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Navigating in a time of uncertainty and crisis

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Navigating in a time of uncertainty and crisis

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This is an in-depth study looking at 'A global outlook to the interruption of education due to COVID-19 Pandemic: Navigating in a time of uncertainty and crisis'   from Asian Journal of Distance Education: 2020, Volume 15, Issue 1, 1-126  http://asianjde.org/ojs/index.php/AsianJDE/article/view/462/307                                                                                      The abstract says: “As a response to interruption of education due to the Covid-19 pandemic, this study is a collaborative reaction that narrates the overall view, reflections from the K12 and higher educational landscape, lessons learned and suggestions from a total of 31 countries across the world with a representation of 62.7% of the whole world population. In addition to the value of each case by country, the synthesis of this research suggests that the current practices  can  be  defined  as  emergency  remote  education  and  this  practice  is  different  from  planned practices such as distance education, online learning or other derivations. Above all, this study points out how social injustice, inequity and the digital divide have been exacerbated during the pandemic and need unique and targeted measures if they are to be addressed.”                                                                                                                                                                                                                   An extract from the journal:                                                                                                                                                                                        Pedagogy of care, affection, and empathy With  the  uncertainty  that  characterizes  this  period  of  human  existence  and  the  resulting  anxiety  and trauma  that  learners,  teachers  and  parents  are  experiencing,  the  theme  of  a  pedagogy  of  care  has surfaced within educational institutions. While the theme of care in education has become popularised during the crisis, it is a crucial element in learning that has always been needed, and that will continue to be essential long after Covid-19 (Bali, 2020a). Nonetheless, the emotional ramifications resulting from the  trauma  caused  by  this  pandemic  require  intentional  designs  and  practices  that  embody  care, inclusion, compassion, and empathy as core values (Zembylas, 2013). A care approach to education pushes educators to recognize and address the diversity of students’ experiences and vulnerabilities, allowing them to be more receptive not only to the assumed needs of students but also their expressed and individual needs. This requires structures and practices that go beyond academia andprioritizes the emotionaland psychological development and needs of students, especially during times of crisis. Concerned Academics (2020) outlined a ‘Social Pedagogy’; an approach that is: “consultative, inclusive, and sensitive to the contexts of students, teachers and theircommunities.  It  works  toward  a  mutually  supportive  framework  that  will  carry  our pedagogic work through the current crisis, into a period of just recovery, and a  more equitable future.”

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One of the issues that has come to light is the balance some students have between staying at home i.e. locally and bearing the cost of student accommodation and the isolation from loved ones.  If there is limited access (most media departments would not have enough equipment to facilitate every student's needs) this would make it prohibitively expensive for students to stay in halls if attendance was only one day or less per week. Ensuring the parity of experience without wasting their time and additional funds will be a delicate balancing act.

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With the impending development of blended learning I found that there was an opportunity to involve students in developing approaches and course material that would work for them.  What we are starting with is the learning outcomes of particular modules and salting the conversations with some ideas as how we might achieve those. It is by no means complete and really we have just begun the discussions but with 100% turnout each week and some interesting ideas it has proved a lifeline for me as I am forced to shield at the moment.

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In the age of coronavirus, how are universities teaching design at a distance?

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In the age of coronavirus, how are universities teaching design at a distance?

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With many design disciplines relying on physical pieces and tactile feedback, university course leaders are having to refocus their teaching as lockdown continues.

In normal circumstances, this time of year would see the UK's art and design students preparing for degree shows and finishing off final projects. But as the country continues to weather the coronavirus pandemic, university doors remain shut.

With lockdown in full swing, design students and staff alike are shut out of workshops, unable to access specialist equipment or software, and going without many library resources. On top of this, they're distanced from colleagues, classmates and community.

But as many final year students prepare to end their university careers in just a few months' time, the show must go on, and lecturers across the country are working to rethink teaching methods and refocus how students' work is evaluated.

"Students want to be able to share their work with their peers"

Effectively replicating classroom discussions, peer reviewing and one to one mentoring through an online platform was the first hurdle for many university staff to surmount. As Hugh Harwood, programme director for graphic design, illustration and animation at University for the Creative Arts (UCA) Canterbury, tells Design Week, this was particularly pressing for final year classes.

"When you're supporting students, especially those with final year projects, there needs to be some kind of confidentiality between student and teacher," he says. "But at the same time, students want to be able to share some aspects of their work with their peers."

Harwood says that his team and students have turned to Slack for this, because of its "flexibility": staff can assign different channels for different students, and others can be dedicated to students sharing work progress between them.

And while he says that no one would ever consider the situation ideal, Harwood adds that in some ways the shift has actually had a positive effect on the UCA design community.

"Students are getting to know each other in different ways - when they come to a physical university it's easy for students to stay in the cliques they feel comfortable in, but having to do things differently has really opened up communication across cohorts," he says. "Students who have never spoken to each other are now beginning dialogues and learning from one another."

Fashion Design Technicians join growing 'scrub-hub' movement in the production of essential personal protective equipment for frontline health and social care workers in South and West Yorkshire responding to the Covid-19 global pandemic. https://t.co/yxgbg7zfos pic.twitter.com/ZddQ77FwoT

- Department of Art & Design SHU (@ArtandDesignSHU) April 24, 2020

No replacement for "getting your hands dirty"

While good communication has helped the team to ease some anxieties, there are some things that cannot be replicated remotely. UCA "prides itself on a physical design approach", according to Harwood, and there is no adequate replacement for most forms of "getting your hands dirty", he admits.

Since practical skills like letter pressing, book binding and ceramics are equally valued alongside more modern techniques, Harwood says staff have had to refocus their methods of evaluating students' work. But this has been, he says, somewhat of a hidden positive.

"We obviously won't be handling any physical objects for the foreseeable future and are therefore having to find ways of evaluating work - the documentation process has become more important than ever," he says. "And I think that's a really important asset to bring with us moving forward."

Gaining a sophistication in the way projects and their processes are documented is a useful skill to sharpen, since this is a client expectation across the industry that students will have to contend with post-university, he explains.

This is echoed by Polly Macpherson, an associate head of the School of Art, Design and Architecture at the University of Plymouth, who says students have had to rethink their approach to "deliverables".

"Watching students incorporate new ways of viewing their projects has been interesting to watch," she says. "Many are employing things like animations and imagery better and others are thinking about how they can make their creativity more web-friendly."

"Students were expecting to use our workshops"

But while documentation has become a central role in students' lives, that university facilities remain closed is still an issue for many to contend with, before they've even thought about presenting projects. Macpherson says that in many cases, this has involved students pivoting their ideas away from what they had initially planned.

"We have third year design students who were expecting to use our workshops to make their final projects - thankfully all of them have really stepped up to the challenge and have been able to change their briefs in some way," she says, giving the example of one student who has already managed to make a bioplastic material from home.

Often this has meant reconsidering materials and this is a challenge faced by all staff and students, not just those in their final year Macpherson says. First-year illustration students, for example, have had some lessons "swapped out" in favour of content that includes materials that can "easily be found around the house", she tells Design Week.

