Tag: rubrics

Categories
Literature Review

LR 5: Developing criteria rubrics in the art classroom

McCollister, S. (2002). Developing Criteria Rubrics in the Art Classroom. Art Education, 55(4), 46-52. Retrieved December 9, 2015, from Pro Quest.

Keywords: 

Criteria, rubrics, risk taking, assessment

Abstract:

This article explains how rubrics work and are structured, and how these affect the learning process. Students can see their expectations and ask for help where they see they cannot meet a higher standard. This process leads to greater work habits and classroom management. If teachers don’t have the time to develop rubrics with students, there are many other ways teachers can informally draw ideas from the class on what they think is expected on the criteria. The differential approach can also be a way to document growth on the rubric. The limitations of a rubric might be too much guidance, hence lower creativity and risk taking. McCollister warns that rubrics should not be the only assessment method for this reason. All in all, developing rubrics can be rewarding for both teachers and students, but it is essentially one of many assessment strategies for improvement on both the teacher and student’s part.

Relevance:

How to develop a rubric

Importance of other methods

Quotes:

“The rubric can be elastic and responsive and can be created with students and edited collaboratively with students, or it can be developed by the teacher individually.”

“Formative and summative assessments are also present within dialogues, self-evaluation, display, and the group critique.”(47)

“A student with proceduralized knowledge recognizes the possibilities and limitations of the transference of that knowledge and makes appropriate generalizations. Finally students develop metacognition: they think about heir thinking.” (48)

“Other techniques for gathering descriptions of criteria include individual response sheets, written self- and group-generated criteria, student notes from self-evaluation check sheets, or your comments compiled from notes you have written about qualities of finished work at the time of grading.”

“Scoring means marking, assigning the grade, either number or letter, as well as giving descriptive praise and constructive criticism.”

“Extensive use of criteria rubrics can hamper personal responsibility, creativity, and independence. Art teachers and students benefit from the use of varied assessment strategies.” (51)

Resources:

Scoring Rubrics in the Classroom (2001) by McTighe

Proceduralized knowledge:

Implications of Cognitive Psychology for Educational Measurement (1989) by Snow & Lohman

Categories
Literature Review

LR 4: Authentic Rubrics

Huffman, E. (1998). Authentic Rubrics. Art Education, 51(1), 64-68. Retrieved December 7, 2015, from JSTOR.

Keywords: 

Assessment, authentic assessment, rubrics, evaluation

Abstract:

Huffman talks about the benefits of creating an authentic rubric. She was inspired after reading Glasser’s The Quality School Teacher. She involved her students in the rubric making process, so that they could be committed to following her requirements clearly and staying on task. Many processes are documented such as student risks, success, and failures, for assessment. There is also a record of their daily growth, tasks, conduct, and attendance, from which these assessments averages out to the evaluation score. The development of the rubric takes around 45 minutes, right after the practice or research of the unit. Huffman argues that this is a good investment of time because the results are quality artwork, productivity, and fair evaluation.

Relevance:

How to create a fair rubric and evaluation

How to assess performance: daily self and teacher documenting

Average of daily assessments totalling up to evaluation

I can try this method out! Very practical – see diagrams

Quotes:

“…qualitative judgments tend to be subjective.”

“For most teachers, the students’ creative experience is more important than the grade.”

“The content for rubric assessment and evaluation can include knowledge and understanding about the arts, including the student’s personal, historical, cultural, and social contexts for art, and his or her perception, technical, expressive, and intellectual skills. The assessment could take the for of an oral, written, or visual presentation (NAGB, 1994). Written responses provide the student with greater depth in learning. (Johnson & Cooper, 1994). (64)

“Authentic rubrics address affective, creative, and behavioural dimensions, as well as cognitive and psychomotor learning.”

“Affective qualities such as emotions, feelings, beliefs, attitudes and values can be recorded and assessed via rubric.”

“Psychomotor learning can be assessed in the craftsmanship component of the rubric and might include overall dexterity in the use of materials and equipment.” (67)

“The assessment record includes areas for anecdotes, conduct, attendance, problems, and possible solutions.”

“Writing the assessment in pencil emphasizes the temporary nature of the in-process score.”

“The assessment record eliminates virtually all challenges to grades by students or parents by providing clearly documented understanding for the final evaluation.” (68)

References:

The Quality School Teacher (1993) by Glasser

 

Categories
Literature Review

LR 1: Models for Assessing Art Performance K-12

Dorn, C. (2003). Models for Assessing Art Performance (MAAP): A K-12 Project. Studies in Art Education, 44(4), 350-370. Retrieved November 19, 2015, from JSTOR.

Keywords: art performance assessment, quantitative behaviours, intuitive standards, teacher professionalism, rubrics

Abstract:

There are uniform standards of assessment in other subject areas but not in arts because of its subjectivity. Cusic (1994) observes that teachers should accept personal interpretation and choice as it’s central to their professionalism, but regulators and reformers fear that this will lower the quality of teaching and would rather mandate teacher compliance, for one, by mandating means for assessment. Through creating rubrics, and attending workshops implementing Goals 2000 standards in 51 Florida classrooms, the results were still irrelevant because of its unreliable sample. However, the questions answered are that well-trained art teachers are able to produce quantifiable and reliable estimates of student performances, and that these quantitative scores are valid with their own intuitive standards. This suggests that teachers need not be expected to teach, nor all students need perform, in the same way. The outcomes of the MAAP project support the need for more school-based research involving collaborations between higher education communities (theory) and art teachers in the field (practice).

Relevance: 

How to write and score rubrics: 4 levels, not a checklist, holistic of 4 weeks of work, improvement, quantification of expressive behaviours, notes, sketches, practice efforts, observable evidence of what students know and can do,

Other ways of approaching authenticating assessment: different rubrics, teacher logs, tests, self-evaluation

Quotes: 

“Procedural skills, such as practice toward improvement, doing something smoothly and quickly, understanding the direction a practice session should take, controlled improvement or getting the “feel” of something, are equally difficult to discover in a single product.” (357)

“This adjudication process involving art teachers and their students clearly demonstates that art teachers with appropriate training have the ability to evaluate student performances, can govern themselves and set their own intuitive standards for providing valid and reliable estimates of their own students’ performances.” (367)

“These results suggest more importantly that there are viable alternatives to paper-and-pencil tests in art assessment, that teacher bias moved by experience in teaching and their intuitive understandings of art can be a positive force in assessing art products, and that all art teachers need not be expected to teach, nor all students need perform, in the same way.” (367)

Problems:

Florida, U.S. based.

Mentions of disable students and how this affects classroom scores. Shouldn’t teachers be writing an IEP and grading based on it?

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