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Summary: What did I learn? A research proposal is simply a “written plan for conducting a research study” (Fraenkel, 617). These words echoed in my mind.

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Presentation on theme: "Summary: What did I learn? A research proposal is simply a “written plan for conducting a research study” (Fraenkel, 617). These words echoed in my mind."— Presentation transcript:

1 Summary: What did I learn? A research proposal is simply a “written plan for conducting a research study” (Fraenkel, 617). These words echoed in my mind as I designed my study. The information I will present tonight reflects a synthesis of all the knowledge I have gained through my graduate courses as well as my passion for an authentic Visual Arts assessment model. I compare my finished proposal to a finished artwork…there is always room for improvement so I’m never truly finished. Visual Arts education needs to continue to build on content- rich assessments that document student achievements in the arts. More time and funding needs to be allocated to rubric design and benchmark decoding.

2 A Snapshot District Visual Arts Assessment Scheme: Orange County Public Schools Maribel Lopez UCF ARE 6747 June 12, 2012

3 PURPOSE OF THE RESEARCH PROPOSAL Develop and present a standards-based assessment layout for Orange County Public (OCPS) Schools’ Visual Arts Program Focus Layout: scheme; a plan of action Framework and function for the district-wide Visual Art assessment plan will include: ◦ Research Design: alignment with benchmarks and pushing rigor (DOK model) ◦ Population and Sampling ◦ Instrumentation ◦ Procedure ◦ Test Samples with rubric ◦ Adjudication

4 Research Definitions Authentic art Authentic assessment Achievement Aptitude Constructs Aesthetics inquiry Standards Benchmarks

5 Problem Current OCPS Visual Arts Program does not have a effective model for assessing learning in the Visual Arts OCPS Visual Arts Performance Assessment for the school year ◦ Test on drawing skills ◦ Evaluated on the ability to reproduce a still life prompt (?) based on materials teachers will have available ◦ Evaluate student growth, not measure student growth or achievement

6 BACKGROUND SUMMARY OF ORANGE COUNTY PUBLIC SCHOOLS’ FINE ARTS OBJECTIVE

7 OCPS Visual Arts Vision and Mission OCPS Arts students are provided quality, sequential, standards based instruction in Dance, Instrumental Music, Vocal Music, Theatre, and Visual Arts to prepare them for 21st Century Skills required for jobs of the future. (OCPS, 2012) Instruction is (will be) guided by the Next Generation Sunshine State Standards and Benchmarks (NGSSS)

8 OCPS Visual Art Standards : Curriculum Instructional Assessment (CIA) Blueprints CIA Blueprints were created to provide instructors with comprehensive information for each of the Next Generation Sunshine State Standard. ◦ instructional strategies ◦ teaching resources ◦ formative assessments ◦ examples of essential questions ◦ cross-curricular connections ◦ learning experiences for the 21st Century Classroom The CIA Blueprint documents indicate what each student should know in a course of study in the fine arts.

9 Questions Through alignment with Visual Arts Standard, benchmarks and rubrics, assessment in OCPS Visual Arts can measure student achievement and learning in the arts. Can successful Visual Arts assessments contribute to student achievement and learning in the arts? What does an assessment model that measures learning in the Visual Arts look like for Orange County Public Schools? Hypothesis Variables Independent variable: Assessment tool Dependant Variable: Student achievement and learning in the arts Independent variable: Assessment tool Dependant Variable: Student achievement and learning in the arts

10 Research Design This qualitative study aims to create and present a K-12 OCPS Visual Arts Assessment System that measures learning in the art and follows Florida Next Generation Sunshine State Standards for Visual Arts. Results of this study will ◦ Promote, assist and improve on student learning ◦ Inform programs of teaching and learning ◦ Provide evidence of individual student growth in the Visual Arts ◦ Assist in the improvement of student learning and teaching

