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Borderless Artistic and Creativity Assessment ( BACA ): A Culturally Proficient Model for Measuring Adult Experiential Learning Marjorie Williams-Cooper.

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Presentation on theme: "Borderless Artistic and Creativity Assessment ( BACA ): A Culturally Proficient Model for Measuring Adult Experiential Learning Marjorie Williams-Cooper."— Presentation transcript:

1 Borderless Artistic and Creativity Assessment ( BACA ): A Culturally Proficient Model for Measuring Adult Experiential Learning Marjorie Williams-Cooper University of Phoenix-Jersey City Campus, College of Arts and Sciences Thomas Edison State College DeBorah Gilbert White University of Phoenix-Philadelphia Campus, College of Humanities © May 2012 by Marjorie Williams-Cooper and DeBorah Gilbert White. All Rights Reserved. This document is copyright protected. No portion of this document, in part or in its entirety, may be reproduced without written permission of the authors.

2 Background : What is Borderless Artistic Creativity Assessment (BACA)? What is the nature of BACA’s cultural proficiency? Problem Statement : Eurocentrism in traditional assessments Urgency for a culturally proficient model

3 Resolution  BACA Creativity and Artistic Performance Domain  BACA Social and Emotional Learning (SEL) Domain  BACA Social Psychological Lenses for Cultural Proficiency and Borderless Artistic Creativity Assessment Domain  BACA Integrity Assurance Domain  Learning Expectations Domain

4 BACA Creativity and Artistic Performance Domain Figure 1: Creativity and Artistic Performance Components Spirituality and Religion Cultural Attitudes and Taboos Mythology Food/Drink Preparation and Consumption Patterns Environment and Climate Change Gender and Sexual Orientation Ritual Performance

5 BACA Creativity and Artistic Performance Domain Figure 2: Creativity and Artistic Performance Components (cont’d) Metaphysical Concepts of Divinity Cultural Memory Roles of Ancestors

6 BACA Creativity and Artistic Performance Domain Figure 3: Creativity and Artistic Performance Components (cont’d) Languages and Dialects Oral and Written Traditions Cultural Worldviews

7 BACA Social and Emotional Learning ( SEL ) Domain Figure 4: SEL Domains Utilized by BACA (Kessler, 2000) Character Building Cultural Diversity Independent Critical Thought Questioning and Seeking Answers Silence and Reflection Community Service Nature and Natural Environment Human Spirituality Intuition Imagination and Creativity Authentic Expression Conflict Resolution Social and Emotional Dimensions of Learning (SEL)

8 BACA Social Psychological Lenses for Cultural Proficiency and Borderless Artistic Creativity Assessment Domain Figure 5: Social Psychological Lenses BACA MODEL CULTURAL PROFICIENCY FIELD (Environment) EQUITY (Inclusiveness of Diversity) SOCIAL IDENTITY (Ethno-Cultural)

9 BACA Integrity Assurance Domain Figure 6: Two-tiered Self-assessment Components Institutional Commitment to PLA Institutional Support of PLA Credit Assessed and Applied Evaluator Certification Self-reflective Assessment and Revision

10 BACA Learning Expectations Domain Figure 7: Learning Objectives Rubric Learning SituationRequirementsEarned Points BACA Concepts Implementation of concepts in BACA’s five learning domains.TBD Critical Thinking Skills Ability to critically think about the creative process and artistic performance.TBD Written Communication Ability to communicate effectively in scholarly college- level papers.TBD Oral Communication Ability to communicate effectively in oral presentations on topics related to creativity and artistic performance.TBD Articulation of Resources Ability to articulate the nature of ethno-cultural arts presented by portfolio for evaluation. TBD Contextualization Ability to contextualize social, historical, political, and spiritual dimensions of ethno-cultural arts presented by portfolio for evaluation. TBD Philosophical Questioning Ability to formulate philosophical questions, and answers to those questions, related to the creative process and production of ethno-cultural arts. TBD Ethics and Morality Understanding of ethical and moral issues related to creativity and artistic performance.TBD Score Total points earned to be determined by institution (TBD)TBD

11 BACA Learning Expectations Domain Figure 8: Learning Outcomes Rubric Learning SituationRequirementsEarned Points Creator Artist Demographics Full name, address, phone number(s), address. Cultural and ethnic community of creator artist. TBD Artistic Production Title of artistic work. Date and time of creation. Ethno-cultural aspects. Personal reason(s) for creations. Portfolio of original examples. TBD Nature of the Artistic Work Statements about how artistic work relates to: BACA’s Creativity and Artistic Performance Domain, Social and Emotional Learning (SEL) Domain, and Social Psychological Lenses for Cultural Proficiency and Borderless Artistic Creativity Assessment Domain. Fourth dimension of art established by metaphysical concepts embedded in art examples. Spirituality, religion, intuitive processes. Cultural memory and roles of ancestors. Embedded ethno-cultural messages. Cultural meanings and worldview. TBD

12 BACA Learning Expectations Domain Figure 9: Learning Outcomes Rubric (cont’d) Learning SituationRequirementsEarned Points Application and Interview Processes Creator artist must present: A scholarly essay explaining reasons for applying, ethno- cultural art examples, and why portfolio credit should be awarded. Evaluators submit written statements explaining: How experiential learning relates to Creativity and Artistic Performance, Social and Emotional Learning (SEL), and Social Psychological Lenses for Cultural Proficiency and Borderless Artistic Creativity Assessment Domains. In a personal interview creator artist addresses: How creations enhance artist’s lived experiences. How creations connects to audiences. How creations impact artist’s ethno-cultural community. How creations influence social ordering of artist’s macro- culture. How creations have potential to add to the broad base of knowledge and wisdom affecting global communities. New learning and application to artist´s life. TBD

