3.

 

a)      What is the Department’s assessment plan?

 

Two years ago, all syllabi (course outlines) were rewritten in response to the new assessment initiatives.

Particular attention was given to clarifying assessment guidelines as courses shifted from 100 level work to 200 level work etc.   In other words, every syllabus identified specific goals and outcomes expected of all students enrolled in the course.

 

For the past two years, copies of student writings have been saved in the Dance History/Criticism sequence of study.  The courses include:  1) DA 230 – Introduction to Dance History, Literature, and Repertory, and 2) DA 335 – Major Periods in Dance History. Both DA 230 and DA 335 are part of curriculum offerings for 2002-2003.  At end of spring semester 2003, the dance faculty as a whole will be able to adjudicate the quality and effectiveness of these courses in response to the new assessment guidelines.

 

In the field of dance, comprehension is the second of two prerequisites for critical maturity.  To the base of appreciation, it adds the ability to perceive and interpret the elements of choreography and performance.  The tools necessary to acquire this ability are those of any fine art:  attentiveness; historical and biographical research; the vocabulary of the discipline; examination and exegesis of many works; and the testing of possible interpretations.

 

200 level (Goals & Outcomes) DA 230

1.      to perceive and interpret primary sources (i.e., the actual dance works);

2.      to engage in historical and biographical research about the works seen;

3.      to study the writings of selected dance critics;

4.      to write critical reactions or analyses of the works seen;

5.      to prepare for further study in the discipline;

6.      to engage in electronic research and conversation.

HF 200 (Honors Forum)

300 level (Goals & Outcomes) DA 335

1.      ability to perceive and analyze sources ( i.e., the actual dance works and critical commentaries) in depth;

2.      ability to engage in historical and biographical research about the dance works seen;

3.      ability to use more sophisticated materials about a given work than at the 200-level;

4.      ability to prepare a major written project (Dance History Reader) which demonstrates heightened knowledge, appreciation, perception, and comprehension.

 

 

 

Last year, three members of the dance faculty joined forces teaching Choreography 1.  This year, Choreography 1 and Choreography 2 are being offered simultaneously in the spring term.  Ultimately, all

members of the dance faculty will be somehow involved in the delivery of these two courses. This spring will represent the first careful adjudication of student success in Choreography 1and 2..  In addition to careful observation and critiquing of student choreography, a video record of the class performance will be placed on file.  The same procedure will be followed in 2003-4 and 2004-5.

 

200 level (Goals & Outcomes) DA 228

1.      ability to prepare and perform choreographic studies;

2.      ability to appreciate dance from more than a subjective point of view;

3.      ability to perceive and interpret the elements of choreography and performance;

4.      ability to utilize musical concepts such as rhythm, structure, duration and form;

5.      ability to communicate one’s choreographic ideas and to transform these ideas into a finished dance.

 

   

300 level (Goals & Outcomes) DA 328

1.      ability to perceive and interpret the elements of choreography and performance at a more

        sophisticated level than at the 200-level;

2.      ability to utilize musical concepts such as rhythm, structure, duration and form at a more

        sophisticated level than at the 200-level;

3.      ability to work independently in the creation and performance of a solo work;

4.      ability to model either a solo/group work on a solo/group masterwork;

5.      ability to communicate artistic vision to key collaborators (set designers, lighting designers, composers, dancers).

 

 

In order to facilitate assessment in technique courses, a portfolio system needs to be initiated.  Students in technique courses will be required to submit reflections on their own progress every two weeks.  In these commentaries, students will follow the goals and outcomes specified in every course.  In this way, students will learn to avoid excessive subjective analysis of their own work and to address the objective purposes of their artistic endeavors.

 

Faculty delivering the courses in dance technique will maintain files of student commentaries (portfolios).  In time, evidence indicative of successful student learning according to the guidelines established for each course will be compiled.  Obviously, some student portfolios will be more effective than others.  The dance faculty will use the portfolios as a mechanism for assessing both the strengths and weaknesses of courses offered in dance technique (ballet, modern/contemporary technique, jazz, Bharata Natyam, etc.).

 

 

    

In fall 2003, members of the dance faculty, all of whom teach some level of dance technique (ballet, modern/contemporary dance/ Bharata Natyam) can initiate an all faculty adjudication procedure for these courses.  Probably, we should divide the technique classes into two levels for purposes of assessment adjudication.  For example, Ballet 1, Ballet 2, Pointe 1, Modern 1, Modern 2, and Bharata Natyam 1 should be handled as a unit.  Likewise, Ballet 3, Ballet 4, Modern 3, Modern 4, and Bharata Natyam 2 can be a unit.

 

    DB Elementary (Goals & Outcomes)

1.      introduce the important foundational elements of ballet technique and develop the dancer’s ability to utilize them;

2.      introduce traditional ballet terminology (develop association between the word and the movement);

3.      through careful, methodical instruction, enable dancer to progress in technical ability, special awareness, strength, and coordination;

4.      develop the dancer’s understanding of musical accompaniment (ability to recognize and utilize the music with movement);

5.      gradually increase ability to assimilate various details, both at barre and in center;

6.      awareness and appreciation of ballet as a performing art.

 

 

 

           

    MD Beginner (Goals & Outcomes)

1.      an understanding of the art of “breathing” as a basic source of expression;

2.      an understanding of the relationship of the vertical and horizontal lines of the  body;

3.      an understanding of the use of the spine as focus for both concentric and eccentric movement;

4.      an understanding of the expressive power of the back and torso;

5.      ability to execute small “etudes” or choreographic variations;

6.      ability to work as a member of a dance ensemble.

