Performing Arts as High-Impact Practice

318 Pages·2018·3.467 MB·English

by  Michelle Hayford, Susan Kattwinkel

THE ARTS
IN HIGHER
EDUCATION
PERFORMING ARTS
AS HIGH-IMPACT
PRACTICE
EDITED BY
MICHELLE HAYFORD AND
SUSAN KATTWINKEL
The Arts in Higher Education
Series Editor
Nancy Kindelan
Department of Theatre
Northeastern University
Boston, MA, USA
The role the arts play in higher education continues to be a complex and
highly debated topic, especially in the changing climate of North American
education. Showcasing cutting-edge research, this series illuminates and
examines how engagement in the arts helps students meet the challenges
and opportunities of a twenty-first century life and workplace by encom-
passing a wide range of issues from both scholars and practitioners in the
arts. Key topics the series will cover include: evolving interdisciplinary
degrees that include the arts; creating innovative experiential/pedagogical
practices in the arts; discovering new methods of teaching and learning
that involve the arts and technology; developing inventive narrative forms
that explore social issues through play making; exploring non-traditional
sites for creative art making; demystifying the process of creative thinking
(especially as creativity relates to business practices, scientific thought,
inter-active media, and entrepreneurial activities); engaging the arts in
understanding global perspectives; and illustrating how the arts create life-
long skills that help students manage a challenging job market. While the
scope of the series is focused on the arts in higher education in North
America, the series may also include scholarship that considers the total
educational spectrum from K through 16, since there is now interest in
creating a seamless educational progression from kindergarten through
the baccalaureate degree.
More information about this series at
http://www.palgrave.com/gp/series/14452
Michelle Hayford • Susan Kattwinkel
Editors
Performing Arts
as High-Impact
Practice
Editors
Michelle Hayford Susan Kattwinkel
Theatre, Dance, & Performance Theatre and Dance
Technology College of Charleston
University of Dayton Charleston, SC, USA
Dayton, OH, USA
The Arts in Higher Education
ISBN 978-3-319-72943-5 ISBN 978-3-319-72944-2 (eBook)
https://doi.org/10.1007/978-3-319-72944-2
Library of Congress Control Number: 2018941843
© The Editor(s) (if applicable) and The Author(s) 2018
This work is subject to copyright. All rights are solely and exclusively licensed by the
Publisher, whether the whole or part of the material is concerned, specifically the rights of
translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on
microfilms or in any other physical way, and transmission or information storage and
retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology
now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are
exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors, and the editors are safe to assume that the advice and
information in this book are believed to be true and accurate at the date of publication.
Neither the publisher nor the authors or the editors give a warranty, express or implied,
with respect to the material contained herein or for any errors or omissions that may have
been made. The publisher remains neutral with regard to jurisdictional claims in published
maps and institutional affiliations.
Cover illustration: © Roman Rvachov / Alamy Stock Photo
Printed on acid-free paper
This Palgrave Macmillan imprint is published by the registered company Springer International
Publishing AG part of Springer Nature.
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
A
cknowledgments
We would like to thank Nancy Kindelan for bringing us together; the
Leadership Institute of the Association for Theatre in Higher Education
for community and inspiration; our friends and families for support, love,
and patience; and our colleagues and students for sustaining our passion
for higher education.
v
c
ontents
1 Introduction: Why Frame the Performing Arts
