BSBLED805 – Plan and implement a mentoring program

Course Name: Graduate Certificate in Management (Learning)

Subject: BSBLED805 – Plan and implement a mentoring program

Assessment Task: 3. Report: Develop a Mentoring Strategy

SUBMITTED BY:

Name: Aishwarya Patel

Student ID: 11558

SUBMITTED TO:

Jashanpuneet Kaur Hanzra

Submission Date: 17 December, 2019

Word Count: 2496

INDEX

SERIAL NO.	TITLE	PAGE NO
1.	Abstract	3
2.	Introduction	3
3.	Mentoring peer-to-peer (p2p) learning strategy	3
3.1.	Executive summary	3
3.2.	A management structure	3
3.2.1.	Resources required	4
3.2.2.	Mode and how communication will occur between the mentor and mentee	4
3.3.	Mentor and mentee selection process	5
3.3.1.	Commentary on induction and how candidates will be matched	5
3.3.2.	Mentor and mentee selection criteria, procedures and tools	5
3.4.	Support structures	6
3.4.1.	Establishing methods and resources to achieve designated outcomes	6
3.4.2.	Tools to be used	6
3.4.3.	Addressing potential cultural differences or diversity issues in mentor-mentee relationships	6
3.5.	Action plan	7
3.6.	Program evaluation on how data will be collected	7
3.7.	Conclusion, including any recommendations based on the planned outcomes and the next steps	7
4.	References	8

• ABSTRACT

Mentoring can basically be classified as a relation between two people out of which one is an experienced person and the other is in the phase of learning to achieve a desired goal or target. A strong mentoring strategy ensures that the mentees feel supported and are encouraged to achieve their goals as they get that confidence that there is enough room and chance for them to develop themselves in the organisation they are working in.

This assessment will focus on the peer-to-peer learning strategy, its selection process and actual action plan.

• INTRODUCTION TO THE ORGANISATION

In this assessment we are going to consider a painting academy also known as ‘Paint for fun Academy’. Paint for fun is the organisation that is set up to train and develop children as well as adults who wish to learn painting, be it for developing and shaping their talent or for just putting some efforts to be happy by nourishing their hobbies.

• MENTORING PEER-TO-PEER (P2P) LEARNING STRATEGY

1. EXECUTIVE SUMMARY

Mentoring is the most essential part of any art organisation. Mentoring mainly boosts the productivity of the students as well as the mentors. Mentoring programs should not be considered lightly by the organisations even if they have found other forms of learning failed. In fact, mentoring can be considered as a complementary process to help or assist mentees to grow and develop their horizons as individuals or artists.

1. A MANAGEMENT STRUCTURE

The management staff will include owner, manager, mentoring staff, students, security gaurds, office boy and the like.

The management plan should at least identify all of the following:

Parameter
Time and location	9am to 4pm. Monday to Friday. Level 4, La Trobe Street, Melbourne. VIC 3000.
Duration	Each course of 2 days.
Competences required by assessor	Must have completed Masters or above graduation in Arts.
Competences required by mentee	Must have passes grade 10 with distinction.

The ability to learn faster than your competitors may be the only sustainable comparative advantage (De Geus, 1988, p.71). According to a study in Fortune 500 companies (Hegstad & Wentling 2004, p. 421), mentoring [and coaching] programs help organisations to ‘cope with the challenges of increased globalisation, technological advancements, and the need to retain a high quality—and thus highly employable—workforce’.

1. RESOURCES REQUIRED

For any start or building up of the organisation, need for different resources grow as the highest priority requirement. The first step before delivery of mentoring programme is the delivery and management plan that will translate into a resource plan that matches key deliverables.

For any painting training organisation the basic requirements are:

• Experience of Staff: The staff should not only be educated in the Arts stream, but also should be also have great experience in not only painting, but also teaching it to someone else.
• Availability of physical mentoring centre: There should a classroom or few classrooms depending on the number of students and the number of batches for mentoring of painting sessions. A single classroom learning will ensure the students will concentrate on their lectures or practical classes.
• Stationary items: Paintings are of various forms like sketching with just pencil with different shades in it, sketching with charcoal, sketching by making use of multiple colours of pencils, painting by using pastel colours, sketch pens, water colours, paints, pencils and the like. Drawing can be done on various surfaces like sketch books, sketch boards, land, walls, decorative items and the like. Some more basic stationary items include writing boards, sketch board stand, clothes, colour palates, brushes, ruler, sharpener, eraser and the like. Though all these thing are very cheap and affordable, but purchasing them in large amounts for huge amount of people can result in huge budget requirements. Thus, stationary items are the most important resource required.
• Budget requirements: There is also a special budget requirement for basic needs like electricity and some other similar bills, maintenance of property, salary payments of staff, training the staff to teach in similar way and the like.
• Time Commitments: The most essential part of every organisation to grow is time commitment. Once a mentor or any other staff member says that they will teach or mentor a mentee within two weeks only, then by any chance that two weeks’ time should not exceed. If the mentor is not sure about the mentees background and the level of knowledge he or she is having, then mentor should not commit time and inform the mentee at the very start that he will first test the level of knowledge the student is having and only then can commit the exact time required for mentoring.

