Gwaith Ieuenctid a Chymuned

Objectives: 

• Ice breaker (which builds a connection between pairs)
• Participants will have to interact and adapt their communication skills to help their team member 
• Participants will reflect and evaluate their performance as a pair
• Improve communication and listening skills and to highlight the importance of trust when working in a team or pair

Overview: 

This physical task engages the whole person in supporting a colleague and ensuring their safety through good communication.  The activity can be used at any time during the session, however it is highly effective as and ice breaker.  It is a fun method to start participants communicating and is simple to deliver in an appropriate environment and can be adjusted depending upon group size, age etc. However health and safety is paramount and you must consider the appropriateness of the group and room for this challenge.

Activity:

You should initiative this activity by stressing the nature of the challenge and stressing that the safety of those involved is paramount.  You can also agree across the group that “stop” can be initiated by any member of the team by raising a hand if they don’t feel that it is safe to proceed.  This can be actioned by anyone and will not result in any penalties.

To run the task, gather the group outside the room and:

1. Scatter furniture that can be used as obstacles but ensuring that safety is not compromised. 
2. Put team members into pairs and should decide amongst them who is to be blindfolded first. 
3. The sighted and blindfolded member should stand at one end of the room. 
4. Aim of the task is for the sighted individual to guide their partner across the room and giving concise information to avoid the obstacles. 
5. Once each team reaches the other side, the pairs are to swap roles 

It could also be possible to create a preferred route or course (as seen in horse show jumping) which they need to accomplish (if you didn’t wish to use obstacles for safety or mobility reasons) which would lead the pair to particular numbers/letters indicated on the wall.

Subject specialisms could also be tested by placing knowledge based answers on the walls and asking the pairs to walk to their answer through the course (see QAARunaround for details of how to do a multiple choice but don’t mix the games in play for safety reasons).

Skill Development: 

This task requires listening and communication skills and also helps builds trust and connections across the pairings.  However the skill development and improved future practice comes from evaluating performance across the group and understanding how and when particular techniques were effective and what lessons that provides for the future.  It is important to acknowledge fears and concerns, or frustrations between the pairings but keep the discussion to the general learning, rather than focusing upon particular experiences of individual pairings as the depth of learning will come from the lessons that can be applied in future group work or communication challenges.  These lessons include clear communication; agreeing ground rules for working together; recognising the need of feedback or support; understanding the importance of clear short messages within these circumstances etc.

Resources:

• Blindfolds
• Large room  - large, safe, open space
• Items that can be used as obstacles which will act as safe barriers (not fall over; not hurt if walked into – no sharp edges)

Objective:

• To provide students with a greater understanding of the principles behind effective communication.
• To provide students with a greater understanding of the importance of a personal brand, and how a personal brand is developed.
• To provide students with a greater understanding of how communication strategies and brand apply to individuals and businesses in a social media context.
• To provide students with the ability to utilise social media to generate opportunities for themselves and their enterprises. 

Overview:

'Being Heard' is a presentation which can be delivered to a group of any size, and tailored to ensure its relevancy to any audience. 

The ability to communicate effectively through social media is becoming of increasing importance, to individuals and to businesses. Those who master it, are able to generate more leads, find more opportunities, and get their message heard more clearly, than those who don't. Though social media itself is anew phenomenon, many of the principles behind its effective usage are not: clear communication skills, and a strong brand identity, lie at the heart of it. 

Being Heard is a workshop which to introduce students to these themes, discussing the importance of social media as a communication tool, exploring communication strategies and effective branding, and investigating cases where these have been put to effective use within a social media context.

The activity is designed to fit within a typical one hour lecture session, with ample opportunities for extension, and through practical activity, group discussion or independent research, could easily form the basis of a more comprehensive scheme of work on the subject. The AV presentation for use in the delivery of the workshop can be downloaded via the link to the 'ZONE Enterprise Hub' webpages listed in the resources and references at the end of this document. 

Activity:

(See Resources / References for materials to accompany the delivery of this activity).

Activity Part 1: Introduction

• The themes of the workshop are introduced to the audience.
• The group share which social media platforms they use, what their aims and objectives are with using each, and fi they have ever reflected on how to use these platforms to greatest effect.
  

Activity Part 2: Communication

• The group explore principles behind effective communication (I any arena), namely; presentation structure, the use of tools, and powerful delivery.
• Here, the group explore how they would structure presentations on various themes, how tools (pictures, videos etc.) could make this delivery more effective, and how the use language and tone impact on information being communicated.
• This section follows the format of the workshop 'How to Speak in Public', a guide and resources for which, can be found in the 'Resources / References' section of this document.
  

Activity Part 2: Personal Brand

• Students are presented with the logos of various companies, and discuss the words and feelings which a brought to mind when they see each.
• They discuss what the reasons for these are, and the actions companies have taken to bring them about.
• Next the process is repeated with individuals (as opposed to companies) and the same questions are explored.
• Students reflect of the words and feeling they would wish to be brought to mind when their name was heard (and their objectives in wanting these associations). They reflect on the actions they could take to bring about these associations. 
  

Activity Part 3: Social Media

• Students discuss how each of the points discussed in communication and branding applies within a social media context.
• Real world case studies are explored, seeing how individual social media posts, series of posts, and users' platforms as a whole, adopt the above to great effect.
• You may wish to include your own case studies in this section, to ensure the workshop is up-to-date and maximally relevant to the audience. 

Activity Part 4: Conclusion

• The main themes of the workshop are re-capped.
• Students are invited to share a post regarding their experience of the workshop, via their own social media channels.
• You may wish to recommend a specific hash tag for students to include in this post. 
  

Skill Development:

• Students will have greater awareness of the importance of strong communication skills and a well-developed personal brand, and a better understanding of how to achieve these.
• They will understand how these themes relate to social media, how social media can be used advantageously, and how this related to their own studies, careers and endeavours. 

Resources:

• Copies of the slides which accompany this presentation can be downloaded here ? Being Heard [PDF]
• For a How To Guide expanding upon the communication elements explored in Being Heard, see 'Workshop: How to Speak in Public.'

References:

• Zone Enterprise Hub, Topic: ZONE Resources. 2015. [ONLINE] Available at: https://moodle.glyndwr.ac.uk

Associated Case Studies

• Workshop: Being Heard (QAA 5,7)

Objective:

• To develop students communication skills.
• To encourage students to understand context when communicating.
• To encourage students to consider the real-world context for their subject area, and the skills they are developing.

Overview:

The ability to communicate your ideas clearly, confidently and effectively is essential in enterprise, and for any study and career a student may undertake. However, no to audiences are the same, and so, to be maximally impactful, no to pieces of communication should be the same either.

This simple activity can be run as a 5 minutes warm up or plenary to a session, or be expanded upon to fill a session in its own right. It works equally well with small or large groups, and requires no materials or preparation. It works well as a revision tool at the end of a lecture, topic, or module.

It encourages students to reflect on who their audience are whenever they're communicating, and to consider their language, tone, and points of reference to ensure that their message is understood as clearly as possible. It allows students to consider how their skills may be applied in a real world context, and to consider how their field connects with others.

Activity:

• Provide students with a piece of information which they are required to communicate. This could be something general (for example, what they do at University), or something relevant to the prevailing context and subject matter (for example, the plot of Hamlet, how a car engine works, or how the European Union was formed).
• Next, provide students with three hypothetical audiences which they must present this information to. The three audiences should be distinct from one another (for example, a 5 year old, a friend and a grandparent; a website developer, a graphic designer and a plumber; a British client, an American client and an Australian client).
• Instruct students that they should prepare a mini-presentation (30 seconds – 1 minute) to communicate their piece of information to each of these hypothetical audiences. They can do this alone or in small groups, and make any notes if desired.
• In completing this activity, the students are required to think about the language and reference points which will be familiar to each of their audiences, and how the key information can be communicated without anything becoming lost in translation.
• Students can then present their mini-presentations to the group for feedback and discussion.
  
  

The activity can easily be extended in a number of ways;

• The topic and / or audience can be kept a mystery from the audience, who have to guess what they are as the individual / group presents.
• The students can select three audiences themselves, reflecting on likely audiences for the information being communicated.
• The task can be used to consolidate key information students require, as a revision tool.
• The students can produce full presentations for their hypothetic audiences (for example, a web designer's sales pitch to a customer, or an economist’s evaluation of the economy to a public radio audience). These can be presented, recorded, or even tested in a real-world environment.

Skill Development:

Students will enhance their communication and public speaking skills, with a greater understanding of the importance of meeting the needs of your audience. They will have a greater appreciation of how their subject area connects with others, and of how their subject area operates within a real world context.

