Arts Integration: Teaching Artists and Others. Make It Last! Building Connections through ASSESSMENT Arts Integration for Teaching Artists and Others

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  • Arts Integration:Teaching Artists and Others

  • Make It Last! Building Connections through ASSESSMENT

    Arts Integration for Teaching Artists and OthersJan. 22, 2013

    Dr. Mary Palmer Program Director

  • Special Guest: ARNOLD APRILLFounder and Lead Consultant of the Chicago Arts Partnerships in Education (CAPE)

  • Questions/Comments?Please go to CHAT and share.


  • The Chicago Arts Partnerships in Education (CAPE) developed an on-line survey in the Fall of 2009 to gather information about current practices and trends in assessing arts teaching and learning in Chicago, identifying the following issues:

  • Disconnects between programming and assessment. Organizations are typically not assessing those areas of programming that they are actually interested in and skilled at.

  • Are you able to identify specific learning goals/outcomes and align your assessments?Please go to CHAT and share.

  • Limited staffing and budgets for assessment and evaluation.

  • Limited access to assessment expertise and outside evaluators.

  • Assessment of student learning is primarily focused on opinion surveys and unstructured observations.

  • Limited representation of arts education programming at the board level.

  • Do you have champions for Arts Education? How did you inform and nurture them?Please go to CHAT and share.

  • Widespread interest in and limited capacity for measuring long term impacts of arts education programming.

  • Next, CAPE identified an Arts Assessment Road Map: 6 steps in the assessment practice of arts organizations that were effectively moving beyond pretending perfection, and were becoming learning organizations.

  • Step 1: Mission

    What is your organizations educational mission? How does that relate to your overall organizational mission? What educational program goals grow out of those missions?

  • Step 2: Questions What do you want to learn about your work, and what kinds of assessments will answer your organizational questions?

  • Step 3: Program Structure How can your program be structured so that the collection of assessment data grows out of and contributes to on-going connections to learners and learning?

  • Step 4: Instruments

    How can you create assessment instruments that will capture the data that you need? How can you design your instruments to keep the data collection manageable?

  • Step 5: Results

    How can you analyze the assessment data to answer your assessment questions?

  • Step 6: Future

    How does your analysis of your assessment data guide your organizational planning? How can you best share your new evidence with various stakeholders?

  • What are you doing to share learning outcomes with stakeholders?Please go to CHAT and share.

  • Each Step is linked to a set of Tools and Guiding Essays, as well as PRACTICE BASED EXAMPLES of actual implementation from real organizations. Here is an example from the Questions page:Questions:Tools for identifying assessment questions:Brainstorming Assessment Questions ToolThe Chicago Guide for Teaching and Learning in the Arts Online

    Guide for developing assessment questions (click to download PDF file):Assessment Questions that Matter

    Practice Based Examples of assessment questions:Adventure Stage QuestionsAmerican Theater Company QuestionsAuditorium Theatre QuestionsChicago Symphony Orchestra QuestionsIntuit QuestionsGlobal Girls QuestionsLookingglass QuestionsYoung Chicago Authors Questions

  • What assessments are you working for you?Please go to CHAT and share.

  • Here are couple selections from the Brainstorming Assessment Questions Tool:Blue Sky Brainstorm: It is five years from now. There is fiscal prosperity in the U.S. and peace internationally. Your organizations programs were all fully funded, fully staffed, and are working perfectly. What does a visitor to your programs see? Do not be constrained in your thinking by current obstacles. In this brainstorming exercise, those obstacles no longer exist.Enduring Understandings Brainstorm: Imagine that your students have grown up, and are now your current age. They are looking back with fond remembrance on their experiences in your program. What enduring understandings, developed in your program, do you want them to have sustained all these years?

  • The website also has a Resources section which documents professional development workshops on assessment, as well as commissioned essays, Power-Points, a bibliography, and commissioned essays. Explore!

