LDT Microteaching LCC Friday 7 February 2025

‘Objects’ I encounter in my role are digital evolutions of once-physical items  —CVs, Cover Letters, and Portfolios — now exist in cyberspace, filtered through online databases. I teach graduates how to navigate these spaces using traditional ‘objects’, relics of an obsolete employment world, in a new, mysterious, evolving, and often opaque graduate job market landscape. Encouraging learners to consider applications as physical objects moving through an unknown space helps them understand the voyage they take beyond the ‘apply’ button, and begin to consider the potential employer’s perspective. 

Rather than running a standard CV workshop, which has a fairly standard process, I wanted to explore object-based learning in relation to professional portfolio development, as candidates rarely have the chance to verbally guide recruiters through the very personal artefact. This is a more pertinent challenge for graduates: learning to create distilled, yet engaging professional portfolios, moving away from text and verbal language to convey thoughts and emotions, tell a story, or showcase skills, experience, creative motivations, practical decision-making, and change.  

Graduates often ask how to best showcase their projects and stand out against other candidates. It is essential that decisions and development of ideas are demonstrated using visual prompts, with minimal use of annotations for wider comprehension and relating to the needs of the role / business aims. I designed an interactive session where participants explored non-verbal storytelling through object interaction, taking the process back to basics, reflecting the key challenge of portfolio design. 

Session plan  

Participants engaged in a structured activity using a physical object (a toy), taking turns as the ‘object handler’ while others observed. Each round, they recorded emotions, ideas, and interpretations before swapping roles. Actions included: 

  • Introduction / Observation (10s) – Initial static viewing 
  • Interaction as Handler or Observer (3 min per action) – Hold, Shake, Protect, Hide, Destroy 
  • Reflection & Discussion (5 min) – Sharing observations 

Feedback and Key insights 

My desired learning outcome was to see how participants would encounter abstract communication but still decipher personal meaning, and uncover or communicate through non-verbal movement, beyond the human defaults. Many participants expressed confusion, like being part of an experiment, prone to misinterpret without clear guidance. This let me know that scaffolding the activity with context earlier rather than after could avoid alienation, however the uncomfortable yet emotive process gleaned strong results. 

I found out that the object holds just as much significance as the action unto it, with connotations of personification coming through. Many associated it with childs-play, power dynamics, control, or fragility, reinforcing the importance of visual cues in storytelling as a strong basis of context, type of motion, and playing around with the observer / handler dichotomy.

I provided an impartial object, however linking to professional practice and real-life examples of how to apply this interactive group process, I could instead instruct participants to bring their own portfolio pieces and experiment with layout and visual storytelling with peers. Plus initiate a follow-up session to assess whether this activity improves portfolio clarity and engagement, or brings up more questions and doubt.

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Reflective post 1: How art became a force at Davos by C.Becker

Author Carol Becker, former professor and dean at Columbia University School of the Arts, reflects on the role of artists at the World Economic Forum’s (WEF) annual meeting in Davos – a town in the Swiss Alps that turns into a thriving mini city hosting international thinkers and speakers.

“any effective agenda for changing the world must include the force of visionary artists” (Becker, 2019).

The article’s insights reminded me of how creativity can permeate unexpected spaces and how artists assert themselves within global discussions traditionally dominated by business and politics.

The WEF’s tagline is ‘bring together governments, businesses, and civil society to improve the world’, yet I find it curious that artists were initially absent from these conversations, not originally considered in this realm as big thinkers who can effect change. Becker’s highlights the effort required to routinely integrate art into Davos, a space usually associated with profit and policy rather than creative expression. For UAL: should its “The World Needs Creativity” tagline be championed beyond the arts sector? Beyond our walls and ears? Should we push for artists to be recognised as essential thinkers in shaping society and policy? This would improve the job market, better linking graduates with career prospects and direction.

This article resonated with me while preparing my ‘Skills for Now and the Future’ webinar for graduates struggling to establish their careers. Many lose motivation by early January, and feeling helpless if they haven’t secured a sustainable job by February. I considered referencing Becker’s article in my webinar, reinforcing the idea that artists monitor global shifts and attempt to repair the world’s disturbances (Becker, 2019). This perspective is crucial for graduates to recognise their own value beyond traditional career paths or reconnect with their reasons for pursuing this starting point. And highlight the notion that a graduate’s fresh mind and new learning is a positive contribution, not a hinderance to the wider world and for them trying to figure out a future within it.