1. MODE AND HOW COMMUNICATION WILL OCCUR BETWEEN THE MENTOR AND MENTEE

There are multiple modes of communication between any mentor and mentee in any organisation irrespective of the type of organisation. The most basic modes of communication are one to one also known as face to face communication and online communication also known as e-learning or e-mentoring.

For any educational organisation face to face organisation is the most common and effective one. Classroom training may take any form like theoretical or practical may it be indoor or outdoor. Paint for fun is an art organisation and art is a core form of practical experience and practice to generate an attractive piece of art or painting. In this mentor can actually help mentee or teach them with different curves in their drawing and also the different shades in colours and their effects to give them a real life look.

On the other hand, e-mentoring is not identical to traditional mentoring when it comes to establishing and maintaining a relationship (Bierema & Hill 2005). According to Bamford (2011, p. 150), ‘the Internet has given birth to an explosion of networking sites’. Bamford further suggests that the use of technology enables ‘speed learning’, a concept that involves learning just enough, just in time and when you want it. This concept is otherwise known as ‘instant mentoring’ where the mentee gets online advice from a mentor who is prepared to share wisdom and experience without notice (Lipscomb 2010). Considering painting as a form of practical art, online mentoring may or may not be as effective as that of classroom training, but in cases like distance learning e-learning may be helpful at times.

1. MENTOR AND MENTEE SELECTION PROCESS

The significance of this relationship is captured by Garvey (2004): a central feature of all mentoring activity is the relationship between the mentee and the mentor. This relationship can make a significant contribution to professional, academic and personal development and learning as the mentee integrates prior and current experience through supportive and challenging dialogue. The relationship can also do the opposite. (2004, p. 8)

1. COMMENTARY ON INDUCTION AND HOW CANDIDATES WILL BE MATCHED

Matching of a mentor and mentee for the painting classes start right from the induction of the new students. This is the stage where all the mentors will come together and assess the profiles of the mentees. After the assessment, the mentors will classify the mentees in each type of groups, keeping in mind that all students in group will have kind of similar attitudes towards learning new things.

Most governments and many organisations see the need for ongoing workplace learning in order to ensure sustainability (Darwin 2000, p. 198). There is always a need of having a follow on in order to ensure that mentors and mentees both will have an opportunity to see some change if they wish to change their matched relationships that may occur due to conflicts, personal or family problems, technical issues or personal dislikes.

1. MENTOR AND MENTEE SELECTION CRITERIA, PROCEDURES AND TOOLS

Deciding what type of mentor will suite the programme is the most critical and vital part of the selection process.

‘The Executive coach’: The mentor who has the mentality that the mentee is concerned about his or her performance, or the mentee wants or is willing to acquire new things. This this type of mentor is known as the executive coach.

‘The Elder Statesman’: In this case the mentee or the individual who is willing learn is looking for a role model, or will tap onto past experiences on the part of the mentor.

‘The Deep thinker’: In this situation, the mentee is always willing to develop a fast pace of learning and to maintain it or wants to do something beyond the relationship or the business.

‘The Facilitator’: In this case the mentor assesses the mentee and comes to the conclusion that the mentee wants to get on the platform and wants the things done. May be the mentee wants to explore wider range of issues as they emerge.

Mentoring is an intense long-term relationship between a senior, more experienced individual (the mentor) and a more junior, less experienced individual (the protégé). (Kram 1985, cited in Eby & Allen 2002, p. 456).

Depending upon one of the above situations of the mentee, the perfect mentor can be selected for a group of same types of mentee for a single or multiple batches.

Reported psychosocial benefits for the mentee include enhanced levels of engagement, increased self-esteem and an opportunity to share experiences with a trusted role model (Hallam et al. 2003; Herrington et al. 2006; Lo & Ramayah 2011).