Resources:

• This activity forms part of the workshop outlined in How to Guide 'Workshop: How To Speak In Public'

References:

• BBC - The Speaker - Improve your public speaking. 2015. [ONLINE] Available at: http://www.bbc.co.uk/speaker/improve/ . [Accessed 28 July 2015].
• Corcoran, Mike. How to Speak in Public - YouTube. 2015. [ONLINE] Available at: https://www.youtube.com/watch?v=xMnh02odBNA. [Accessed 29 July 2015].
• McCarthy, Patsy, 2002. Presentation Skills: The Essential Guide for Students (Study Skills). Edition. SAGE Publications Ltd (pp70-106 & 219-236).
• Shephard, Kerry, 2005. Presenting at Conferences, Seminars and Meetings. 1 Edition. SAGE Publications Ltd (pp1-18 & 138-148). 
• Van Emden, Joan, 2010. Presentation Skills for Students (Palgrave Study Skills). 2 Edition. Palgrave Macmillan (pp1-61).
• Zone Enterprise Hub, Topic: ZONE Resources. 2015. [ONLINE] Available at: https://moodle.glyndwr.ac.uk/course/view.php?id=37§ion=11. [Accessed 28 July 2015].

Associated Case Studies

• How To Speak In Public

Objective:

• To explore the need for feedback and support within the learning process
• To understand the elements that support skill development and build confidence in execution

Overview:

This simple task is designed to help students understand the importance of effective support and feedback during any learning process, but particularly mastering a skill. This approach seeks to use a fun activity (standing on 1 leg) to demonstrate the importance of practice and guidance in achieving goals and improving performance. Reflection upon the learning experience seeks to provide lessons for future learning and illustrate how support, guidance and feedback can improve performance and experience.

Activity

This activity invites individuals to undertake the challenge to stand on one leg for the longest time. This challenge should be set by asking individuals to guess publicly how long they will be able to undertake this task.

(In a large group, you can ask everyone to keep their hands up if they feel that they stand on 1 leg for 5 seconds, 10 seconds, 15, etc until there are only a few left and ask them to state their time!)

Then demonstrate the task (or invite the person who had the most confidence in their ability to do it the longest) to undertake the task (*with the option to raise the arms from either side, at full stretch to meet above the head, hands palms-together).

Then invite each individual to think about what they need to improve the time they initially suggested - seek examples of

• Research
• Partnering or mentoring
• Questioning/ scoping
• Guidance
• Practice
• Advice
• Expertise

that might be sought to help them – and give them time to improve their time through practice before testing the group / individuals in a timed test.

Once these have been identified, invite them to take the support they think they most need (a partner; a mentor; printed guidance) or to undertake research (using smart phones or lap tops) and be prepared to repeat the task in 10 mins. They can use this practice time in any way they consider effective to improving their performance.

Repeat the challenge and explore with the group who, if anyone, improved during the 10 mins practice and what helped their performance. Explore with the wider group what supported them and gave them confidence in the challenge.

Explore the issue of skill development as part of their reflective practice (See QAA5ReflectiveDiary) by outlining how they have improved upon skill development in the past (learning to drive; learning the piano; golf; swimming etc).

Skill Development:

Effective skill development is created through practice, repetition, guidance or mentoring. Exploring with your students how they developed their knowledge and understanding of the task, and what or who helped them will help identify these core themes. Explore how their research, partnering, mentoring, guidance, questioning, advice etc helped them and identify lessons for future skill development.

By broadening out the discussion to include wider examples of skill development (learning musical instruments; learning to drive; learning to swim etc) you can explore the role of effective feedback and also role models and mentors in their development.

Use this simple task to draw out examples from the group and collate the lessons that they can take forward into future learning.

Resources:

Prepared set of support as print outs – questions; advice; guidance (printed out to share or per person should they be required) – or on a slide to showparticular groups or individuals who are interested.

Suggested Questions

1. Should you think you should have your eyes open or closed? Do you want a blindfold?
2. Is it better to move quickly or slowly?
3. Should you start quickly to get the task over with or start slow and risk running out of time?
4. Would working with a partner (or partners) make you feel more secure, or distract you?
5. Which bit of your body are you concentrating on?
6. Would music help?
7. Which leg should you use?
8. What surface do you want to stand on?
9. Are those the right shoes for this task?
10. What will you do with your arms?
11. Will you do your own timing?
12. What muscles are you contracting?
13. Would it help if you were getting feedback about how it looks during the task?
14. Would you like to receive comment at the end?
15. What research could you do before you tackle this task?
16. Have you ever done this before? (where? When? How did it go? What did you learn?)
17. Would it help to see it performed again?
18. What are you thinking about whilst you do this?
19. Do you want a practice run?
20. Do you want to watch someone else learn to do this?
21. Do you know about your vestibular system? This is a mechanism in your inner ear that tells you when you start wobbling, and how much and in which direction, and is your main tool in balancing. Becoming more sensitive to it will improve your balance greatly
22. Are you using your core muscles?
23. What are you looking at whilst you do this?
24. Are you in the correct mental state for this timed challenge?
25. Why is this task important to you? Why are you undertaking it?

Guidance: 3 stage approach

INTIAL ACTIONS

1. Ask your partner to hold the watch and stand close by to catch you in case you start to fall.
2. Decide which foot to lift (left foot if you're right-handed, right foot if you're left-handed)
3. Place an object approx 1m in front of you on the floor (a candle; book;)

PREPARATION

4.Stand barefoot on a flat, hard surface, approx 1m back from your object.

5.Anchor your feet ('plant' your feet on the floor) and stand evenly, spreading your weight evenly across your body, and breath several times slowly to anchor yourself.

6.Before you start, shift your weight very subtly to your chosen foot, without lifting and then settle yourself in this position and breathe deeply again.

7.Think about your foot anchoring down in the soil, and lightly tense your core muscles in your body (core stability) to ensure you are stable.

8.Settle your vision onto an immovable object little way in front of you in the floor.

ACTIVITY:

9.Lift chosen foot about 6 inches off the floor, bending your knee at a 45-degree angle.

10.Breathe slowly throughout, keeping your focus on your immovable point in front of you.

If you feel wobbly, try bending the standing leg very slightly at the knee.

Objective:

Effective engagement of Alumni seeks to support the students to become:

• be flexible and adaptable, seeing alternative perspectives and offering a choice of solutions
• review and evaluate multiple solutions in contexts that anticipate and accommodate change and contain elements of ambiguity, uncertainty and risk.

Overview:

With the pre-arranged (and prolonged) support of alumni (now professionals) this approach of continued access to external professionals (ideally programme/course Alumni) is designed to prepare students to be able to engage with real clients and better enable them to respond proactively to change.

Externals are invited to engage with the current student group as they undertake a task, using social media (facebook; twitter etc) an/or Skype. This creates either incremental weekly instruction that builds into an overall assignment or regular support or feedback on course work from externals.

Activity

This approach needs pre-agreement and commitment of externals (ideally Programme/course Alumni) who commit to short, but regular interaction through social media or Skype.

This activity can either be driven by a live brief or challenge identified by the external (higher level of engagement) or as comment and support to those undertaking the programme, through sharing expertise and current work experiences. If the students are working on a live brief or task given by the external, this high level of interactivity can mean that summative deadlines can changedand information updated, and the newsworthy or other high profile influences can be included throughout the module. (The assignment usually mirrors an actual assignment undertaken professionally by an Alumni professional).

This engagement can be “managed” by the tutor – to pre-plan some ambiguity or pre-agreed change of brief/scope with the Alumni contact, or left open to allow access to externals as an organic relationship, where advice may be sought by the students or experience/daily practice shared by the Professional as they see fit.

In addition, any presentation /show case or final assignment submission can be shared with the external and their input made part of the summative or formative feedback (assessment strategy).

Note that the choice of social media will impact on the type of engagement between alumni and students, but ideally something that the Alumni member uses regularly will ensure more regular engagement. Even small inputs (as typically seen in social media such as Twitter) can guide student approach and ensure that they are able to ask private questions, and that other students can also learn from the mentor/alumni generic comments or insights.

Skill Development:

Depending upon the level and type of engagement, students can benefit from insights from a ‘typical day/week’ of a professional working in their area, or be pushed to develop their tolerance to ambiguity (through changing deadlines, or unexpected changes to the brief or additional information). This can build resilience in the students but there needs to be clear expectations of this relationship, as well as additional tutor support.

Students typically respond well to changes and additional insights from professional Alumni and can develop their understanding and judgement, in their chosen field, whilst gaining further insight regarding professional practice.

Students should be bought together to share their experience of virtually engaging with their Alumni contact and explore their emotional responses to the changing briefs or additional information. They need to explore, and develop strategies, for coping with ‘real world’ brief/challenges and exploringthis together, and sharing how they dealt with it, and could deal with it in the future, builds their confidence and resilience to change. Using reflective practice to consider the learning across the group can draw out a range of key lessons for preparing for future challenges.

Resources:

Access to, and ongoing (committed) virtual engagement by appropriate alumni – determine brief/project or to commit to regular updating/comment for a pre-agreed period of time.

References:

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

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

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

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

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

Objectives:

After participating in this exercise, learners should be better-able to:

• Achieve higher assessment literacy
• Formulate and negotiate assessment criteria for a task, and undertake the task with the criteria firmly in mind;
• Think constructively about the weighting of assessment criteria;
• Undertake peer assessment of other teams’ performance;
• Undertake self-assessment by reflecting on their own group’s performance;
• Recognise the benefits of team work (and address some of the problems of working in teams);
• On the basis of a ‘fun’ exercise, take forward useful thinking on assessment design.

