Examining the potential of experiential learning as pedagogy for senior undergraduate students

Author(s):  
Shauna Brail ◽  
Kate Whalen
2017 ◽  
Vol 6 (4) ◽  
pp. 384-390 ◽  
Author(s):  
Joanna L. Morrissey ◽  
Joseph A. Beckett ◽  
Ross Sherman ◽  
Lisa J. Leininger

As undergraduate students prepare to enter the workforce and become engaged members in their communities, it is necessary for universities to provide students with opportunities and resources to develop the knowledge, skills, and attitudes needed to be successful in their professional, personal, and social pursuits. Experiential learning is one approach that may be used to facilitate and strengthen the learning process for undergraduate students. Grounded in experiential learning, Kinesiology-specific service learning and internship programs can help students develop the skillset needed to be successful in their major and future careers. To best facilitate students’ learning, it is imperative that such academic programs build collaborative, sustainable and genuine campus-community partnerships. This paper presents a series of practical and successful partnership-building strategies from three unique institutions.


2020 ◽  
Vol 44 (1) ◽  
pp. 99-103
Author(s):  
Patricia A. Halpin ◽  
Ann E. Donahue ◽  
Kathryn M. S. Johnson

Experiential learning experiences (ELEs), opportunities for students to apply knowledge and skills critically in a hands-on environment, are fundamental to the apprenticeship model of biological and biotechnological sciences. ELEs enhance student-learning gains, increase career readiness, and provide important networking opportunities. However, students do not often recognize the benefits of ELEs. Reflection is a highly effective tool to articulate learning gains and connect new content with established knowledge. Therefore, senior undergraduate students ( n = 23), majoring in biological sciences or biotechnology, wrote required reflective essays about their ELE, in response to an intentionally vague prompt. Qualitative assessment of the reflective essays identified themes present in the reflective essays that typically included descriptions of what students did, with whom they worked, and what they learned during their ELE, but lacked critical analysis or deep reflection about their experience. Differences were also present between different types of ELEs. These results provide a foundation for guiding students to deeper reflection, ultimately resulting in greater benefits from their ELEs. To promote more robust reflection, and, therefore, theoretically enhance learning gains from ELEs, we suggest multiple iterations of reflection, instructor feedback and coaching, and ELE-specific prompts that focus on the placement of ELEs within students’ personal and professional trajectory.


2020 ◽  
Vol 40 (1-2) ◽  
pp. 83-101
Author(s):  
Antje Budde ◽  
Sebastian Samur

(A project of the Digital Dramaturgy Lab at the Centre for Drama, Theatre and Performance Studies, University of Toronto) This article discusses the 2017 festival-based undergraduate course, “Theatre Criticism and Festival Dramaturgy in the Digital Age in the Context of Globalization—A Cultural-Comparative Approach” as a platform for experiential learning. The course, hosted by the University of Toronto’s Centre for Drama, Theatre and Performance Studies, and based on principles of our Digital Dramaturgy Lab, invited a small group of undergraduate students to critically investigate two festivals—the Toronto Fringe Festival and the Festival d’Avignon—in order to engage as festival observers in criticism and analysis of both individual performances and festival programming/event dramaturgy. We argue that site-specific modes of experiential learning employed in such a project can contribute in meaningful ways to, and expand, current discourses on festivalising/festivalization and eventification through undergraduate research. We focus on three modes of experiential learning: nomadic learning (learning on the move, digital mobility), embodied knowledge (learning through participation, experience, and feeling), and critical making (learning through a combination of critical thinking and physical making). The article begins with a brief practical and theoretical background to the course. It then examines historical conceptions of experiential learning in the performing arts, including theoriesadvanced by Burnet Hobgood, David Kolb and Ronald Fry, and Nancy Kindelan. The importance of the festival site is then discussed, followed by an examination of how the festivals supported thethree modes of experiential learning. Samples of student works are used to support this analysis.


