This document discusses portfolio assessment for students in documentary arts programs. It explains that portfolios provide a richer understanding of what and how students learn over time compared to just assessing their final products. Portfolios include a range of student work and evidence of growth in areas like documentary arts, critical literacy, civic engagement, and social-emotional development. The portfolio process involves students collecting and reflecting on their work, faculty reviewing drafts over time, and portfolio roundtables where a diverse panel discusses student work and ownership of learning with the student. The goal is to promote ongoing self-reflection, set goals, engage the community, and improve the media arts curriculum and teaching.
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Presenters: George Lindsey, Deputy Director, Utah Museum of Fine Arts
Sonja Lunde, Director of Planning and Special Projects, Utah Museum of Fine Arts
Kerry O’Grady, Director of Education and Engagement, Utah Museum of Fine Arts
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When: Wed, May 10, at 10am PT/ 1pm ET
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Lori Catallozzi, Dean of Humanities and Learning Communities, Bunker Hill Community College, MA will share promising practices for designing digital open educational resources that are culturally relevant and engaging for students.
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Quill West, OER Project Manager, Pierce College District, WA will share best practices for ensuring the proper vetting and attribution of open educational resources.
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On May 8, 2014 we held the 15th annual Open Space Conference in the Presidio of San Francisco. We focused on interactivity in land conservation and you can read more about the day here: http://openspacecouncil.org/community/conference.php
Strategic Visioning: Mapping the Future of Your MuseumWest Muse
In the process of developing a new strategic plan, the UMFA developed self-reflective questions regarding its mission and vision. UMFA staff visited museums in Seattle, Los Angeles, the Bay Area, and Austin with the aim of studying variations of best practice to guide this work. By developing a clear, strategic direction for the institution, museum staff was able to devise changes to the organizational structure and operational strategies in accordance with short and long-term objectives. This session will include questions and findings regarding curatorial practice, sustainability, engagement, and strategic planning to ensure the health, success, and impact of the Museum.
Moderator: Gretchen Dietrich, Executive Director, Utah Museum of Fine Arts
Presenters: George Lindsey, Deputy Director, Utah Museum of Fine Arts
Sonja Lunde, Director of Planning and Special Projects, Utah Museum of Fine Arts
Kerry O’Grady, Director of Education and Engagement, Utah Museum of Fine Arts
This is for Dr. Karen Swenson's presentation for the TWSIA Honorable Mention Presentation (held on Wednesday, June 16 @ 10:00-11:15am). If there are any problems with the presentation, please contact me (Amber D. Evans, adevans@vt.edu). If there are any questions about the presentation content, please contact Karen Swenson (karens@vt.edu). Enjoy the show!
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Finding and selecting OER to adopt at your college can raise questions about both the quality and accessibility of the content for your students. Join us for this webinar to hear about best practices and rubrics developed to ensure that OER content meets instructional material standards, accessibility guidelines, and open licensing policies established at your institution. These rubrics assist faculty, librarians, instructional designers and other staff to select and adapt open educational resources that meet student needs regardless of disability but are also culturally relevant and engaging for students at your institution and can be freely re-used, re-mixed, and re-distributed.
When: Wed, May 10, at 10am PT/ 1pm ET
Featured Speakers:
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Paula Michniewicz, Instructional Designer, Salt Lake Community College, UT will share best practices for evaluating digital open educational resources for meeting Section 508/ADA standards and guidelines for Universal Design for Learning (UDL).
Quill West, OER Project Manager, Pierce College District, WA will share best practices for ensuring the proper vetting and attribution of open educational resources.
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Presented by Mirjam Hauck of The Open University at The Open University, Milton Keynes, UK on 15 June 2017. This presentation formed part of the FutureLearn Academic Network section (FLAN Day) of the 38th Computers and Learning Research Group (CALRG) conference. For full details, see http://cloudworks.ac.uk/cloudscape/view/3004
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http://sandymillin.wordpress.com/iateflwebinar2024
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3. But assessing the final group product is not enough.
What did each student learn through the process of
creating it?
4. Portfolios – collections of student work
But they’re messy and time consuming. Why bother?
