Program: Dance Theatre (BFA)
Degree: Bachelor's
Date: Fri Nov 20, 2020 - 11:40:55 pm
1) Program Student Learning Outcomes (SLOs) and Institutional Learning Objectives (ILOs)
1. BA DANCE: Dance Technique: kinesthetic proficiency and conceptual understanding of various kinds of dance from diverse geographic regions.
2. BA DANCE: Performance: ability to effectively engage in the rehearsal process and demonstrate intended stylistic nuances, technically accuracy, musicality and creative intent in dance performance.
3. BA DANCE: Kinesiology / Laban: ability to understand, embody, analyze and communicate structural details of movement.
4. BA DANCE: History / Distinction in World Cultures: understanding theoretical, conceptual and or historical aspects of dance
5. BA DANCE: Literacy: Effective oral and written communication skills that demonstrate critical thinking ability and understanding of dance concepts and related topics.
6. BFA DANCE: Technique: kinesthetic proficiency and conceptual understanding of various kinds of dance from diverse geographic regions.
(1a. General education, 1b. Specialized study in an academic field, 3b. Respect for people and cultures, in particular Hawaiian culture)
7. BFA DANCE: Performance: Ability to effectively engage in the rehearsal process and demonstrate intended stylistic nuances, technical accuracy, musicality and creative intent of dance performance pieces.
(1b. Specialized study in an academic field, 3a. Continuous learning and personal growth, 3d. Civic participation)
8. BFA DANCE: Choreography: Ability to create original work that effectively communicates creative intent and demonstrates clear understanding of choreographic tools and production elements.
(1b. Specialized study in an academic field, 2a. Think critically and creatively)
9. BFA DANCE: Kinesiology / Laban: Ability to understand, embody, analyze and communicate structural details of movement.
(1b. Specialized study in an academic field, 2b. Conduct research)
10. BFA DANCE: History: Understanding theoretical, conceptual and or historical aspects of dance.
(1a. General education, 1b. Specialized study in an academic field, 2a. Think critically and creatively, 2b. Conduct research, 3b. Respect for people and cultures, in particular Hawaiian culture)
11. BFA DANCE: Literacy: Effective oral and written communication skills that demonstrate critical thinking ability and understanding of dance concepts and related topics.
(2a. Think critically and creatively, 2c. Communicate and report, 3a. Continuous learning and personal growth)
2) Your program's SLOs are published as follows. Please update as needed.
Student Handbook. URL, if available online:
Information Sheet, Flyer, or Brochure URL, if available online:
UHM Catalog. Page Number:
Course Syllabi. URL, if available online: NA
Other: Senior Portfolio Requirements
3) Please review, add, replace, or delete the existing curriculum map.
- File (11/21/2020)
4) For your program, the percentage of courses that have course SLOs explicitly stated on the syllabus, a website, or other publicly available document is as follows. Please update as needed.
1-50%
51-80%
81-99%
100%
5) Does the program have learning achievement results for its program SLOs? (Example of achievement results: "80% of students met expectations on SLO 1.")(check one):
Yes, on some(1-50%) of the program SLOs
Yes, on most(51-99%) of the program SLOs
Yes, on all(100%) of the program SLOs
6) Did your program engage in any program learning assessment activities between November 1, 2018 and October 31, 2020?
No (skip to question 17)
7) What best describes the program-level learning assessment activities that took place for the period November 1, 2018 and October 31, 2020? (Check all that apply.)
Collect/evaluate student work/performance to determine SLO achievement
Collect/analyze student self-reports of SLO achievement via surveys, interviews, or focus groups
Use assessment results to make programmatic decisions (e.g., change course content or pedagogy, design new course, hiring)
Investigate other pressing issue related to student learning achievement for the program (explain in question 8)
Other:
8) Briefly explain the assessment activities that took place since November 2018.