It has been enjoyable in some ways, she says: "One of the things we lose as we get older is the ability to play, and this does seem like a good opportunity to learn how to play again."

This is a point of view shared by Joanne Lee, a senior lecturer in graphic design from Sheffield Hallam University, who says "creative constraint" has been a "valuable learning experience for students", even it often comes with the frustration of not being able to fully realise their initial plans.

"We are aware of disparities of access"

Though there are some unlikely positives from the pandemic experience, there are some omissions that students - and staff - will struggle with. The loss of graduate shows is a painful example of this, and Macpherson explains staff had had to really rethink how they approach this topic.

"We've had to manoeuvre how we speak to students about it - it's obviously a really upsetting set of circumstances, but our priority is to help these young people finish their university careers on a high, rather than having a sour end to it all," she says.

But elsewhere, the loss of the wider university framework itself and the uniformity that brings has been a challenge. As Lee explains: "We are very aware in disparities of access - some students, especially those who are living in places with less technical infrastructure, have problems with internet speed and bandwidth, and many have relied on laptops and other kit within the university buildings, since they don't have their own."

Macpherson adds to this, saying that while many tech companies have made programs available for students and universities to use for free during the pandemic, many will not have the facilities to run these.

With the prospect of starting a new university year in September with a fully online timetable is increasingly likely, Lee says this is an issue that needs resolving in the very near future.

"The university is its people, rather than its buildings"

For many university staff, the task at hand revolves around recreating a community as best as they can. At UCA, Harwood says the team are trying to "keep cultural conversations going" by consistently recommending resources to students.

"We're giving people links to online exhibitions, interesting blogs and films," he says. "The beating heart of any university is really its library, and we're trying to replicate that feeling of having resources at your fingertips, where we can."

Over at Plymouth, Macpherson says much the same thing. Staff there, for example, have established an Instagram account for students that gives out weekly challenges, to ensure that they're staying engaged and creative outside of course work.

And at Sheffield Hallam, although the initial shock of university closures felt like "a kind of grief", Lee says students and staff alike have banded together to recreate the familiar structures of the university where they can. "Virtual drinks", online end of year celebrations and messaging app are just some of the tactics involved to keep morale high.

With this in mind, Lee adds: "I strongly believe the university is its people, rather than its buildings, and the COVID crisis has emphasised that."

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In the age of coronavirus, how are universities teaching design at a distance? | Design Week

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With many design disciplines relying on physical pieces and tactile feedback, university course leaders are having to refocus their teaching as lockdown continues. In normal circumstances, this time of year would see the UK's art and design students preparing for degree shows and finishing off final projects.

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Are there any positive or rewarding experiences?

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Are there any positive or rewarding experiences?

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- Experience of the shift from one mode of operation to another and the level of work that went into that is something to reflect on positively.
- There are some students who have been able to adjust and adapt very quickly.
- These courses reflect the reality of the world around us now.
- New forms of connectivity.
- There's an interesting connectivity between industry and academia in that the students are expereincing same issues that the industry are.

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- How can we ethically design a course for students that are spread internationally in different time zones?
- New forms of delivery, need to rethink the timescale and mode of delivery. How can we think about news ways of teaching and new forms of connectivity?
- Curricumum design. What does the curriculum matrix look like for creative arts?
- Question of how are we able to 'be' with students without triggering issues of surveillence.
- Issue for students who have caring responsibilities or other work responsibilities. Challenge with meeting the indiviudal needs of students.
- Don't want the fact that courses have been moved online to be used as a rationale for a wider shift towards online delivery.

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The Difference Between Emergency Remote Teaching and Online Learning

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The Difference Between Emergency Remote Teaching and Online Learning

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Well-planned online learning experiences are meaningfully different from courses offered online in response to a crisis or disaster. Colleges and universities working to maintain instruction during the COVID-19 pandemic should understand those differences when evaluating this emergency remote teaching.

Credit: frankie's / Shutterstock.com © 2020

Due to the threat of COVID-19, colleges and universities are facing decisions about how to continue teaching and learning while keeping their faculty, staff, and students safe from a public health emergency that is moving fast and not well understood. Many institutions have opted to cancel all face-to-face classes, including labs and other learning experiences, and have mandated that faculty move their courses online to help prevent the spread of the virus that causes COVID-19. The list of institutions of higher education making this decision has been growing each day. Institutions of all sizes and types-state colleges and universities, Ivy League institutions, community colleges, and others-are moving their classes online. Bryan Alexander has curated the status of hundreds of institutions.

Moving instruction online can enable the flexibility of teaching and learning anywhere, anytime, but the speed with which this move to online instruction is expected to happen is unprecedented and staggering. Although campus support personnel and teams are usually available to help faculty members learn about and implement online learning, these teams typically support a small pool of faculty interested in teaching online. In the present situation, these individuals and teams will not be able to offer the same level of support to all faculty in such a narrow preparation window. Faculty might feel like instructional MacGyvers, having to improvise quick solutions in less-than-ideal circumstances. No matter how clever a solution might be-and some very clever solutions are emerging-many instructors will understandably find this process stressful.

The temptation to compare online learning to face-to-face instruction in these circumstances will be great. In fact, an article in the Chronicle of Higher Education has already called for a "grand experiment" doing exactly that. This is a highly problematic suggestion, however. First and foremost, the politics of any such debate must be acknowledged. "Online learning" will become a politicized term that can take on any number of meanings depending on the argument someone wants to advance. In talking about lessons learned when institutions moved classes online during a shutdown in South Africa, Laura Czerniewicz starts with this very lesson and what happened around the construct of "blended learning" at the time. The idea of blended learning was drawn into political agendas without paying sufficient attention to the fact that institutions would make different decisions and invest differently, resulting in widely varying solutions and results from one institution to another. With some of that hindsight as wisdom, we seek to advance some careful distinctions that we hope can inform the evaluations and reflections that will surely result from this mass move by colleges and universities.

Online learning carries a stigma of being lower quality than face-to-face learning, despite research showing otherwise. These hurried moves online by so many institutions at once could seal the perception of online learning as a weak option, when in truth nobody making the transition to online teaching under these circumstances will truly be designing to take full advantage of the affordances and possibilities of the online format.

Researchers in educational technology, specifically in the subdiscipline of online and distance learning, have carefully defined terms over the years to distinguish between the highly variable design solutions that have been developed and implemented: distance learning, distributed learning, blended learning, online learning, mobile learning, and others. Yet an understanding of the important differences has mostly not diffused beyond the insular world of educational technology and instructional design researchers and professionals. Here, we want to offer an important discussion around the terminology and formally propose a specific term for the type of instruction being delivered in these pressing circumstances: emergency remote teaching.

Many active members of the academic community, including some of us, have been hotly debating the terminology in social media, and "emergency remote teaching" has emerged as a common alternative term used by online education researchers and professional practitioners to draw a clear contrast with what many of us know as high-quality online education. Some readers may take issue with the use of the term "teaching" over choices such as "learning" or "instruction." Rather than debating all of the details of those concepts, we selected "teaching" because of its simple definitions-"the act, practice, or profession of a teacher" and "the concerted sharing of knowledge and experience,"-along with the fact that the first tasks undertaken during emergency changes in delivery mode are those of a teacher/instructor/professor.

