales Forecast Checklist

1. Details of any orders secured
2. List all customers you expect to sell to over the forecast period, and how much you expect to sell to each.
3. Market research data to support or verify these forecasts. What information have you gathered from potential customers?
4. Supporting information such as examples from other similar ventures started recently, and drawing from company accounts and other sources.

Using this information prepare a sales forecast by value and volume for each major product group (e.g. for a hotel: bedrooms, restaurant) throughout the period of the business plan – at least 12 months.

Skill Development: 

This breaks down some of the key thinking and skills of the entrepreneur and allows the students to work through their assumptions.  This can be conducted in groups, or as individuals, allowing students to focus on start-up.

Objective:

• Know about a range of ideas and concepts about enterprising mind-set and entrepreneurship
• Reconnecting with your creativity 
• Introduction to design thinking and exploring a challenge 
• Apply design thinking to addressing a challenge 
• Developing a chosen idea (including proto-typing if possible) 
• Introduction to engaging others in your ideas (moving beyond a ‘Pitch’) 
• Introduction to crowd funding and funding the idea from within the student and stakeholder audience (external if possible)

Introduction: 

This session suits larger groups of learners being introduced to the concept of enterprise, creative thinking and solving complex challenges. Working with interdisciplinary groups works best to encourage maximum creativity and adds depth to the chosen solution. An introduction to effective engagement with audiences which moves beyond a pitch is introduced and the session closes with the audience crowd funding the idea using specially designed local currency. 

Activity:

This is best run over a 4-6 hour period and can be split between 2-3 sessions to allow for further research into the challenge. Session starts with some team building activities set firmly within the context of the challenge. This can help students to better appreciate the challenge area and develop empathy with various perspectives/realities in relation to the challenge.  

Then follows some creativity exercises with an introduction to design thinking. Teams then apply this process (as time allows) through to completion with ideally prototypes being developed (if not posters/electronic adverts etc). 

Then the large group is introduced to the need for effective and authentic engagement of themselves and their ideas (moving beyond the ‘pitch’). Individual or group presentations are developed and practiced. Depending on timing and group size, there can then follow a couple of rounds of presentations with a final selection presenting to the whole group. Ideally this should include at least one external stakeholder/s linked to the challenge context (clinical/engineering/finance etc) able to provide authentic feedback. 

It can be fun then to introduce/revisit the concept of crowd funding and provide everyone in the audience with some currency (we have developed some university notes) and get them to fund their favourite proposal. Of course it could be that there will be some real funding available…

Impact:

This works best with some facilitators to help support the various groups as they progress through each activity and often can make a significantly positive impact where groups from different curriculum areas meet for the first time. Utilising external stakeholders to share their challenges can also help to add real value and excitement for learners. Learners tend to enjoy the active nature of the workshop and the rigours of presenting to an external stakeholder with potential solutions to the challenges set. 

Learner outcome:

Tend to see an increased awareness of wider enterprise and boost in confidence in terms of team working, design thinking, negotiation and engagement with audiences. A useful taster for deeper enterprising learning. Skilled reflection is vital throughout and post session/s through on-going programme.  Depending on the nature of the ‘challenge’ this can be extended to a module/programme duration.

Resources: 

• Team building activities based in context – e.g. Clinical setting/Engineering/Creative/Education. 
• Usual flip charts and pens etc. 
• Raw materials for prototyping if possible 
• Electronic devices to film short presentations 
• Bespoke Currency for crowd funding session 
• Prizes 

References:

Brown, T (2008) Design Thinking, Harvard Business Review, June 2008  (pages 85 – 92)
Dweck, C (2006) Mindset: The New Psychology of Success, By Dweck, Carol S. ( Author ) Dec-26-2007 Paperback
Krueger, N.F.Jr. (2010) 13 Looking Forward, Looking Backward: From entrepreneurial Cognition to Neuroentrepreneurship in Acs, Z.K and Audretsch, D.B. (eds.), 2nd Edition of the Handbook of Entrepreneurship Research, Springer 
Westfall, C (2012) The New Elevator Pitch: the definitive guide to persuasive communication in the digital age, Marie Street Press  

Objective:

To create a clear understanding of their competitors, using SW analysis.

Overview: 

A SWOT analysis is a useful tool for analysis, when actions and conclusions are drawn from it.  

Activity: 

Instructions

Invite the entrepreneur / small business owner to identify their key competitors (at least 3), and list the strengths and weaknesses of each.

Examples of strengths and weaknesses for a bicycle manufacturing business,

Strengths 

• Reliable products
• Well respected brand 
• Competitively priced
• Focussed on specialist market 

Weaknesses

• Limited capacity to produce 
• Outdated methods of production
• Lack of marketing expertise
• Low profit margin

Consideration should then be given to each of the competitors, and compared with the entrepreneur or small business owners’ view of their own business.

• What can be learnt from the competitors’ strengths?  
• What can be done better than the competition?
• Are there any weaknesses that can be exploited?

This analysis can then inform what approach the entrepreneur / small business owner takes to developing their own business and to understand how they can best create or sustain a competitive advantage.

The key to using SWOT is now determine a course of action from this analysis.

Students can be invited to present their work and comment to provide constructive criticism, which is future focused.  

Skill Development:

By placing a clear focus on future action, rather than analysis, this will build skills of evaluation, decision making and judgement which lend themselves to action.  

If you would like to have your How to Guide featured, please download the template and email the completed version to hello@etctoolkit.org.uk.

We have produced a guidance sheet which will assist you in completing the How to Guide.

• How to Guide Template
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If you have any questions regarding completing the template, please Contact Us.

If you would like to have your Case Study featured, please download the template and email the completed version to hello@etctoolkit.org.uk.

We have produced a guidance sheet which will assist you in completing the Case Study.

• Case Study Template
• Template Guidance

If you have any questions regarding completing the template, please Contact Us.