ACTIVE Reviewing Tips
for dynamic experiential learning


Reviewing for Different Ages

Roger Greenaway's Active Reviewing Tips ~ ISSN 1465-8046

is no longer published but you can view more back issues in the ARCHIVES

For Roger's blog and other writings please see the Guide to Active Reviewing

ARTips 11.4   Reviewing for Different Ages


The previous issue 'Reviewing when short of time' is now at: <http://reviewing.co.uk/archives/art/11_3.htm>


How do people learn from experience at different ages? Who does it better: baby or grandad?

Reviewing for Different Ages is the main topic for this month's Active Reviewing Tips. And the conclusion may surprise you.

Part 2 of Reviewing For Different Ages arrives next year but to save you the cliff-hanger, you can read the conclusion in this issue, or view the whole article at: http://reviewing.co.uk/articles/reviewing-for-different-ages.htm

While writing this article about learning at different ages, Nigel Paine's article on 'Five learning myths to dump before the New Year' appeared on Training Zone. Two of these 'myths' happened to be about age and learning:

Myth #2: Learning gets harder as you get older

There is no evidence that older people find learning difficult. They might find what you offer hard or off-putting but the idea that we make excuses for older employees or even cut them out of the development process because of age is dangerous nonsense...

Myth #3: Generation Y need a totally new kind of learning

Age is a dangerous area to fixate upon. Someone of 45 can demonstrate all the characteristics of a generation Y persona, and someone of 25 won’t! ... Read the research if you do not believe me.

Those are Nigel Paine's words from his article at <http://digbig.com/5bawba>. I have asked him to help me track down the research. Meanwhile, take a look the examples in the article below and find out whether the examples resonate with your own experience or at least 'ring true'.

This may not be 'proper' research but I will certainly let you know of any research I find that supports or calls to question the tips that I provide.

I will also be happy to include any examples (or tips) that you can add to what you find here - whether they support or question the conclusions of my article.

Enjoy this coming season for all ages! Amongst other things it is the season for reviewing the last year and looking forward to the next. So enjoy every aspect of your holiday - even the reviewing!

Roger Greenaway

PS UK customers of my Active Learning Bookshop, please note the free delivery offer all the way to Jan 1st 2010. Every sale through my bookshop benefits Save the Children: <http://reviewing.co.uk/reviews>


by Roger Greenaway with examples from Bill Krouwel, Irmelin
Küthe, Jacob Lindeblad, Karin Murris, Katriona Rioch, Kaye
Richards and Richard Coaten.

How do we learn differently at different ages and stages of life?
And how can we help others learn from their experiences at
different ages and stages in their lives?

In his book 'What is the difference?' Professor Alan Rogers
claims that adults and children learn in much the same way. This
challenges the dominant view in adult education theory that
adults and children learn in different ways.

My own view is that other factors can be more significant than a
person's chronological age - but age is still a factor. In my own
writing about reviewing and reflection I do not usually
distinguish between different ages and stages of life. This one-
size-fits-all approach recognises the potential for using any
idea with any age - if you are prepared to make adjustments.
'Age-neutral' writing gives you access to a wider range of ideas.
A game from early years playwork can become an astute
intervention for a business consultant - and vice versa.

I do accept that if you speak to a 5 year old as if they are a
senior manager (or vice versa) you may not be successful. But
then again you just might be! Every time I am tempted to make a
generalisation about what is and is not suitable for different
ages, exceptions spring to mind.

For example, Dorothy Heathcote (a professor of education)
developed a drama-based technique called 'Mantle of the Expert'
in which very young children are treated as if they are much
older - and they rise to the occasion. When treated as if they
are responsible and wise, children respond as if they are
responsible and wise (at least within the structure of 'Mantle of
the Expert').

And as for the value of people 'old enough to know better'
playing like children, I have many tales I could tell. There are
many who specialise in this area of play for all ages such as
Bernie de Koven (Major Fun) found at <http://www.deepfun.com> or
the FunFed in London who 'whole-heartedly believe in joy,
upliftment and laughter for adults' <http://www.thefunfed.com>

Now that you have read several paragraphs without an 'active
reviewing tip' in sight, I will now place these general
observations about age-appropriate activity in the context of

What should we bear in mind when reviewing with different age
groups? How can we adapt the same reviewing activity for
different age groups? Or do people automatically adjust and take
part in a reviewing activity at their own optimal level?