During a workshop discussion, my peers and I explored key themes such as positionality and infiltration—how creative professionals can carve out space in unfamiliar territories, and their presence and background is just as powerful as the content they deliver. However, I remain cautious about the role of artists at Davos. Does their presence serve a meaningful purpose, or are they used for sensationalised spectacle, offering shock-value experiences to break up corporate monotony? The question remains whether artists are truly being integrated or merely commodified as a form of high-profile entertainment. Novelty-seeking up a Swiss mountain?

As this article was published in 2019—post-Brexit but pre-Covid-19—I was curious to see if Davos still platforms artists today or if economic challenges have deprioritised creative contributions, as they often do. Reviewing the 2025 programme, I found that Arts and Culture remain integral, alongside voices like David Beckham! A key theme this year reflects sentiments from my skills workshop:

“The Intelligent Age holds immense potential for artistic expansion, but it also demands that we fiercely protect what makes human creation so powerful” (WEF, 2025).

This reinforces the necessity of equipping graduates with the mindset that their creativity is not just career-focused but a lifelong skill with the power to influence global conversations.


Harvard References:

Becker, C. (2019) ‘How art became a force at Davos’. World Economic Forum. Available at: https://www.weforum.org/stories/2019/02/how-art-became-a-force-at-davos (Accessed: 19 Feb 2025).

World Economic Forum (2025) Arts and Culture Programme. Available at: https://reports.weforum.org/docs/WEF_Arts_and_Culture_Programme_AM25.pdf (Accessed: 19 Feb 2025).

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Case Study 3 – Assessing learning and exchanging feedback

Contextual Background

One of the persistent challenges I face in delivering graduate career support is motivating graduates to engage with learning beyond their immediate needs. A primary method of enticing participation is through the offer of a personalised CV review. This tends to draw interest, as it is perceived as a practical and immediate step toward employment. However, this surface-level engagement often overshadows deeper developmental needs, such as reflection, strategic positioning, and industry understanding—areas that are critical in an increasingly competitive graduate job market.

Evaluation

To access this support, graduates are directed to pre-read a curated selection of online resources. Yet, positioning this as a prerequisite often proves counterproductive. It introduces a perceived barrier and diminishes the appeal of the CV review as a ‘quick fix’. This is further complicated by the legacy perception of higher education as transactional. As Curry (2017) explains, “students are encouraged to think of themselves not as students, here first and foremost to learn, but as customers, whose priority is a practical return on their ‘investment’.” From this standpoint, anything that delays or complicates access to a tangible outcome—like a reviewed CV—can reduce trust and engagement.

This challenge is compounded by institutional constraints. Our employability learning resources are available via the university website rather than through Moodle (the VLE), and although recent graduates can access an additional year of enhanced online support, awareness of this offer is low. To address this, I make direct contact with hundreds of graduates throughout their first year after university, encouraging engagement by offering the personalised CV review. Despite this labour-intensive method, it is the promise of bespoke, individual feedback—not the wider learning potential—that typically secures participation.

Moving forwards

This insight prompted me to reframe my approach to CV reviews, moving beyond task completion toward skills development. Inspired by Curry’s (2017) discussion of the “enchantment of learning”—the intrinsic value found in engaging with material meaningfully—I now emphasise CV writing as a transferable life skill. It demands research, critical awareness, reflective practice, and clarity in communicating positionality—skills vital for navigating not just careers, but life in broader terms. To evaluate and improve my practice, I will embed small, formative checkpoints which allow me to monitor comprehension, provide feedback, and reframe CV writing as a creative process: a dynamic expression of identity, industry direction, and personal branding.

Although many graduates initially resist engaging with CV writing beyond its surface function, repositioning it as a site of creativity and expression has encouraged deeper involvement. As Curry (2017) puts it, “the concrete magic of enchantment is often unwelcome; it is truly transgressive.” CVs need not be soulless professional artefacts—they can be living documents of self-understanding and ambition. Evaluating how this reframing affects graduate confidence and employability is an ongoing process, but early feedback suggests a growing openness to this more holistic, developmental approach.

Similarly, Brooks’ (2008) research highlights how vague or uncontextualised feedback can be demotivating and even alienating. A key takeaway from her work is that emotionally resonant, dialogic exchanges, like one-to-one tutorials, foster a greater sense of belonging— this approach aligns with the values of student-centred learning and inclusive practice. Students in Brooks’ study craved belonging, clarity, and encouragement, not just comments or grades. This speaks directly to my experience: what’s needed isn’t just better CV resources—it’s an invitation to learning through connection and trust.

References

Brooks, K. (2008) ‘Could do better?’: students’ critique of written feedback. University of the West of England, Bristol.

Curry, P. (2017) Enchantment: Wonder in Modern Life. Abingdon: Routledge.

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