The Department of Theatre and Dance held a series of focus groups, class discussions, and public forums for students, faculty, staff, alumni and community members to engage in critical dialog over the historical existance of: systemic racism, colonization, Eurocentrism; lack of faculty diversity, and a lack of centering indigenous knowledge, Hawaiʻi, Asia and the Pacific within the Departmentʻs degree programs, procedures, practices and productions. (i.e. course offerings, degree requirements, budget allocations, student opportunities, hiring, leadership, recruitment, season selection, etc.). The focus groups, class discussions and public forums were prompted by a ground swell of critical feedback from students and community members and the departments own desire to make needed changes and publicly address long standing issues.
9) What types of evidence did the program use as part of the assessment activities checked in question 7? (Check all that apply.)
Assignment/exam/paper completed as part of regular coursework and used for program-level assessment
Capstone work product (e.g., written project or non-thesis paper)
Exam created by an external organization (e.g., professional association for licensure)
Exit exam created by the program
IRB approval of research
Oral performance (oral defense, oral presentation, conference presentation)
Portfolio of student work
Publication or grant proposal
Qualifying exam or comprehensive exam for program-level assessment in addition to individual student evaluation (graduate level only)
Supervisor or employer evaluation of student performance outside the classroom (internship, clinical, practicum)
Thesis or dissertation used for program-level assessment in addition to individual student evaluation
Alumni survey that contains self-reports of SLO achievement
Employer meetings/discussions/survey/interview of student SLO achievement
Interviews or focus groups that contain self-reports of SLO achievement
Student reflective writing assignment (essay, journal entry, self-assessment) on their SLO achievement.
Student surveys that contain self-reports of SLO achievement
Assessment-related such as assessment plan, SLOs, curriculum map, etc.
Program or course materials (syllabi, assignments, requirements, etc.)
Other 1: Forums (Student Faculty Forums, Public Forums/Town Halls, Production Forums)
Other 2: Student and Faculty Small Focus Groups
10) State the number of students (or persons) who submitted evidence that was evaluated. If applicable, please include the sampling technique used.
There is an estimated 250 plus people (students, faculty, staff, alumni, and community members) that participated in one or more of the focus groups, class discussions and or public forums. Focus groups and class discussions were hosed by faculty members. Public forums were held at Kennedy Theatre, Earl Ernst Lab Theatre, The East West Center, and online via zoom. The public forums were recorded or minutes were taken that were shared with students and participants.
11) Who interpreted or analyzed the evidence that was collected? (Check all that apply.)
Faculty committee
Ad hoc faculty group
Department chairperson
Persons or organization outside the university
Faculty advisor
Advisors (in student support services)
Students (graduate or undergraduate)
Dean/Director
Other:
12) How did they evaluate, analyze, or interpret the evidence? (Check all that apply.)
Scored exams/tests/quizzes
Used professional judgment (no rubric or scoring guide used)
Compiled survey results
Used qualitative methods on interview, focus group, open-ended response data
External organization/person analyzed data (e.g., external organization administered and scored the nursing licensing exam)
Other:
13) Summarize the results from the evaluation, analysis, interpretation of evidence (checked in question 12). For example, report the percentage of students who achieved each SLO.
The focus groups, class discussions and public forums centered around specific issues that were raised by students, alumni and or the community. Regardless of the event or context participants echoed the same concerns regarding the Department’s need to decentralize Eurocentrism, address systemic racism, increase social justice activism and center Hawaiʻi, Asia and the Pacific across all Department programs, funding and activities. Students also wanted to be brought into decision making processes regarding curriculum and production season selection.
14) What best describes how the program used the results? (Check all that apply.)
Course changes (course content, pedagogy, courses offered, new course, pre-requisites, requirements)
Personnel or resource allocation changes
Program policy changes (e.g., admissions requirements, student probation policies, common course evaluation form)
Students' out-of-course experience changes (advising, co-curricular experiences, program website, program handbook, brown-bag lunches, workshops)
Celebration of student success!
Results indicated no action needed because students met expectations
Use is pending (typical reasons: insufficient number of students in population, evidence not evaluated or interpreted yet, faculty discussions continue)
Other:
15) Please briefly describe how the program used its findings/results.