 

 

   Bharata Natyam 1 (Goals & Outcomes)

1.      ability to perform selected “adavus” (dance units);

2.      ability to perform combined “adavus” (dance units);

3.      ability to use the “vacika”(voice) with “adavus” (dance units);

4.      ability to perform short dance items from the repertory;

5.      ability to both understand and use the vocabulary of Bharata Natyam.

 

 

 

           

   DB Intermediate (Goals & Outcomes)

1.      develop the dancer’s knowledge of the theory of ballet technique;

2.      increase understanding of ballet terminology;

3.      through careful, methodical instruction, enable dancer to progress in technical ability and awareness, strength, and confidence in movement;

4.      develop the dancer’s understanding and utilization of musical accompaniment and how this leads to artistic experimentation;

5.      gradual increase in ability to assimilate various details, and to perform more complex enchainements, both at barre and in center;

6.      increase understanding and appreciation of ballet as a performing art, using this highly refined and sophisticated movement vocabulary for artistic expression and communication.

    

   MD Low Intermediate (Goals & Outcomes)

1.      to develop an understanding and appreciation for dance as a performing art;

2.      to gain insight into the roots of modern/contemporary dance;

3.      to explore some of the basic principles that separate modern dance from classical ballet and other dance forms;

4.      to achieve an understanding of the fundamentals of basic dance technique;

5.      to gain exposure to the wide range of movement vocabularies connected with modern/contemporary dance.

           

  Bharata Natyam  2 (Goals & Outcomes)

1.      ability to combine intellectual knowledge and physical skill (technique) in the performance of simple and complex “adavus” (dance units);

2.      ability to distinguish between abstract (pure) and concrete (narrative) dance gesture;

3.      ability to perform more advanced items in the repertory;

4.      ability to continue academic study of Bharata Natyam independently.

 

           

  DB Advanced (Goals & Outcomes)

1.      more complex utilization of basic technical concepts, such as turn-out, placement and design(line), along with more difficult coordination and articulate foot work;

2.      develop longer periods of concentration, focus, and stamina, both at barre and in center;

3.      ballet theory, more complete understanding of ballet terminology, correlation between exercises, logical development from barre training to center dancing;

4.      musical accompaniment, students must understand, recognize, and utilize the duple (2/4 and 4/4) and triple (3/4 and 6/8) meters, tempo, quality of music relating to their movement.  Students must demonstrate phrasing and dynamics in increasingly sophisticated ways, developing individual artistic expression;

5.      assimilation of these various details, students must demonstrate increasing self-motivation, perseverance, and effort, thus taking more responsibility for their progress in technical ability , strength, and artistic awareness;

6.      through observation of live performance, video, and reading students must further their understanding appreciation of the more sophisticated aspects of the art form, as well as the sources from which the form developed – folk dance and court dances.

           

 MD High Intermediate (Goals & Outcomes)

1.      to refine  understanding and mastery of the vocabulary of the discipline;

2.      to gain more sophisticated insight into the roots of modern/contemporary dance in the 20th century;

3.      to further explore both old and new movement vocabularies;

4.      to improve upon physical mastery of the dance technique;

5.      to cultivate artistic presentation of dance as a performing art.

           

 

 

DB Advanced-Pointe (Goals & Outcomes)

1.       develop the dancer’s technique and strength through highly focused work and individual instruction, utilizing all aspects of technical theory at a high level;

2.      encourage individual exploration of musicality, in articulation of movements as well as phrasing and dynamics;

3.      nurture artistic expression and intent in studio work, aim toward more freedom and “ease” in movement;

4.      women—gain greater refinement in pointe work, men—greater strength in specific allegro and partnering;

5.      increase understanding of performing as communication, using this highly refined and sophisticated movement vocabulary.

 

 

           

MD Advanced (Goals & Outcomes)

1.      to further refine understanding and mastery of the vocabulary of the discipline;

2.      to gain more sophisticated insight into the roots of modern/contemporary dance  in the 20th century than at the 200 – level;

3.      to utilize old and new movement vocabularies in the creation of original choreographic patterns;

4.      to execute a class which demonstrates heightened physical mastery and artistic presentation of dance as a performing art;

5.      to engage in independent study of the many styles of modern/contemporary dance developed in the 20th century.

 

For other courses offered on a yearly basis, similar assessment tools can be utilized (portfolios).

 

Improvisation I

1.      ability to use movement as a medium of expression;

2.      ability to move spontaneously in response to space, time, force and flow;

3.      ability to use props, sound, word and music freely;

4.      ability to work as an individual and as a member of an ensemble;

5.      ability to perceive and interpret spontaneous movement;

6.      an understanding of improvisational dance as a facet of dance as a performing art.

 

Improvisation II

1.      ability to use movement as medium of expression at a more sophisticated level than at the 200-level;

2.      ability to move spontaneously in response to space, time, force, and flow combined with props, sound, word, and music;

3.      ability to perform both as an individual and as a member of an ensemble in a formal theatrical presentation;

4.      ability to harness spontaneous movement to elements calling for form and structure as well as clarity in formal theatrical presentation.

5.      an understanding  at a more sophisticated level than at the 200-level of improvisational dance as a facet of dance as a performing art.

 

Workshop/Production (Performance)

 

Ballet Workshop (by permission or audition)

 

1.  ability to perform a new or reconstructed major work in the regular concert season.

 

Modern Dance Workshop (by permission or audition)

1.      ability to perform a new or reconstructed major work in the regular concert season.

 

 

In conclusion, I hope this assessment document serves three important purposes.  Upon completing the dance major or minor, students will have gained significant knowledge of dance as a performing art.  They also will have acquired significant skills.  And, most importantly, they will have acquired the ability to critically evaluate dance as a performing art.  In other words, their ability to make aesthetic judgments will be finely honed.

 

 

 

 

 

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