One way we can minimise any perceived threat learners might attach to receiving feedback is by having them assess famous people’s work.

This involves them critiquing work created by experts or leaders in the same field as they are studying.

For example, a group of psychology learners might critique one of Freud’s studies, or a group of English learners might assess an extract from Steinbeck.

The purpose is three-fold.

First, we help learners see that critique and the provision of feedback is essentially a neutral process without any moral dimension attached to it.

By critiquing famous people’s work, we send the message that everything is open to assessment and that, by extension, the work learners produce is no exception.

Second, we make an implicit connection between the famous people’s work and the work learners are creating.

While we are not assuming an equivalence, we are indicating that the process of creating work remains the same, even if the content of that process might differ.

So, for example, when English learners critique an extract from Steinbeck, they are critiquing a piece of text produced by the same sort of processes as they are learning about in class.

Third, we take some of the sting out of the process of receiving feedback by helping learners to see that anybody – even somebody who is an unalloyed success in their chosen field – can receive critique, and that this is a function of the way in which we apply our minds and understanding to the things we analyse, not a sign that what is being critiqued is eternally lacking or needs its central deficits cast in bright light for all to see.

While this might seem melodramatic, these two viewpoints are often implicitly held by many learners who find the process of receiving feedback difficult and who get defensive as a result.

With these thoughts in mind, here are two examples to illustrate.

Example 1: English

The teacher displays a piece of text on the board and asks learners to read through it, discuss it with a partner, and then offer a critique.

They explain that the text is an extract from a piece of creative writing and indicate that learners’ critique should focus on identifying two good things and something that could be improved.

Finally, the teacher adds that learners should try to rewrite part of the text based on the improvement they’ve identified.

This means they can both state what should be improved and show how that improvement will look.

After sufficient time has passed, the teacher invites various pairs in the room to share their ideas with the rest of the class.

Discussion ensues and learners compare their critiques.

The teacher then reveals that the piece of text learners have been assessing is actually an extract from a novel by a famous novelist.

For example, George Orwell, Muriel Spark or V.S. Naipaul.

At this point, learners will likely be a little surprised.

And they will be immediately pushed to think again about the critique in which they have just engaged and the wider process of passing judgement.

After all, they have unwittingly critiqued a piece of text written by a highly successful, highly praised author.

The teacher concludes the activity by leading learners in a discussion about what this might mean.

They are careful to draw attention to the equivalence between judging the work of a famous author and learners having their own work judged.

This helps to make the underlying point of the activity clear for all to see.

Example 2: Photography

The teacher sets up a gallery at one end of the classroom.

They use photographs taken by famous photographers, all of which fit with the current theme learners are working on.

The teacher creates a pro-forma learners can use to critique the photographs.

This covers various technical and creative aspects.

Learners are invited to attend the gallery in small groups – there is not enough space for everyone to go up at once.

While they are there, they are expected to examine the photographs and choose one or two to critique using the pro-forma.

At this point, no information is given regarding the provenance of the pictures.

Once everyone has had a chance to visit the gallery and make their critiques, the teacher rearranges the class into groups.

Each group contains learners who critiqued different photographs.

An exchange takes place during which learners share their critiques with one another and talk through what they identified as being evidence of good practice and what they thought could have been improved.

When these discussions have run their course, the teacher draws the whole class back together.

They display a slide on the board containing the pictures from the gallery.

Each picture is accompanied by a label indicating who took it.

The teacher talks learners through the various photographers, signalling their fame, body of work and the high esteem in which they are held.

This is used as a jumping off point for talking about the nature of critique.

Learners are encouraged to reflect on the assessments they made and to consider whether these would have been different if they had known who had taken the photographs.

They are then asked to reflect on their own responses to criticism and feedback, including the extent to which they accept that all photographs are a starting point for discussion and assessment.