Overview

The task is for groups of learners to make a container to hold an egg that is capable of being dropped from a specified height and position in the room without the egg breaking. To do this properly you need about two hours in a large flat room, big enough to enable groups to work independently. This is a practice task to familiarise learners with the concepts of meaningful assessment criteria, weighting and agency of assessment and is particularly useful during the first six weeks of the first semester of the first year. It is presented as serious fun which improves learners’ assessment literacy. It’s also a good staff development exercise to get staff to think hard about assessment issues.

Learners in a class (16-70) are divided into groups of 4-6, at separate tables around the room, and provided with a range of everyday objects as resources, including an unbroken fresh egg. They are briefed to use the resources in a specified time to arrange that the egg can be dropped from a specified height and position in the room to ground level, and remain unbroken by the fall. They are to use the various resources in a creative way to achieve this. But first the groups must come up with around five assessment criteria, which will be used by the other groups to assess each group’s achievement of the exercise, and the whole group of learners must assign weightings to each of the criteria. One criterion is not negotiable: “The egg remains unbroken by the fall”.

Activity

1. Divide the learners into small teams (groups of about 4-6 work well). This activity can be done with a class size of up to 50, but for smaller classes the minimum group size is 3.
2. Advise the learners of the purpose of the task, emphasising that it is competitive but essentially fun, and that actually the discussion around the task is much more important to their understanding of assessment conventions than the task itself.
3. Issue the materials to the groups, instructing them that no other items may be used, including waste paper bins, people and furniture. Insist no one handles the materials and egg before the start signal. You may need to be very strict about this. You may also wish to ham up the rawness of the egg by chucking them to the learners or ‘accidentally’ dropping one. Get each group to check their egg is not cracked when they receive it.
4. Ask learners to brainstorm up to 5 criteria on which they should be judged (5 mins)
5. Collate the criteria on a flipchart or white board, and telling them that the egg not breaking is the non-negotiable criterion, get them to collectively prioritise their further criteria. Ask them to include both product and process in the criteria. (Typical criteria include effective planning, aesthetic beauty, sustainability (all items could be reused), using all items provided or smallest number of items, team all worked together well, everyone contributed to the task in some way, achieving the task within the set time, and so on). You shouldn’t need to spend more than 10 mins on this but if you get into discussing how you judge aesthetic beauty it could take 15 mins.
6. Explain the concept of weighting of assessment criteria. Tell them that the egg not breaking is worth 40% and ask them to propose weightings for the other four criteria that add up to 100% with the most important things being given the highest weighting. (5 mins).
7. Negotiate agreed weightings for the criteria for the whole group and put on flipchart or white board. (5 mins).
8. Get the whole group to think up who will actually do the assessmenti.e. agency for 5 mins. Forexample, most product items could be assessed by the tutor or the learners acting as peers rating other groups (inter-peer assessment). If they are judging items like how well they worked as a team, this will have to be rated within the group by four peers each rating the fifth, i.e. intra peer assessment. Self assessment might be used for example if a negotiated criteria is something like individuals contributing to the best of their capabilities or enjoyment. Even if you only use a couple of agents, its helpful to discuss the full range and mention that other possibilities on future group work might include employers, placement managers and clients. (10 mins).
9. Get the groups to talk for 5 mins about what they plan to do and insist no one touches the materials until you start the task. 
10. Start the task advising them they have say 8 minutes in which to complete it. You may wish to add to the sense of fun by blowing a whistle, setting a kitchen timer, phone timer or whatever.
11. Watch learners in action, talking no part in the activity but you may wish to record any breach of the rules which you can bring up in your moderation/summing up.
12. Stop the task exactly on time. Blowing your whistle loudly is fun! Notice any learners who choose to carry on regardless and decide whether to penalise them totally by giving no marks at all (this gives you a chance to mention things like plagiarism policies and rules on issues like mitigation) and the risks learners can run by ignoring the detail of assignment brief.
13. Allow each group in turn to come to the ‘dropping point’ and use their equipment to drop their egg from the specified height to the floor, and prove whether or not their egg has been broken, carrying out the assessment using tutors and peers as appropriate. If you have a lot of groups, this can take quite a while. Discuss the assessment of the first six or so in detail, and then tell learners that to do every one in detail would take ages and this is after all a game about assessment (but do drop every egg and check the egg isn’t broken or else learners will feel cheated).
14. It is really important to get the learners back into small groups after the assessment to discuss the assessment issues for at least five minutes (try to stop them having endless discussions about whether their design was actually best or whether they were fairly treated, and so on) and then have 5-10 minutes in plenary with you summing up the learning points.
15. You might then wish to issue to learners the assignment brief for the next actual assessment task that follows in their course or module, and get them to bring along to the next session any queries they have about criteria, weighting, agency or anything else, arising from their reflections on the egg game.

Skill Development:

• Assessment literacy
• Team working.
• Creativity and originality of design.
• Time and task-management.
• Learners formulating and agreeing assessment criteria for the task.
• Learners proposing and agreeing the weighting of the assessment criteria.
• Peer-assessment of other groups’ performances.
• Self-assessment and reflection on what happened in each group. 

Resources:

Flipchart of white board to display agreed assessment criteria.
Supermarket carrier bag, per group, in which you place:

• a pair of scissors
• a small roll of sellotape
• a selection of about 4 items from the following: a newspaper, a plastic cup, paper plate, tissue paper (or a tissue), length of string (about 2 metres seems to work well), cocktail sticks, wooden or plastic clothes peg, square of bubble wrap (if you want to make it really easy for them) or whatever is available.
• one uncooked egg in shell.

It is important that each bag contains more-or-less identical kit, otherwise appeals of ‘unfairness of assessment’ may arise (though of course you might wish this to be one of the matters which will arise, in which case allow some differences in the kit).

References:

• Brown, S. (2015) Learning, teaching and assessment in higher education: global perspectives, London: Palgrave-MacMillan.
• http://sally-brown.net

Author's Website:

http://sally-brown.net

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

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

• How to Guide Template
• Template Guidance

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

Objective:

(See Introduction)

Introduction:

Professor James Intriligator, Bangor University;

“In my “Consumer Psychology” module I teach students about advertising, marketing, and things like that. We watch lots of TV adverts and look at many posters, newspapers, websites, etc. We talk about the psychology behind all that.

Activity:

As part of their assessment they have a final project:  to develop a video to help sell “something”.  This something can be either THEMSELVES (to their next job), or a product (something they love), or a service (e.g. Bangor University, a surf guide, etc.).  They can do this either working alone or in a group of fewer than three. 

Impact:

(See learner outcome)

Learner Outcome:

“The students love this assignment and I have had some astonishingly good submissions. In fact, most of the submissions are of far higher calibre than
the written work our students typically develop (this generation seems more adept at video-storytelling)

Many students have used this material to help get them their next job – or at very least to think about their next job. They have learned a variety of enterprise-related skills, including team working, project planning, persuasion & communication, to name but a few.”

The examples of curriculum development for enterprise related outcomes were originally outlined by Neil Coles at the International Enterprise Educators Conference under the heading 'From Archaeology to Zoology; an A-Z of enterprise in the curriculum'. For his work in contextualising enterprise for any subject, Neil won the 2013 National Enterprise Educator Award.

Resources:

N/A

References:

• Bangor University. School of Psychology. 2015. [ONLINE] Available at: http://www.bangor.ac.uk/psychology/index.php.en. [Accessed 13 August 2015]. 
• Intriligator Selling Assignment Highlights - YouTube. 2015. [ONLINE] Available at: http://tinyurl.com/jamesSellingVideos. [Accessed 13 August 2015].

Author/Contact Details:

• Neil Coles, Senior Enterprise Learning Officer, Cardiff University (enterprise@cardiff.ac.uk)
• With thanks to Professor James Intriligator, School of Psychology, Bangor University (j.intriligator@bangor.ac.uk)

Objective:

• To provide final year illustration students with a holistic enterprise experience, from concept to market.
• To provide final year illustration students with the opportunity to develop, focus group, test trade and promote their own products.
• To equip final year illustration students with a wide-range of enterprising skills, for business and employment.
• To develop relationships in between Glyndwr University, schools and third sector organisations.
• To promote positive female role models in traditionally made dominated professions, amongst 8 – 12 year olds in North Wales.

Introduction:

Illustration students at Glyndwr University engage in ‘Negotiated Study’ modules in the final year of their undergraduate programme, engaging in real-world projects to develop their portfolio and equip them for the labour market. The nature of the creative sector entails that the vast majority of illustration graduates will encounter self-employment during their careers, and so well developed enterprising behaviours, and a strong entrepreneurial mind-set, are essential to their future success.

In 2011, three such students who had developed their own educational comic book ‘Clockwork Express’, partnered with science discovery centre Techniquest Glyndwr to develop their product, engage with its target audience, and to test the market. The project saw the students develop a wide range of enterprising behaviours, having to create ideas and identify opportunities, design and manage a multi-faceted project, respond to problems and moving parameters in real time, communicate effectively and establish numerous professional relationships, and work in a high pressure, uncertain environment. 

The project took the form of a comic book competition for school pupils, preceded by educational workshops, and succeeded by a public art exhibition.