All of the following activities are a result of our assessment findings.
1. Commitment from all department faculty and staff to organize and participate in professional development activities to increase our collective understanding of systemic racism, Hawaiian history and social justice education.
Example Workshops:
Safe Zone Training - LGBTQ+ Safety and Inclusion; Presenter: Camaron Miyamoto
Systemic Racism, Hawaiian History, and Cultural Sensitivity; Presenter: Dr. Kauai
2. Full Department commitment to including land acknowledgement statement on all course syllabi and production programs.
He ʻĀina, He Kanaka, He Hawai‘i Maoli: Land Acknowledgement
As we embark on this course, let us take the time to acknowledge Hawaiʻi as an indigenous space where the descendants of the original people are today identified as Kānaka Maoli (Native Hawaiian). We recognize that it was through coercion, force, and the breaking of formal treatises that this land was illegally seized. Her majesty Queen Liliʻuokalani temporarily yielded the Hawaiian Kingdom and these territories under duress and protest to the United States to avoid the bloodshed of her people. Let us further recognize and express gratitude for the generations of Aboriginal Hawaiians and their knowledge systems that have shaped and continue to shape Hawaiʻi in a sustainable way that allows us to learn here today.
The ʻāina (land) on which the University of Hawai‘i at Mānoa sits is located in the ahupuaʻa (land division from mountain to sea) of Waikīkī, in the moku (district) of Kona, on the mokupuni (island) of Oʻahu, in the Pae ʻĀina o Hawaiʻi (Hawaiian archipelago). The particular ʻili ʻāina (land division) that Kennedy Theatre is situated on is at the triangulation of Kaualaʻa, Wailele and Waʻahila. Ma kai (seaward) of the theatre is Kapaʻakea and to the west is Puahia and Pilipili. Ma uka (inland) of our campus are the uplands of Kahoʻiwai, the water that is the source for our major stream of Kānewai. Acknowledging these traditional wahi pana (place names) honors the ‘āina and the historic relationship that Kānaka Maoli have with this place.
3. Hiring of a new tenure track dance faculty member who brings needed discipline expertise to areas where the program has a lack of representation.
Dr. Lorenzo Perillo is a new Assistant Professor of Dance (Fall 2020) at the University of Hawaiʻi at Mānoa. His research interests include dance and performance studies; race and racialization; Filipinx and transnational Asian American identities; Pacific Islander socialization; popular culture and postcolonialism; (im)migration, gender, and sexuality; queer of color and feminist theories and methodologies; environmental justice; diasporic identity and higher education; and global Hip-hop.
4. Development of new dance courses:
Indigenous Dance Studies
Social Action in Theatre and Dance
Critical Race Theory in Theatre and Dance
Intermediate/Advanced Hip Hop.
5. Course modifications and degree requirement changes
Increased credit of Asia dance classes from 1 to 3 to make these courses more equitable with the existing 3 credit ballet and modern dance courses.
Hawaiian Dance Hula Chant Ensemble was changed from an elective to a required core course
Dance techniques requirements were changed to stop the privileging of modern and ballet over other dance forms.
Dance History requirements were changed to include the new Indigenous Dance Studies course
6. Decision to involve students, faculty and staff in production season selection to engage more voices and perspectives and more proactively address concerns regarding racism, representation, appropriateness and relevance.
7. Direct more recruitment efforts and funding to local students.
8. Build interdisciplinary connections across campus through co-teaching, cross-listing and new courses. (i.e. IP 360, IS cross-listings, Interdisciplinary Collaboration course)
16) Beyond the results, were there additional conclusions or discoveries? This can include insights about assessment procedures, teaching and learning, and great achievements regarding program assessment in this reporting period.
Assessment is most effective when everyone is involved. Involvement is easy when the assessment goals are relevant and critical to everyone. Willingness to receive critical feedback and make changes is a strength of our program during this assessment cycle.
17) If the program did not engage in assessment activities, please justify.
N/A