    Check out:

    On the Professional Development page: Video interviews of kindergartens on their learning in an arts integrated unit, and a pre and post video of a young dancer working on adding detail to her dance (her task is to dance how she prepares for school). On the Guides and Think Pieces page, the Karen L. Erickson essay Why Use a Rubric When a Checklist Will Do? On the External Resources page: A Power-Point by Linda Darling Hammond on different approaches to assessment in different parts of the world.

  • Your task is to work with your colleagues to identify your Questions about your practice. You cant develop meaningful assessments if you havent thought about what you really want to assess. Here is an example from the Case Studies on the website of some of the Assessment Questions from an actual organization (Global Girls):Are our program participants developing the vocabulary, work ethic, and the technical knowledge that will allow them to matriculate into other dance and theatre opportunities?Do our program participants understand a range of theatre and dance genres, and can they critique and create within that range?Do program participants know how to give and receive constructive criticism in theatre and in dance?Do program participants understand how to analyze theatrical devices (stage movement, props, stage position, set design, lighting) used in professional performance?Can program participants analyze and implement the difference between improvised performance and scripted performance?Are our program participants able to analyze and implement principals of playwriting and choreography? Are our program participants developing technical skills in theatre and dance?What do participants learn in Global Girls that they carry into other aspects of their lives?

  • What kinds of Assessment Instruments will help you answer your Assessment Questions? The website provides Tools, Guides, and Examples:

    Tools for the creation of assessment instruments:Checklist Creation ToolRubric Creation ToolDeveloping Surveys, Interviews, and Focus Groups ToolThe Chicago Guide for Teaching and Learning in the Arts OnlineGuide on instruments:What do we measure how?Practice Based Examples of assessment instrument development and management:Rubrics:Free Write RubricsIntuit RubricsSurveys:Free Write Student SurveyChicago Architecture Foundation Student Pre/Post SurveyFocus Group and Journal Protocols:Lookingglass Theatre Company Focus Group and Journal Protocols

  • The practice based examples from the case studies on this website are NOT being held up as exemplars of what YOUR organization ought to do.

    Rather, their work is intended to stimulate YOUR thinking about connecting your assessment process to your commitment to your core mission.

  • Over 50 case studies have been taken through CAPEs method for assessment development, shifting from seeing assessment as solely about reporting to others to seeing assessment also as an opportunity to ask questions about what and how learners are learning, from using found instruments that have little or no connection to what organizations actually do or care about to developing new tools to grow their work.Click on image to link to case studies

  • Trends in RubricsA consistent pattern emerging as a shift from developing rubrics that describe technical skills to rubrics that describe growing student self-direction .

  • more conceptual approaches to learning.Montclair Academy Photography CriteriaCraftsmanship:Does your work show an that you have command of the technical basics covered so far (e.g., focus, exposure, white balance, printing)Are your prints well composed and framed?How effectively did you use light and shadow?

    Inventiveness:Did you think broadly and/or in depth while originating, developing and executing your work? Did you find different ways to frame your elements or did you do the same thing over and over again?

    Concept:Does your work show that you have an understanding of the elements of light and shadow?

    Productivity:Was the work finished on time?Does the work meet the assignment requirements?Were you on task during class time? Did you make a strong effort?Did you make good use of your time outside of class and come to class prepared?

  • movement from independent work to collaborative and dialogic work.

  • and understandings of genre.

  • Are YOU using RUBRICS?Please go to CHAT and share.

  • Critical Mass SIUC University Museum

    Identify an artwork that you want to nominate for inclusion in the Critical Mass exhibition:What are your arguments for this works inclusion?

    What kinds of variations on this artwork are you proposing to produce?

  • Trend from Program Evaluation to Organizational Research on Learning: from rubrics, checklists, and forced response satisfaction surveys to open ended surveys and focus groups.

    Young Chicago Authors: open-ended survey data in answer to just two questions: 1) how many years have you been in prog


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