http://hdl.handle.net/2451/75066 Sat, 11 Apr 2026 04:43:17 GMT 2026-04-11T04:43:17Z http://hdl.handle.net/2451/75227 Title: Standards: The Illusion of Comfort Authors: Miller, Carole; Saxton, Juliana Abstract: This paper raises three concerns: 1. Pedagogy. Effective drama demands a constructivist pedagogy (Wagner,1998), one built upon questions, discourse, reflection, and, if it is to be transformative, action (Brooks & Brooks, 1993). Unfortunately, most teacher education takes place within pre-service programmes and schools that practice the traditional educational model (Windschitl, 2002). When many drama/theatre teachers have little experience with a still anomalous pedagogy and can receive little knowledgeable support for their teaching, what in their drama teaching are they valuing and assessing? 2. The art form. We know of the lack of theatre experience that pre-service teachers bring with them (Miller & Saxton, 2000), and this is exacerbated by the limited courses offered in theatre/drama within generalist teacher education programmes. There are theatre requirements for entry into secondary school theatre/dramatic arts pre-service teacher education, but the quality and content varies significantly in depth, extent and practice, depending upon locale and the focus of the degree. Where then is the depth of knowledge and experience to support the application of standards to student work? 3. Standards application. Given the above, how can standards in the art form become internalized and actualized in our classrooms? Thu, 01 Jan 2004 00:00:00 GMT http://hdl.handle.net/2451/75227 2004-01-01T00:00:00Z http://hdl.handle.net/2451/75226 Title: From both Sides: Assessment Benefits for Teacher and Student Authors: Pennison, Marleen Abstract: This paper examines my past and present experiments with assessment as a vehicle for learning for both teachers and students. Initially, the assessment experiments grew from two directions: the need to create clear standards for students and the need to find a stronger structure for a student-centered, project-based curriculum. These needs led to a study of the assessment techniques developed by Harvard’s Graduate School of Education’s Project Zero, as well as a series of consultations with Heidi Andrade, one of their foremost assessment researchers. In the semesters that followed, I introduced three assessment tools into my courses: rubrics co-created with students who then used the rubrics as a guide for self- and peer-feedback, process-folios added to student conference materials, and collaborative assessment techniques employed as an alternative method of mentoring project work. As a result of these efforts, students involved in the project classes, as well as in other classes gained a clearer understanding of class standards, became more aware of their own strengths and weaknesses, and took more responsibility for setting and reaching higher goals in their work. An additional and unexpected benefit for me, as teacher, was the precise reframing of the class content material that became evident with the helpful magnifying lens of the assessment tools. Thus, what started out to be a simple search for standards and structures quickly evolved into a method by which I was able to articulate tools and skill sets that have been the underpinning of more than twenty-five years of teaching. The paper cites examples of student interviews in tandem with my own notes and observations to look at the benefits of implementing assessment techniques from both sides of the classroom. Thu, 01 Jan 2004 00:00:00 GMT http://hdl.handle.net/2451/75226 2004-01-01T00:00:00Z http://hdl.handle.net/2451/75225 Title: A Model for Teaching Creative Vocal Jazz Improvisation Authors: Madura Ward-Steinman, Patrice Abstract: Many music teachers consider improvisation to be a creative musical activity, without questioning whether student improvisations are really “creative.” Others claim that improvisation skill is not dependent on creativity, and suggest that while anyone can create a solo, that solo may or may not be “creative.” No significant correlations were found between the improvisations of college jazz singers and their Torrance Tests of Creative Thinking scores, yet musical creativity emerged as a factor. This factor accounted for a very small amount of variance, suggesting that an effective jazz improvisation solo may not be primarily a creative activity. A model for teaching creative improvisation is presented. Thu, 01 Jan 2004 00:00:00 GMT http://hdl.handle.net/2451/75225 2004-01-01T00:00:00Z http://hdl.handle.net/2451/75224 Title: Evaluation in the Arts Is Sheer Madness Authors: Colwell, Richard Abstract: Arts educators have two opinions on evaluation: they are continually evaluating or they believe the important outcomes of their teaching defy systematic assessment. Assessment depends upon a clear definition of the discipline. Arts educators focused primarily on performance (production) do assess individual and group objectives in terms of product. Assessment within the reform movement (including standards) and assessment in curricula such as DBAE require a broader approach including a differentiation between program evaluation and evaluation to improve student competence. These and other assessment issues are raised as a means of initiating professional dialogue in contemporary arts assessment and the demands being placed upon the arts. Thu, 01 Jan 2004 00:00:00 GMT http://hdl.handle.net/2451/75224 2004-01-01T00:00:00Z