It was a success, and served to propel the students on their chosen career paths.

Activity:

The project comprised of the development of original artwork and literature in the form of ‘Clockwork Express,’ and educational comic promoting positive female role-models to children, the concept for which had been developed by the group of students throughout their previous years of academic study. This was supported by the delivery of educational outreach throughout regional schools, and a multi-schools competition, eligible to all 8 – 12 year olds and inviting them to create their own original comic art inspired by the lives and achievements of female scientists.

The project was instigated by the students during the 2011 summer vacation, and culminated on International Women’s Day 2012.

The chronology of the project’s development was as follows;

1. Planning (Summer 2011 – September 2011)

• During the summer vacation of 2011, three students (who were soon to commence their final year of study in BA Illustration) met with Techniquest Glyndwr regarding collaboration. The students’ desire to promote positive female role models to children in male dominated professions coincided will with Techniquest Glyndwr’s own aims, and so the organisation were able to agree on a set of mutual aims and objectives going forward.
• The students (supported by Techniquest Glyndwr) identified a funding stream for their project (Arts Council of Wales), met with their representative, designed a project plan and budget, submitted a grant application, and were successful in securing a grant to deliver their project (commencing in September 2011).
• All persons involved with the project were then consulted to ensure their participation, and the specifics of the schedule devised prior to the funding application being submitted were agreed to.
• It was decided at this stage that the project would take a separate name to the comic itself, and hereafter the project was referred to as ‘She Inspired –with Clockwork Express.’

2. Promotion and Securing Schools Involvement (3rd October – 25th November)

• The students supported the development of promotional materials to launch the project, inclusive of a press release, mail shot to local school, and the development of bespoke pages on the Techniquest Glyndwr website (for which the students supplied the designs). As the project was being publically funded in Wales, the students worked with Techniquest Glyndwr to ensure that all of their copy was produced bilingually.

3. Development of Artistic Product and CPD (September 2011 – December 2011)

• The students researched and developed an original edition of the comic, as well as developing an educational outreach presentation – bringing the stories told within the comic to life and engaging children with the arts and sciences.  
• To support them in this, the artists received CPD support and presentation training from writers and presenters at Techniquest Glyndwr. 

Figure 1: Original Artworks created for the 'Clockwork Express' comic

4. Confirmation of Participating Schools and Competition Packs (December 2011)

• Students developed a ‘Competition Pack’ for participating schools. These were sent to schools via email bilingually, and through the post on request.
• Take up by schools at this stage was lower than had been anticipated. Students identified potential reasons for this, including; a lack of existing arts contacts within regional schools; mail out not reaching the relevant contacts with schools; Christmas priorities taking precedence over spring term planning when participation was being sought, amongst others. The students had to implement changes to respond to this difficulty (delay competition closing dates, widen catchment area for entrants etc.) and ultimately exceeded the participation targets they had set.

5. Educational Outreach (January 2012 – March 2012)

• The three students, acting as workshop leaders, delivered to participating schools an interactive educational outreach presentation, bringing the stories of those female scientists featured in the comic to life, explaining and demonstrating their creative process, and inviting children to engage with the competition aspect of the project.

6. Competition (January 2012 – March 2012)

• Participating children conducted independent research into the lives and achievements of female scientists past and present, and produced comic illustrations to bring these stories to life.
• During this period the upcoming exhibition was also marketed, through press releases disseminated via a number of mailing lists, mail out to participating schools, internal communications at Glyndwr University, the establishment of an International Women’s Day account via their web site, and the creation of Clockwork Express social media accounts which the students managed.

Figure 2: Competition Entries from School Pupils

7. Exhibition (8th – 31st March)

• The exhibition’s opening evening (Thursday 8th March) corresponded with International Women’s Day 2012. 
• On display was the work of the children selected as competition winners, original artwork from Clockwork Express, and displays of all entries submitted to the competition. The exhibitions were accessible to all Techniquest Glyndwr visitors for no extra cost, and every child who entered the competition received a voucher allowing them to visit Techniquest Glyndwr and the exhibition free of charge.
• Schools who entered the competition were also offered free centre visits to view the exhibition. Special Editions of Clockwork Express, containing the work of the winning children, were compiled and printed at this stage, and sent to schools along with free editions of Clockwork Express itself.

Figure 3: School pupils receiving certificates at exhibition opening

8. Evaluation

• After the project’s completion, students conducted a thorough evaluation, based on their own reflective experiences, and feedback gathered from school children, teachers and other partners. This evaluation contributed to the academic assessment of the project, and formed the basis of the evaluation required by the grant funders. 

Impact:

In total, over 1,950 people visited the exhibition of work created by the students and school pupils, and over 320 school pupils participated in the students’ outreach workshops.

To assess the quality of their work, the students gathered evaluation via forms, qualitative feedback, and consultation with participants throughout the projects duration.

Aim – “to use art as a means to promote female role models in traditionally male dominated fields, amongst 8 to 12 year olds in North East Wales”

• Both boys and girls responded positively and enthusiastically to Clockwork Express’ female protagonists, both during the educational outreach presentations and in producing their own work, and far from choosing to focus on a few obvious scientists, children uncovered the stories of a large number of females (22 scientists featured in total).
• Via formal evaluation, the statement ‘The project helped to promote positive female role models for my pupils’ scored an average of 5/5, and the statement ‘the aspirations of my pupils have improved as a result of the project’ scored an average of 4.3/5.

Aim - “to encourage children to create their own original art works and literature, providing opportunity for these being put into print and on public display”

• Through formal evaluation, the statement ‘I feel that the project helped to promote independent learning and research amongst my pupils’ scored an average of 4.7/5.
• The public exhibition was well attended with the total attendance figure comfortably exceeding the upper estimate off 1,500 visitors (approximately 1,950 visitors viewed the exhibition during its installation).
• The children’s work was also published, as promised, with copies of Clockwork Express, as well as a special edition containing the art work of children, being circulated to the regions schools.

Aim – “to promote and focus group the magazine ‘Clockwork Express’ and the use of sequential art to support broader curriculum areas and after school reading”

• The project raised awareness of Clockwork Express amongst local schools, education bodies and various education and gender equality organisations.
• The experience gained, and resources developed by the artists during the project have equipped them to promote their work at various comic conventions and conferences thereafter. Through formal evaluation, the statement ‘I feel that the Clockwork Express magazine would be a valuable resource within my class room’ scored an average of 4.7/5, and the statement ‘If projects such as this were to run again, I would be interested in my school talking part’ likewise, 4.7/5.

Partner feedback included;

• Lianne Evans – Teacher, Barker’s Lane Primary School Wrexham – “The children enjoyed every part of it [she inspired]. Thanks again!”
• Laura Sanderson – Art Teacher, Ysgol John Bright Llandudno – “Students gained a lot of knowledge about positive female role models and from the independent learning tasks and research skills. A positive for us as a secondary art department was also the cross curricular links with the science department.”
• Linda Sawyer– Teacher, St. Mary’s RC Primary School Wrexham – “The initial presentation inspired the children to find out more, the website was excellent as a resource to promote independent learning and the children all enjoyed researching women in science. They didn’t, along with myself, realise there were so many. The comic style appealed greatly to all of them and this was a lovely way to combine with our language and ICT work. The exhibition of all the children’s work was excellent and I’m sure all our children will enjoy visiting Techniquest to see it. I actually don’t think there was a least valuable. It was all very worthwhile. I think that if we have copies of the magazine in school this would inspire future classes and give them a model to work to. A really exciting project and we at St Mary’s look forward to working with you again.”
• Angela Davies – ContinYou Cymru – “[the She Inspired artists] approach and attitude to science is inspirational and although not scientists per se they would make excellent science ambassadors (especially for young girls).”

Learner outcome:

The students reported finding the project a real challenge, yet a worthwhile and rewarding one.

The broad scope of the project far outstretched the requirements of their academic assessment, and allowed the students to test a product which they were passionate about, with its’ target audience in a real environment.

Many aspects of the project brought the students out of their comfort zone (from presenting workshops to school children, to conducting interviews with the press), and all found great confidence, and exceeded their own expectations with regards to their achievements.

The evaluation and final reporting of the project formed the basis of a paper, which was delivered by the students at national academic conferences on comics in education.

The students built upon the experience of the project in the development of their own careers thereafter.

Resources:

• Guidance of various aspects of this Case Example can be found in ‘How To Guides.’ For example, see ‘Workshop: How to speak in public’ for guidance on developing educational outreach presentations.
• Project of this nature can take many forms, with no specific resources which will be essential in every instance. However, in the case outlined above, the participation of an external partner (with strong existing networks with schools), and the successful grant application for funding to facilitate the project, were essential.

References:

• Techniquest Glyndwr. She Inspired. 2015. [ONLINE] Available at: http://www.tqg.org.uk/learning/sheinspired. [Accessed 12 August 2015].
• A professional blog, run by one of the participating students (now a professional illustrator) can be found at (http://missheather.co.uk/ )

Author:

www.macorcoran.com

With thanks to the North Wales School of Art and Design, Glyndwr University, to Techniquest Glyndwr, and to the fantastic students who led the project.

