Last Updated -1-16-09-Sculpturesin the Park-VA 08-Draft-uto
Student Name/ID# ______Grade Level ______
(circle number) Creating Score – 4 3 2 1 0
Performing Score – 4 3 2 1 0
Responding Score – 4 3 2 1 0
Directions for Administering the
Washington Classroom-Based Performance Assessment (WCBPA)
Arts Performance Assessment
Grade 8 Visual Arts
Sculptures in the Park, Revised 2008
Introduction
This document contains information essential to the administration of the Washington
Classroom-Based Performance Assessment (WCBPA) Arts Performance Assessment of Visual Arts CBPA Title Sculptures in the Park, Revised 2008
• Prior to administration as an assessment, all students should have received
instruction in the skills and concepts being assessed.
• Please read this information carefully before administering the performance
assessment.
• This CBPA may be used as an integral part of instruction, and/or formative assessment, summative assessment, culminating project, alternative education packets of instruction, lesson plans, pre- and -post assessment, accumulating student learning data, individual student portfolio item, use of data teaming and individual/district professional development, professional learning communities, and in whatever capacity the teacher finds useful to improve arts and all instruction and student learning.
Test Administration Expectations
• The skills assessed by this item should be authentically incorporated into classroom instruction.
• This assessment item is to be administered in a safe, appropriately supervised classroom environment following district policy and procedures.
• All industry and district safety policies and standards should be followed in the preparation and administration of the CBPAs in dance, music, theatre, and visual arts.
• Accommodations based upon student IEP or 504 Plan may require additional assessment administration modifications. (See Teacher Preparation Guidelines-page 3).
• Culture, diversity, and religious mores/rules may require additional assessment administration modifications.
Description of the Performance Assessment
• Students taking this performance assessment will respond to a performance prompt and a series of short answer questions.
• Performance prompts ask the students to create an individual sculpture based on the criteria outlined in the prompt and to a series of short-answer questions.
• Design concepts must be submitted as a diagram/sketch and as a three dimensional representation (maquette) of the design. All responses must be collect and/or photographed to facilitate scoring and to document each student’s performance and response.
• Short-answer questions will ask the students to supply a response which may be in the form of words, pictures and/or diagrams, to facilitate scoring and to document each student’s performance. (See TPG guidelines for verbal responses and other accommodations).
• Response sheets are provided for student work. All written work must be completed in the student answer spaces provided.
• Materials and Resources
• Teachers will need the following materials and resources to complete this performance assessment:
• classroom set of reproduced tasks, including the glossary of terms
• one copy of administration guidelines
• classroom set of reproduced student response sheets
• sketch paper, for each student, for planning
• 1/8th sheet of poster board, approximately 11” x 7”, heavy weight tag board, or other stiff and bendable clean board that is one or two colors and free of printing, to make a maquette
• pencils
• scissors or other cutting tools
• glue (fast drying glue works best for this CBPA)
• tape (for temporary attachment)
• rulers, compasses
• optional materials: compasses, French curves, actual textural materials (fabric, textured papers, beads, etc.)
• audio and/or video recording device and tape (if needed for individual students)
• (Note: Use glue to ensure stability and to reinforce sculpture joints after assembly if necessary. Tape must be removed from final maquette. No base is necessary as the sculpture is free standing.)
Teacher Preparation Guidelines
• This assessment requires an individual performance.
• Reproduce a classroom set of student task directions, glossary of terms, student response sheets from this CBPA, and necessary sketch paper and sculpture construction materials.
• When photographing for documentation and portfolios, the photographs should show the sculpture from at least four possible angles, such as front, back, right, left, as well as a bird’s-eye view. These views must be labeled for clear identification, grading, scoring, etc. The student’s name/number must be included in the photograph.
• As an option to a written response, video or audio recording may be used to accommodate student needs and at the teacher’s discretion. Students being recorded need to be coached to face the recording device when responding. Students must have a copy of the response sheet if/when being recorded.