Effective Online Education

Online education, including online teaching and learning, has been studied for decades. Numerous research studies, theories, models, standards, and evaluation criteria focus on quality online learning, online teaching, and online course design. What we know from research is that effective online learning results from careful instructional design and planning, using a systematic model for design and development. The design process and the careful consideration of different design decisions have an impact on the quality of the instruction. And it is this careful design process that will be absent in most cases in these emergency shifts.

One of the most comprehensive summaries of research on online learning comes from the book Learning Online: What Research Tells Us about Whether, When and How. The authors identify nine dimensions, each of which has numerous options, highlighting the complexity of the design and decision-making process. The nine dimensions are modality, pacing, student-instructor ratio, pedagogy, instructor role online, student role online, online communication synchrony, role of online assessments, and source of feedback (see "Online learning design options").

Online learning design options (moderating variables)

Within each of these dimensions, there are options. Complicating matters, not all of the options are equally effective. For example, decisions around class size will greatly constrain what strategies you can use. Practice and feedback, for example, are well established in the literature, but it's harder to implement this as class size grows, eventually reaching a point where it's just not possible for an instructor to provide quality feedback. In the case of synchrony, what you choose will really depend on your learners' characteristics and what best meets their needs (adult learners require more flexibility, so asynchronous is usually best, perhaps with optional synchronous sessions, whereas younger learners benefit from the structure of required synchronous sessions).

Research on types of interaction-which includes student-content, student-student, and student-learner-is one of the more robust bodies of research in online learning. In short, it shows that the presence of each of these types of interaction, when meaningfully integrated, increases the learning outcomes. Thus, careful planning for online learning includes not just identifying the content to cover but also carefully tending to how you're going to support different types of interactions that are important to the learning process. This approach recognizes learning as both a social and a cognitive process, not merely a matter of information transmission.

Those who have built online programs over the years will attest that effective online learning aims to be a learning community and supports learners not just instructionally but with co-curricular engagement and other social supports. Consider how much infrastructure exists around face-to-face education that supports student success: library resources, housing, career services, health services, and so on. Face-to-face education isn't successful because lecturing is good. Lectures are one instructional aspect of an overall ecosystem specifically designed to support learners with formal, informal, and social resources. Ultimately, effective online education requires an investment in an ecosystem of learner supports, which take time to identify and build. Relative to other options, simple online content delivery can be quick and inexpensive, but confusing that with robust online education is akin to confusing lectures with the totality of residential education.

Typical planning, preparation, and development time for a fully online university course is six to nine months before the course is delivered. Faculty are usually more comfortable teaching online by the second or third iteration of their online courses. It will be impossible for every faculty member to suddenly become an expert in online teaching and learning in this current situation, in which lead times range from a single day to a few weeks. While there are resources to which faculty can turn for assistance, the scale of change currently being required on many campuses will stress the systems that provide those resources and most likely will surpass their capacities. Let's face it: many of the online learning experiences that instructors will be able to offer their students will not be fully featured or necessarily well planned, and there's a high probability for suboptimal implementation. We need to recognize that everyone will be doing the best they can, trying to take just the essentials with them as they make a mad dash during the emergency. Thus, the distinction is important between the normal, everyday type of effective online instruction and that which we are doing in a hurry with bare minimum resources and scant time: emergency remote teaching.

Emergency Remote Teaching

In contrast to experiences that are planned from the beginning and designed to be online, emergency remote teaching (ERT) is a temporary shift of instructional delivery to an alternate delivery mode due to crisis circumstances. It involves the use of fully remote teaching solutions for instruction or education that would otherwise be delivered face-to-face or as blended or hybrid courses and that will return to that format once the crisis or emergency has abated. The primary objective in these circumstances is not to re-create a robust educational ecosystem but rather to provide temporary access to instruction and instructional supports in a manner that is quick to set up and is reliably available during an emergency or crisis. When we understand ERT in this manner, we can start to divorce it from "online learning." There are many examples of other countries responding to school and university closures in a time of crisis by implementing models such as mobile learning, radio, blended learning, or other solutions that are contextually more feasible. For example, in a study on education's role in fragility and emergency situations, the Inter-Agency Network for Education in Emergencies examined four case studies. One of those cases was Afghanistan, where education was disrupted by conflict and violence and schools themselves were targets, sometimes because girls were trying to access education. In order to take children off the streets and keep them safe, radio education and DVDs were used to maintain and expand educational access and also were aimed at promoting education for girls.

What becomes apparent as we examine examples of educational planning in crises is that these situations require creative problem solving. We have to be able to think outside standard boxes to generate various possible solutions that help meet the new needs for our learners and communities. In some cases, it might even help us generate some new solutions to intractable problems, such as the dangers girls faced trying to access education in Afghanistan. Thus, it may be tempting to think about ERT as a bare-bones approach to standard instruction. In reality, it is a way of thinking about delivery modes, methods, and media, specifically as they map to rapidly changing needs and limitations in resources, such as faculty support and training.

In the present situation, the campus support teams that are usually available to help faculty members learn about and implement online learning will not be able to offer the same level of support to all faculty who need it. Faculty support teams play a critical role in the learning experiences of students by helping faculty members develop face-to-face or online learning experiences. Current support models might include full-course design support, professional development opportunities, content development, learning management system training and support, and multimedia creation in partnership with faculty experts. Faculty who seek support typically have varying levels of digital fluency and are often accustomed to one-on-one support when experimenting with online tools. The shift to ERT requires that faculty take more control of the course design, development, and implementation process. With the expectation of rapid development of online teaching and learning events and the large number of faculty in need of support, faculty development and support teams must find ways to meet the institutional need to provide instructional continuity while helping faculty develop skills to work and teach in an online environment. As such, institutions must rethink the way instructional support units do their work, at least during a crisis.

The rapid approach necessary for ERT may diminish the quality of the courses delivered. A full-course development project can take months when done properly. The need to "just get it online" is in direct contradiction to the time and effort normally dedicated to developing a quality course. Online courses created in this way should not be mistaken for long-term solutions but accepted as a temporary solution to an immediate problem. Especially concerning is the degree to which the accessibility of learning materials might not be addressed during ERT. This is but one reason that universal design for learning (UDL) should be part of all discussions around teaching and learning. UDL principles focus on the design of learning environments that are flexible, inclusive, and student-centered to ensure that all students can access and learn from the course materials, activities, and assignments.

Evaluating Emergency Remote Teaching

Institutions will certainly want to conduct evaluations of their ERT efforts, but what should they evaluate? First, let's consider what not to evaluate. A common misconception is that comparing a face-to-face course with an online version of the course constitutes a useful evaluation. This type of assessment, known as a media comparison study, provides no real value, for at least three reasons:

First, any medium is simply a way to deliver information, and one medium is not inherently better or worse than any other medium. Second, we need to better understand different media and the way people learn with different media to design effective studies. And, third, there are too many confounding variables in even the best media comparison study for the results to be valid and meaningful.

