Image Darren Wilson via Midjourney

As we move into the final stretch of our course work in the MALAT program, we start to put all the pieces together: Digital networks, learning theory, instructional design, and facilitation.

3 Initial Thoughts, Ideas, or Feelings

  1. Although I consider myself a strong public speaker and lecturer, with my teaching activity grounded in my subject matter expertise, I recognize facilitation as a unique skill set, one which I have not yet had much guidance in developing. I am equal parts excited and nervous about this. 
  2. In our readings from Boettcher (2022) and Bull (2013), the suggested level of engagement caught me off guard. Daily communication between instructor and learners? In my teaching context (and workload), that level of engagement would be unsustainable. Thankfully, Bull also suggests that as long as expectations are set regarding the engagement level, less frequent engagement can also work.
  3. My current context is primarily in-person, but supported by technology. The best practices and teaching roles described in the readings have already given me ideas for how to better engage with my students in this kind of hybrid delivery model. I look forward to digging into some of the facilitation techniques with my team.

2 Questions

  1. When instructional designers create courses for others to facilitate, how do they manage the needs of the learners and the needs of the facilitator(s)? 
  2. SWUX LXD (n.d.) emphasizes authenticity as a core sustainable goal in learning experience design. In situations where the facilitator is not the designer, how might they manage delivering a learning experience design that feels inauthentic to them? Is there room for flexibility?

1 Metaphor

I have often described teaching as a performance art, one which incorporates a high degree of improvisation. 

That can mean being an actor on stage, having to ad-lib lines when they (or a fellow actor) might flub a line or go off-script. Or it could be more like jazz musicians following a score to faithfully perform standards, but with freedom to improvise solos at prescribed breaks, while still playing in time, in key, and following the chord structure of the piece as written. Or it could be like improv comedy, where performers are given only a brief prompt, and they riff off each other and the energy in the room to create something new and exciting that has never been seen before.

Sometimes, it feels like elements of all three.

References

Boettcher, J. V. (2022). Ten best practices for teaching online. Designing for Learning. http://designingforlearning.info/writing/ten-best-practices-for-teaching-online/

Bull, B. (2013). Eight roles of an effective online teacher. Faculty Focus. https://www.facultyfocus.com/articles/online-education/eight-roles-of-an-effective-online-teacher/

SWUX LXD. (n.d.). Six principles for transformative learning experiences. https://www.swuxlxd.com/blog/six-principles