13 BACA Learning Expectations Domain Figure 10: Learning Outcomes Rubric (cont’d) Learning SituationRequirementsEarned Points Evaluation Process Institution policies and procedures regarding how credits are earned and applied. Institution policies regarding transcript notation and monitoring processes. Institution policies regarding transcript request. Evaluator names, titles, qualifying credentials. Scores and written narrative comprising results. Overall credit earned. Evaluator comments. TBD Appeal Process (if applicable) Disclosure of appeal process made to creator artist. Appeal process and procedures performed by institution. Appeal results made available to student and institution. TBD ScoreTotal points earned to be determined by institution (TBD) TBD

14 Conclusion  BACA challenges to traditional Eurocentric assessment of the arts  BACA impact on experiential adult learning and portfolio assessment

15 References  Abíódún, R. (1994). Understanding Yoruba art and aesthetics: The concept of Àse. African arts, vol. 27, no. 3. Los Angeles, CA: University of California at Los Angeles Press. Retrieved from https://www.amherst.edu/media/view/93718/original/UnderstandingYorubaArtandAesthetics.pdf https://www.amherst.edu/media/view/93718/original/UnderstandingYorubaArtandAesthetics.pdf  Bell, D. (2002). Daughters of the Dreaming (3 rd ed.). North Melbourne, AU. Spinifex Press Pry Ltd. Retrieved from m2gjlWwC&printsec=frontcover&source=gbs_atb#v=onepage&q&f=falsehttp://books.google.com/books?id=0MB- m2gjlWwC&printsec=frontcover&source=gbs_atb#v=onepage&q&f=false  Bordens, K. S., & Horowitz, I. A., (2008). Social psychology (3 rd ed.). Freeload Press.  Collier, G., Minton, H. L., & Reynolds, G. (1991). Currents of thought in American social psychology. New York: Oxford University Press.  Conrad, D. (2011). The landscape of prior learning assessment: A sampling from a diverse field. The International Review Of Research In Open And Distance Learning, 12(1), i-iv. Retrieved from  Council for Adult Experiential Learning (CAEL). (2010). Prior learning assessment (PLA) an introduction (pp ). Retrieved from pla-intro pdfhttp://www.okhighered.org/reachhigher/docs/cael- pla-intro pdf  Elias, M. J., Zins, J. E., Weissberg, R. P., Frey, K. S.,... Kessler R., Schwab-Stone, M. E., & Shriver, T. P. (1997). Promoting social and emotional learning: Guidelines for educators. Alexandria, VA: Association for Supervision and Curriculum Development

16 References ( cont’d )  Fiddler, M., Marienau, C., & Whitaker, U. (2006). Assessing learning: Standards, principles & procedures, 2 nd ed. In Council for Adult Experiential Learning (CAEL). (2010). Prior Learning Assessment (PLA) an Introduction (pp ). Retrieved from  Fisher, R. (1982). Social psychology: An applied approach. New York: St. Martin’s Press.  Floyd, Samuel A. (1996). The Power of Black Music: Interpreting Its History from Africa to the United States. New York, NY, and Oxford, England: Oxford University Press.  Garrison, D. R. (1997). Self-directed learning: Toward a comprehensive model. Adult Education Quarterly, 48(1),  Gilbert White, D. (2008). Current topics in social psychology. Unpublished manuscript. Union Institute & University. Cincinnati, OH.  Groves, R. M. (2011, March 21). The future of the US advertising industry [Web log post]. Retrieved from advertising-industry/http://directorsblog.blogs.census.gov/2011/03/21/the-future-of-the-us- advertising-industry/  Hoffmann, T., Travers, N. L., Evans, M., & Treadwell, A. (2009). Researching critical factors impacting PLA programs: A multi-institutional study on best practices. In Travers, N., & Evans, M. (2011). Evaluating prior learning assessment programs: A suggested framework. The International Review Of Research In Open And Distance Learning, 12(1), Retrieved from  Jones, J. M. (1997). Prejudice and racism. New York: McGraw-Hill.  Kessler, R. (2000). The soul of education: Helping students find connection, compassion, and character at school. Alexandria, VA: Association for Supervision and Curriculum Development

17 References ( cont’d )  Knowles, M. S. (1975). Self-directed learning: A guide for learners and teachers (pp. 37, 60). New York, NY: Association Press  Lindsay, R. B., Nuri Robins, K., & Terrell, R. D. (2003). Cultural proficiency: A manual for school leaders (2 nd ed.). Thousand Oaks, CA: Corwin Press.  Murphy, Joseph M. Working the Spirit: Ceremonies of the African Diaspora. Boston: Beacon Press,  Neill, J. (2004). Field theory – Kurt Lewin. In Wilderdom Outdoor Education Research & Evaluation Center. Retrieved from  Stuart, R. B. (2005, October). Multiculturalism: Questions, not answers. Professional Psychology: Research and Practice, 36(5), 576.  Swanson, R. A., & Holton, E. F. (Eds.) In M. S. Knowles, The adult learner: The definitive classic in adult education and human resource development (5 th ed.) (1984; rev. ext. 1998). Houston, TX: Gulf Publishing  Williams-Cooper, M. (2009). Teaching philosophy of Marjorie Williams-Cooper, M.A.: A multi-dimensional concept for self-directed adult learning. [Unpublished paper toward doctoral degree]. University of Colorado-Boulder, Education Department, Boulder, Colorado  Yawulyu. (n.d.). In Central Art aboriginal art store Aboriginal words glossary. Retrieved from culture/yawulyu.phphttp://www.aboriginalartstore.com.au/aboriginal-art- culture/yawulyu.php


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