Researchers who conduct media comparison studies are looking at "the whole unique medium and [giving] little thought to each one's attributes and characteristics, to learner needs, or to psychological learning theories."

Other approaches to evaluation can be useful in this move to ERT. The success of distance and online learning experiences can be measured in a variety of ways, depending on how "success" is defined from a given stakeholder's perspective. From the faculty point of view, student learning outcomes would be of primary interest. Did learners achieve the intended knowledge, skills, and/or attitudes that were the focus of the instructional experience? Attitudinal outcomes are also possibly of interest, for students and for faculty. For students, issues such as interest, motivation, and engagement are directly connected to learner success and so would be possible evaluation foci. For faculty, attitudes toward online instruction and all that it entails can affect the perception of success.

Programmatic outcomes such as course and program completion rates, market reach, faculty time investments, impacts on promotion and tenure processes-all of these are relevant issues related to the offering of distance courses and programs. Finally, implementation resources and strategies are possible areas of evaluation inquiry, such as the reliability of selected technological delivery systems, the provision of and access to learner support systems, support for faculty professional development for online teaching pedagogies and tools, policy and governance issues related to distance program development, and quality assurance. All of these factors can influence the effectiveness of distance and online learning experiences and can serve to inform learning experience design and program development and implementation. These recommended areas of evaluation are for well-planned distance or online learning efforts and may not be appropriate in the case of ERT. Evaluating ERT will require broader questions, especially during initial implementations.

Next, let us recommend where you should focus your evaluation related to ERT efforts. The language of the CIPP model will be used for structure. CIPP is an acronym representing context, inputs, process, and products (see table 1).

Table 1. CIPP evaluation terms

"Assess needs, problems, assets, and opportunities, as well as relevant contextual conditions and dynamics"

"Assess a program's strategy, action plan, staffing arrangements, and budget for feasibility and potential cost-effectiveness to meet targeted needs and achieve goals."

"Monitor, document, assess, and report on the implementation of plans."

"Identify and assess costs and outcomes-intended and unintended, short term and long term."

In the case of ERT, institutions might want to consider evaluation questions such as the following:

Given the need to shift to remote instruction, what internal and external resources were necessary in supporting this transition? What aspects of the context (institutional, social, governmental) affected the feasibility and effectiveness of the transition? (context)

How did the university interactions with students, families, personnel, and local and government stakeholders impact perceived responsiveness to the shift to ERT? (context)

Was the technology infrastructure sufficient to handle the needs of ERT? (input)

Did the campus support staff have sufficient capacity to handle the needs of ERT? (input)

Was our ongoing faculty professional development sufficient to enable ERT? How can we enhance opportunities for immediate and flexible learning demands related to alternative approaches to instruction and learning? (input)

Where did faculty, students, support personnel, and administrators struggle the most with ERT? How can we adapt our processes to respond to such operational challenges in the future? (process)

What were the programmatic outcomes of the ERT initiative (i.e., course completion rates, aggregated grade analyses, etc.)? How can challenges related to these outcomes be addressed in support of the students and faculty impacted by these issues? (product)

How can feedback from learners, faculty, and campus support teams inform ERT needs in the future? (product)

Evaluation of ERT should be more focused on the context, input, and process elements than product (learning). Note that we are not advocating for no evaluation of whether or not learning occurred, or to what extent it occurred, but simply stressing that the urgency of ERT and all that will take to make it happen in a short time frame will be the most critical elements to evaluate during this crisis. This is being recognized by some as a few institutions are beginning to announce changing to pass/fail options rather letter grades during ERT.

Also, given the continued evidence of problems surrounding student evaluations of instruction under typical higher education experiences, we recommend that the standard, end-of-semester teaching evaluations definitely not be counted against faculty members engaged in ERT. If an institution's policy mandates that those evaluations be administered, consider amending the policy, or make sure that the results are clearly qualified with the circumstances of the term or semester.

Final Thoughts

Everyone involved in this abrupt migration to online learning must realize that these crises and disasters also create disruptions to student, staff, and faculty lives, outside their association with the university. So all of this work must be done with the understanding that the move to ERT will likely not be the priority of all those involved. Instructors and administrators are urged to consider that students might not be able to attend to courses immediately. As a result, asynchronous activities might be more reasonable than synchronous ones. Flexibility with deadlines for assignments within courses, course policies, and institutional policies should be considered. For a high-level example, the US Department of Education has relaxed some requirements and policies in the face of COVID-19.

Hopefully the COVID-19 threat will soon be a memory. When it is, we should not simply return to our teaching and learning practices prior to the virus, forgetting about ERT. There likely will be future public health and safety concerns, and in recent years, campuses have been closed due to natural disasters such as wildfires, hurricanes, and the polar vortex. Thus, the possible need for ERT must become part of a faculty member's skill set, as well as professional development programming for any personnel involved in the instructional mission of colleges and universities.

The threat of COVID-19 has presented some unique challenges for institutions of higher education. All parties involved-students, faculty, and staff-are being asked to do extraordinary things regarding course delivery and learning that have not been seen on this scale in the lifetimes of anyone currently involved. Although this situation is stressful, when it is over, institutions will emerge with an opportunity to evaluate how well they were able to implement ERT to maintain continuity of instruction. It is important to avoid the temptation to equate ERT with online learning during those evaluations. With careful planning, officials at every campus can evaluate their efforts, allowing those involved to highlight strengths and identify weaknesses to be better prepared for future needs to implement ERT.

Notes

1. See, for example: "Information for Ohio State University Students, Faculty and Staff," The Ohio State University, Wexner Medical Center; "President Eisgruber Updates University on Next Steps Regarding COVID-19 to Ensure Health and Well-Being of the Entire Community," Princeton University; and Everett Community College. ↩

2. "Coronavirus and Higher Education Resources," Bryan Alexander blog, March 17, 2020. ↩

3. Laura Czerniewicz, "What We Learnt from 'Going Online' during University Shutdowns in South Africa," PhilOnEdTech, March 15, 2020. ↩

4. "Teaching," Merriam-Webster. ↩

5. Robert M. Branch and Tonia A. Dousay, "Survey of Instructional Design Models," Association for Educational Communications and Technology (AECT), 2015. ↩

6. Robert M. Bernard, Philip C. Abrami, Eugene Borokhovski, C. Anne Wade, Rana M. Tamim, Michael A. Surkes, and Edward Clement Bethel, "A Meta-Analysis of Three Types of Interaction Treatments in Distance Education," Review of Educational Research 79, no. 3 (2009): 1,243-89. ↩

7. Lynn Davies and Denise Bentrovato, International Institute for Educational Planning (2011). "Understanding Education's Role in Fragility; Synthesis of Four Situational Analyses of Education and Fragility: Afghanistan, Bosnia and Herzegovina, Cambodia, Liberia,"↩

8. See "UDL On Campus," ↩

9. "Guidance for Interruptions of Study Related to Coronavirus (COVID-19)," Federal Student Aid, Information for Financial Aid Professionals (IFAP), March 20, 2020. ↩

10. Elin Johnson, "As Fires Rage, More Campuses Close," InsideHigherEd, October 29, 2019; Jenni Fink, "Florida Universities Cancelling Classes, Closing Campus Ahead of Potential Category 4 Hurricane Dorian," Newsweek, August 29, 2019; and Perry Samson, "The Coronavirus and Class Broadcasts," EDUCAUSE Review, March 3, 2020. ↩

Charles B. Hodges is a Professor of Instructional Technology at Georgia Southern University.