• Students may dictate response sheet answers as necessary to meet student needs.
• The teacher’s or transcriber’s role is to read questions. Students may use resources that are visible in the testing classroom, but the teacher may not prompt or coach students during the assessment.
• Students should be prompted to clearly say their name/number and their current grade level into the recording device before they begin their response.
• Students who respond in writing must include their name/number on all response sheets.
• Short-answer questions will ask the students to supply a response which may be in the form of words, pictures and/or diagrams, to facilitate scoring and to document each student’s performance. (See TPG guidelines for verbal responses and other accommodations).
• Response sheets are provided for student work. All written work must be completed in the student answer spaces provided.
• Accommodations for special needs and limited English speakers:
a) Students may dictate response sheet answers for transcription by an instructional aide.
b) The student may give the written and/or recorded responses in their first language.
c) We request a written and/or verbal English translation for consistency validity/reliability) in scoring the rubric.
Suggestions for Time Management
Students may have as much time as they need to complete the task. Time suggestions are a guide and may be shortened or lengthened to meet individual school, class and student circumstances. It is recommended and encouraged that the teacher reviews the glossary and scoring rubrics with the students.
The following four-day model is a suggested/sample timeframe:
Day One Suggested Time:
• 15 minutes: The teacher provides the class with the task and reads it aloud.
The students may ask questions. The teacher answers any questions asked.
• 25 minutes: The students create a diagram that shows the various shapes and how the shapes may be connected and assembled. After the completion of a detailed sketch, some students may begin their maquette/sculpture.
• 5 minutes: The teacher collects all materials.
Day Two Suggested Time:
• 5-10 minutes: The teacher distributes materials and sculptures to the students and reviews the prompt
• 35 minutes: The students begin their sculptures.
• 5 minutes: The teacher collects all materials and sculptures.
Day Three Suggested Time:
• 5 minutes: The teacher distributes response sheets and sculptures to the students.
• 30 minutes: The students complete their sculptures and begin the response sheets.
• 5 minutes: The teacher collects the response sheets and sculptures.
Day Four Estimated Time:
• 5 minutes: The teacher distributes materials and the response sheets to the students who respond verbally, as needed.
• 30 minutes: The students complete their response sheets and/or sculptures. The teacher videotapes, records or scribes student responses to accommodate student needs.
• 5 minutes: The teacher collects the response sheets and sculptures.
Note: Prior to the collection of the sculptures, photographing the sculptures with/without the students is a successful/accurate way to document student achievement for all purposes regarding this CBPA.
Test Administration
Students may have as much time as they need to complete the task. All students who remain productively engaged in the task should be allowed to finish their work. In some cases, a few students may require considerably more time to complete the task than most students; therefore, you may wish to move these students to a new location to finish. In other cases, the teacher’s knowledge of some students’ work habits or special needs may suggest that students who work very slowly should be tested separately or grouped with similar students for the performance assessment.
Provide the class with the reproduced student pages, which may include the cover page, student prompt, response sheet, rubrics, templates, glossary, and any other required materials prior to beginning the task. Students may highlight and write on these materials during the assessment. Instruct the students to look at the following student pages. Have the students read the directions to themselves as you read them aloud. Answer any clarifying questions the students may have before you instruct them to begin. If this assessment is used for reporting purposes, circle the scoring points on the cover page of the individual student pages.
Say: Today you will take the Grade 8 Washington Classroom-Based
Performance Assessment (WCBPA) Arts Performance Assessment of
Visual Arts entitled “Sculptures in the Park” ~ Revised 2008
Student Name/ID# ______Grade Level ______
(circle number) Creating Score – 4 3 2 1 0
Responding Score – 4 3 2 1 0
Sculptures in the Park
The park planners explain that you must meet the following task requirements when creating your maquette:
• Identify the particular movement you plan to represent in your abstract sculpture.
• Represent the theme of movement typical in a park (such as, running, dancing, playing, trees swaying in the wind, leaves falling and flying in the wind, kites flying, etc.). in your sculptured composition.
