25 Mar 2024
by Alice Blackstock This blog post addresses how Brigg’s theory of Constructive Alignment is comparable to weaving, a textile process that relies upon a three point structure. Both weaving and constructive alignment depend upon preplanned successful outcomes. Through comparison to more holistic and discovery learning approaches, predetermined and planned outcomes can challenged in favour of learners having more choices.
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I do regard spinning and weaving as a necessary part of any national system of education -Ghandi, 1967
Brigg’s theory of constructive alignment (1999) reminds me of weaving. 'A weaver always has to think structurally rather than simply formally about the patterns that appear on the surface of a design.’ When weaving, the yarn is passed over and under the warp. A loop is formed on the selvedge edge, allowing the yarn to begin again on its journey back across the warp but this time going under and over. It is an ancient and effective textile technique to craft a sturdy fabric that’s uses are endless.
Brigg’s theory of constructive alignment is also based on a structure. By beginning with the intended learning outcomes an informed assessment and feedback of these learning outcomes can be made at the end of a course of study. Teaching and learning activities are designed to best support students to achieve the learning outcomes. Brigg’s believed that this structure encouraged students to be active learners, constructing their knowledge through facilitated teaching. Brigg’s believed that this structure encouraged students to be active learners, constructing their knowledge through facilitated teaching and aligned outcomes.
Both weaving and constructive alignment consist of three features that if uniform result in a supported structure. Intended learning outcomes, relevant teaching activities and assessment are like the warp, weft and selvedge edge of a piece of weaving. Both have a central component that is the solid foundation. In the instance of constructive alignment it is the intended learning outcomes and in the case of weaving it is the warp.
Fig 1. Blackstock, A. (2023). Sustainable weaving presentation [Photograph].
Briggs believed that by using action verbs when planning the intended learning outcomes these acted as a staring point when developing teaching and learning activities. Similarly to ‘warping up’ an active process that predetermines the choice of yarn, structure and pattern of the weave. The assessment and feedback tasks are formulated from the learning outcomes. This is like the selvedge edge of a piece of weaving. [Fig 1.] If the foundational warp has not been aligned correctly or the taught learning activities have not been woven properly to relate to the learning outcomes we will see this in the edges of the fabric. They may not be straight, the weave could have holes and weaker areas or it may not hold together at all when taken off the loom. Students could struggle when it comes to assessment, the gaps in their learning stop them from achieving a higher grade or even failing a module.
Personally, I am in awe of weavers but I cannot claim to be one. My brain is too disorganised for a structure which is quite rigid and I am forever planning to plan more. However, this is not to suggest that I approach my teaching without consideration of what the learning outcome is. My hoped for outcome is that students discover how diverse and flexible textiles is and that they can be involved in the community that exists around the medium. My planning is on a much more individual level, creating scaffolded learning structures to support each student while delivering learning activities that encourage a community of practice (Lave & Wenger 1991).
As a textile tutor and demonstrator one of my roles is to teach an introduction to weaving amongst other textile techniques on a 12 week Creative Textile course. If I took a literal view of Brigg’s theory of Constructive Alignment my first session would be to state the intended learning outcomes. ‘By the end of the course you will have woven a rug, knitted a jumper or sewn a quilt. I will facilitate and provide relevant teaching and learning for you to do this.’ Not only could this be intimidating to the students but it would be making a presumption about how they choose to interact with textile techniques. Not all rugs need to be woven and not all weaving needs to be rugs. Also, I do not want to be responsible for overwhelming someone with expectations of what they should or should not be able to do.
I conduct my sessions with a discovery learning approach, creating links that build on previous learning (Bruner, 1960). I don’t ask students to jump in at the technical deep end and start setting up warps on freestanding looms. I encourage them to try spinning and cording to make their own yarn to weave with later on. I learned the principles of spinning yarn but also the joy of learning through discovery and imperfection from textile artist and researcher Dr Angela Maddock who taught a spinning workshop at the Royal College of Art. As the wooden drop spindles dropped to the ground and the spun yarn looked more like something you would pull out of a hoover, Angela smiled at our skeptical faces. ‘Just enjoy these beautiful, colourful, bumpy knots of yarn you have made. The more you spin the muscle memory and coordination will make a consistent and much less interesting yarn.’ (Maddock, 2017) [Fig 2.] I found this to be an inspiring way to look at the beauty and imperfection of learning something new. I found it reassuring that it was okay not to have mastered the technique within the set time of the workshop. I had not failed any predetermined learning outcomes. I had gained knowledge which gave me a choice to pursue if I wanted to.
Fig 2. Blackstock, A. (2024). Drop Spindle Yarn [Photograph].
When the time comes to teach weaving I show the students how we can make a simple loom out of a cardboard cereal box and suggest that they try using their handmade yarn spun in previous weeks. I encourage them to avoid seeking instant results in their textiles but rather embrace trying a new techniques and process that could be explored in the future. By providing them with the bare-bones tools students become the pilot of their own discovery learning journey. The result of this is not perfect pieces of textiles. It is lumpy, the tension is off and unravelling often happens but it presents leaners with a choice. They can accept they have tried it and its not for them or, to run with and interpret it.
To conclude, instead of telling students what the intended learning outcomes are I remind them that the skills used to make wobbly stitches can always be built upon and improved if they choose too. In my teaching practice I am happy to facilitate leaners on their own journey of discovery. I embrace structures that have gaps or holes because the maker or learner might just find the answer they have been looking for in an imperfectly aligned piece of fabric.
Alice Blackstock is a practicing textile artist, carer and educator from Belfast. She works at London South East Colleges as an ACL Textile Tutor. Alice is passionate about further education and is inspired by those striving to discover new skills regardless of age or barriers to learning. Alice is the lead artist for Drawing Voices an Arts Council funded charity that brings artists and communities together to share experiences while creating artworks. Alice is working with those impaired by dementia and caregivers to create a new body of work which will be displayed at The Drawing Room London, 2025.
Instagram: @aliceblackstockstudio
Email: alice.blackstock@lsec.ac.uk