Here are my current thoughts about reviewing with different age
groups - mixed in with stories from friends and colleagues who
have kindly contributed to this article with their own
experiences of reviewing with different age groups.

[Ages 0-5]

A lot of learning happens in the first five years of our lives.
Some of this learning is fed to us, but much of it happens
through active learning - through active curiosity, playing,
exploring and experimenting. Under fives have a lot of patience
and persistence when things don't work on the first attempt.
Under fives were not taught how to learn from experience.
Learning from experience appears to be an innate quality. Under
fives are naturals at active learning. And they get a bit
restless if they are expected to sit still and listen to long
lectures. They prefer listening to long 'stories' but they often
interrupt, ask questions and like to participate.

> And the funny thing is that most of these observations hold
true for over 5s, over 20s, over 50s and over 80s.

[Ages 5-100+]

P4C = Philosophy for Children + Philosophy for Communities

Philosophy for Children is an approach to learning that
emphasises enquiry and reflection. For work with younger children
Professor Karin Murris's 'Teaching Philosophy Through Picture
Books' (now 'StoryWise') has had considerable impact on primary
school education, along with the growing P4C movement promoted by
SAPERE: the Society for Advancing Philosophical Enquiry and
Reflection in Education. Communities of Enquiry can be created at
any age - from very young to very old: SAPERE has a partnership
with Age Concern in its work with Philosophy for Communities.

As with Dorothy Heathcote's 'Mantle of the Expert'...

> You are unlikely to discover the wisdom of children unless you
provide them with an opportunity to demonstrate their wisdom.

> Also - Pictures seem to be a good way in to philosophy.
Philosophy is not just about ideas that are expressed in words.

[Ages 10-12]

Jacob Lindeblad writes ...

Lindeblad worked with 5th and 6th graders who were mocking each
other. By using pictures with the decision line the children
reached a common understanding of what good comradeship was all
about. The children used the decision line for choosing pictures
that best represented their ideas about good comradeship. Now the
chosen pictures are hanging in the classroom as a visual reminder
of what they need to have and to see: good comradeship.

Jacob Lindeblad <www.lindeblad.dk>

Deciding Line (with pictures)

> Deciding Line generates high involvement, and the use of
pictures and appreciation makes it easier to achieve consensus.

[Ages 15-16]

When working on a residential youth programme, we were visited by
a facilitator who was working on adult programmes at the same
centre. He was astonished at how soon in a programme these
teenagers were able to give and receive feedback.

My reply was that the young people were giving lots of feedback
to each other when they arrived - and it was 100% critical!
Because this created such a negative environment for learning, we
worked hard to change this from the very start of the programme.

One method we used was to have young people lie down on paper
(from a newsprint roll) and have their outlines traced by a
partner. Using pens and paint everyone would then move round each
other's life-size portraits adding colour, features, clothing and
items as a way of sharing their impressions of that person.

Collective Portraits:

Other visual feedback methods:

[Ages 15-16]

Dr. Kaye Richards tells me that she and Alison Butcher created a
novel but familiar context when interviewing young people for a
research project at Brathay <http://www.brathay.org.uk>. They
recreated the Big Brother Diary Room. The young people would go
into the diary room one at a time and sit in the comfy chair. Big
Brother's voice would come through from the other side of a

This appeared to have the effect of encouraging young people to
speak more openly than might be the case in a 'normal' interview.
It is novelty that captures imagination and shifts people into a
different way of thinking and communicating. And if the idea is a
good cultural fit, the chances of success are greater.

> A change of context can help to engage people more deeply -
especially if the context is both novel and familiar.

[Ages 15-16]

I was teaching the 'leavers class' - the class that would be
leaving school with few or no qualifications. In fact many of
them had left this class already and my first task was to track
them down and persuade them to attend. To cut a long story short,
we ended up doing improv theatre about changes in the local
community that were already affecting employment - and their own
employment prospects. The drama we were creating together was
directly related to an issue that mattered to all of them. Their
acting skills were better than their reading and writing skills,
so I helped them produce a playscript closely based on their own

The 'leavers' performed this play (about leaving) again and again
- sometimes changing roles, sometimes adding new scenes and even
writing their own scripts. Unfortunately they did not have the
confidence to perform the play to other students, but they did
allow the playscript to be used by other classes. Just before
leaving school they gained an unlikely reputation as playwrights.

This is probably the closest I came to 'active reviewing' as a
teacher (before encountering it as a trainer). The work stayed
close to the experiences and concerns of the young people. The
primary method (improv acting) was something they enjoyed and it
played to their natural talents rather than dwelling on their
lack of ability in reading and writing. As their confidence in
acting grew, they got drawn in to reading and writing the
playscript. And they received congratulatory feedback from many
students from other classes who had read and performed the play
which they had created.

> Finding an active way in which these students could reflect on
their experiences as 'leavers' helped to engage them in the
learning process.

> Genuinely believing that these students had the ability to
create and perform a play was also an essential ingredient.

[Ages 15-16]

Katriona Rioch told me this story when she was project leader at
the Clydesdale Youth Project ...

At our parents' evening it was rare to see so many parents
turning up and showing an interest in their sons. A lot of the
conversation was about the clay models that the boys had taken
back home. Each model was a self-portrait in clay. Few parents
knew (or cared) much about what was happening in this group until
they saw the clay models. The models prompted conversations with
parents about the young person's self image, how they saw
themselves and thought about themselves. For many this made a
welcome (if awkward) change from being ignored or reprimanded.
The clay model and the subsequent discussions with the young
person and then with their youth workers resulted in parents
showing renewed interest in their sons and in their
responsibilities towards them.

> A creative process (such as the making of a clay model)
promotes reflection and dialogue - with all who see the product.

[Ages 18-22]

A group of apprentices were talking a lot about football. Perhaps
they understood the world of football better than any other. So I
used their interest in football and their knowledge of the game
for setting up and managing a feedback session.

The starting point was to identify the skills and qualities
needed for different positions on the field of play. I then asked
them to put aside any knowledge they happened to have about each
other's footballing skills. Now they had to place each other
(physically) on the field of play, giving reasons why they were
suited to a particular position. For example, a centre forward
might be seen as a talented individual who does very little until
someone shouts at them; or a defender might be seen as someone
who is reliable but is always cutting others down. Once they got
going, the quality of feedback was surprisingly sophisticated -
much more so than if I had asked them to give straight feedback
to each other.

> Start from strengths and existing knowledge. These apprentices
knew about teamwork on the football field but had not so far
applied these insights to their own teamwork and team roles.

[Ages 25+]

A participant in a management development programme told me ...

"We decided that in our drama we wouldn't use words, we would
just use drama and music and percussion, and be fairly creative
... The theme was "working relationships and change". So we were
thinking about chaos into harmony. Percussion and wind
instruments - discord, trees, panic and fear and harmony and we
brought together the rhythms, and with the harmony and the tune
at the end and that was very powerful because it wasn't
constrained by jargon or language or anything ... That was why it
was powerful ... because it was a totally different setting and
yet we were asked to produce a drama on working relationships and
change and we did!"

> Using music for reflection removes the normal constraints of
words and jargon and can lead to a deeper understanding.

For the use of music in organisation development see:

[Ages 25+]

The Center for Creative Leadership has explored and developed the
use of creative methods in leadership development. The research
findings of Charles Palus and David North are described in The
Leader's Edge. Among their proposed six key competencies for
leaders are imaging, serious play and crafting.

> Creative arts have a useful role to play both in reflecting on
leadership and in being effective leaders.

The Leader's Edge is at the top of the list in the leadership
section of the Active Learning Bookshop:

[Ages 25-35]

Bill Krouwel writes ...

Working with a group from the I.T. department of a financial
institution, we found that we just couldn't penetrate the rather
defensive attitude which the group seemed to share.

At our wits end, we shared our concerns with the group and gave
them space (45 minutes) and a place (the group room) to reflect
on this. After 20 minutes or so, we heard thumps, bumps and silly
laughter. A little later we ventured back into the room to find
the group playing "tig" (AKA "tag").

After the game was over, there was a relaxed and cheerful

On reflection I think they were probably a little wary of making
fools of themselves in front of each other - but after "tig",
nothing we might inflict on them would look as silly...

So the group adopted a children's game....

Bill Krouwel

> Sometimes the smartest move is to share your concerns, leave
the room and let the group surprise you with their solution.

[Ages 70-100+]

Dr. Richard Coaten finds that people with dementia may have
difficulty with cognitive approaches because their cognition is
damaged. But they can access their remaining potential through
other senses, especially those which are embodied. They are
especially responsive to dancing, movement, singing and
reminiscing with objects. Stimulating memories through smells,
food, music, dance and pictures matters even more when people are
so vulnerable and frail - because reaching them through these
senses may be the only route left to communicate with them.

The principles of active and creative reviewing seem to apply
even more to people with dementia. This conjuring up of memories
through several sensory channels helps to instill a sense of well
being which supports personhood in dementia. Those who care for
them can also be enlivened through such work because they can
more readily connect when communicating in these enriched ways.

People with dementia do not like being referred to as 'patients'.
They can be just as resistant to negative labelling as teenagers.
>From the perspective of active learning, labelling people in the
passive role of 'patient' instantly places them in an inactive
role as a recipient of services - rather than as an active
participant in their own well being.

Thank you Richard for miraculously arriving in my office while I
was writing this article about reviewing with different age

These insights come from Richard's PhD thesis: Building Bridges
of Understanding: the use of embodied practices with older people
with dementia and their care staff as mediated by dance movement
psychotherapy. (University of Surrey, 2009)

> If chatting over a cup of tea isn't working, remember that
there are whole other worlds and channels through which people
can recall, reflect and discover.


When I set out to write this article about 'Reviewing with
Different Ages' I thought I might end up with a reasonably tidy
list of age-related tips. But looking through all these examples
I have ended up with just one 'extra big' age-related tip - which
is to take care that you do not limit your choices based on
assumptions about what is (or is not) 'age appropriate'.

Of course, what you choose needs to be appropriate for the people
you are working with. And if you are not sure what is
appropriate, then try letting the people choose. Some of the
above examples show how groups and individuals have chosen how to
reflect on their experiences - and made good choices.

A recurring theme, in the examples above is the value and
richness of moving beyond purely verbal approaches and making
reflection a more active and creative process. In some of the
examples, there are no words at all, but the usual story is that
the greatest power comes from a mix of methods that engage the
whole person in the process of reflection.

Here are the key points again. They make more sense if you can
relate them to the original example. And they make even more
sense if you can relate them to your own experiences. Given my
'extra big' age-related tip above, I have removed most references
to age in the summary below.

* Learning from experience appears to be an innate quality that
can last a lifetime.

* Enquiry and reflection for all ages > You are unlikely to
discover the participants' wisdom unless you provide them with an
opportunity to demonstrate their wisdom.

* Reflecting on values - using pictures and deciding line >
Deciding Line generates high involvement, and the use of pictures
and appreciation makes it easier to achieve consensus.

* Changing a negative peer culture - with creative feedback
methods > If everyone knows that they will each have their own
turn at both giving and receiving feedback, they will readily
become more responsible and conscientious about doing so.

* Creating a safe place to talk frankly - the Diary Room > A
change of context can help to engage people more deeply -
especially if the context is both novel and familiar.

* Letting people explore their world - through improv drama >
Finding an active way in which these people could reflect on
their experiences  helped to engage them in the learning process.
> Genuinely believing that they had the ability to create and
perform a play was also an essential ingredient.

* Communicating with the help of a clay model > A creative
process (such as the making of a clay model) promotes reflection
and dialogue - with all who see the product.

* Giving feedback - using a football metaphor > Start from
strengths and existing knowledge. These football enthusiasts knew
about teamwork on the football field but had not so far applied
these insights to their own teamwork and team roles.

* Reflecting on working, relationships and change - with music >
Using music for reflection removes the normal constraints of
words and jargon and can lead to a deeper understanding.

* Reflecting and leading - creatively > Creative arts have a
useful role to play both in reflecting on leadership and in being
effective leaders.

* Reviewing with a defensive group - letting the group decide >
Sometimes the smartest move is to share your concerns, leave the
room and let the group surprise you with their solution.

* Reflection through movement, dance and song > If talking isn't
working, remember that there are whole other worlds and channels
through which people can recall, reflect and discover.

If you wish to add in your own examples, it is never too late
because this is a web text to which I will be more than happy to
include your own contribution to this growing document. Please
write with your comments or contributions to:

The full article, including all examples received so far is at:


The Active Learning Manual demonstrate active learning methods
using short videos. You can view my introductory video and three
one minute videos at https://www.youtube.com/user/rogerreview

Do you have access to the equipment and skills to take and edit 2
minute videos of a similar style and quality to the pilot videos
at https://www.youtube.com/user/rogerreview?

For a limited period I am offering a third day's training free in
exchange for two minute videos that I can add to the Active
Learning Manual collection. To discuss this, or other
possibilities, please write to me at: roger@reviewing.co.uk


Roger's Active Learning Bookshop has raised over £1,500 for Save
the Children since January 2006. Thank you for your purchases.

Christmas shoppers may like to know that you can get FREE UK
DELIVERY for the rest of 2009: there is no minimum purchase for
Super Saver Delivery. (Super Saver excludes 3rd party sellers
where the product is not despatched by Amazon.)

Do ALL your Amazon shopping (not just books) via the Active
Learning Bookshop and not only do YOU get a good deal, so do
CHILDREN around the world who need our help.Please support them
by buying your books (and any other Amazon goods) via Roger's
Active Learning Bookshop at: <http://reviewing.co.uk/reviews>


Storyline is a chart made by participants showing their 'ups and
downs' over a period of time. The chart can serve as a personal
record of their 'journey' through a course or programme. Or it
can chart their ups and downs during a challenge that is relevant
to their learning goals.

People talk quite naturally of their 'ups and downs', 'highs and
lows', being 'as high as a kite' or 'down in the dumps'. A
Storyline is a timeline showing these fluctuations.

Storyline was originally used to chart emotional ups and downs,
but it can also be used for charting anything that fluctuates,
such as involvement, motivation, effort, difficulty,
understanding, relevance, confidence, performance, or a specific

The real power of Storyline is when it is used as a communication
aid. A chart makes it easier for speakers to communicate. It also
makes it easier for listeners to follow the story and to ask good
questions to the storyteller.

>> Why would I use Storyline?

To give participants thinking and preparation time before telling
their 'story'. This is especially useful for people who lack the
vocabulary or the confidence to tell their story.

To help participants focus on a particular theme in the telling
of their story (eg involvement, motivation, effort, difficulty,
understanding, relevance, confidence, performance ...)

To help participants notice similarities and differences in each
other's stories, and to stimulate interest, empathy and support
between them.

To provide you with greater insights into what makes each
participant 'tick', and some important clues about what motivates
and demotivates each person.

To give participants a framework for presenting content that is
relevant to all - such as when a participant is reporting back on
an individual project.

Tip: When first using Storyline, use it for stories with a happy
ending or a successful outcome - because stories of frustration
or disappointment may not be suitable for paired work.

>> What do I need for setting up Storyline?

For making individual Storylines, each participant needs pen and
paper. Blank paper is easier for you, but graph paper, squared
paper or a customised chart template is easier for participants.

For a  more active version, provide participants with ropes of 4
or 5 metres for charting their story on the floor or ground -
which they then walk along while telling their story.

For paired work (with ropes) you need one rope between two and
plenty of space. If ropes or space are limited, participants can
tell their stories one at a time to the whole group.

You will need a good supply of suitable questions if you want to
go beyond storytelling and encourage the analysis and discussion
of the stories.

>> Exploring a Storyline

After a participant has told their story (ideally while walking
along their line) these questions can be asked by a partner (or
facilitator) to help the student analyse their story.

1. Can you name five emotions that you were feeling at different
points in your story?

2. What caused your high points? How did you (or others)
contribute to these high points?

3. What did you or others do to help you bounce back from your
low points?

4. How did your feelings influence what you said or did?

5. How do you think your feelings influenced what others said or

6. How did the feelings of others influence what you said or did?

7. In a similar situation in future, how would you like your
‘Storyline’ to be different?

>> Things to watch out for

Stories that end on a low point. Solution: check to see whether
this is a problem that needs attention - especially if the story
is a recent one.

Stories that do not arise above zero. Solution: check to see
whether this is a problem that needs attention. Point out that
there are relative highs and lows to talk about even if all are
in the negative zone.

Participants who do not have a story to tell. Solution: change
your briefing so that everyone can find a suitable story that
they do want to tell.

>> Reviewing a group project or event

This process applies to the charting of an event in which the
whole group has taken part.

Explain that the purpose is to chart personal ups and downs.

The event to be 'charted' should be divided into about ten parts.

To bring out individual differences, include moments when people
seemed to be going through different experiences from each other.

Optional: save the first one or two scores for the period leading
up to the start of the event.

Optional: save one or two scores for feelings since the event.
Each participant records a number from minus 10 to plus 10 for
each of the ten or so occasions that have been agreed.

Either each participant constructs their own Storyline, or they
can construct a multicoloured group version.

>> The multicoloured group version

The group version can take some time to construct - so weigh up
the value of time invested against the likely value of the

The chart should be big enough for each person's line to be
clearly seen - such as a whiteboard, blackboard or an equally
large sheet of paper.