11 Study will make use of authentic art Assessment design will echo ◦ Florida’s Performing Fine Arts Assessment Project for Drama, Theater and Music (2012) ◦ Australia’s Sample Assessment Instrument for Visual Arts, Queensland Study (2007) ◦ Read Diket’s “aboutness” for Visual Arts Assessment ◦ Florida Vocal Association ◦ Depth-of-Knowledge in the Fine Arts/Visual Arts for Missouri’s Music Educators Association Treatment will follow A-B Design ◦ Pre-assessment and Post-assessment ◦ Compare their own results of their first assignments to the later one ◦ Visible Learning growth

12 Population Target Population Accessible Population A ideal population would be all students K-12 in OCPS that have access to Visual Arts program All 6 th grade students in OCPS that have access to Visual Arts Program There is a higher percentage of probability that most 6 th graders have had prior art education at the elementary level. ◦ Foundation of art knowledge that align with district standards and benchmarks ◦ 6 th graders have an inherent motivation and thirst for knowledge that affects education in visual arts.

13 Sampling The study will be conducted in all Visual Arts classrooms with 6 th grade students in Orange County Public School District. Convenience Sampling: All 6 th grade students in Avalon Middle School, OCPS Two classes of 35 students in the school n = 35 x 2 = 70 These students are conveniently available for the study. Limitations and disadvantage of this sampling method: Study could be biased Study would have to be repeated with similar samples to decrease the probability or a one-time occurrence (Fraenkel, 2012, p. 100).

14 Instrumentation of Assessment Phase 3: Reflective Writing Personal reflection / Artist Statement Explains and defends artistic decisions Art vocabulary Phase 3: Reflective Writing Personal reflection / Artist Statement Explains and defends artistic decisions Art vocabulary The instrument will be a Visual Art Assessment that measures what students should know in the area of Visual Arts in Orange County Public Schools as outlined by the NGSSS and benchmarks (OCPS, 2012). Major Components Phase 1: Aesthetic Inquiry Art TalkArt HistoryArt Vocabulary Phase 1: Aesthetic Inquiry Art TalkArt HistoryArt Vocabulary Phase 2: Art Creation Studio component Technical aspects of art making Phase 2: Art Creation Studio component Technical aspects of art making

15 PROCEDURES NGSSS Benchmark Data Analysis Benchmark selection process for district assessment Depth-of-Knowledge Model Samples with rubric Adjudication

16 Visual Arts NGSSS Benchmarks Data Analysis #1 Total of 363 NGSSS Visual Art Benchmarks in K-12 Benchmarks are divided by Big Ideas ◦ C = Critical Thinking and Reflection ◦ S = Skills, Techniques and Processes ◦ O = Organizational Structure ◦ H = Historical and Global Connections ◦ F = Innovation, Technology and the Future Grade# of Benchmarks K /858 9/12105

17 Visual Arts NGSSS Benchmarks Data Analysis #2 Grades 6/8 share benchmarks 6/8 grade bracket = 58 benchmarks Benchmarks were grouped into 3 categories ◦ Aesthetic Inquiry ◦ Art Creation ◦ Reflective Writing Benchmarks were chosen for district assessment Grade# of Benchmarks K /858 9/12105

18 Table shows the categorization of OCPS Visual Arts benchmarks for Middle School (VA.68). The blocks in color represent those benchmarks that can be used for district assessment Phase 1 Phase 2 Phase 3 C.1.3 S.3.1O.2.1 C.2.1,3F.1.1-2C.1.2 C.3.2,4F.1.4C.2.2 F.1.3F.3.1C.3.1 F.2.1-3F.3.3-4C.3.3 F.3.2H.3.3F.2.4 H.1-3O.1.3,4 F.2.5 H.2.1,2O.2.3H.1.4 H.2.4S.1.1-2H.2.3 H.3.1S.1.5O.2.1 H.3.2S.2.1-3S.1.3,4 O.1.1,2S.3.1C.2.4 O.2.2S O.3.1,2 O.2.4 C.1.1 Data Analysis #3 Phase 3: Reflective Writing Personal reflection / Art vocabulary / Explains and defends artistic decisions Phase 3: Reflective Writing Personal reflection / Art vocabulary / Explains and defends artistic decisions Phase 1: Aesthetic Expression Art Talk / Art History / Art Vocabulary Phase 1: Aesthetic Expression Art Talk / Art History / Art Vocabulary Phase 2: Art Creation (performance) Drawing component / Technical aspects of art making Phase 2: Art Creation (performance) Drawing component / Technical aspects of art making