Stephanie Moore is an Assistant Professor of Instructional Design and Technology in the Curry School of Education at the University of Virginia.

Barbara B. Lockee is a Professor of Instructional Design and Technology, and Provost Faculty Fellow, at Virginia Tech.

Torrey Trust is an Associate Professor of Learning Technology at the University of Massachusetts Amherst.

M. Aaron Bond is Senior Director, Professional Development Network and Faculty Digital Fluency at Virginia Tech.

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the difference between emergency remote teaching and online learning

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The Difference Between Emergency Remote Teaching and Online Learning

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Well-planned online learning experiences are meaningfully different from courses offered online in response to a crisis or disaster. Colleges and universities working to maintain instruction during the COVID-19 pandemic should understand those differences when evaluating this emergency remote teaching.

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What upskilling was made available to teaching practitioners?

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What upskilling was made available to teaching practitioners?

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- Technologies can't recreate emergent creative arts.
- Emerging widening gap when using office/administrative/business/ conferencing tools/platforms for creative arts. These platforms don't allow for nuance.
- Platforms and technologies need to allow for nuance and creative sensitivity, this requires a rethinking of how we enable this through current technology.

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Problem with giving access to software to students

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Problem with giving access to software to students

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Q1 - what was the initial experience of having to stop teaching and move online for creative HE?

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Q1 - what was the initial experience of having to stop teaching and move online for creative HE?

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- Impact of mixed messages from Government + institutions put staff in a challenging position in relation to managing student expectations.
- concerns for international students
- students who have kit, materials and couldn't return them
- sudden shift has an impact on courses that are marketed as a physical production course.
- Student productions cancelled at the point of actual filming.
- Student expectations in relation to creative courses. Can't reproduce the experience of working on a film set online.
- Resistance from certain staff and practitioners due to their skillsets?
- There is a relationship between materials and pedagogy and space in creative HE and this is also something that can't be experienced and taught online.
- If lockdown is long term how can we reimagine material based practice?
- Also provision of online software and issues around access to software.
- Question re which students have access to laptops, software.
- What happens to the students that we lose through this? How do we re-engage them?
- Cost of software and licesnse.
- Point re costs is that the university doesn't take the arts seriously.
- The variable issues faced by different subjects within creative HE points to its multiplicity.
- Emotional management of students not valued or incorporated into staff workloads.

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While I have no issues with training and learning about new platforms and tools, being able to master them requires a lot of time and learning that is not fully accounted in our academic timetable.

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A way to connect online degree shows and promote graduating students globally

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the wrong degree show

an annual online exhibition to showcase degree shows by graduating art students of schools and universities around the world

the wrong degree show opens online from june 2oth to december 2oth, 2o2o

to art department representatives and/or degree show organisers at universities, art schools and colleges. join and submit your graduate's degree shows online

please write to the wrong︎ to confirm your interest in participating

guidelines

create a concept and a name for your class' degree show, and if needed, register a dedicated domain, create a website, and host it. the domain name should represent the title of the degree show

the name of your degree show cannot include "WRONG" nor special characters or gliphs. you cannot name your degree show after yourself or your university. give it a title that represents the vibe of your degree show

create a dedicated link in any online format, website, or any social media platform (instagram, facebook, twitch, zoom, etc), to host the final art projects by students graduating in 2o2o

select and display the student's artworks in a respectful manner. there will be no censorship, but if your degree show will host +18 or adult oriented content, please make clear notice at the online entrance

please note the deadlines

from april 2oth,2o2o to december 2oth,2o2o

submit your show︎

including show title, short text blurb about the show, name of degree show organiser, domain link to access degree show online, name of university and location, and full names list of students participating. you can join while the show is ongoing, and until the last day

june 2oth,2o2o

online opening︎ of the wrong degree show website as a work in progress, announcing the selected degree shows

from june 2oth,2o2o to december 2oth,2o2o

opening of your degree show

participating shows are free to choose the opening date

december 2oth,2o2o

closing of the wrong degree show
participating shows are free to choose a closing date. the wrong degree show webpage will close on sunday, december 2oth,2o2o at 2oh madrid time

infos

all updates and announcements will be published here and at the facebook︎ event discussion panel

we kindly ask your institution for a conscious donation︎ (name your price) to help cover the costs of organizing and promoting this project

if you have many doubts and questions, please send an email︎

for a quick one you can always contact via messenger︎

be ready
here we come

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an annual online exhibition to showcase degree shows by graduating art students of schools and universities around the world the wrong degree show opens online from june 2oth to december 2oth, 2o2o to art department representatives and/or degree show organisers at universities, art schools and colleges.

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Urgency to develop online content recognised

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Urgency to develop online content recognised

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Where previously we haven't considered to develop online courses of our studio-based and material-intensive teaching we are now convinced this is necessary and will open access to potentially wider audiences (especially geographically)

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Students unjustifiably pay very high fees to then showcase online, which creates significantly less opportunity while not all work can even be presented as desired. This creates gap between those already engaging in digital practices vs those working in more traditional art practices.

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The Royal College of Art (RCA) is facing a backlash from thousands of students and artists over the decision to make its graduate show online-only for the first time ever due to the coronavirus pandemic.

More than 4,500 people, including Turner Prize-winning artist Mark Leckey, have signed a petition calling on the RCA to suspend its programmes and postpone the exhibition until it is safe to return to the college.

The students behind the petition, who wish to remain anonymous, said RCA had decided to hold a virtual exhibition without consulting those due to graduate this summer.

They added that final year-students were currently unable to access their studios or workshop facilities at the college, meaning they were unable to complete work for the virtual show.

The students called on the college to postpone all education until it was safe to return to the studios, with a guarantee that the show would be held at a future date, whether later this summer or in a year's time. "They should promise to fulfil their agreement with us, rather than getting rid of us quickly in order to get the next cohort in," they said in a statement.

One contemporary art student said it would be a huge disappointment to be unable to stage her work in a real life exhibition "after two years of work, taking on thousands of pounds in loans, and working side-jobs around the clock in order to realise it".

She said her degree show work - a room-sized video and virtual-reality installation of an estate agent for property on a floating island to escape an apocalypse - required the audience to physically engage with it in a way "impossible to simulate online".

A painting student added: "A lot of my work is installed in unusual ways or not even on the wall. The idea of a virtual show is ridiculous to those of us who don't work in digital media, ie the great majority of students."