Objective:

• To provide students with opportunities to develop subject relevant knowledge, understanding and expertise, to equip them for their future professional development.
• To provide students with opportunities to develop their interpersonal skills, develop professional networks, and create opportunities for collaboration, employment and self-employment.
• To bring students into contact with a wide range of leading creative industries professionals.
• To encourage students to reflect on their own professional development and career ambitions, to identify positive actions and opportunities, and to gain the belief and confidence to employ these changes going forward.
• To inspire students to strive towards a successful career within the creative industries.

Introduction:

Creative Futures is a 4-day long, annual creative industries conference, held at Glyndwr University in North Wales. Organised by the University’s Careers Centre in partnership with the School of Art, Media and Design, the conference is integrated into the timetables of undergraduates, striving to inspire and equip them for futures as successful creative professionals.

Due to the nature of the creative industries, a large proportion of art, media and design graduates will find themselves self-employed at some point during their careers, and so it is essential that they leave University with the ability to do so confidently and professionally.

Creative Futures 2015 brought together over 50 professionals, inclusive of practising artists and performers, trainers, educators and business advisors, to deliver lectures, workshops and seminars on every aspect of developing a successful career. These were complimented by networking opportunities for students, and opportunities to reflect on their own skills, identify opportunities and action plan for the future. The conference was also integrated into the ‘Creative Futures Module’ taught to students on a number of art and design programmes, and allowing the conference itself to contribute to academic assessment.

In 2015 the conference sought to open its doors to a wider audience, and welcomed delegates from schools, colleges and the wider public for the first time. This changed the dynamic of the event, provided students with wider opportunities for network and exchange ideas, and provide a platform from which the University to promote courses, recruit students, and develop partnerships.

Activity:

The main activity associated with the planning and delivery of Creative Futures 2015 was as follows;

Planning and Promotion (16 weeks)

• A steering committee was established to oversee the planning of the event. This was chaired by Neil Pritchard, from the University’s Careers Service, with representatives from marketing, student recruitment, enterprise and art, media and design.
• Though a successful application to the Arts Council of Wales, funding was sourced to support the conference delivery.
• Sub groups were established to manage specific elements of delivery (for example, website development, promotion to schools, room bookings etc.).
• All members of the committee shared contacts from their professional networks, as candidates to lead conference sessions.
• Monthly meetings with held by the steering committee, with regular updates and discussion via email, and regular meetings of individual sub groups.
• Where possible, students were involved in planning (for example, graphic design students producing posters and marketing materials).
• The event was promoted to students via their tutors, to schools via the University’s existing networks (through the student recruitment team), and to creative professionals and the interested public through web, social media and printed press marketing (through the marketing team).
• ‘Delegate Packs’ were created for students and all other visitors, inclusive of a timetable, information about contributors and business start-up information.
• The event ran from 2 – 5 March 2015.

Event – Lectures / Seminars / Workshops

• Approximately 50 lectures, seminars and workshops were held over the 4 days.
• Each day followed a similar format, with a key note address to every delegate, followed by a series of smaller sessions running in parallel.
• The timetable was designed to offer a valuable session in every timeslot, irrespective of a students’ area of practice.
• Speakers ranged from animators and film makers, to painters and journalists, school teachers and entrepreneurs. 
• Students were provided with reflection forms, and reflected on how the learning points in each session they attended could be applied to their own practice and development.
• Members of the public were able to book free tickets to these events, using the online platform EventBrite.

Event – Fringe Programme and Networking

• Supporting the day-time programme of sessions, arts events, hosted by creative partners in the locality of the University, were promoted to all delegates, on each evening of the conference.
• These included live music performances, fine art exhibitions, and interactive poetry workshops.
• The purpose of this fringe programme was to encourage students to network with fellow creatives in an informal environment, to network outside of the University walls, and for the University, to strengthen its relationship with local arts organisations.
• Networking was also fostered during the day. ‘Network Cafes’ were held in between conference sessions, in various communal areas around the University campus, where delegates and speakers were encouraged to meet informally, discuss the content of sessions, and exchange ideas. These cafes were facilitated by student volunteers.
• Many conference contributors encouraged students to engage with them via social media, and this too provided valuable opportunities for students to establish relationships before, during and after the event.

Event – School Engagement

• School students were offered their own bespoke conference programme.
• Each school were offered a free, single day visit to the conference, sharing the key note presentation with all other delegates, followed by a campus tour, and a workshop delivered especially to cater to their own abilities and interests.
• Each attending school student also received a conference delegate pack.
• This offer was promoted to students of further education within Glyndwr University’s catchment area.
• Student volunteers supported the school groups during their visits.

Post Event and Legacy

• A selection of conference sessions were filmed, and made available for students as downloadable audio and video files through the University Virtual Learning Environment (VLE).
• A selection of speakers were invited to feature in one minute ‘mini-films’ communicating key messages to students, for dissemination via the University’s social media platforms.
• Where possible, PowerPoints and other resources used in sessions were made available to delegates via the University’s VLE.
• The steering committee met post-event, and all evaluative data was gathered, collated, and formal reports produced for funders.

Impact:

Overall approximately 730 people attended sessions during the conferences 4 days (not including audiences at fringe events). This broke down as approximately 500 students, 70 school students, and 160 members of the public and wider arts community.

The conference was effective in establishing relationships between the University and a wide-range of creative professionals and organisations, with opportunities for numerous future collaborations developing as a direct result.

The feedback from teachers and students involved in the schools programme was very positive, with a number of students considering applications to study at Glyndwr University as a direct result.

The support of the Arts Council of Wales helped the event to grow in scope and stature from previous years, and strengthened opportunities to bring in additional revenues at further events (through sponsorships, grant funding or otherwise).

Feedback from students was very positive, who reported that the conference had made a positive impact on their development.

Learner outcome:

Approximately 500 undergraduate learners attended the conference sessions.

The conference successfully achieved its aims in providing students with opportunities to develop their networks, skills, knowledge, understanding and ambition.

For a number of learners, the conference was a challenge, with an intense programme of lectures and seminars being unfamiliar to those from more practical courses. However, the diverse range of sessions on offer, coupled with the resources with were provided via the University VLE post event ensured that all were able to take something positive away.

Feedback from learners included;

• ‘Inspiring, seeing a life beyond university that we don’t need to wait ‘till we graduate first.’
• ‘I got to know different artists and see their work which inspired me a lot.’
• ‘Creative Wrexham talk made me feel part of something interesting here in Wrexham.’
• ‘The importance of preparation, clarity of vision, focus, planning but then determination and crossing the finish line. Not dreaming, doing!’
• ‘Immensely valuable series of talks from some very impressive professional speakers.’

Resources:

• This event was only possible, thanks to the collaboration of a number of academic and operational departments at the University. The integration of the conference into academic assessment for several student cohorts helped to ensure high attendance, and the securing of external funding helped the conference to grow in scope and reach, to engage with schools and the general public.
• For a How-To Guide on engaging with externals, see ‘Guest Lecture Guidance.’

References:

• Creative Futures 2015. 2015. [ONLINE] Available at: http://www.glyndwr.ac.uk/creativefutures/. [Accessed 17 August 2015].
• Glyndŵr University – Google Plus. Creative Futures 2015. [ONLINE] Available at: https://plus.google.com/photos/+GlyndwrUniofficial/albums/6121596789687506769. [Accessed 17 August 2015].
• Creative Futures 2015 - YouTube. 2015.[ONLINE] Available at: https://www.youtube.com/watch?v=1zp-SN4M3bY. [Accessed 17 August 2015].
• Creative Futures - Mike Corcoran - ZONE Enterprise Hub - YouTube. 2015. [ONLINE] Available at: https://www.youtube.com/watch?v=NgCNGpL7zFc. [Accessed 17 August 2015].
• How to Speak in Public (Mike Corcoran) - YouTube. 2015. [ONLINE] Available at: https://www.youtube.com/watch?v=xMnh02odBNA. [Accessed 17 August 2015].

Author:

www.macorcoran.com

With thanks to Neil Pritchard Student Services Department, Glyndwr University and the School of Art, Media and Design, Glyndwr University.

Objective:

To develop awareness and capability for enterprise amongst second year business undergraduate students.

Introduction:

During the autumn term of 2012 Cardiff University Enterprise supported Dr Sarah Hurlow of Cardiff Business School develop and deliver a contained exercise to develop awareness and capability for enterprise.

The 20 credit module entitled 'Management Theory and Practice' is a second year undergraduate optional module. The intervention was delivered to a total of 27 students.

Business graduates leave university with a high level knowledge about how businesses operate; however there is increasing evidence that 'knowledge' is only one element of what employers and new businesses need.

"It is not just the possession of knowledge or skills that define a graduate and the contribution she (or he) makes to the workplace, it is the capacity to articulate them, to think about how they relate to other forms of knowledge and skills, and to reflect upon the different domains in which they may be applied" Sir Tim Wilson (2012) A Review of Business–University Collaboration, pg. 32.

Enterprise capability has a connection to employability, innovation, commercialisation, knowledge transfer and business start-up, however there is a distinction between the generic use of the term 'enterprise' in reference to business venture creation and a sense of 'practical action'. The development of an entrepreneurial capability moves beyond knowledge acquisition to a range of intellectual, emotional and social skills that allow for the application of creative ideas and innovations.