19 Choosing an Achievement Standard for District Assessment Follows recommendations by C.L. Armstrong, 1996 Selection of achievement standards should generate images that demonstrate visible evidence of achievement ◦ key terms in the benchmark that demonstrate higher order thinking ◦ Depth-of-Knowledge Model (DOK) * Limitations: standards may not be clearly defined, making instrumentation difficult

20 DOK Levels, non-subject specific

21 TEST SAMPLE Phase 1: Aesthetic Expression Art Talk / Art History / Art Vocabulary Phase 1: Aesthetic Expression Art Talk / Art History / Art Vocabulary DOK Level 2:

22 PHASE 1: AESTHETIC EXPRESSION SELF-PORTRAIT VA.68.C.1.3: Identify qualities of exemplary artworks that are evident and transferable to the judgment of personal artwork DOK Level 2: Skill/Concept Task Analysis Students will demonstrate knowledge of art criticism and formulate art vocabulary for use in judgment of art. Complete Feldman’s four step criticism process. Materials Artwork and information: Belinda Eaton Pencil Reference sheet: Feldman Model Prompt Student answer sheet

23 PHASE 1: AESTHETIC EXPRESSION SELF-PORTRAIT Belinda Eaton, Tattoo Girl, 2005, giclée print

24

25 Margo Humphrey The History of Her Life Written 1991 color lithograph with metallic leaf and chine colle on paper 32 x 29 1/2 in. (81.3 x 74.9 cm.) Phase 1: Comprehensions of Aesthetic Expression: Self-Portrait Option 2

26 Rating Scale Sample of Aesthetic Expression: Self Portrait Qualitative level descriptors Modification from: Columbia College Art Criticism Rubric

27 Phase 2: Art Creation (performance) Drawing component / Technical aspects of art making Phase 2: Art Creation (performance) Drawing component / Technical aspects of art making TEST SAMPLE DOK Level 3: Strategic Thinking

28 PHASE 2: SAMPLE OF ART CREATION (PERFORMANCE): STILL LIFE VA.68.O.2.4: Select various media and techniques to communicate personal symbols and ideas through the organization of the structural elements of art DOK Level 3: Strategic Thinking Task Analysis: 1. Select a topic of personal interest as a theme from a variety of printed material 2. Create a two-dimensional studio piece that requires specifying a problem, designing and constructing a solution 3. Choose and use elements, principles, style, media, and technique that will best express intended meaning

29 PHASE 2: SAMPLE OF ART CREATION (PERFORMANCE): STILL LIFE VA.68.O.2.4: Select various media and techniques to communicate personal symbols and ideas through the organization of the structural elements of art DOK Level 3: Strategic Thinking Materials: 10X14 white paper 10X14 black paper Set of 4 shading pencils sharpener Set of 8 markers, thick and thin Glue stick Scissors Set of 8 bright colored card stock Set of oil pastels Artwork reference sheets Other printed material of objects

30 Sample of Art Creation (Performance): Still Life Reference Authentic Artwork to include in printed sources Trevor Winkfield Still Life with Fish II 1998 Materialacrylic on linen 19 x 22 Roy Lichtenstein Untitled (Still Life with Portrait of Woman) 1997 Graphite and colored pencils on paper 11 15/16 x 8 7/8 inches30.3 x 22.5 cm

31 Rating Scale Sample of Art Creation (Performance): Still Life Qualitative level descriptors

32 TEST SAMPLE DOK Level 4: Extended Thinking Phase 3: Reflective Writing Personal reflection Explains and defends artistic decisions Art vocabulary Phase 3: Reflective Writing Personal reflection Explains and defends artistic decisions Art vocabulary

