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Alternative Assessment Strategies for Schools STANLEY S. MADEJA The following is adapted from chapter 2 of Assessing Expressive Learning: A Practical Guide for Teacher-Directed Authentic Assessment in K–12 Visual Art Education by Charles Dorn, Stanley Madeja, and Robert Sabol. Lawrence Erlbaum Associates, Mahwah, NJ 2003. (Appendices referred to in the following article can be found in the book edition.) In the previous two editions of Arts Education Policy Review, chapter 1, The Assessment Context, by F. Robert Sabol, was printed in two parts.

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Alternative Assessment Strategies for Schools STANLEY S. MADEJA The following is adapted from chapter 2 of Assessing Expressive Learning: A Practical Guide for Teacher-Directed Authentic Assessment in K–12 Visual Art Education by Charles Dorn, Stanley Madeja, and Robert Sabol. Lawrence Erlbaum Associates, Mahwah, NJ 2003. (Appendices referred to in the following article can be found in the book edition.) In the previous two editions of Arts Education Policy Review, chapter 1, The Assessment Context, by F. Robert Sabol, was printed in two parts. n chapter 1, the results of the project survey of artists, art teachers, and students suggest that the teacher perception of K–12 learning outcomes differs significantly from what artists and K–12 students seek to achieve. Although 90 percent of the teachers surveyed considered the elements and principles of design to be essential in learning art, both artists and students thought that getting better at making art should be the most important goal in art learning. Standardized tests also encourage the development of tests that are empirically based, including knowledge of elements and principles rather than strategies that measure expressive outcomes, such as the aesthetic quality of the art products and visual problem-solving abilities. Consequently, standardized assessment models may not be the best answers or “quick fixes” for improving instruction and raising student achievement. The variance between the goals set by art teachers and by artists and students, as well as other concerns, make a strong case for designing alternative art evaluation instruments and techniques for assessing expressive content more closely related to the nature of the artistic process. The need, as we view it, is to develop a number of different alternative evaluation instruments and strategies that provide hard data but are not in the form of the standard paper-and-pencil multiplechoice tests now being used in most testing programs. What we…

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