They give us a richer, more authentic picture of how and
what students learn over time
Build students’ sense of ownership over their learning
and habits of self-reflection
Provide important feedback on how to continually
improve our media arts curriculum and teaching
Engage the broader community in public conversation
about student learning and creative work
5. Portfolio Components
We ask students to collect a
range of work as evidence
of revision and growth over
time, aligned to EVC’s 4
main Rubric Domains:
• Documentary Arts
• Critical Literacy
• Civic Engagement
• Social Emotional
Development
6. Looking for Authentic Evidence in Youth
Producer Artifacts
• Project Treatment
• Camera Footage
• Interview Questions and Logs
• Research Notes and Emails
• Edit Plan
• Rough Cuts and Notes
• Music Tracks
• Journals, Blogs, Podcasts
• Self-Assessment Rubrics
• Portfolio Cover Letter
7. Portfolio Assessment Roundtables
We Build A Reflective and
Deliberative Community
• Drafts Over Time
• Diverse Panel
• Structured, In-Depth
Conversation About
Student Work
• Ownership of their
Learning
8. EVC’s Principles and Practices of
Portfolio Assessment
• Assessment is for students
• Puts focus on creative process
– revision, experimentation,
and growth over time
• Is faithful to the work students
actually do
• Makes standards and
expectations of quality public
• Engages all students in a
deliberative community
• Promotes ongoing self
reflection, goal setting, and
critical inquiry
9. Visit our website our the Impact page, to view an
example of an EVC Portfolio Roundtable:
http://evc.org/impact/
For more information about
Assessment and Youth Media Documentary Arts
Programs at EVC, visit www.EVC.org
or contact:
Steve Goodman
Executive Director
212.465.9366
Sgoodman@evc.org
Editor's Notes
About 25 years ago, in the early days of EVC we were having great success teaching students to create documentaries and present them at big premiere screenings. Students attended our afterschool workshops for 4 afternoons per week, 3 hours per day for 15 weeks earning credit for their time and these screenings were the culminating celebrations. They still are! So when we were asked us to evaluate the impact of our program, we’d say, “Just look at their documentary– their final group product –that contains all the evidence of their skills, knowledge and competencies.”
Then a funder challenged me on this. She said, “Yes, their tape is really great. But its not the complete picture. How do you know what the students learned through the process? What evidence can you show me from this group project of what individual students now know and can do as a result of your program?” Not only we couldn’t clearly articulate what the kids were learning. Neither could they. When we asked them what they learned, they’d say- “To make a video.” And schools asked us for more evidence of their learning in order to grant credit. So, with assistance from Bill Tally, Senior Researcher at the Center for Children and Technology, we began to slow down and look more closely at all the incremental steps of the creative process, the small projects and the skills that went into them that contributed to the large project, look at the work for evidence to assess student learning. And we came to portfolios as a means to do it.
This was the early 1990s and their was a lot of writing and growing interest in portfolios, and later digital portfolios, in arts education and in education reform more broadly. Portfolios as collecting student work really came from the arts, collections of drawings and painting, and from writers saving their drafts of writing. There was push back on portfolios then, and still is today because they are messy and the criteria are not consistent. and time consuming And there is no question they are. That is a challenge and constraint. But they also …… (see slide)
So while we know we need to answer funders’ questions of how we evaluate the impact we have on our students learning, we really do this primarily for our students, And for school principals and teachers who are granting students credit for their work at EVC. And it also benefits us and our staff and external stakeholders including funders.
In our work at EVC, its really not about the portfolios by themselves It’s the thinking and conversations they provoke for us since they are closely linked to the curriculum and instruction. So we have to be clear about what we are teaching and what we expect kids to come away knowing in order to know what counts as evidence of learning. And this may vary across organization and school, but with us we feel its important to teach the whole child and so we take an interdisciplinary approach using rubrics in 4 domains. We make these public and review them with the students at various intervals throughout the semester.
We closely examine the evolving quality of work each student creates through their doc production, and ask them to as well. And then within each area, as a staff we listed all the things we ask students to create along their journey to producing their documentary. Authentic evidence in the sense that they aren’t asked to take a special test. They need to know how to create these things in order to create a high quality documentary, and be reflective about it. So this is a partial list of the work they produce. And with each one, they have to create drafts to improve their quality. Examining these evolving drafts of work, students look for evidence of their learning and skill development.
As I mentioned before, it is really only possible for the kids to create the artifacts we ask them to collect in their portfolios if the curriculum and the teaching is aligned with your rubrics and portfolios. Students learn best about the aesthetics involved in framing, lighting, composing images if they have multiple opportunities to shoot and then watch back and critique their footage. Or to tell an artful story through their video they need in the class for rough cut critique sessions, etc. So we work at weaving the practice of self assessment and reflection into instruction throughout the process. We work at building a culture of reflection and assessment.
After we have our final screening, each student is required to present evidence of their learning in two of the four domains. They have to select at least 3 different artifacts showing progress over time, with a cover letter for the panelists. In their presentation, they might show clips for example, “Here is the first time I used the camera, the framing was off, it was backlit, the next time I did a hand held shot. And this is the shot I’m most proud of because….” We invite a panel of guest for each student, that may include a teacher, family member, EVC staff and sometimes a professional media artist or college professor. We structure the hour long conversation with a protocol of what we call “warm” and “cool” feed back. And stress the students’ ownership over their own learning. In assessing he work, panelists link what they see to the appropriate rubric. They may present on their camerawork, editing, interviewing, etc.
This work is animated by a set of underlying principles and practices. (see slide)
I encourage you when you get a chance, to watch the video listed here at this link. Its only 8 minutes long, but it gives you a snapshot of the process. 2 of our workshop students a few years ago presenting their portfolios. I hope we can carry on this conversation as a group about portfolios and authentic assessment of youth media work and learning.