33 SAMPLE OF REFLECTIVE WRITING: ARTIST STATEMENT VA.68.F.2.5: Create an artist statement to reflect on personal artwork for a portfolio or exhibition DOK Level 4: Extended Thinking Task Analysis: 1. Write an artist statement based on a prompt that explains and defends your artistic solution. Materials 1. Artwork from Phase 2 2. Prompt 3. Feldman’s model of criticism 4. Pencil 5. Student answer sheet 6. Reference artwork from Phase 1 and 2

34 Rating Scale Sample of Reflective Writing: Artist Statement Modified from: ReadWriteThink.org

35 Adjudication This proposal provides a successful framework for authentic assessment that measures what student should know in Visual Arts education: ◦ Promotes student learning ◦ Informs teaching and learning with the benchmarks ◦ Provides evidence of what students are able to in the Visual Arts ◦ Assists in the improvement of student learning and teaching ◦ Is all-encompassing, content-rich and include a performance piece, which is a much better indicator of student achievement in Visual Arts ◦ Aligns with NGSSS standards and DOK model of rigor Successful assessment in the Visual Arts guides program development, curriculum design and classroom instruction.

36 References Art Criticism Paper Rubric, Columbia College, SC. Retrieved from Armstrong, C. L. (1996). A choice: comfortable ambiguity or clearly translated standards. Studies In Art Education, Brewer, T. (2010). Lessons learned from a Bundles Visual Arts Assessment. Visual Arts Research. (paper provisional accepted for publication) Chudowsky, N. & Pellegrino, J. W.(2003). Large-Scale Assessments That Support Learning: What Will It Take? Theory Into Practice 42(1), Ohio State University College of Education. Retrieved June 3, 2012, from Project MUSE database. Diket, R. (2012). What did Students Do in Their Critical Analysis of 5 Mother/Child Artworks Presented in the 1997 and 2008 NAEP Arts with Whatever They Knew about Art, from Wherever Opportunity to Learn Source? Paper presented at AERA 2012, Vancouver, BC Fraenkel, J.R., Hyunn, H.H., & Wallen, N.E. (2006). Preparing Research Proposal and Research Reports. (6 th ed.). How to design and evaluate research in education (pp ). Boston, MA: McGraw-Hill. Herpin, S., Li, J., Quinn, A. (2012). Improving the Assessment of Student Learning in the Arts – State of the Field and Recommendations Study Commissioned by The National Endowment for the Arts, i-148. Retrieved from Keiper, S., B.A.Sandene, H. R. Persky, and M. Kuang. (2009). The Nation’s Report Card: Arts 2008 Music & Visual Arts (NCES ) National Center for Education Statistics, Institute of Education Sciences, U.S. Department of Education, Washington, D.C. Available at: Lankford, E. (1990). Preparation and Risk in Teaching Aesthetics. Art Education, 43(5), Art Criticism Rubric, Columbia College Orange County Public Schools. ( ). OCPS Visual Arts Performance Assessment: Administration Guide. Orlando, Fl. Parsad, B., and Speigelman, M. (2012). Arts Education in Public Elementary and Secondary Schools: and (NCES ). National Center for Education Statistics, Institute of Education Sciences, U.S. Department of Education. Washington, DC Pistone, N. (2002). Envisioning arts assessment: a process guide for assessing art education in school districts and states. Washington, DC: Council of Chief State School Officers. Reflective Writing Rubric (2006). National Council for Teachers of English. Retrieved from: Smilan, C., & Miraglia, K. (2009). Art Teachers as Leaders of Authentic Art Integration. Art Education, 62(6), Webb N. Issues Related to Judging the Alignment of Curriculum Standards and Assessments. Applied Measurement In Education [serial online]. January 2007;20(1):7-25. Available from: Education Full Text (H.W. Wilson), Ipswich, MA. Accessed June 19, 2012 Wiggins, G., ERIC Clearinghouse on Tests, M. C., & American Institutes for Research, W. C. (1990). The Case for Authentic Assessment. ERIC Digest. Images (Eaton, 2005) (Humphrey, 1991) (Lichtenstein, 1997) (Winkfield, 1998)


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