on e-portfolios

 

Over the years I have used eportfolios for many different purposes. Prior to the ALT Winter conference 2020 where I will be a panel member talking about e-portfolios I think it would be useful to draw all my explorations and activities into one place. This will be a post with lots of links but I hope also to summarize the rationale for looking to eportfolios in my work. The image above is taken from the Mahara #MUM (Mahara users Midlands) group which now resides in mahara.org. 

Firstly, it is important to distinguish between a portfolio and an eportfolio. There are many professions which expect to see a portfolio in order to recruit. A typical portfolio in this context (photography, modelling etc) would include examples of the work you are most proud of. A curation which shows your talents and expertise. An e-portfolio can also be used in this way of course. An electronic version of the same. This is how I used mahara for my CMALT assessment and subsequent review for example. The beauty of a digital curation is of course that it displays multimedia evidence wrapped with contextual narration. It reflects the fact that much of my activity is online and open. Display of my open badges also tells the story of my activity. So for me an e-portfolio is the logical choice. 

My rationale for supporting e-portfolio is more that just encouraging folk to "show off" however. An eportfolio is a very useful personal collection tool. By default, using Mahara the pages and collections you create are visible only to the user. This makes it a "domain of one's own" a space online (as I presented in ALT winter conference 2016) which can be used to collect your work, a space to reflect upon your experiences of online or blended learning which may for example have happened in a more formal VLE space. This is the approach we adopted in Languages@Warwick mahoodle and in the EVOLVE training co-laboratory. This store of personal reflection and evidence can easily be curated, selecting good examples which can then be shared more widely. There is an economy of time and effort gained in this approach and the results I've seen in our Assessed e-portfolio for language learning summarised in this e-book for example bear witness to the power of this approach. The eportfolio owner can acquire vital digital literacies (management of IP/copyright, permissions and online visibility) which improve the quality of their online presence. I have written extensively and openly about the process of forming a construct for assessment, leaving the documents available openly on scribd. A more recent final year module I created, Developing Language Teaching was 100% eportfolio assessed. A fact which was fully appreciated when lockdown arrived this year. Using their eportfolio as a private space throughout the course encouraged students to evidence the evolution of their development over time. Some extracts are included in this recent presentation for the MaharaHui2020 conference. 

Finally, I have also used an eportfolio shared space (Mahara group) to support shared research such as in the case of the WIHEA #knowhow project. Shared pages allowed us to collaborate and view each other's research and then decide together where we should investigate further. In a project such as this where staff and students in different roles had limited time to get together the shared group space mediated our interactions, saving time and allowing us to collaborate remotely. The digital artefacts we stored there were then easily accessible for us to create a digital poster for dissemination at the end of the project.  

My conviction that eportfolios can be a really useful tool for staff and students alike has several key contributing factors:

• Deep thought and reflection require private space and time as well as mediated discussion. We provide for both in the physical world, I believe we need to provide digital spaces with the same affordances. Especially in a pandemic.  
• Ownership is a crucial conversation in the digital domain. Legally there is too little protection for the rights of the individual who creates online, the industry would prefer us to all be consumers. There is much to do to increase understanding of Creative Commons licences.
• The assumption that all academic work should reside on institutional platforms to which you lose access at the end of your course or contract should be challenged. The possibility to export and retain your work should be supported. 
• Designing assessment which use e-portfolios is a really useful collaborative activity. For a practitioner it requires questioning what we value and empirically investigating how best to achieve that learning. There are of course disciplinary differences but sharing your construct openly can inspire others. 
• Learning is not a tidy, linear process. It is full of twists and turns. Making that explicit through reflection can help us come to terms with the challenges we face and find better strategies. 

Here's the recording from the ALT Winter conference 2020: