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Mask-Ed™ - Enhancing learner engagement
27 Plays5 months ago
Mask-Ed: The educator transforms into a person with a history/story which is relevant to the learning experience and becomes a platform for teaching. The technique involves a three-way interplay involving the educator, the character and the learner. The educator tin character directs the learning process as they create a spontaneous and realistic simulation experience.
Mask-Ed was created by Kerry Reid-Searl. Kerry is well known for her creative contribution in simulation as reflected in her creation of Mask-Ed™ and Pup-Ed™. Kerry has been involved in undergraduate nursing education for more than 32 years. This has enabled her to design, implement and evaluate multiple simulations whilst also researching and publishing in the field. She has been the recipient of numerous national teaching awards and in 2020 was awarded a Member of the Order of Australia for her contribution to nursing education
check out From one space to another: Kerry Reid Searl at TEDxNoosa 2014
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Transcript
Introduction & Hosts
00:00:52
Speaker
Simulation Happy Hour acknowledges the land and the waters from which you are listening today.
00:01:11
Speaker
Welcome to Simulation Happy Hour. Sit back, relax, and let's talk about all things sim. Welcome to Simulation Happy Hour.
00:01:21
Speaker
I'm Jane Frost. I'm Kerry Readsale. I'm Jenny Bassett. I'm Mel Barlow. And today we're going to be talking all things mask.
What is 'Mask-Ed'?
00:01:32
Speaker
um So I'm going to be asking some of the questions today. and so the first question I have, Kerry, um is can you explain what mask-out is? Sure, Jane.
00:01:45
Speaker
So Masked is actually a simulation technique that I designed several years ago or many years ago whereby the informed educator, and it doesn't matter necessarily what discipline you're in, they are informed about the practice that they teach in.
00:02:03
Speaker
So they don a silicon prop and they transfer into another person and that is a character character. who has a history that allows them to be the platform for learning and teaching. Now that may sound a little bit confusing. So in essence, I'm a nurse.
00:02:23
Speaker
My background is nursing education. So when I transfer into another character, it might be I'm a retired matron. So the bottom line is I'm able to be a conduit through my character of providing students with really valid information. Let me give you an example. So my name is Muriel Moore. I'm a retired matron.
00:02:48
Speaker
I'm working with students and let's say it's on vital signs. So I might say as I'm in character, hello my dear Liz. Now listen, and when you're doing the pulse, just make sure you go up the little finger of thumb there and you'll find it right there and you're listening for the You're feeling for the range, the rhythm, the regularity and the strength. Now, how do I know that? You know, I used to be a matron, a nursing matron.
00:03:13
Speaker
So all the way through, I'm providing students tips of information. Have you washed your hands, my dear? You know, when I was a nurse, <unk> etc. So it's like...
00:03:24
Speaker
you are so insightful or aware of the content that you're actually teaching, but you're doing it in a totally different way. So always the character has a background that allows them to be in tune with the learners and is able to transfer really important information in a really friendly, warm way.
00:03:51
Speaker
for anybody that's fantastic um for anybody who doesn't know things about or hasn't seen muskhead before what do you mean by silicon props ah that's a really good question jane so if you've ever looked at mrs doubtfire that's the movie that gave me the idea that i could be doing something differently so i'd always worn just props when i did role play but the students could see my face So I decided I need to transfer or hide from that person who they see as their teacher, their assessor.
00:04:23
Speaker
So I started using masks from plays or, you know, from theatre shops that were were hard plastic. It didn't work. When I saw Mrs Doubtfire, I thought that is my answer. So I got in touch with the key players in Hollywood. And yes, I bought some masks online. And essentially, we donned these silicon props, these masks, to transfer our faces. But more than that, i want to I wanted to be able to do body parts. So I can slip on like a wetsuit material, like a wetsuit, but it's all in silicon, and I'll have a different genital.
00:05:02
Speaker
I will have breasts. Well, I've got breasts, but but well I'll have breasts, I'll have... a vagina, I'll have legs, et etc. So the reality is these characters come to life with not just a face, but if I'm dealing with nursing students, they may need to wash me, they may need to address my pressure injuries, they could potentially even catheterise me, yet it's not me as the person, it is the silicon props that allows me to transfer into something else.
00:05:35
Speaker
Interesting, Jane, when I was a young person and I started this and I used to put on the silicone abdomen and the bottom parts and I used to think, I will never look like that.
00:05:46
Speaker
I'm 63 now and I can say I almost don't need to wear those props, but I must. I thought,
00:05:56
Speaker
how would I ever get a pendulous abdomen looking like that? And, yes, we are now at that age. So I think, Kerry, you've answered some of my next question, which was why did you develop this technique?
From Role-play to Mask-Ed
00:06:12
Speaker
Well, Jane, I had started doing a lot of role play years ago in the teacher in the in the laboratory clinical space. The problem was with role play, as I said, students were not, they didn't see this as an authentic other character. And I used to put my name to us.
00:06:30
Speaker
another person, I'd put a pair of glasses on and I'd separate myself to this new character. The problem was, I would find, is that the students wouldn't want to touch me in terms of I am their assessor, I am their lecturer.
00:06:45
Speaker
They didn't want to encroach on my personal space. So what then happened is I started to look around for masks, as I said before, and I went to theatre shops and things like that. All I could find was those hard plastic masks.
00:07:02
Speaker
I wore those once and never would I wear them again. They had no facial movement. So then I decided, well, I need to do something more. And as as I said, that's where I watched Mrs Doubtfire, started to use the silicone procs, but I needed more. And that's where I went to the other body parts to really be able to play that authentic play.
00:07:23
Speaker
So why did I do it? What led it to it? I wanted realism. I wanted vulnerability. I wanted these characters to be someone whose students would absolutely be suspended in in disbelief.
00:07:38
Speaker
And that's exactly how these characters emerge. Changing voice, changing mannerisms, really doing your homework about what older persons, how they may move, or if I'm playing someone who has a level of parkinson how Parkinson's disease, how do I then play those authentic roles?
00:07:59
Speaker
So it's a lot of background, not just the silicon prop, it's becoming somebody else who is genuine,
KRS: Knowledge, Realistic, Spontaneous
00:08:07
Speaker
who his voice is genuine, who is age is genuine, to be able to transfer information to students.
00:08:14
Speaker
in a really authentic way. Interestingly in this technique, we never stick to scripts. We are dealing with students in the most humanistic humanistic way where it is spontaneous in dialogue.
00:08:30
Speaker
So the KRS associated with mask ed is not Kerry Reid's health. It is k for knowledge, the knowledge of the person who is transferring into that character that allows them to impart information to students.
00:08:45
Speaker
S, R is realistic. So everything that you ah do in mannerisms, in voice is well rehearsed. And S is spontaneous. That dialogue is not prescripted. It is spontaneous in every human interaction.
00:09:02
Speaker
However, as the educator, I have got core objectives that I know I need to cover in that particular session. So I don't necessarily go on random conversations. It's always attuned specifically to what are my objectives for this session.
00:09:19
Speaker
At the same time, i will be grabbing teachable learning moments as I go that only come from those humanistic responses with students or with learners.
00:09:33
Speaker
Does that make sense? It does. I'd like to... For you to talk a little bit, if you can, well, of course you can, but around the pedagogy and the importance of having training because this isn't something that people can just go after listening
Training & Preventing Negative Learning
00:09:50
Speaker
to this podcast. They can't just get a mask and become a character. There is more to it than that. Can you talk to that? Because I just want our readers to understand that.
00:10:04
Speaker
Yeah, so we have done research around this and several research studies around this and it was really important interesting that the findings of one of those studies identified from people who have played these roles how valuable and important that preparation is. So we run two-day workshops to prepare people for this and there's a lot of practice before they actually go into the classroom.
00:10:27
Speaker
The risk of people not being trained is that it can be traumatic for learners it can be you can create a really negative learning experience so donning silicon props is the silicon prop is merely just the transfer of the character but the the whole but character is coming through with that knowledge of the person the way they're reading their learners the the ability to react, the ability to make sure that they are vulnerable, they are kind, they are gentle.
00:11:04
Speaker
It is about not ah challenging learners to be walking away from that simulation where they're feeling very negative. it's You are dealing with incredibly high emotional, potentially high-state simulations.
00:11:20
Speaker
to be able to debrief effectively, to be able to unpack what has happened in that simulation requires someone with expertise, someone with really solid understanding of the pedagogy that sits behind it.
00:11:36
Speaker
We have seen, people have said, has this ever gone belly up? For me, no. For my people or for the people whom I have trained in this actual technique, no.
00:11:47
Speaker
We have, Masked has hit, High class news as a result of one particular institution not having any training in this experience, utilising characters and in this situation it was with mental health where it caused traumatic it responses to learners but also an absolute insult to persons who are experiencing mental health issues.
00:12:16
Speaker
So the bottom line any preparation is thorough And, but you know, people who are playing these techniques really have to understand what they're doing.
00:12:28
Speaker
Just to don a mask is highly, potentially highly problematic, can I say. So I would not encourage people just to don a silicon prop and go off and play a character.
Mask-Ed vs. Standardized Patients
00:12:42
Speaker
It's about understanding voice. It's about mannerisms. It's understanding the tone of which you come across. It's understanding vulnerability. It's and understanding the warmth. the warmth of the characters, being student-friendly, et cetera.
00:12:57
Speaker
I could keep going on, Jane, but we don't have that time. I've got a question, Jane. I'm going to ask Mel and Jenny if they've got any questions. Yeah.
00:13:08
Speaker
Before I ask if we can meet a character, which would be great. for I have a few questions. kerick The first one is can you give us an example? So you're talking about undergraduate Is it a one-off class or how do you integrate this into the curriculum? Yeah, a great question because a lot of our organisations, particularly universities, have multiple campuses. So how do we create equity across all campuses?
00:13:35
Speaker
There's two ways. One is that people are willing to be trained in the technique and they may have a a character for each of their campuses and that way they can be doing face-to-face interactions.
00:13:49
Speaker
Alternatively, one other thing that we're doing at at the organisation in which I work is not only just face-to-face, but we do a lot of work online. So the students might meet these characters through Teams, through Zoom.
00:14:03
Speaker
We may have a lecture where the characters are ah present. We may have assessment items where the characters are present and the students have to unpack what is actually happening for them.
00:14:15
Speaker
We do videos and have them as part of demonstrations on particular skills. So there's a diverse way of putting this into curriculum.
00:14:27
Speaker
The other thing in terms of when you're using Masked, we don't ever play that role where we basically come in as a character without giving students a level of warning or an indication that we're using Masked in this particular technique.
00:14:44
Speaker
However, as time goes on, I've had characters, for example, Stanley Selby was one of my favourite characters, and I just have to say to students, Stan's visiting today sometime and that's all I needed. They knew they knew it was me, but they were so suspended in disbelief that they bought into the character.
00:15:03
Speaker
So getting back to it, a variety of ways, Mel, face-to-face, um individual sessions where you're also training others with their own characters. No one else can play my character. They'll have their own um virtually through Zoom, through Teams or in your platforms such as whether you're using Milo, whether you're using Moodle or whatever, you can put those characters into your individual units.
00:15:31
Speaker
And so thank you for that because that multi-campus thing I was wondering about, How would you say this is different to hiring an SP or having an SP? What a great question, Mel.
00:15:46
Speaker
When we hire an SP, we are not expecting those individuals to have the insight and knowledge of the content in which you are utilising the characters in.
00:15:58
Speaker
So, for example, I can go in and let's say I am teaching vital signs. I can play an SP where I'm just having my vital signs done.
00:16:09
Speaker
What separates, we're not expecting that SP to be able to say, now listen, I think the last nurse found the pulse right here and when they were doing it, they were feeling for, oh, what was it again? the ro ro The rate, that's right, the rate, the rhythm, the regularity. Oh, when I'm doing the blood pressure, I don't expect an SP to be able to say,
00:16:30
Speaker
Oh, listen, the last nurse, when she was measuring or he was measuring for the cuff size, I think they said something around 60% of the the width of the arm. Oh, that's right, and they've got two sides, the systolic and the diastolic.
00:16:48
Speaker
So all the way through, I'm giving prompts. Have you done your five moments of the hand hygiene? Whereas an s SP is not expected to do that.
00:16:59
Speaker
So what these characters bring is this level of knowledge that they transfer through the character. And that knowledge is attuned specifically to the arena or the area of what the students are learning at that particular time.
00:17:16
Speaker
And don't forget the essence of communication. And nor do we expect an SP to peel off the mask at the end of that session and undergo a debrief. How did you feel?
00:17:29
Speaker
What do you think you did really well? What could we have done differently in dealing with this character? Let me ask that character how they felt when they were, when you were actually communicating with them.
00:17:42
Speaker
And then lastly, you know, how are you going to take away what you've just experienced here into your real world of practice? That does not come from the dialogue of an s SP. This comes from the dialogue of the Masked character.
00:17:56
Speaker
One of the biggest faults that people play with Masked is that they will don a silicon prop and they'll just become an s SP. They don't use the true pedagogy of Masked where they are delivering that information in a timely way, attuned to what the learners are actually experiencing or what my key objectives are.
00:18:19
Speaker
and Anybody can put on a silicon prop and be ah an s SP. It's not the gift of what mask ed offers.
00:18:28
Speaker
Great. Thank you for that. That was really clear.
Applicability in Healthcare
00:18:32
Speaker
So I understand in higher prior to working in higher ed, I was in a healthcare hospital-based sim centre where your learners would come in for anywhere from like two to eight hours and then you might not see them again for 12 months.
00:18:49
Speaker
Is it appropriate for that kind of environment? How would you think about mask ed in that environment? Yeah, that's really... When you're not having repeat exposure to the character. Yeah, so one of the challenges if if you've ever donned silicon props, you can't stay in them for very long.
00:19:06
Speaker
It's a bit of a risk. So I always say, you know, really probably 15-minute interactions with our students when we're donned. I'm... bit of ah a master at it so I can stay in there for a fairly long period of time.
00:19:21
Speaker
I say to the to you Mel, what type of simulation are you trying to achieve? If this is something that you want learners to respond to where there's a fair amount of emotion, vulnerability, where you want that communication to be a focus which you may not necessarily get from a mannequin,
00:19:44
Speaker
so my answer is yes you can do it on repeated episodes but if it's staying in that one particular role for over over ah two hours three hours you may find it too too challenging there are times where we have gone and don silicon prop and let's say i'm using um als and i'm talking about um a sudden episode of a cardiac event.
00:20:12
Speaker
So I might come in the character and I say, look, I'm not feeling too good. I've got a bit of, I had a bit of ingestion last night and I've had this pain in my shoulder and I don't know what's going on Oh, I don't feel real good.
00:20:25
Speaker
Oh, but gee, I think I've got somebody standing on me blooming chest. Oh, dear. And then I might collapse. They then transfer over to the mannequin,
00:20:36
Speaker
and that then they can continue on that simulation and doing an ALS. But what I've brought in the beginning of this is a sense of realism into this particular scenario.
00:20:47
Speaker
So, you know, there's this many ways that you can do it. It's about being innovative and think, how can I draw in my learners to maximise the engagement while also understanding how long can I stay in a prop for?
00:21:02
Speaker
Yeah. yeah Great. Thank you.
00:21:09
Speaker
Jenny? Jenny, do you have any questions? Well, I'm really looking forward to meeting one of the characters, Kerry. So my question is for Jane because, Jane, I know that you use Masked.
00:21:22
Speaker
Can you tell us why you've chosen to use Masked, why you' why you've been... what What do you think of the advantages? What I might do, sorry, Jen, what I might do is I'll just disappear for five minutes or not even five minutes, a minute, because that's all it will take me and you guys have a bit of a dialogue because I know both Jenny and Jane have their own characters and you might talk a little bit about that. I'll be back very shortly. Okay.
00:21:53
Speaker
Sorry, Jenny, what was your question? Why I chose to use Masked? I know when I first saw Masked and was ah in Newcastle, and I went, oh, wow, this is such a ah realistic, exciting, innovative thing.
00:22:10
Speaker
style of simulation and I could see the advantages of Masked over mannequins and SPs and role play and other types of simulation styles.
00:22:20
Speaker
um I'm just interested, why did you what do you see in Masked?
00:22:27
Speaker
Well, like you, I was introduced to Masked by seeing Kerry and undertaking the training. And I chose to use Masked in a slightly different way and actually use it in a theory subject um where I was actually teaching about chronic illness.
00:22:48
Speaker
And what it allowed me to do was have an unfolding case study um using Masked and my character Marjorie, who would pop in at three different points in time across across the unit with different things that were happening but all related to um chronic illness and it brought some life into what they were what they were learning about. It actually brought home that there were people that were experiencing things rather than just learning about those chronic of illness.
00:23:28
Speaker
Oh, I think kim someone else that's joined us today, um They're muted, so we just have to unmute. Henry, is it?
00:23:39
Speaker
The microphone.
00:23:48
Speaker
Can you hear me now? Yes, I can. ah Yes, I don't know what I'm doing with all this technology stuff, you know.
00:23:59
Speaker
That's one of the problems for people in my age group, you know. Yes, who am I speaking with again? Sorry. I'm Melanie.
00:24:11
Speaker
Oh, all right. This is a PCAST thing, you know, the be the the cast of The Pod or something like that. That's it, yes. I'm Henry. Yeah, Henry Wilson and...
00:24:25
Speaker
iber I've been working with Kerry, you see, at the moment I've been working with the first-team nursing students, you see.
00:24:37
Speaker
but One of the things they're learning about is vital signs. You know the vital signs? Yes, they're learning about that, and I also am teaching them.
00:24:50
Speaker
Kerry's been teaching them about the fluid, Balanced chart. Now, you see, my background is I was once a nurse educator, too, you know.
00:25:01
Speaker
yeah One of the very first male nurse educators to be employed, in fact. Now, I've also got the gestion of the heart failure at the moment, you know, congestive heart failure.
00:25:15
Speaker
And me heart's not working so well as a pump. And I said to the nurses the other day, you know, you've got to measure everything that's going in and everything that's going out. And they couldn't understand how they worked the difference. I said, look,
00:25:31
Speaker
There's a negative and a positive. So, you know, if you've got more coming than going out, you're in a positive. I said, it's like a big fat juicy grape, you know?
00:25:43
Speaker
And if you've got more going out than coming in, well, you're a bit dry, you're negative. That's like a sucked-in sultana. And then they said, well, what's it got to do with your bitter signs? I said, well, you think about it, darling. Take off the skin.
00:25:59
Speaker
and think about what the heart might be doing when it's all full of fluid and overloaded, you know. I said, well, it might get a bit sluggish. I said, it's right. So, you know, you can see a difference in your heart. You know, so that's the sort of thing.
00:26:16
Speaker
I tried to explain everything, but I'm feeling a little sad. It's now three years since my wife passed. And, uh,
00:26:28
Speaker
I think sometimes i I find it hard. It's her anniversary today, so I'm not here until I crash off today. But she was my rock. and as She was also a nurse. God bless her. I met her in nursing many, many years ago.
00:26:46
Speaker
and Yes. Anyway, she would have me in a proper suit and tie doing this interview, but I couldn't find it. I got half me jambas on at the bottom. of And, yeah.
00:27:02
Speaker
Is there anything else you would like to know about me? Henry, I'm curious. What do you see how how the students react to you?
00:27:16
Speaker
Well, I have s sweeties. yeah And I have sweeties in me pocket and I always bring something nice to the students. Sometimes I bring the cakes.
00:27:27
Speaker
I'm not a very good cook, though. They're not like me wife. So I think they like me very much. But they always say to me, Henry, you are I said, thank you, my darlings, and you're going to be marvellous nurses. I've never crossed with them, and some of the learners struggle a little bit, so I always give them a few tips, and help them get on their way. I do tell them they've got to wash their hands at five moments of their end hygiene. They sometimes get upset with me. I know, Henry, you're telling us a again. you
00:28:04
Speaker
So, no, I think like gene da like me. They always send me birthday cards. And on me birthday, they've even done a cake for me. Yeah.
00:28:16
Speaker
Yeah. I visit them regular, like, you know.
00:28:21
Speaker
And do you give them feedback, Henry? Pardon, and darling. Do you give them feedback at the end? Oh, my word. I always get Kerry to come back and give him some feedback. Would you like me to find Kerry now?
00:28:36
Speaker
yeah that would be awesome. Thank you for coming. Yeah, well, I'll just find Kerry now. So Kerry always talks about a debrief afterwards. So she just takes off, sends me away from it.
Importance of Debriefing
00:28:55
Speaker
So then back we come. So then we might say to the learners, how did you feel about that experience? How did you feel about Henry?
00:29:06
Speaker
What do you think you did really well when you were talking with Henry or dealing with Henry? And when I've got, say, you know, quite a few students in the classroom and there's only one Henry,
00:29:18
Speaker
I might tag them in and out. So Henry might say, can you come over here darling and do this? Or, oh my God, thank you very much. Over here, you darling, come over here with your friend and help me do this.
00:29:29
Speaker
So you're tagging in and out. So students never know when they're not going to be dealing with Henry because it's Henry controlling that situation. So then we would say, you know, what do you think you did really well?
00:29:43
Speaker
Is there anything we could have done differently? What do you think Henry was feeling? So I might come back as Henry's voice, not necessarily re-putting on my prop.
00:29:54
Speaker
And then what are the gifts Henry's given you here today that you might then take away and apply in your real world? So debrief happens after every single interaction.
00:30:07
Speaker
And often that debrief is as long as the actual simulation that's occurred. So always allow for that debrief. The other important part that we've recently identified from one of my PhD students is that we spend so much time debriefing the learners, what happens with the character.
00:30:30
Speaker
Now, when we build these characters, these have come from a variety of things, patients whom we as educators have dealt with. Maybe stories about our own family members or something that's really touched us or emotional.
00:30:47
Speaker
And we have to be careful of what's happened in the simulation that how are we dealing with this as we unpeel and emotionally unpack the experience for ourselves.
00:30:58
Speaker
So this is a new area that is really coming to four And that's from one of my, as I say, Jo Rhodes, a PhD student who's looked at this whole thing. So we spend hours doing debriefs with actors in roles, yet we haven't always done this successfully with the masked-led characters.
00:31:17
Speaker
it So just to give you an example, I just spoke about Henry's wife dying three years ago. now I could remove myself but two years ago from that experience, having just lost my husband.
00:31:32
Speaker
When i talk about that, there is a new level of emotion and feel that I have that sometimes is so real in that character that you're playing that you need that debriefing and coming to terms with what's actually happened there in your own life to the character you're playing.
00:31:53
Speaker
So when we're designing our characters, I try to get educators not to bring too much of their personal self into the character. because of the risks that that brings inside the classroom space.
00:32:09
Speaker
Thank you for sharing that. yeah That is just so true we're not very good at that yet. In debriefing the debriefers, right?
00:32:19
Speaker
Yeah, I think that's an area of improvement. And I know Alistair in a previous episode we touched on that, but I think that's worthy of a... ah conversation in it in itself so how we can support other educators and academics out there in that space.
00:32:36
Speaker
Oh, sorry. I think there's something for another podcast, debriefing the educators. Yeah, I know someone that we might be able to talk to about that. Yeah.
00:32:51
Speaker
Hey, Kerry, I've been thinking, you know, if you've got a really, some of our classes now are getting quite big. You know, if yeah if I've got 25 or maybe 30 students in the lab, sometimes I've got 16.
00:33:07
Speaker
I know that we when I was working with you that we were doing tag team simulation. So what are the combinations of, you know, how else can we mix up Masked with other types of simulation styles?
00:33:21
Speaker
What else have
Combining Simulation Styles
00:33:22
Speaker
you been doing? Because you've talked about Masked with assessments, What else is out there that's been happening? And let me give you an example that I've recently done is that I'm doing a very much an I do, we do, you do approach. So gradual release of responsibility model in the classroom space. So I'll go in as the academic and I might be, and let's go back to simple old vital science, not simple, complex, vital science in terms of
00:33:52
Speaker
I might go in and I say, I do. So guys, gather around. Let's run through vital signs. What are we actually doing? Why are we doing it? What are we going to do? Blah, blah. So we bring the clinical reasoning cycle in it. So I do.
00:34:06
Speaker
Then we do. And so... It's a we do is where I'm talking with the students. Now, guys, tell me again, what do I need to do at this point? Then it's ah so they are then ready for the you do. You go out and do you go and practice this yourself.
00:34:22
Speaker
So it might be that they've done these vital signs in these first half of their session. Now we're going to bring this to the like situation of a real person. So I think Stanley or whoever is coming into the classroom, he hasn't been well today.
00:34:39
Speaker
So the students have all had a go at practising. They bring now this in. Here's his symptoms. Here's his situation. Someone, you do the blood pressure. You guys come over and have a go at the pulse.
00:34:51
Speaker
And Stanley or her the character will draw the students in. Don't forget my temper. Yeah, yes. Now, can you write it all this down so someone else is writing it down? Oh, and now the nurse educator's here. Would you give her a handover?
00:35:04
Speaker
So can you please tell the nurse what's going on? And don't forget to do that isabar thing, you know, you tell them who you are, well what me situation is, what me... but So bottom line is...
00:35:17
Speaker
We've brought one character in at the end of that session with a small scenario. We've allowed clinical reasoning. We've allowed them to apply the skills, but more importantly, they're making sense of what has happened in the context of a real situation.
00:35:35
Speaker
That can take 20 minutes. I might only be in character... for seven minutes, but those students walk out, oh my gosh. Another one that I've just had recently is, this this was incredibly powerful, it took five minutes to create.
00:35:52
Speaker
This is no joke. And it was about one of our characters who's been admitted to a nursing home. One of the things that the students had to do is try and have an insight on an understanding in terms of a care plan that what might be happening for this particular character.
00:36:07
Speaker
I want you to think about communication. I want you to think about nutrition, pressure injuries, falls risk, et cetera, et cetera. The conversation was on a video, there's only the character and he gets a phone call from his his granddaughter who is a student right or a registered nurse.
00:36:25
Speaker
So here is the conversation. Oh, hello, my darling. oy No, I'm not feeling so good about being in this nurse. now No, I don't like the food. I'm not going to be eaten.
00:36:36
Speaker
Yes, I know me, Bows. Well, I've been doing the number ones, you know. The rabbit droppings. Yes, I know, darling, I haven't been drinking the water, eh?
00:36:48
Speaker
No, I'm lonely. I don't want to. No, I'm not moving around. I can't get around proper like. I don't like walking in, eh? Yes, I know, I got the red sore on me bottom a little bit. They call that the pressure. Yeah, yeah.
00:37:04
Speaker
And so this whole conversation is just made up with this pretend registered nurse. But she's giving these students these prompts of information for them to think about, oh, my gosh, he's lonely.
00:37:18
Speaker
He's at risk of constipation. Nutrition is an issue for him. et cetera, et cetera. He's a false risk. So they've seen this five-minute video that they take away and the emotion that the students feel because, oh, my gosh, that could be my grandparent.
00:37:36
Speaker
Oh, my gosh, this could be somebody that I know. So we've brought this level of emotion to this simulation that they walk away. And ah so I go back into the classroom as me,
00:37:49
Speaker
Are you Stanley? ah Yeah, I am. So, you know, the students may not have even met me in person, but they know who that character is. So we, again, we always say to students, this is Masked Head. You know this is being played by Kerry Readsall or whoever the character actually is. So there's no pretending, you know, what's it, giving students a false impression that,
00:38:17
Speaker
This isn't, this is just something that we've made up and now you've shocked me. No, this is a pedagogy or approach and simulation that we're using. But as I say, when we're in the classroom and we peel off and they see me, oh, Kerry, can you go and get Stanley again?
00:38:31
Speaker
Oh, okay, I'll bring him back. So, yeah. Well, I don't know, but I'm off to make a cake for Henry.
00:38:41
Speaker
i loved Henry. going to feed him. Okay. He likes banana cake.
00:38:49
Speaker
and Thank you so much, Kerry, for today. i think you've given us lots of information. it It was fantastic to meet Henry today. And as Mel says, I think we're all thinking of Henry today and hoping that he's doing okay.
00:39:06
Speaker
You've given us lots of content for other podcasts as well. So I'm i'm sure we'll be asking you back. in character or maybe we're asking Henry back to do another podcast. um Maybe we can do that regularly. I think our listeners would like to hear from him again. thank you. alsoa um Thank you.
00:39:27
Speaker
Thanks. Thanks, everyone. See you next time. Bye. Bye. why