1. SUPPORT STRUCTURES

1. ESTABLISHING METHODS AND RESOURCES TO ACHIEVE DESIGNATED OUTCOMES

As we have already learned about the various resources required for the Paint for fun academy. These include stationary items, classroom, budget for various maintenance bills and the like. Making efficient use of these resources is the must. First of all, the perfect location for the painting academy should be selected and then the staff. Once, the staff is selected for the academy they should be trained as per the desired outcome for all the students of the class. Once the students are enrolled in the class, all the students depending on their level of knowledge should be trained in the similar manner by using similar steps. There should not be any variation. There can be variation only if the mentee is not able to adapt the decided method of teaching.

1. TOOLS TO BE USED

Tools to be used for training a mentee can be of various types. For classroom training of students, tools such as black board or white board, pen, sample drawings, real or still life instruments, can be used as tools for training the students of painting academy. Also, for online training students, there can be various inclusive videos in which each and every step for painting or sketching can be explained so that the distance learning students can also learn everything same as that of classroom training students and not miss anything.

1. ADDRESSING POTENTIAL CULTURAL DIFFERENCES OR DIVERSITY ISSUES IN MENTOR-MENTEE RELATIONSHIPS

Cultural differences is a very common issue all over the world for few people. Few mentees may feel inferior that the other mentee in the same group if the other mentee he is comparing is more talented of if he belongs to the same culture as that of mentor. It is always essential to address the cultural relationships between the mentor and mentees. This should be and can be done in various ways. Some of them is by arranging a training session for all mentors to make them understand that their religion or cultural background should never discriminate in their mentees. Their cultural diversity of different mentees should not matter to the mentor in any form. All the mentors should treat all the mentees in the same way and not depending on the diverse or cultural background of a mentor or the mentee. Recent reports suggest that employees benefit from multiple ‘development relationships’ and may have several mentors in different dimensions of their working life (van Emmerik 2004b; Dobrow et al. 2012).

1. ACTION PLAN

The main action plan for this painting academy follow the following steps:

1. Selecting the right mentors.
2. Enrolment of mentees.
3. Classifying them in similar groups.
4. Setting up the classroom training sessions.
5. Mentors should know more about their mentees’ background and knowledge as and when they assess them.
6. Make use of various above listed tools to train the mentees.
7. Mentors should teach the mentees everything right from basic curves to usage of all types of colours and give them real life effect.
8. After all the planned mentoring sessions, mentees should be examined and then assessed for further assistance.

1. PROGRAM EVALUATION ON HOW DATA WILL BE COLLECTED

For any programme plan raw data collection is the first and foremost requirement. For the painting academy basic data collection can be from various sources. The most basic one is the location selection depending on the number of children or learners in the area. Data about the student’s background can be collected from themselves or from the references given by them about their past mentors or their parents. Feedback is also essential after mentoring sessions. Thus data collection about the feedbacks from students can be done by taking their exams and assessing and awarding them.

1. CONCLUSION, INCLUDING ANY RECOMMENDATIONS BASED ON THE PLANNED OUTCOMES AND THE NEXT STEPS

Mentoring: a process for the informal transmission of knowledge, social capital, and psychosocial support perceived by the recipient as relevant to work, career, or professional development; mentoring entails informal communication, usually face-to-face and during a sustained period of time, between a person who is perceived to have greater relevant knowledge, wisdom, or experience (the mentor) and a person who is perceived to have less (the protégé). (Bozeman and Feeney (2007), p. 731)

There is always a need to evaluate beyond reaction and individual learning. The organisation should compare the actual against the planned capability or the desired outcomes and check for its effectiveness. Moreover, the academy’s management staff should confirm on the overall knowledge capital asset improvement and overall progress improvement, assess current investments in mentoring and other learning strategies. Evaluation of all the data may it be asses or liability, can analyse and report the capacity of the organisation to achieve improved results for the mentoring programme.

• REFERENCES

• Herrington, A, Herrington, J, Kervin, L & Ferry, B 2006, The design of an online community of practice for beginning teachers, Contemporary Issues in Technology and Teacher Education [Online serial], 6(1).
• Karallis, T & Sandelands, E 2009, Making mentoring stick: a case study, Education + Training, 51(3), pp. 203-209.
• Lane, DA, Stelter, R & Rostron, SS 2010, The future of coaching as a profession. In E Cox, , T Bachkirova & D Clutterbuck (eds) The competence handbook of coaching, Sage Thousand Oaks, CA, pp. 357-368.
• Russell, JEA & Adams, DM 1997, The changing nature of mentoring in organisations: an introduction to the special issue on mentoring in organisations, Journal of Vocational Behavior, 51, pp. 1-14.
• Wilding, C & Marais-Strydom, E 2002, MentorLink: an Australian example of continuing professional development through mentoring, British Journal of Occupational Therapy, 65(5), pp. 224-226.

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