• Draw a diagram that indicates how your free-form/organic and geometric shapes might be shaped, connected and assembled to help communicate your particular idea of movement typical in a park, for your sculpture’s maquette.
• Indicate in your diagram, the type of visual balance you plan to use for the sculpture: formal/symmetrical, radial, or informal/asymmetrical
• Cut shapes (geometric, free-form/organic) that support the theme of the specific movement that you have selected for your maquette. Use the materials provided.
• Assemble your shapes to create your stable, freestanding, abstract sculpture maquette.
• Use at least three different sculpture/construction techniques when creating your sculpture such as rolling/curling, twisting, bending/folding, scoring, slotting, and tabbing/gluing.
• Construct your sculpture, using the specific type of visual balance indicated in your diagram that helps you communicate the idea of movement. ( formal/symmetrical, radial, or informal/asymmetrical)
The park planners explain that you must meet the following task requirements when responding about your maquette:
• Name or title your abstract maquette, identify your chosen movement, and explain how it relates to the type of movement depicted by your maquette.
• Identify the parts of your maquette that are free-form/organic, geometric, or a combination of the two.
• Identify the two parts of the maquette that most effectively show the idea of movement and explain how each of these parts communicates the idea of movement.
• Identify and describe the type of visual balance used in your maquette then justify by explaining how that type of visual balance helps to communicate the idea of movement you chose in your maquette.
Student Name/ID# ______Grade Level ______
(circle number) Creating Score – 4 3 2 1 0
Responding Score – 4 3 2 1 0
Use the space below to draw your diagram. You are not drawing the finished product in this space. You are drawing, indicating and planning how your cut shapes might fit together to communicate your idea of movement typical in a park.
In designing your sculpture, you are going to represent the idea of a particular movement typical in a park, such as, running, dancing, playing, trees swaying in the wind, leaves falling and flying in the wind, kites flying, etc.
• Your diagram must indicate how your free-form/organic and geometric shapes might be shaped, connected and assembled to help communicate (show) your chosen type or idea of movement.
• Indicate in your diagram, the type of visual balance your plan to use for the sculpture: formal/symmetrical, radial, or informal/asymmetrical.
• When you are finished with your diagram, cut and assemble your shapes to create your sturdy, stable, and freestanding maquette.
Student Name/ID# ______Grade Level ______
(circle number) Responding Score – 4 3 2 1 0
RESPONSE SHEET
1) Title (name) your abstract maquette and explain how your title relates to the particular idea or type of movement depicted by your maquette. Title: ______
Explain how your title relates to the chosen movement: ______
2) Identify the parts of your maquette that are free-form/organic, geometric, or a combination of the two.
Free form/organic: ______
Geometric: ______
Combination: ______
3) Identify and describe the two parts of the maquette that most effectively show your particular idea of movement and explain how each of these parts communicates your chosen type or idea of movement:
First Part: ______
Explain how it communicates your particular movement in your maquette. ______
______
Second Part: ______
Explain how it communicates your particular movement in your maquette. ______
______
4) Identify and describe the type of visual balance you used in your maquette: (such as formal/symmetrical, radial, and/or informal/asymmetrical) ______
5) Justify by explaining how that type of balance helps to communicate the particular idea of movement you chose for your maquette ______
______
Washington Classroom-Based Performance Assessment (WCBPA)
Arts Performance Assessment
Grade 8
Sculptures in the Park, Revised 2008
Visual Arts Glossary
abstract art—1. a style of art that refers to various types of 20th-century avant-garde art 2. abstract also refers to images that have been so altered from their realistic/natural appearance; they have been simplified to their basic contours/forms 3. abstract art is often based upon a recognizable object, which is then simplified to show some purer underlying shape or form, sometimes removing any references to recognizable objects
balance— a principle of design of visual arts; the arrangement of elements that makes individual parts of a composition appear equally important; balance is an arrangement of the elements to create an equal distribution of visual weight throughout the format, sculpture or composition