Leckey called on the RCA to postpone its graduate show, adding that a virtual exhibition could not replicate the experience of seeing the work in person. "All that student debt accrued only to be frustrated by a false equivalence," he said. "Just postpone the show like the other colleges have."

Artist and RCA alumnus Tim Stoner said the RCA's decision to hold a virtual show was "an utter disgrace". In an Instagram post he accused the college of treating the students appallingly, adding: "Denying this year's artists the opportunity to experience what EVERY student in the past has done is cheating them out of one of the most important things the college offers."

But artist Ryan Gander said: "There are a lot of hardships at the moment for a lot of people, real hardships. For me only having a degree show online might be a shame but it's not a real hardship."

A spokesman for the RCA said it had assessed the possibility of deferring the show until September or October but decided "this was not realistically feasible".

"One significant difficulty is that many students will be unable to stay in London for that extended period," he added. "To commit them to the significant additional costs that would be involved, and further costs to return to London in the future with the present level of uncertainty seems unreasonable. The latest reports from the World Health Organisation and others suggest that life will not have returned to normal by September."

The University of the Arts London announced today that there would be an online exhibition of students work this summer, followed by a physical show later in the year, "subject to the public emergency" over the pandemic.

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Students criticise Royal College of Art's plan to hold degree show online

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The Royal College of Art (RCA) is facing a backlash from thousands of students and artists over the decision to make its graduate show online-only for the first time ever due to the coronavirus pandemic.

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Are Universities 'closed'? Hell no!

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The implication that being online means universities are 'shut' is extremely unhelpful. It's disrespectful to staff and students who are actively working together without being in the same building. https://t.co/hTeAkKhK1K

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The implication that being online means universities are 'shut' is extremely unhelpful. It's disrespectful to staff and students who are actively working together without being in the same building. https://t.co/hTeAkKhK1K

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Students will have to pay full fees this year even if their campus is shut says government as it rejects calls for a £2.2 billion bailout and gives £100m extra for research. @universitiesuk @MaryCurnockCook @thetimes https://t.co/oa2mw8OBfk

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The implication that being online means universities are 'shut' is extremely unhelpful. It's disrespectful to staff and students who are actively working together without being in the same building. https://t.co/hTeAkKhK1K
— David White (@daveowhite) May 4, 2020

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The implication that being online means universities are 'shut' is extremely unhelpful. It's disrespectful to staff and students who are actively working together without being in the same building. https://t.co/hTeAkKhK1K

# data[].attributes.attachment_link.metadata.attachment_props_source.includes.tweets[].text
Students will have to pay full fees this year even if their campus is shut says government as it rejects calls for a £2.2 billion bailout and gives £100m extra for research. @universitiesuk @MaryCurnockCook @thetimes https://t.co/oa2mw8OBfk

# data[].attributes.attachment_link.metadata.attachment_props.original_text
The implication that being online means universities are 'shut' is extremely unhelpful. It's disrespectful to staff and students who are actively working together without being in the same building. https://t.co/hTeAkKhK1K

# data[].attributes.attachment_link.metadata.attachment_props.text
The implication that being online means universities are 'shut' is extremely unhelpful. It's disrespectful to staff and students who are actively working together without being in the same building. https://t.co/hTeAkKhK1K

# data[].attributes.attachment_link.metadata.attachment_props.referenced_tweets[].text
Students will have to pay full fees this year even if their campus is shut says government as it rejects calls for a £2.2 billion bailout and gives £100m extra for research. @universitiesuk @MaryCurnockCook @thetimes https://t.co/oa2mw8OBfk

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Some would argue that despite the increased workload in some cases, it is hopefully temporary and has created a much healthier work life balance. Sorry - trying to add some positivity to balance out the "Downs" :)

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Design Idea in response to Covid-19 restrictions (and feelings)

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The ideas shared through the Design for Emergency platform address the problems, needs, and emotions of people who are living in isolation and are following social distancing measures, due to coronavirus. As the situation evolves, they will also include products or services aimed at helping people transitioning into the next phase of the emergency, towards a "new normality".

All these seed ideas are shared through a Creative Commons Attribution 4.0 International license. This means that anyone can develop and implement them. We just ask you to notify us and the designers (and to credit them!).

This open design platform displays all the seed ideas we have collected so far, and it will be constantly updated. If you want to contribute, join the open design challenge!

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The ideas shared through the Design for Emergency platform address the problems, needs, and emotions of people who are living in isolation and are following social distancing measures, due to coronavirus. As the situation evolves, they will also include products or services aimed at helping people transitioning into the next phase of the emergency, towards a "new normality".

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Join us for our first group discussion on the ups and downs of online teaching and learning

Wednesday 6th May
15:00 - 16:00 GMT
Join Zoom Meeting

Meeting ID: 850 0984 8145
Password: 000052

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Challenges of Digital Teaching and Learning (from ELIA)

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Challenges of Digital Teaching and Learning (from ELIA)

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Providing students with fair, high-quality, digital assessment

Teaching courses that require studio time and/or workshops, virtually

Guaranteeing accessibility of digital/online education

Ensuring health and wellbeing of students and staff.

Rethinking internationalisation

Being ahead of the long-term consequences of the pandemic

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During these last few weeks, ELIA members shared their experiences of how they responded to the COVID-19 pandemic and their wishes going forward, by completing a member survey. We would like to thank all those who participated for their valuable contributions. The ELIA Representative Board also dedicated part of their online meeting on 1 April to discuss issues and best practices in coping with stringent new measures.

The ELIA team have put together an overview of the results from these two exchanges, which reflect how ELIA members have been handling the situation in Europe and beyond. Most importantly, this input is being used to identify how we as a community can support each other, and what the ELIA team can do to best serve its members at this challenging time.

The impact of coronavirus - ELIA member survey was open for responses from 18 March - 6 April. We received 46 responses, mostly from European members (see figure 1 for geographical spread).

Almost all respondents (46 out of 48) indicated that higher education institutions in their country had closed their buildings, mainly due to mandatory national government requirements. A lot of unclarity exists about when to expect higher education institutions to reopen their doors. Two thirds of members who filled out our survey, mentioned not knowing when institutions would be able to reopen, institutions being closed until further notice, or had some reserve regarding predicted dates. Almost half of the members indicated possible reopening dates in April. However, the latest policy developments would indicate that in many countries reopening will not be possible this month.

The survey also shows that a majority of ELIA members are already offering digital courses. Two thirds indicate a complete switch to digital (for all courses and all students), others have digital courses partially available, or do not yet offer digital education but are actively working on it (see figure 2) It's not surprising, that most higher arts education (HAE) staff are continuing their work from home. Over a third of members did indicate that there are some exceptions of staff members who are continuing to work on location.

An online roundtable session with the ELIA representative board also confirmed this data, which shows how incredibly quickly higher art education institutions and their staff members have adapted to the move to 'emergency digital education'.

Challenges of Digital Teaching and Learning

Input from the ELIA Board meeting and from the survey raised a number of key challenges:

Providing students with fair, high-quality, digital assessment
Exams are an important part of higher education and this issue applies to all stages, including entrance exams, graduation shows and doctoral defences. On location exams and showcases are impossible to host for most institutions at the moment.