as High-Impact Practice? 1
Calls for Creativity 6
From Plato to LEAP: How the Arts Are Still Being Left Out of
the Conversation 8
A Call to Action 13
Bibliography 18
2 First-Year Seminars and Experiences 21
Devising Pedagogies for First-Year Theatre and Performance
Studies Students — James Davis 25
A Performance Project to Accomplish FYE Learning Outcomes
for Non-Performing Arts Students — Susan Kattwinkel 33
Bibliography 42
3 Common Intellectual Experiences 45
Rites/Rights/Writes and the University
Experience — Richard K. Chenoweth 50
Bibliography 60
vii
viii CONTENTS
4 Learning Communities 63
Connecting Music and Computer Science: An Interdisciplinary
Learning Community for First- Year University
Students — Bill Manaris and Blake Stevens 68
Social Innovation Through Purpose, Performance,
and Story — Brian LaDuca 82
Bibliography 96
5 Writing-Intensive Courses 101
Program Notes in the Classroom — K. Dawn Grapes 105
Performing the Australian Crawl — James Brock 111
Bibliography 119
6 Collaborative Assignments and Projects 121
The Ampersand Festival: A Case Study in Theatre as High-
Impact Educational Practice — Claire M. McDonald 125
An Ethical Balancing Act: Student Labor
and Project-Based Learning — Angela Sweigart-Gallagher
and Kristin Hunt 136
Bibliography 145
7 Undergraduate Research 147
Research: Digesting Creative Food — Kathy L. Privatt 156
Questioning Through Doing: Shaping Praxis Through the
Individual Dance Project — Malaika Sarco-Thomas 163
Bibliography 178
8 Diversity and Global Learning 181
The “Real” Versus the “Represented” Self: First- Year Students
Seek Identity Through Kanye West — Julius D. Bailey 190
Making Brighter Connections — Michelle Hayford
and Katie O’Leary 198
Bibliography 213
9 Service Learning and Community-Based Learning 217
Performative Organizing: “Spark-ing” Civic Leadership
and Inclusive Modes of Public Narrative — Michelle Hayford
and Brandon W. Kliewer 225
CONTENT S ix
Preparing to Engage the Community with Public Speaking
Performance Classes — Trudi Wright 234
Bibliography 247
10 Internships 251
Experiential Learning in Dance Education: Collaborative
Teaching to Develop Professional Practice
— Marissa Beth Nesbit 255
Beyond the Proscenium: Internships at Washington
College — Michele Volansky 263
Bibliography 271
11 Capstone Courses and Projects 273
Cultivating a Successful Dance Capstone
Course — Gretchen S. McLaine 279
(Never) Mind the Gap: Preparing Professional Musicians at the
Royal Academy of Music, London — Marc Ernesti 289
Bibliography 299
Index 303
l f t
ist of igures And Ables
Fig. 1.1 Chart of HIP characteristics in the performing arts 5
Fig. 4.1 A sample of a JythonMusic program transcribing J.S. Bach’s
Canon No. 1 of the Fourteen Canons on the Goldberg
Ground (see http://bit.ly/bachCanon1) 72
Fig. 4.2 A Laptop Orchestra Performance of Terry Riley’s “In C”
(see video—http://bit.ly/charlestonLaptopOrchestra) 73
Fig. 4.3 “Daintree Drones” by Kenneth Hanson—sonification of digital
image by computer programming (see https://vimeo.
com/64110119) 77
Fig. 4.4 “Lugna” by John Thevos and Katherine May—sonification of
digital image by computer programming (see https://vimeo.
com/64109534) 78
Fig. 4.5 “Manhattan Solstice” by Caroline Freeman (née Bowman)—
sonification of digital image by computer programming (see
https://vimeo.com/64101616). Photo courtesy of Robinson
McClellan, Rutgers University 78
Fig. 4.6 Mask-making at the Institute of Applied Creativity for
Transformation 91
Fig. 4.7 Mask-making at the Institute of Applied Creativity for
Transformation 92
Fig. 7.1 Cycle of action research. Image: Valencia College 167
Fig. 7.2 Selected IDP topics, University of Malta, 2015–2017 169
Fig. 7.3 “Contact improvisation skills for bellydance” IDP workshop.
Photo by Yasmin Falzon 170
Fig. 7.4 “Embodied drawing” IDP workshop. Photo by Eszter Joo 171
Fig. 7.5 Robin Nelson’s PaR modes of knowing 174
Fig. 9.1 Persuasive presentation peer evaluation form 238
Fig. 9.2 Persuasive presentation peer evaluation form 239
xi