Activity:

During the semester students' were asked to collaboratively generate business ideas using Ketso.

Ketso is 'a hands-on kit for creative engagements' [http://www.ketso.com/] and was run as a four hour workshop which, due to time timetabling, was split over two weeks.

Ideas and collaboration were inspired by two guest speakers. The first guest speaker was Christian Amodeo who established the local Cardiff brand called 'I loves the diff' in 2009. The second was Gwion Larsen who established 'iPhone sales and repairs' with a gift from his parents on graduating from Cardiff University in 2010. Both highlight that entrepreneurs are not always the known national celebrity faces, but often just an ordinary local person with a good idea.

Impact:

The teaching intervention was successful with generally received positive student engagement and feedback. The student groups developed their business ideas into well considered business propositions that were presented as part of final assessment. The final assessed presentations demonstrated a good level of research, interpretation, understanding and application of commercial awareness and associated skills among students.

Learner outcome:

The examples of curriculum development for enterprise related outcomes were originally outlined by Neil Coles at the International Enterprise Educators Conference under the heading 'From Archaeology to Zoology; an A-Z of enterprise in the curriculum'. For his work in contextualising enterprise for any subject, Neil won the 2013 National Enterprise Educator Award.

Resources:

For a How To Guide on utilising external presenters, see 'Guest Lecture Guidance.'

References:

• Ketso. 2015. [ONLINE] Available at: http://www.ketso.com/. [Accessed 03 August 2015].
• Wilson, Sir Tim, (2012) A review of Business-University Collaboration. pp32. [ONLINE] Available at: https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/32383/12-610-wilson-review-business-university-collaboration.pdf. [Accessed 03 August 2015].

Objective:

• To provide learners with opportunities to network and learn from their peers.
• To provide learners with opportunities to network with industry relevant experts.
• To provide learners with opportunities to enhance their subject relevant skills and knowledge.
• To provide learners with opportunities to reflect, and to plan.
• To improve learners confidence and self-belief.
• To support learners in setting up and growing their own Enterprises.

Introduction:

In north east Wales a number of criminology students (along with peers from a variety of degree programmes) develop their enterprise skills by engaging with expert guest speakers, facilitated by the Business Entrepreneurship Network.

The Business Entrepreneurship Network for Wrexham and Flintshire is a network of businesses, business support organisations, entrepreneurs and education institutions with a shared interest in supporting individuals (especially young people and those from disadvantaged backgrounds), in developing their confidence, aspirations and abilities, and supporting them through the process of starting up their own businesses.

The network was established by Askar Sheibani, CEO of Comtek Network Systems LTD, and an appointed 'Entrepreneurship Champion' to Welsh Government. In 2014, having been successfully developed in Flintshire, the Network's provision was extended to Wrexham. Speaking at the launch of the Wrexham Network, Mr Sheibani said, "The aim is to increase the number of business start-ups in Wales and this trial in Wrexham will give us a better ideaof how the Flintshire model can be improved and applied in other regions. The Wrexham trial is supported by the Welsh Government and we are confident that the model – which was developed within the community at a grass roots level - will prove to be a practical and innovative way to increase the level of entrepreneurship and business start-ups in Wales."

Amongst the ways in which the Business Entrepreneurship Network supports entrepreneurs, is via fortnightly 'Enterprise Clubs.' These clubs are coordinated in Wrexham by NE Wales based further education institution Coleg Cambria, and feature presentations by invited guest speakers, followed by informal networking.

The use of guest speakers at enterprise clubs has been of tremendous value to learners. The clubs are held at Wrexham Library, a centrally located and publicly accessible venue, and are open to students, graduates and members of the public free of charge.

A number of regular attendees are current NE Wales based undergraduate students, from a wide-variety of degree programmes. Attendees range from those setting up their own businesses, to students looking to develop their networks and skills for employment, to those simply wishing to develop their confidence and find out more.

Activity:

Planning Guest Speaker Sessions

There is no budget to facilitate guest speakers to the Enterprise Club. As such, appropriate speakers are identified from a variety of sources, including;

• Contacts from the professional networks for the Business Entrepreneurship Network and its supporters.
• Representatives from a variety of business support organisations (who are able to cover their costs from their own funds).
• Funded schemes, for examples, the Welsh Government funded 'Big Ideas Wales Role Model' network.
• Experts from further and higher education (able to offer their time in kind).

Club members are invited to suggest the topics and themes they would like the club to cover in the coming weeks and months, and speakers are sourced to meet these specific needs, ensuring sessions are always relevant to their audience. Speakers are generally confirmed two weeks prior to a club meeting, allowing for the sessions to be promoted through a club mailing list, through professional networks, through general press release, and through social media.

Facilitating Guest Speaker Sessions

_{Figure 1. Attendees discussing ideas at the BEN Enterprise Club}

Enterprise Club sessions last for 2 hours. The general running order is as follows;

• The club’s facilitator (Lynn Williams, Business Lecturer at Coleg Cambria) welcomes attendees.
• The speaker is introduced to the group.
• The speaker delivers a talk / workshop for approximately 1 hour. AV presentation facilities are provided for speakers who require them. (The majority of guest speakers deliver sessions inclusive of amble discussion points and break away activities).
• The facilitator invites Q and A from the group at the end of the talk.
• For the second hour of the session, refreshments are provided, and guest speakers and club members are invited to stay, discuss the content covered in the session, and informally discuss problems, achievements and ideas.
• The facilitator thanks for guest speaker and group for their attendance, and the group are invited to suggest topics they would like to visit at the club in the weeks and months ahead.
• The details of the following club presentation are promoted to the group, and the club is brought to a close.

Impact:

The guest speaker sessions have made a huge impact on the club attendees. The first hand, up-to-date, and relevant knowledge and expertise which speakers have passed on to club members, is directly applicable to the groups of needs and endeavours, and the opportunity to network with speakers and fellow club attendees has led to numerous mentoring relationships and collaborative projects, and allowed members of the group to identify bespoke solutions to their own specific problems.

Approximately 100 unique individuals have participated in the guest speaker sessions to date, with average attendances of 10 participants at each club meeting, and with many new enterprises being launched by club members.

Learner outcome:

Comments from regular club attendees have included;

"The staff, the entrepreneurs and the members have helped me out a lot and not just with my business. They have boosted my confidence and made me feel like I could really achieve my dreams."

"BEN has helped me a great deal with starting up my business and I have been given so much positive feedback from both mentors and fellow members."

"The BEN Club has allowed me to work with a great mentor and meet great people with passion for business."

Resources:

• An appropriate meeting venue.
• A network from which guest speakers can be provided.
• For a How-To Guide and utilising guest speakers, see 'Guest Speaker Guidance.'

References:

• Coleg Cambria - Entrepreneurship. 2015 [ONLINE] Available at: http://www.cambria.ac.uk/about/entrepreneurship/. [Accessed 21 August 2015].
• Role Models | Big Ideas Wales. 2015. [ONLINE] Available at: http://business.wales.gov.uk/bigideas/our-role-models. [Accessed 21 August 2015].
• Welsh Government | Business Entrepreneurship Network launches in Wrexham. 2015. [ONLINE] Available at:http://gov.wales/newsroom/businessandeconomy/2014/8464399/?lang=en. [Accessed 21 August 2015].
• Zone Enterprise Hub. 2015. Course: Zone Enterprise Hub. [ONLINE] Available at: https://moodle.glyndwr.ac.uk/course/view.php?id=37%2522%2520target%253D%2522_blank%2522. [Accessed 21 August 2015].

Author:

www.macorcoran.com

With thanks to Lynn Williams, Coleg Cambria – lynn.williams@cambria.ac.uk

Objective:

• To provide extra-curricular learning opportunities for animal studies students.
• To provide networking opportunities between students, lecturers and industry professionals.
• To provide animal studies students with opportunities to create and manage their own extra-curricular projects.
• To provide animal studies students with opportunities to develop their business, finance, marketing and management skills.

Introduction:

Student clubs and societies can be a great means for students from any level or programme of study to gain invaluable enterprise skills. Through taking responsibility for a club a society, students are required to demonstrate effective team working, excellent management skills, excellent administrative skills and financial literacy, communication and marketing skills, and must have the ability to successfully devise, plan and deliver projects and activities to keep their members engaged.

Clubs and societies can be for students from any programme of study, run exclusively for students from a particular programme, and include students, alumni, staff and members of the general public.

For the small cohort of students studying towards a BSc in Animal Studies at Glyndwr University, forming a departmental society (Zoo Soc) was an ideal way to bring the cohort together, and provide a range of extra-curricular social and learning opportunities.

Activity:

In Spring 2013, students from the BSc (Hons) Animal Studies programme at Glyndwr University, approached Glyndwr University Students Guild regarding establishing 'Zoo Soc' at the institution.

The society was to cater primarily to students (at all levels of study) from the Animal Studies programme, but open to membership from staff, alumni, andstudents from any course with an interest in animals and zoology.

The students nominated a president, vice president, two secretaries and a treasurer to run the society, and promoted the new society to their peers, gaining enough support in the form of signatures to be constituted as a Students' Guild Society.