Teaching courses that require studio time and/or workshops, virtually
In practice, some courses seem to be more difficult to digitalise than others. Especially courses requiring expensive tools and materials, heavy machinery or physical contact in the performing arts are problematic.

Guaranteeing accessibility of digital/online education
This is applicable both to students with no access to basis digital tools (laptops, internet) and those needing to use specific software that is not available for them outside of their education institution.

Ensuring health and wellbeing of students and staff
Particular concern was expressed regarding students' psychological and financial wellbeing. International students seem to have been hit particularly hard by the crisis, some isolated in buildings which have otherwise been vacated by others returning to their families. The general health concerns apply to teachers as well, who are taking on a large increase in workload.

Rethinking internationalisation
There are some practical short-term concerns regarding students currently on exchange. Higher arts education institutions are trying to figure out how to embody an international perspective while mobility is temporarily blocked.

Being ahead of the long-term consequences of the pandemic
The long-term financial consequences of the pandemic are uncertain. At the moment, the financial impact on members is influenced by local and institutional contexts. HAE after the pandemic will also have to deal with social and cultural consequences, and with the key question: what will the future of e-learning look like?

Next Steps for ELIA

The survey responses and the Board Meeting conversation highlight the need and wish of the ELIA community to share experiences and exchange best practices. In the survey ELIA members supported plans to create online meetings focusing on responses to the COVID-19 pandemic. The results also reflect a wish to share tools and resources for online teaching and learning, and using webinars as a platform for knowledge dissemination.

As we enter the next phase of response to coronavirus, the ELIA team are developing a strategy which will meet these requests. We are currently gathering examples of best practices from ELIA members via our open call. Submissions will be shared shortly across channels. The next ELIA online event Virtual PIE, will delve specifically into the challenges concerning internationalisation. You may also be interested in our list of Online Tools for Working Remotely and the ELIA April Advocacy Update, contains the latest news regarding funding and COVID-19 measures on European level.

Find out more about our upcoming online events and join the conversation.

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News - ELIA Members' Response to COVID-19

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During these last few weeks, ELIA members shared their experiences of how they responded to the COVID-19 pandemic and their wishes going forward, by completing a member survey. We would like to thank all those who participated for their valuable contributions.

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Since the lockdown and move to online most of the staff on my team have been clocking up 10-12 hour days.
[Media Production, Bournemouth]

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Can creative HE retain a sense of space and community online ?

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Can creative HE retain a sense of space and community online ?

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Read the blog of Prof. Linda Drew

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Written by Professor Linda Drew , ​Creative Education Champion

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Place your courses or institution on our project map ...

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ONLINE CONFERENCE :EMBRACE THE CREATIVITY AMIDST COVID -19 CRISIS

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ONLINE CONFERENCE :EMBRACE THE CREATIVITY AMIDST COVID -19 CRISIS

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Online Conference: Embrace the creativity amidst Covid-19 crisis

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Online Conference: Embrace the creativity amidst Covid-19 crisis

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Can the new technological platform and focus bring science and the arts more close in our teaching?

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What are HE institutions promoting to respond to the challenges of Covid-19?

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Guidance and training to help you provide high quality teaching online

You can use Moodle and Collaborate Ultra to teach online and ensure that your students benefit from a high quality learning experience.

These digital tools provide the balance of 'content' and 'contact', which is important in helping students reach their Learning Outcomes.

Learn more about how to use these digital tools for teaching, attend training sessions and use our guides.

1. Read the Core Practice Guide

As we outline in the guide:

You should use Moodle as a reliable location for online teaching and assessment.

You can then use Collaborate Ultra for real-time lectures or tutorials.

Courses don't need to replicate all face-to-face contact time in Collaborate Ultra.

Timed and self-paced activities on Moodle can also be considered contact time.

George Boyle working in the Studio. BA (Hons) Fashion Design Technology: Womenswear. London College of Fashion. - Credit: © Alys Tomlinson

Moodle guides

Collaborate Ultra guides

More information

For more advice on teaching online, check:

2. Create inclusive teaching and learning

Use the Core Practice for inclusive Online Teaching (PDF 166KB) checklist to ensure that online delivery reaches and includes all your students and to impact positively on their digital wellbeing, engagement, retention and attainment.

3. Attend training

You don't need to book but please read our Training Guide before the session.

How to join

Add the training date and time to your calendar (you won't get reminders)

15 minutes before the session, check the Training Guide. There'll be a link to join the session. You should join the session using Google Chrome.

Enter your name, your College and department

Training dates

We're scheduling sessions every week so we'll update you each Friday with the dates for the following week.

Inclusive Distance Teaching

Exploring a range of inclusive and compassionate strategies for teaching students online

Wednesday 29 April, 9.30am - 10.30am

Moodle Basics

If you're new to Moodle or need a basics refresher, we'll help you to navigate Moodle, add content and use Forums and Announcements to stay connected with your students.
Watch previous sessions.

Adapting your curriculum for teaching using Moodle

Discover the RASE Framework - a tool to help you use Moodle for Resources, Activities, Support and Evaluation for learning.
Watch previous sessions.

Teaching Online with Collaborate Ultra

Exploring the basics of using the Collaborate Ultra 'virtual' classroom for teaching online. Before attending, watch this short video to learn how to set up a Collaborate Ultra session in your Moodle course. You can also watch previous sessions.

Friday 24 April, 2pm - 2.45pm

Wednesday 29 April, 2pm - 2.45pm

Intro to Workflow

Getting started with Workflow, UALs online e-portfolio and e-studio platform

Friday 1 May, 11am - 11.45am

Advice sessions

Come to our drop-in advice sessions are for staff who might be unsure how to get started online or have complex requirements. You can also watch previous sessions.

Friday 24 April, 10am - 10.30am

Tuesday 28 April, 10am - 10.30am

Thursday 30 April, 10am - 10.30am

Microsoft Teams

Microsoft Teams should be used for small groups only (up to 7 people) in either course team collaboration or meetings with students.

Please note: more people are using these online services than ever before. This can cause disruption so it's important not to rely only on Teams for teaching.

Why Moodle and Collaborate Ultra?

They provide structure and a central location to engage with students.

They support groups of different sizes and already have the relevant groups for teaching.

Both platforms are GDPR and data protection compliant.

They make learning accessible and inclusive

Moodle allows students to work in a self-paced manner.

Moodle works well on slow connections and across time-zones.

Moodle is good at managing 'contact points' for student engagement and handling online submission of assessed work.

Contacts

You can submit a ticket through MySupport (now available off-site), email us at dlsupport@arts.ac.uk for support or get in touch with your college Digital Learning staff.

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Guidance and training to help you provide high quality teaching online You can use Moodle and Collaborate Ultra to teach online and ensure that your students benefit from a high quality learning experience. These digital tools provide the balance of 'content' and 'contact', which is important in helping students reach their Learning Outcomes.

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What works for you?