Each participant chooses a different colour and draws their line
on a large chart signing their line at each end.

If there are not enough colours to go round, lines can be
individualised using dots, dashes, crosses etc.

See 'Exploring a Storyline' above for ideas about questions for

>> A quick evaluation of Storyline

PLUS: Storyline helps participants of all abilities to give
structure and shape to a story and helps them become much better

MINUS: Storyline can get into personal areas that participants do
not wish to share with others - in which case you can make it a
private reflection exercise, or make it a safer subject.

OTHER: When walking the line participants naturally use body
language - which assists communication. The line is a wordless
prompt that brings out the essence of the story.


If you are a provider of facilitation training, please send me
the details if you would like the details included in future
issues of Active Reviewing Tips.

Brathay Professional Facilitator Programme

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  • Explore the role of the facilitator in creating highly effective learning environments.
  • Introduction to theoretical models that underpin experiential learning and facilitation.
  • Take away a variety of practical tools and techniques to support the facilitation process.
  • Practice and develop your facilitation skills and receive feedback on your personal style.
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31 October - 4 November, 21 - 25 November 2010

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Annual Festival of Outdoor Learning
Sharing best practice
Castleton, Derbyshire, England
13-14 March 2010

Building on the success of previous years, we are planning
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For more info call 01433 620377 or email

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14th Experiential Education Europe Conference Denmark 2010
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CONFERENCE: 29 April - 3 May 2010

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How to bring a workshop closer to you ...

If you would like to host an open event or arrange for an in-
house customised trainer-training programme please get in touch.
Write to: <roger@reviewing.co.uk>

And/or refer to this recently updated page of sample programmes:


Just in case you missed the very first issue of Active Reviewing
Tips (or have forgotten what it was about) here are some tips
about asking questions from Active Reviewing Tips Issue 1.1 ...

However active or creative your reviewing style, the chances are
that you will be asking a lot of questions. And that the chances
are also that most of your questions will be 'looking for
trouble' rather than 'looking for success'.

Here is a list of some commonly used questions paired with some
success-focused alternatives.

- Negative or neutral question
+ Success-focused alternative

- What went wrong?
+ What went right?

- What are your needs?
+ What are your strengths?

- What did you learn?
+ What did you learn to do better?

- What issues shall we put on the agenda?
+ What issues can we now take off the agenda?

- How can you improve?
+ What strengths could you make more use of?

- What's missing from this group?
+ What are the assets of this group?

- What would you do differently next time?
+ What would you do the same next time?

- What do you want to achieve?
+ What is your recipe for success? And what will you now apply
that to?

For more questions, for more background and for several pages
about reviewing success, start at the Questions For Success page:
from where you can find several more pages on the subject!

Success is that important!

You too can search the archives by going to this index page:


'Reviewing When Short of Time' is now at:


What would make the next issue of Active Reviewing Tips 'the best
issue ever' - for you?

Your answer will help me to write for readers just like you!

Topics I am considering for future issues include:

    * Reviewing for a change
    * Reviewing for self-development
    * Reviewing for different outcomes (using the same activity)
    * Reviewing for teachers and lecturers
    * Reviewing for consultants
    * Reviewing one-to-one
    * The art of improvising
    * Programme design with reviewing in mind
    * Reviewing as a takeaway skill for participants

Please send your suggestions (or votes) to:

Feedback on this issue is also very welcome.

~ 10 ~ About Active Reviewing Tips

EDITOR: Dr. Roger Greenaway, Reviewing Skills Training
9 Drummond Place Lane STIRLING Scotland UK FK8 2JF
Feedback, recommendations, questions: roger@reviewing.co.uk

The Guide to Active Reviewing is at http://reviewing.co.uk
'One of the best training sites I've ever seen' Training Journal

COPYRIGHT: Roger Greenaway  Reviewing Skills Training

I enjoyed the co-authoring aspect of this issue about reviewing for different ages. As often happens when I write, it was also a learning journey. I look forward to opportunities for other kinds of collaborative writing in future issues. I think it is a win-win-win formula: better for authors and readers. Is anyone interested? Proposals welcome!

Each month Active Reviewing Tips brings you:

ARCHIVES   CONTENTS of this issue

 INDEX to reviewing.co.uk - resources for dynamic learning
 How to find your way around reviewing.co.uk
Copyright © Roger Greenaway, Reviewing Skills Training, who promotes ACTIVE LEARNING via