There after the students took responsibility for all aspects of Zoo Soc's management and administration. This was inclusive of promoting the society and its events, promoting society membership, conducting meetings of society members and officers, organising activities and events, and raising and managing funds. The Students Guild offered support to the students through all of these processes.

Zoo Soc's first event was a Pub Quiz, held at the University's student bar, and aimed at developing relationships between students from Glyndwr’s main campus, and its rural campus (situated approximately 20 miles away). The event was a success, and the revenue and new membership gained through the event went on to directly support future events, including trips to Zoo’s, Museums and other events.

_{Figure 1. Promotions poster for Zoo Soc's first event}

Impact:

2 year after the society's establishment, approximately 100 students are engaging with the Zoo Soc and its events, which have continued to be delivered in a professional and financially sustainable way.

Learner outcome:

For all learners who have engaged with the society, there have been countless opportunities to network, increase their knowledge, and exchange and create ideas.

For those leading the society the outcomes have been far greater, developing a broad range of enterprising skills in the process, whilst directly supporting their academic subject knowledge.

Resources:

• The support of your institutions Students' Union / Guild.

References:

• Glyndŵr University - Animal Studies. 2015. [ONLINE] Available at: http://www.glyndwr.ac.uk/en/Undergraduatecourses/AnimalStudies/. [Accessed 20 August 2015].
• Glyndŵr University Student Guild - Zoo Society . 2015. [ONLINE] Available at: http://www.studentsguild.glyndwr.ac.uk/Societies/ZooSociety/. [Accessed 20 August 2015].

Author:

www.macorcoran.com

With thanks to Glyndwr University Students Guild.

Objective:

• To develop the communication skills of students and recent graduates of art, media and design courses, to better equip them for business.
• To support the promotion of start-ups created by students and recent graduates of art, media and design courses.
• To provide new students of art, media and design with inspiration and confidence with regards their enterprise capacities.
• To stimulate ideas generation in new students of art, media and design, with regards to potential future enterprises.
• To foster peer-to-peer support through new media.

Introduction:

Many students of art, media and design at Glyndwr University go on to become self-employed; either as professional artists, as freelancers working for a variety of design firms, or through creating their own businesses. Given the nature of their industry, almost all will be required to work for themselves at some point as they pursue a creative career.

However, on arriving at University, many have limited or no previous knowledge, understanding or experience of enterprise, and many lack confidence and self-belief in their own abilities.

Much work is done throughout the duration of students’ studies at the University to develop these students’ skills and equip them appropriately for their future endeavours.

One part of this approach is through peer to peer learning through film. Students often engage well with information, when relayed by their peers, who share common interests, experiences, and reference points. Working with ZONE, Glyndwr University’s enterprise support service, a series of film were produced, featuring current students and recent graduates of art, media and design programmes, who had achieved success in the development of new enterprises, or in the early stages of their freelance careers.

These films had a target audience of new creative students, and communicated key information, regarding the personal learning journeys of the individuals, their successes and failures, how they had started out, and how they engaged with the support available to them at the University. Their aim was to encourage new students to generate ideas for their own future enterprises, to follow the actions taken by their peers, and to utilise the support available to them at the University.

The films were disseminated widely, and achieved their desired effect. A secondary impact was the benefit of the project to the students and graduates who featured in the films, who developed their own communication skills, were given the opportunity to reflect on their own learning journey, and equipped with a valuable resource for the promotion of their products and services.

Activity:

Film Planning

• 4 students and recent graduates of art, media and design were identified as candidates to feature in films. This was achieved through the existing networks of ZONE Enterprise Hub, the University’s enterprise support service, which supports students through the process of business start-up.
• These individuals were contacted, and their support for the project secured.
• A recent Glyndwr University graduate, now managing his own film production company ‘Filmage’, was secured to produce the films, and a fee and terms agreed.
• A series of questions was produced, for each individual featuring in a film to answer. These were shared with the participants, discussed and final questions and answers agreed upon. These were then shared with Filmage for information.
• Times, dates and locations for filming were discussed and agreed upon with participants. These were then shared with Filmage for information.
• For participants with limited, or no previous experience of producing filmed content before, help and support were offered regarding presentation skills and other factors to consider.
• Storyboards for films (all designed to be 2 – 3 minutes in length) were produced by ZONE, and sent to Filmage and participants for final agreement prior to filming.

Film Production

• Filmage produced the four short films. A dialogue was maintained with ZONE regarding the progress of these throughout.
• ZONE supported participants in performing on camera, and perfecting their presentation skills whenever required.
• After filming was complete, ZONE met with Filmage to discuss film drafts, and provide feedback regarding how films should be edited.
• The completed 4 films were supplied to ZONE as both digital files and hard copies.

Figure 1: Filming in Progress

Film Dissemination

• The films were uploaded to the ‘ZONEGlyndwr’ YouTube channel, and disseminated via social media.
• Links to the films were shared with all who had participated, to distribute via their own networks.
• They were played to students during their Art, Media and Design induction sessions during Freshers’ Week.  
• They were linked through the University’s Virtual Learning Environment, Moodle.  
• They were played to prospective students at a variety of student recruitment events.
• They were integrated into a number of ZONE talks and workshops.

Figure 2: Title Shots from the Completed Films

Impact:

The films have proven an excellent resource. To date, they have received over 1000 view through social media, and through their integration into talks, lectures and workshops, have been seen by many thousands of learners. This level of peer-to-peer engagement would not have been logistically possible without these films.

The direct connection learners have to the individuals featuring in the films makes their messages potent, and the information they communicate regarding starting up in business is invaluable. Following the production of the films featuring students of Art, Media and Design, additional films were made (following the same pattern as outlined above), with students of Business and Computing (and their businesses Creative Catalysts and Giggles and Games), allowing the good practice to be shared between departments.

The individuals who featured in the films were all very pleased with the results, and all went on to use the films for their own promotional purposes.

The graduate business who created the films (Filmage) were able to enhance their own reputation and networks through the project, leading to further work for them and supporting the development of their own business.

Learner outcome:

The peer to peer learning fostered through the films achieved its desired effect. Prospective students, new students, and even more experienced students heard directly from their peers that self-employment was a viable option, and were told the steps they needed to take to make it happen. Many have subsequently engaged with the enterprise service at the University, and cited these films as a contributory factor.

For the participants who featured in the films, the exercise was a valuable learning experience too, with many reporting the confidence they had gathered as a result, as well as bolstered skills in communication to support their future endeavours.

Resources:

• For a How To Guide on how to create peer-to-peer film content, see How To Guides ‘The use of bespoke film content to engage learners in enterprise support.’
• Expert support in filming, editing and producing film content is essential in the delivery of this project, as is the support of student and graduate start-up businesses.

References:

• Donsole - ZONE Enterprise Hub - YouTube. 2015. [ONLINE] Available at: https://www.youtube.com/watch?v=gnyhcWZjn1U. [Accessed 07 August 2015].
• Creative Catalysts - ZONE Enterprise Hub - YouTube. 2015. [ONLINE] Available at: https://www.youtube.com/watch?v=hXDIoWfAMi4 [Accessed 07 August 2015].
• Filmage - ZONE Enterprise Hub - YouTube. 2015. [ONLINE] Available at: https://www.youtube.com/watch?v=zwrGdAjmQrs. [Accessed 07 August 2015].
  
• Giggles and Games - ZONE Enterprise Hub - YouTube. 2015. [ONLINE] Available at: https://www.youtube.com/watch?v=yksyRiPIFMk [Accessed 07 August 2015].
• Meg Darlington Contemporary Jewellery - ZONE Enterprise Hub - YouTube. 2015. [ONLINE] Available at: https://www.youtube.com/watch?v=jaOmYhdwGM0. [Accessed 07 August 2015].
• Tree Carving - Simon O'Rourke - ZONE Enterprise Hub - YouTube. 2015. [ONLINE] Available at: https://www.youtube.com/watch?v=3T2S9VHiH78. [Accessed 07 August 2015].

Author:

www.macorcoran.com

With thanks to the School of Art, Media and Design, Glyndwr University, Joe Edwards (www.filmage.co.uk) and the students and graduates who featured in the films.

Os hoffech i’ch Astudiaeth Achos gael sylw, llawrlwythwch y templed ac e-bostiwch y fersiwn wedi ei gwblhau i hello@etctoolkit.org.uk

Rydym wedi cynhyrchu taflen canllawiau a fydd yn eich cynorthwyo i gwblhau'r Astudiaeth Achos.

• Templed Astudiaeth Achos
• Canllawiau Templed

Os oes gennych unrhyw gwestiynau ynghylch llenwi'r templed, Cysylltwch â Ni

Objectives:

• To build a profile of (future) customer as a person
• To develop the business offer through a broader understanding of the customer needs
• To  support critical thinking and evaluation of ideas 

Overview: 

This exercise enables students to demonstrate their understanding of their potential customer and deepen that understanding to create a robust offer.

Activity: 

Give each group or individual a sheet of paper with an outline of (non-male or female) person drawn in the middle. 

