
Learning from feedback
Aim of feedback sessions
Usual feedback practices
The experience of receiving rapid-fire feedback:
Artificiality and thinking
The Presenter’s Question
The Presenter’s Question is an invitation for feedback. What are we going to experience in your presentation? Is it a finished piece, a work-in-progress, or just an idea? What part of the work will we look at? What are the questions you have at the moment? What would you like to get feedback on? – Be ready to present this is in less than three minutes.
Affirmative Feedback
Feedback is usually associated with criticism, but we also want to learn from what works. This is different from giving a compliment. The aim is to communicate what worked for us. Start your Affirmative Feedback with “What worked for me is x”.
Perspectives Feedback
What perspective are you asking your question from? Are you reacting as an audience member, as a peer, as a friend, as a journalist, as a fellow German? Make clear what your most important need is from this perspective. Start your Perspectives Feedback with “As x, I need y”.
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From the perspective of a |
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| Audience member | Creator | Peer |
| Mentor / Advisor | Friend | Critic |
| Journalist | Curator | Assessor |
| “German” | “Dog” | “Alien” |
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I need … |
Open Questions
Closed questions can be answered by a “yes” or a “no”. Closed Questions guide the answer in a certain direction: “did his refusal make you really angry?” Open questions give as much space as possible. Start open questions with “why”, “how”, “who”, “when”, “what”. For example: “What did you do?” “Why did you use this effect?” “How did this make you feel?” Open question may seem simple, but they are very powerful. Open Questions open up space for divergent thinking, and are thus more suited for initial ideas or work-in-progress than for finished work.
Concept Reflection
In order to open the reflective space of the person whose work you are questioning, come up with a concept to start their thinking process. This concept should start a series of associations that help the presenter think about their work in a way that is productive for them. The concept could be a single word or a short expression. Examples: “How does your work relate to time?” “What role does home play in your piece?” “What is explicit in your work?”
Gossip
Gossip is a group discussion; everyone can speak freely, as if the presenter was not there, in the third person. The presenter listens attentively without reacting. A gossip session allows views to be aired for which there is no space in the more regulated forms of feedback.
Tips & Tricks
Tips & tricks are bits of practical advice that will help the presenter. These can include technical advice, ideas for the piece, recommendations for further reading or references to other artists. Make sure the advice is practical and helpful rather than critical and general.
Personal Letter
It is very useful to conclude a feedback session with a Personal Letter to the presenter. Everyone takes five minutes to write down a personal message. This can include things that were not mentioned in the session or personal anecdotes. It also serves as a personal reflection for the people giving feedback, and concludes the session in silence.
How to plan your feedback session, which formats to use and how long this will take.
Facilitating a feedback session
Successfully facilitating a feedback session requires a number of skills that are strengthened through practice. The facilitator structures the session, is in charge of the interaction, and “conducts the energy flow”.
Structuring the session
Facilitating the interaction
Conducting energy flows
This handout summarizes all of the formats, and includes tips for the facilitator.
Free to use under a Creative Commons License as long as you attribute it correctly.
You can use this PowerPoint to run your own feedback sessions.
Free to use under a Creative Commons License as long as you attribute it correctly.
Ideally, feedback offers wonderful opportunities for improvement in the creative process. We get a sense of the effect of our creation on an audience, we receive new perspectives on our approach, and we get inspiration and encouragement for the work ahead. Everyone learns: the person receiving feedback, the person giving feedback, and, in a group setting, those observing the process.
Giving and receiving feedback well is not easy, however. All too often, those giving feedback fall into judgment or giving advice, and those receiving feedback become overwhelmed and defensive: we find it hard not to take it personally. In an educational setting, feedback and evaluation are usually mixed up, which leads to serious issues of openness and trust.
I have designed these feedback formats to break through our usual feedback patterns and to separate thinking from emotion. The formats are artificial on purpose, so that they force us to formulate feedback in a way which is helpful and enriching. These formats are based on and adapted from existing feedback and thinking techniques.
This material was developed between 2009 and 2011 for peer learning processes at the Amsterdam Film Academy and the DAS Master of Theatre programme of the Amsterdam University for the Arts. The best way to get a sense of how the formats work in practice is to watch A film about feedback which chronicles group feedback sessions in Amsterdam and at the Theatre Festival in Goteborg, Sweden. (included as bonus lecture)
This online course consists of instruction videos for the formats and facilitator. I am making it available to encourage artists, teachers and everyone else interested in group feedback. Feel free to download and use the videos, powerpoint and handout in your own sessions. The material is made available under a Creative Commons attribution license, which means you can do it with what you want, as long as you acknowledge its source. Please be aware that these formats were developed specifically for group peer feedback sessions on work-in-progress – if your situation is different, you will need to adapt them accordingly. Good luck!