Author(s):  
Veronica Sanchez-Romaguera ◽  
Robert A Phillips

Drawing from several years of experience, this work describes lessons learnt in designing, delivering and assessing two interdisciplinary enterprise units offered undergraduate students from any discipline studing at the University of Manchester (UK). Both units are electives (optional). One unit is delivered to first year undergrdaute students whereas the other unit is delivered to third/fourth year undergraduate students. Experiential learning and interdisciplinary cohorts are core aspects of both units. Students work on ‘real-world’ projects to develop a credible and competitive solution within a tight dead-line. In this paper, findings are drawn from data collected from staff and teaching assistants observations, students’ reflective diaries and students’ feedback. Findings showed that in general, students at both levels, year 1 and year 3/4, regarded the experience challenging at first due to the ‘unusual’ learning environment when compared to the education that most students have experienced prior to the units here discussed. However, most students highly regarded the interdisciplinary experiential learning experience. The paper contributes to the growth of knowledge and aids understanding of how experiential learning and interdisciplinarity have been effectively combined and introduced in the university curriculum. Although this works focused on enterprise education the experience-based guidance here described is also applicable to a much wider range of situations and academic areas of study. Keywords: Enterprise and Entrepreneurship Education; Employability; Experiential learning; Interdisciplinary education;


2020 ◽  
Vol 30 (1) ◽  
pp. 25-30 ◽  
Author(s):  
Mary Rogers ◽  
Illana Livstrom ◽  
Brandon Roiger ◽  
Amy Smith

Growing North Minneapolis (GNM) is an urban agriculture and youth development summer program sited in the North Minneapolis, MN, neighborhood. The program is a university–community partnership between faculty at the University of Minnesota (UMN) and North Minneapolis community partners. We leverage resources from the city of Minneapolis Step-Up program to recruit, train, and employ youth (14–15 years old) who face barriers to employment—particularly youth from low-income families, youth of color, youth from immigrant families, and youth with disabilities. Youth interns are placed in a 10-week-long summer program and are matched with undergraduate student mentors from the UMN and North Minneapolis gardener mentors. The undergraduate students and garden mentors work together to lead teams of youth and work in multiple urban garden sites located in North Minneapolis, a designated low-resource community in the metro area. One of our goals is to develop leadership experience for UMN undergraduate students and improve food and horticultural skills among urban youth through garden-based education. Learning is experiential and contextualized in the various community garden sites through activities focused on food justice and accessibility, food production systems, and horticultural science. Youth learning and development outcomes are reported based on written postprogram qualitative survey questions prompting youth to identify what they learned throughout the program, what they enjoyed the most, and what challenged them after the summer program in 2018. Our results show that youth participants learned across multiple domains of knowledge and valued the social interaction offered by the intergenerational mentorship structure. The GNM program can serve as a model for garden-based experiential learning with early high school youth.


Author(s):  
Arthur Hochman ◽  
Kelli J. Esteves

Abstract: University educators designed and co-taught a course which involved collaborative artmaking and learning with a community-based arts organization that serves individuals with disabilities.  Their goal was to help university students examine the potential of art and how it applies to their personal and professional lives. They sought to better understand how to nurture a feeling of artistic agency in undergraduate students who do not define themselves as artists. Educators found that students benefited from an exploration of art fear through an inclusive approach to art creation. Keywords: Art fear; Disability; Collaborative artmaking; Higher education; Experiential learning. Résumé : Des éducatrices et éducateurs universitaires ont conçu et co-enseigné un cours axé sur la création artistique et l’apprentissage coopératif au sein d’un organisme communautaire voué aux arts qui dessert des personnes en situation de handicap. Leur objectif était d’aider les étudiant.e.s universitaires à analyser le potentiel de l’art et son impact sur leur vie personnelle et professionnelle. Ils voulaient savoir comment alimenter une volonté d’action artistique chez des étudiant.e.s de premier cycle qui ne se considèrent pas des artistes. Les éducatrices et les éducateurs ont remarqué qu’aborder la peur de l’art sous une optique de création artistique inclusive était bénéfique. Mots-clés : peur de l’art, handicap, création artistique collaborative, éducation supérieure, apprentissage expérientiel.


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