Ask them to depict on the figure what they might know about their (future) customer.  This requires them to visually-describe their customer, including things like: 

• Where do they live, work, spend time outside of work and home
• How much do they earn
• Where else might they access products/services like yours
• How do they think, feel
• What experience do they expect 
• What concerns do they have
• What life to do they lead

The purpose is to try and establish a real understanding of what is important to a potential customer, rather than drawing out key “facts” about them (disposable income etc).

Once all the drawings are done, everyone looks collectively at the different customer outlines and tries to add further understanding from what they can see.  The owner of the drawing need not accept these, but can include anything relevant onto their picture.

Once every drawing has been explored, each team/individual needs to articulate one message that they have learnt from this exercise that they can take forward into their planning.  So if offering fast-food to a student customer base, they may have identified price as critical.  However the wider discussion might have identified that students may also select to eat somewhere that is offering free wifi to allow them to connect with others or make plans with each other.  Or if the customer base was a family, then other elements that are important to them such as child-friendly parking, might indicate 1 premises to be more attractive than another.  This “linked” thinking allows the student to draw out the wider benefits of their product or service and explore it in order to create an effective offer.

Skill Development: 

Whilst this task can be based on initial research undertaken by the student, the critical thinking comes from the assumptions that the wider group offer to develop their thinking.  This shows the power of group work and allows the students to deepen their own thinking through the examples of others.

It is useful to explore this task at the end of the session to see how the groups found sharing and testing their assumptions in a group environment.

Resources: 

Paper, pens, flipchart (outline of a person)

Objective:

• Develop an understanding of the benefits of producing a business plan, for them and  their business
• Develop an understanding of the costs and resource implications of producing a business plan to them and their business 
• Alleviate concerns and promote their ownership of the business plan 
• To evidence the power of group work as ideas and issues are considered from different perspectives and shared through small group work

Overview:

This activity is designed to provide an opportunity for students to develop their understanding of the purpose and benefits of producing a business plan as well as expressing any concerns or issues relating to the process.  

Activity:

As an individual task – invite each student to consider the opposing statement below (that preparing a business plan is ‘a waste of time’ and ‘a valuable exercise’ and to make a list of the reasons why someone may agree with each of the statements. 

Each point can then be researched, discussed in small groups, and challenged within the small group situation to create a consensus for presentation.

The activity should be concluded by asking the group to agree where they would rank themselves on the continuum and make their position to the wider group.

This will create a range of presentations, which will draw out of range of concerns and issues, that can then be discussed and explored across the wider group.

Preparing a Business Plan

A waste of time ......................................  A valuable exercise
0                                                                          10

This can also be repeated, following business planning work, to provide a useful reflection tool at the end of the business planning process, when students are invited to consider the statements again having completed the business plan.  This can provide an indication of any change in the entrepreneur / small business owner’s view.

Skill Development:

The decision making within this task is both individual and within a group and therefore develops consensus building through discussion and debate.  The discussion will build deeper understanding of the business planning process and build confidence around this area, whilst the presentation skills to the wider group will build confidence in public speaking and debate.

Objective

• To reflect upon learning journey
• To acknowledge individual or team "learning gain" experienced over time (process; project; task; or period of learning/study)
• To articulate skill development (soft skills) and personal insights (in team dynamics, personal progression or learning)
• Option to support future development: to provide the opportunity to identify gaps in learning or development and create a personal action plan for personal development and future learning.

Overview

This task provides an opportunity to reflect on the learning gained during particular tasks for activities (ideally should be of "medium" length, such as intense induction programmes, week long activities or longer learning 'events' (modules or years of study). This can be particularly effective in terms of drawing out "change" or learning gain as identified by the learner themselves.

This approach provides an opportunity to reflect upon a wide range of individual development (including emotional development and confidence levels) as well as recognising improvement in the development of skills.

Traditionally physical diaries were issued to encourage students to write regularly and informally, however the wide range of multi-media (through smart phones and tablets) also allows students to select their own format (s) or trial the use of a new media tool for this purpose (ideally agreed in advance with tutor to avoid IT issues in viewing).

A learning diary is therefore a tool of reflection which can take a variety of forms.

Key considerations for the tutor include:

• media (format options include: written essay or report; video diary; podcast; voice memos; photos/collage; or a combination of approaches)
• structure (open; templates; prompts or based on prescribed reflective models and frameworks, or those sourced by the student)
• formalised base line (questionnaire or status review at the start, to review at the end)
• inclusive of theory and wider reading (whilst some learning diaries are entirely "personal" and seek to draw out the development of softer skills and personal 'learning gain' others seek the inclusion of wider reading and theory development to evidence change and thought)
• assessment (% within modules vary though typically it is used as part of an assessment strategy, though can stand alone when used to capture and review a full programme year or team task activity.)

NB: Consideration of how to create "value" is key in determining the role/purpose of this approach within an assessment strategy or within a programme. Typically students value activities that the tutor places a value on, and their currency is marks/assessment. However as diary is, by definition, a subjective view, and should reflect what the student has heard, learnt and reviewed, it is the student's own analysis and insights that count, and clear marking parameters and guidance need to be provided to ensure clarity.

Activity

Issuing this task should be done at the start of the activity that you wish the learners to reflect upon. Ideally you encourage (or set) answering a range of open-ended questions, delighted to understand their initial position as they approach this learning/task. This may include expanding upon their prior understanding or life experience, as relevant to this work.

Once the activities are being undertaken, reflective models can be issued or sourced by the students to support their thinking. However you may wish to provide a set of reflective questions at regular intervals as prompts to their developing thinking.

This activity can be highly prescriptive, with set timescales at which you expect stages of reflection to be completed (as relating to the task being undertaken) however it is also possible to make this an open task, where the approach and learning is with the student to design and undertake. This allows the learner to explore, source and select their own model for reflection and test its effectiveness as a tool for their development during the process. This additional skills of research, evaluation and comparative analysis but risks diluting the quality of the reflection if the students place the emphasis upon critiquing models rather than the task itself and their personal learning. It is therefore important that you reflect the emphasis you wish to seek within your assessment schedule.

To increase the synthesis, and the ability for personal and confidential reflection, you may wish to create a format in which the students regularly capture thoughts and feelings, but keep this as a personal document (diary, blog or video diary) from which the submission is created. This synthesised version of their learning and reflections build an understanding of their personal development over time and allows for honest and uncensored self-reporting and reflection. Again the structure/control of the format/questions can be loose and open (providing only sources and reference to guide) or highly prescriptive (working within a template or with specific tools/questions) to ensure that the key elements of learning (including emotional elements and confidence) are a required feature of the submission.

Skill Development

Personal reflection is a tremendous skill, but is often difficult for students to develop, particularly during a period of study, with little or no external reference points or practical application. It is therefore recommended that this is an assessed piece, so that the value of reflection is made clear. It is therefore important that you, as the tutor, place importance upon the development of this skill and take class-time to consider what is meant by reflection practice and how to ensure that reflection leads to learning.what is meant by reflective practice and how to ensure that reflection leads to learning. It is also important to consider the formative as well summative assessment within this process, as reflective skills are improved through regular practice, and this form part of your regular teaching. It is important that you 'model' a reflective approach with the students by including reflective questions onto your regular contact with them, and making reflection an explicit aspect of your activity/classroom debrief. Making this explicit within your teaching will reinforce the student's understanding of reflection as an activity to repeated and practiced, as well as help them see how reflective questioning or models can deepen their understanding, and build confidence in their abilities.

Resources

Three stem questions (Borton T 1970) were further developed by John Driscoll (1994, 2000, 2007)

• What?
• So what?
• Now what?

• Driscoll Reflective Questions (2000) - Download (PDF | 843KB)
• Gibbs's reflective Cycle - Download (PDF | 843KB)
• Atkins, S. and Murphy, K. (1994) - Download (PDF | 843KB)
• Task template for individual (adapted from Reflective Learning Diary Template sourced from Burns, T and Sinfield, S (2012) "Essential Study Skills" Third Edition SAGE (photocopiable; printable) - Download (PDF | 843KB)

References

• Burns, T and Sinfield, S (2012) "Essential Study Skills" Third Edition SAGE
• Gibb's reflective cycle: from Gibbs, G (1988) "Learning by doing: A guide to teaching and learning methods"
• Atkins and Murphy Model from Atkins, S. and Murphy, K. (1994) Reflective Practice. Nursing Standard 8(39) 49-56
• Driscoll, J (2000) Practising Clinical Supervision Edinburgh Bailliere Tindall

Associated Case Studies

Objective:

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

Introduction: 

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

Activity:

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

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

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

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

Impact:

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

Learner outcome:

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

Resources: 

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

References:

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

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

• How to Guide Template
• Template Guidance

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Os hoffech i’ch Astudiaeth Achos gael sylw, llawrlwythwch y templed ac e-bostiwch y fersiwn wedi ei gwblhau i hello@etctoolkit.org.uk

Rydym wedi cynhyrchu taflen canllawiau a fydd yn eich cynorthwyo i gwblhau'r Astudiaeth Achos.

• Templed Astudiaeth Achos
• Canllawiau Templed

Os oes gennych unrhyw gwestiynau ynghylch llenwi'r templed, Cysylltwch â Ni