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Education: from school closure to recovery

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After the historic disruption of the COVID-19 pandemic, most schools are back open worldwide but education is still in recovery assessing the damage done and lessons learned. The pandemic affected more than 1.5 billion students and youth with the most vulnerable learners were hit hardest.

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"Survey respondents expressed a strong desire for better guidance at the national level as they work to navigate the many dimensions of this situation. They are also
seeking access to good practices modelled by other HEIs. "

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Research and trends

Publication date March 2020

Topics

Mobility

Student experience

What has been the impact so far of COVID-19 on international education, and how are higher education institutions responding to these unprecedented new challenges? Based on over 800 survey responses from practitioners across the European Higher Education Area, 'Coping with COVID-19: International higher education in Europe' analyses the impact of coronavirus on mobility, campus culture and more.

Did you enjoy this resource?

Members have full access to all EAIE resources. Become a member today!

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Research and trends Publication date March 2020 Topics Mobility Student experience What has been the impact so far of COVID-19 on international education, and how are higher education institutions responding to these unprecedented new challenges?

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A constant frustration has been rigid/fixed timetables. We design in February for a student cohort we will meet in 7 months time.

With the shift to online I have been able to split delivery to suit the week's ILO. Instead of two hours of a straight Production Design lecture for example we split the content across the week. We did a half hour recorded intro. 15 min recorded task with homework. A 30min walk around of a studio set and a 30-40min live session at the end of the week. We would never get this flexibility physically unfortunately and it is a shame. We are forced in to repetition based on room rotation rather than craft specific pedagogy.
[Media Production, Bournemouth]

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Marking large files from home will cause a lot of issues in the coming weeks. Home networks will not be up to the challenge and costs of downloading Grad Project size media folders. This will impact turnaround and anxiety.
[Media Production, Bournemouth]

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Students have expressed difficulty managing their time at home productively. Years of a fixed timetable and 9-5 schooling has left them lacking in true independence in terms of only "working when watched".

(Media Production, Bournemouth)

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The move to online has meant live events, studio work and location production has been shut down. At the moment, Level and course ILO's have been met before Covid-19. We would struggle if this lasted a year as staff and students see our course as an apprenticeship gateway to real careers. You can't hone a craft without tools and physical external experiences.
[Media Production, Bournemouth]

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Leadership Response = more Spread Sheets = more work

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Leadership Response = more Spread Sheets = more work

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INT – University Top Floor – Tea Break 2

Three suits spit tea around an expensive Board Room table at a news report declaring:

News Reporter

Lockdown! An official State of Emergency has been declared due to covid-19.

Head Suit 1

Quick! Open a Spreadhseet!

Head Suit 2

We need everyone to fill in Spreadhseets!

Head Suit 3

Do we have enough Spreadsheets? I'll order some more...

[Media Production, Bournemouth]

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A Survival Guide to Emergency Remote Teaching

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ELIA's latest virtual talk entitled Re-imagining Higher Arts Education Online focused on how higher education institutions are dealing with the speedy transition to online learning. Guest speaker Dimitrios Vlachopoulos, programme manager "EdTech for Social Change" at the Digital Society School (Amsterdam University of Applied Sciences), conducts research on new and emerging pedagogies, instructional design, digital transformation and quality assurance in online education.
During his presentation Dimitrios reminded us that we cannot compare face to face delivery with online teaching and learning. These are two completely different pedagogical models with different roles for faculty and students.

"A temporary shift of instructional delivery to an alternate delivery mode due to crisis circumstances. It involves the use of fully remote teaching solutions for instruction or education that would otherwise be delivered face-to-face or as blended courses and that will return to that format once the crisis or emergency has abated." (Hodges, Moore, Trust & Bond, 2020)

Current support models concerning those who are working in this new realm might include full-course design support, professional development opportunities, content development, learning management system training and support, and multimedia creation in partnership with faculty experts. However, there is no doubt that this transition has had its pain points.

Here are four steps Dimitrios suggests educators take in order to alleviate some of the inevitable confusion:

1. Understand the minimum institutional expectations
As we are in an unusual situation, it is important to have a clear in mind what is expected from you and your colleagues. The reputation of your institution in terms of quality assurance is at stake and needs to be maintained.

2. Be aware of all resources provided by your institution
Budgets may need to be readjusted, media assets and learning materials used in different ways, equipment and IT staff should be on hand to help. Some of your colleagues might be experts in this field or might have experience they are willing to share.

3. Identify the contact people who can give guidance
Know who you can go to for technical support, the purchase of software licences, help on choosing the right online tools. Who can you call on to come to your aid if you need it.

4. Create a plan and ask for feedback and/or approval
You have developed a strategy now you need an implementation plan. Create a plan that is achievable and timely, and seek feedback from others.

Dimitrios reiterated that there is no escaping that this is a crisis situation and while there is flexibility with this emergency context, educators need to be mindful that this is not a normal semester nor should it be treated as one (Vlachopoulos, 2020).

The wellbeing of students and faculty also needs to be protected at this time. As faculty jump into action mode, producing new learning materials and rewriting courses for online study, we need to be careful not to burn out. Our skills are needed. Transitioning arts disciplines online in particular requires innovation and ingenuity. Educators should consider how multimedia and video could be used more effectively. Is there room for simulation or the gamification of exercises? Don't rush into purchasing tools without considering fully what the desired learning outcomes are.

During the open Q&A session, Sarah Meltzer Golan joined from the Jerusalem Academy of Music and Dance. She was surprised to see how her colleagues had discovered ways they could teach dance online even though the students didn't have the studio or physical contact.
Sarah's school invested in more than 150 licences for video conferencing andtrained all their faculty for a few days around the clock. Different learning styles were quickly put in place for students who did not have access to online technology and the Academy are pleased with how this solution is currently working.

Michael Li from the Hong Kong Academy for Performing Arts then explained that they are also using video calling to teach dance classes. He has embraced this period as a time for experimentation -

"It has made us rethink the way we deliver performing arts. I think it's a great opportunity to seize on and do something fantastic and that's exactly what I'm doing. I'm very excited."

To view a recording of this ELIA webinar, please contact conference manager Janja Ferenc, at janja.ferenc@elia-artschools.org.

References

Hodges, C., Moore, S., Lockee, B., Trust, T. & Bond, A. (2020). The Difference Between Emergency Remote Teaching and Online Learning. Retrieved from EDUCAUSE REVIEW at https://er.educasue.edu/articles/2020/3/the-difference-between-emergency-remote-teaching-and-online-learning

Vlachopoulos, D. (2020). COVID-19: Threat or opportunity for online education? Higher Learning Research Communications, 10.

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News - A Survival Guide to Emergency Remote Teaching

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ELIA's latest virtual talk entitled Re-imagining Higher Arts Education Online focused on how higher education institutions are dealing with the speedy transition to online learning. Guest speaker Dimitrios Vlachopoulos, programme manager "EdTech for Social Change" at the Digital Society School (Amsterdam University of Applied Sciences), conducts research on new and emerging pedagogies, instructional design, digital transformation and quality assurance in online education.